1840s Furniture

Wainscot chairs are sturdy, high-backed wooden chairs that originated in the 17th century, often featuring carved panels and armrests They were typically used by the wealthier classe...

Royal House Antiques Royal House Antiques is delighted to offer for sale this absolutely stunning circa 1940's English metal Staunton Chess set with Georgian circa 1840's Mahogany b...

An exceptional, fine and impressive antique Victorian English sterling silver vinaigrette modelled in the form of a book; an addition to our silver boxes collection. This exceptional antique Victorian sterling silver vinaigrette has been realistically modelled in the form of a book. The body of this antique silver vinaigrette...

Tabletop terrestrial globe, made according to the knowledge of Giovanni Maria Cassini (Venice 1745 - Rome 1824) regular cleric of the Somaschi Fathers, an order proposed in Venice in...

Pair of subtly hand colored lithographic prints of specimen mushrooms from the book titled "Illustrations of British mycology, containing figures and descriptions of the funguses of ...

French cast stone musical tambourine putti garden ornament seated on a sphere form with a squared plinth, and decorative sash. Mid-19th century.

Sheffield silver large size tureen marked on the inside of the lid with a cross over a globe and the initials ITC which indicates it was made by Walker, Knowles and Co., 47 Burgess S...

We are delighted to offer for sale this exceptionally rare Circa 1840-1860 hand carved walnut Italian daybed with cherub putti decoration and chesterfield tufting What a find! Thi...

This beautiful boiserie panel depicting an allegory of Spring and the Arms of France was hand-painted in France, circa 1840. Boiserie is ornate wooden paneling that covered walls and ceilings of luxurious chateaus in France. The use of these panels became more prevalent at the end of the 17th century, before exploding in popularity during the 1700’s, thanks to multiple installations at the Palace of Versailles. Lengthy paintings such as this (ours is over 112 inches long) would often be placed above a doorway, forming a continuous theme with the rest of the room. The arrival of Spring is depicted by four winged cherubs frolicking among pink, white, and yellow flowers. None of the cherubs are clothed, although two of them are draped in colored textiles. The putto on the far left has a billowing peach colored material hanging from the left shoulder as he holds a sheer piece of fabric. The transparent veil stretches across most of the canvas, extending to the right hand of a female cherub wearing a jeweled tiara on the far right. On the same side of the canvas, but more medial, is another putto loosely draped in green fabric. To the left is the fourth cherub, a female with a laurel leaf tiara that is holding onto the edge of the Arms of France. A gold oval medallion, adorned with volute scrolls at the top and bottom, encircles a representation of the coat of arms of France from the Bourbon Restoration (1814/1815-1830). There is a large, curled leaf rising from the top volute with a husked border surrounding the light blue background with three gold fleur de lys. Our magnificent French painting gives off a warm and lively feel. Although it could still be used as part of a boiserie room...

This stunning Biedermeier wingback armchair, crafted in South Germany around 1860, is a timeless example of 19th-century design. Made from beautifully grained yew wood, the chair sho...

This map, printed in 1840, is a detailed representation of Washington, D.C. in the mid-19th century. The map shows block numbers, wards, and government buildings as well as details o...

Cotton quilt square with floral appliques cut from a printed chintz and redesigned as a wreath with floral sprigs in the corners. Signed & dated in ink in...

We are delighted to offer this very rare and important suite of five fully restored C Hindley & Son’s dining chairs circa 1844-1845 These are a very important and substantial set of chairs, they have been fully restored to include being stripped back to the bare frames, all the timber has been washed back and French polished , they have then been resprung using the original period coil sprung bases, new webbing fitted, then upholstered with premium Italian cattle grade fully aniline plain natural leather which has been individually hand nail tacked in place using antiqued studs, lastly hand dyed six times and antiqued to give it this one off cigar brown colour. These chairs have been on a journey as mentioned and they are true investment pieces, ready to serve the new owner for decades to come. Usually, I wouldn’t take dining chairs through such an expensive process however the carving to the legs is so sublime they warranted the treatment, I have never seen such beautiful Lion’s mains and terminating with hairy paws with recessed castors, these are simply put the finest dining chairs on the market anywhere in the world today you can buy. Dimensions Height:- 94.5cm Width:- 57cm Depth:- 74cm Seat height:- 50cm ABOUT THE CABINET MAKERS Hindley, Charles & Sons Berners Street & Oxford Street, London; cabinet makers, upholsterers and retailers (fl.c.1820-1892) Charles Hugh Hindley (b.1792- d.1871) was the son of Christopher, a merchant in Mere, Wiltshire. He moved to London with an elder brother to live with his uncle, who was possibly running the London branch of the Wiltshire business. In 1817 Charles joined the upholstery firm of Benjamin Merriman Nias at 32 Berners Street. Within a few years he bought the Nias business with a £1,000 investment from his family. Despite his business being described as a 'carpet warehouse' in London directories from 1820-1841, by the mid-1830s upholstery and cabinet work had joined his repertoire and he had taken on more showroom space next door at 31 Berners Street. Family records of the 1840s showed that individual custom-order business expanded to also ‘supplying established furnishing houses with goods on wholesale terms’. Jobs ranged from supplying Pentonville Prison with 100 hair mattresses and pillows, to altering spring roller blinds, to fulfilling private commissions with suites of parlour furniture. Hindley was the father of eleven children with three involved in the business: Charles Hugh (b. 1818), Frederick (b. 1820), and Albert Daniel (b.1822). Charles Hugh and Frederick joined the family firm about 1832, thus establishing the family partnership, Charles Hindley & Sons. Albert Daniel learned the carpet manufactory and trade in Kidderminster and eventually established a carpet manufactory in Liversedge, Yorkshire, supplying the family’s London store and others. In 1845 he patented an early tufted carpeting technique. Charles Hindley & Sons acquired the firm, Miles & Edwards in September 1844, including their premises at 134 Oxford Street. Both companies operated from this address until 1845 when Miles & Edwards was closed. The purchase of Miles & Edwards enabled Hindley & Co. to compete with other West End firms by offering everything from cabinet making and upholstery to painted decoration and interior design for the middle and upper class market. In a sample of 737 orders from October 1842-June 1845, six per cent of the clientele were upper and lower aristocracy with approximately seventy per cent gentry or middle class. The aristocratic clientele included the surnames of Hoare, Kirland, Drummond, Montefiore, Ashburton and Rothschild, and the Oriental Club at 18 Hanover Square (1824). Commissions were also executed for: Lady Fetherstonaugh at Uppark: bills dating 1852 and 1862 for furniture and curtains C B E Wright of Bolton Hall, Yorkshire: decorative wood panels The Earl of Dudley at Himley Hall, Staffordshire: a carved gilt wood centre table with mosaic top, dated 1845 and a bedroom suite (sold by Hampton & Sons, July 1924) Sir Clifford Constable at Burton Constable (1849) George Hammond Lucy at Charlecote Park: carpeting (19 December 1844) The Duke of Cleveland at Raby Castle The Duke of Argyll, the Duke of Newcastle Lord and Lady Burton of Burton-on-Trent Sir William Eden of Windlestone Hall, Durham. Buckingham Palace: a small supply of Chintz wall covering for some rooms (1855) Surviving marked furniture by Hindley & Co. includes a stamped Regency kidney-shaped desk, veneered in yew and panelled with boxwood and ebony inlay, ornamented with finely-chased mounts and beadings, c.1830 [Connoiseur, November 1978], which is possibly the one illustrated in Gilbert (1996), fig. 498, and a walnut writing table with a raised set of drawers, 1840s, stamped C. Hindley & Sons, illus. (Gilbert (1996), fig. 497 and sold by Sotheby’s, 5 August 1981, lot 209. The staff at 134 Oxford Street comprised management, sales staff, designers, foreman, clerks, cabinet makers, chair makers, upholsterers, carvers, carpenters and French polishers. They also contracted tradesmen specialising in particular decorative and finishing techniques; such as Joseph Spong, a japanner, and William Stannard, a carver and gilder, who supplied significant orders, 1845-46. Stannard was also recorded in the stock book for ‘Repairing, Cleaning and Varnishing 18 Paintings [frames] £9.0.0’. Family records describe several employees: ‘a large and very ancient carpenter named Tomlinson… a cabinetmaker named Westbrook... [and] a foreman named Sorrel’. Charles Hindley & Sons showed a large Gothic sideboard at the Great Exhibition in 1851, inspired by Pugin (illustrated Microulis, Studies in the Decorative Arts (Spring/Summer 1998) p. 86) and they exhibited a Gothic bookcase and large sideboard at the 1862 International Exhibition, London (illustrated Microulis, Studies in the Decorative Arts (Spring/Summer 1998) p. 88). Both were elaborately carved pieces, described in the Art Journal Illustrated Catalogue as ‘evidence of sound judgment and advanced taste in the designer, and of able and skilful workmanship’. They also participated in the Building Trades Exhibition at the Agricultural Hall, Islington, 1883 [The Furniture Gazette, 7 April 1883]. They exhibited Japanese leather papers at the Manchester Fine Art & Industrial Exhibition, 1882, and were awarded a silver medal for embossed leather wall hangings at the Calcutta International Exhibition, 1883 [The Furniture Gazette, 18 November 1882 & 10 May 10 May 1884]. They also participated in the Workman’s Exhibition at Central Hall in Holborn, 1890 [The Furniture Gazette, 15 April 1890]. The designers did not sign their work but about fifteen different people were probably involved during the fifty-year period. One designer who worked in the late 1880s was J. Armstrong Stenhouse. He and the cabinet makers, G. R. Mackenzie, D. MacLennan and D. F. Lavach, as well as the carver, F. Lucas, worked on two Hindley exhibition pieces for the 2nd exhibition of the Arts and Crafts Society, London An archive of 114 drawings (now at the Metropolitan Museum of Art) was collated by Charles Albert Hindley (1863-1947), a grandson of the founder. These designs c.1844-1883 (some illustrated in ?Microulis, Furniture History?(2001), figs 1-16.), reflected the current trends of reinterpreted styles such as Gothic and Louis, and several seated furniture designs were labelled with specific commercial names such as the ‘Victoria Chair...

On a sky blue ground, the gilding finely tooled.

An original handcolored antique print featuring a series of illustrations of moths. Each moth is meticulously detailed, showcasing a variety of wing patterns and colors. The visual s...

Painted pine English table with the front, top and sides painted to simulate ebony line inlay and quarter fans.    

Richard Henry Dana - Two Years Before the Mast. A Personal Narrative of Life at Sea. First Edition, Harper & Brothers N.Y. 1840. A very important c...

Heading : Tunbridge ware jewellery cabinet with perspective cubework Date : c1840 Period : Victoria Origin :Tunbridge Decoration : Cover and double doors decorated with perspecti...

Depicing a genre scene in the Baroque style showing a dark vs light contrast imitated throughout the 18th and 19th centuries, placed in a later Regence style frame this oil on canvas...

A superb quality mid 19th Century Anglo-Indian carved hardwood cabinet, having a nice figured shaped top with a highly decorative pierced and carved upstand consisting of various fol...

Paris porcelain vase, circa 1840.

Goldfinch Fine large folio stipple engraving with hand colour. On Turkey Mills Wattman paper. Overall dimensions: 35.3 x 26 cm Issued in Brookshaw’s scarce monograph: Six...

c1840 French Louis Philippe Crystal "Chamber Stick" Candle Night Lamp. Documented and made by Baccarat France. Rare treasure.

Early 19th Century mahogany cabinet on stand, having two hinged doors with decorative shaped panels that have wonderful figuration, opening to reveal a large compartment space and a ...

Exceptional c1840's French Louis Philippe Cut Crystal Chandelier Signed by Baccarat France. I saw this piece in France and had to have it. There are 2 replaced parts, 3rd piece from ...

English mahogany one door hanging corner cupboard with cove cornice, the single door with four panels, interior with 2 shelves, working lock and key. Depth and width measurements are...

Illuminate your space with the timeless elegance of this 19th-century Louis XVI style candelabra, a true testament to refined craftsmanship and exquisite design. This five-arm master...

A large Scandinavia Modern 8 light chandelier in chromed brass. The fixtures structure consist of a series of graceful arches meeting at leaf like joints. At the center is a cluster ...

This superb pair of vegetable tureens or large entree dishes are of shaped, raised and fluted lobed form, surmounted with removable acanthus handles. The lid is engraved to both sid...

Miniature Terrestrial Globe Newton & Son London, post 1833, ante 1858 Paper, papier-mâché, bronze and wood It measures: sphere diameter 2.95 in (7.6 cm); diameter of the wooden base 6.02 in (15.3 cm); height 8.36 in (21.24 cm). Weight: 2,067 lb. State of conservation: the globe still bears its original paint, but has various small gaps, abrasions and stains on the surface. The globe is hinged with two pins at the meridian circle, which is in turn inserted perpendicular to the horizon circle; this is supported by four semi-arches connected at the bottom by a small goblet-shaped foot, resting on a wooden bell-shaped base. Apart from the wooden base, the entire support structure is made of bronze; on the foot there are the scale reproductions of a compass, a telescope and an open book. The sphere is made of papier-mâché and is covered with twelve printed paper gores. In the North Pacific Ocean the globe bears a cartouche with the inscription (about 30% of the writing is illegible, but the missing parts can be easily integrated based on the rest): NEWTON’S New & Improved TERRESTRIAL Globe Published by Newton & Son 66 Chancery Lane LONDON On the globe, much of central Africa is empty and the great lakes Tanganyika and Victoria are not marked (Europeans would begin to explore the area after 1858). Canada is called "British Territory" and Alaska "Russian Territory" (it would become part of the United States in 1867). Australia already bears its modern name (until 1829 it had been called New Holland) and its coasts are completely designed; Tasmania is listed as an island (Matthew Flinders circumnavigated it in 1798). The routes of Cook's various voyages are plotted; both the route followed by Biscoe in 1831 and the "Land of Enderby" which he discovered on the coast of Antarctica, south of Africa, are marked. Bibliography P. Van der Krogt, Old Globes...

Elegant early Victorian games table with barley twist stretcher Rosewood games table with a chest board and back gammon inlaid foldover flap We date this piece to circa 1840 Very sol...

This is a beautiful plate made by Copeland in 1848. It is decorated with a sublimely painted flower arrangement by the artist Greatbatch. We have two sets of 8 of these plates available, as well as a few more separate ones; please see separate listings. The Copeland factory was the third iteration of the famous Spode factory, after the "Copeland & Garrett" period which transitioned into the "Copeland" period in about 1833. The Spode/Copeland factory was one of the most prominent potteries right from the start of English porcelain production in the late 1700s to the demise of the industry in the 1960s and ultimate closure in the early 21st Century. In fact it was the founder Josiah Spode who was responsible for the recipe for bone china that made English china production so successful in the two centuries to come. Throughout all the changes, their items have always remained of exceptionally high quality and many of the designs have become iconic. This plate was potted in fine white bone china, the rim meticulously reticulated in the "Gothic" shape. Reticulation was very time consuming and difficult, and just this detail would have made this plate expensive. The sublimely painted flower arrangement painted in the centre were done by Greatbatch, one of the well-known floral artists working for Copeland. Greatbatch was active between 1845 and 1860, and worked together with his brother R. Greatbatch, who was a talented gilder. They exhibited at the Great Exhibition of 1851. This plate would have belonged to a sublimely expensive dessert service. It is stamped with the small blue Copeland mark with interlocking C's, and painted in red with the pattern number 7913, dating it at the year 1848. Documentation: A plate of this service is shown on page 80 of Steven Smith's "Spode & Copeland: Over Two Hundred Years of Fine China and...

An exceptional, fine and impressive antique Victorian English sterling silver straight fiddle and thread pattern flatware service for eight persons; an addition to our canteen of cutlery collection. The pieces of this exceptional antique Victorian sterling silver straight flatware service for eight persons have been crafted in the fiddle and thread pattern. The surface of each handle is embellished with a paralleling thread decorated border accented with a pip to the terminal. The anterior surface of each fork and spoon terminal is ornamented with a contemporary bright cut engraved initial 'N'. The reverse of each solid silver fork...

American mahogany acanthus carved gadrooned partners desk with baize writing surface, eight drawers with the original wooden knobs, flanking acanthus carved corners, four lower acant...

Royal House Antiques Royal House Antiques is delighted to offer for sale this very rare one of a kind, fully restored, Important Neo Renaissance Armoire Wardrobe hand carved in Fran...

You are viewing a gorgeous period Victorian centre table in mahogany Good size at almost five feet - 148 CM - across Circa 1840 Purchased from a private residence in London's Pimlico...

American portrait oil on canvas of a young ship captain holding a spyglass with a sailing ship, crew in rowboat, and gulls in lower background mounted in the original decorative gilt...

You are viewing a gorgeous Victorian oak settle or hall bench Circa 1840 Finely carved panelled back oak Lifting lid for storage Typically used in...

Staffordshire Pottery porcellaneous figure which features a rabbit, recumbent on an oval base. Dull gilt embellishment. Decorated 'in the round' - decoration to front and reverse. Op...

A rare porcelain bottle (circa 1840-1850) hand painted with images of stock (jugs, pitchers, tureens and whale oil lamps) sold by the C. Levering Co. of Baltimore, and mounted as a t...

This miniature relief portrait of King Ludwig I. of Bavaria is made out of chased silver. I has been executed by Ludwig Leigh and is signed L.Leigh. The po...

Offered is an original 1847 ornamental map of the U.S. entitled "Ornamental Map of the United States & Mexico" by Humphrey Phelps. The map was issued as an act of Congress by Phelps on Fulton Street, New York. The broadside is elaborately hand-colored. This is a very detailed and graphic propaganda map of the United States expressing U.S. dominance of the North American continent. The hand-colored map proclaims the Manifest Destiny, with the recent acquisition of Upper California and Texas at the conclusion of the Mexican-American War. The newly acquired land is boldly colored, standing in stark contrast to the rest of the U.S. The map details a potential route for a railroad running from New York City, to Buffalo, to Chicago, then west along the Oregon Trail to Oregon City. This route anticipates the construction of the transcontinental railroad by nearly 20 years. The map includes elaborately detailed renderings of George Washington, Hernan Cortez, and Montezuma at top to represent European expansion to the Americas. At bottom are four inset designs with text showing the following: a chronological history of the U.S. beginning from settlement to the U.S. victory in the Mexican-American war; an illustration of General Zachary Taylor with details on the Oregon Territory; an illustration of the Aztec Temple of the Sun in Tenochtitlan and a chronology of the Conquest of the Aztec Empire under Cortez; a portrait of General Antonio Lopez de Santa Anna...

A handsome Biedermeier sofa table or writing desk in Cuban mahogany with one drawer and two drop leaves on cylinder column resting on quatre-form base with carved lions' paw feet, Sw...

This pine armoire has an exterior mustard color paint and exposed peg construction. The feet, drawer liners, crown molding, and hardware are later. There are shrinkage cracks in the ...

Mid 19th Century Chinese Ningxia Gallery Carpet (5'8" x 16'6" - 173 x 473 cm)

Chinese tortoise shell finely carved box, Canton circ 1840, The box is carved with court scenes on both top and bottom. Finely executed edge with greek key pattern and scenes. THIS I...

This is a 100% original painted Swedish Mora clock. Its been restored and new battery works installed. I do offer the original works to every clock I sell.

Hallmarked in Sheffield in 1845 by Hawksworth Eyres & Co., this attractive, Antique Sterling Silver Basket, is ornate in design, standi...

Pair of rare French porcelain covered "Pagoda" Urns, Bayeux, circa 1845.

This antique mirror, crafted from rich mahogany wood, dates back to the late Empire period around the 1840s. It is a stunning example of the elegance and craftsmanship characteristi...

A pair of 18 inch floor standing globes by C Smith & Son, each set into a mahogany stand with a turned baluster support and three legs centred on a compass, on...

This print presents a fascinating collection of historical helmets and headpieces, each representing a unique style and period. At the top left, there is a helmet with a visor and ne...

Title: "Armaments of Yore: A Study of Medieval Helmets and Armor" Description: This pair of prints presents a detailed study of medieval combat gear, showcasing the intricate design...

Title: "Civic Pride: A Podestà's Robe in 'Costume du Moyen Âge'" Description: This detailed lithograph from the 1847 "Costume du Moyen Âge" collection features a Podestà, a chief ma...

Title: "Aristocratic Elegance: A Lord of Richard II's Court in 'Costume du Moyen Âge'" Description: This lithograph from "Costume du Moyen Âge," dated 1847, presents a nobleman from...

Title: "Medieval Discourse: A Moment Between Officials in 'Costume du Moyen Âge'" Description: This vibrant lithograph, extracted from the 1847 publication "Costume du Moyen Âge," i...

Title: "Seigneur de la Cour du Roi Henri VI" (Lord of the Court of King Henry VI) Description: This hand-colored engraving from the 1847 "Costume du Moyen Age" series represents a nobleman from the court of King Henry VI. The title "Seigneur de la Cour du Roi Henri VI" identifies the subject as a lord or high-ranking individual within the royal court of the 15th-century English monarch. The lord is portrayed in a long, ornately patterned robe that falls gracefully to the ground, indicative of the elaborate fashion of the high nobility during the time. The garment is colored in a rich teal hue, with a detailed pattern that suggests luxury and status. The robe is trimmed with a contrasting color at the neck and cuffs, and a red belt cinches the robe at the waist, highlighting the layered aspect of medieval...

This hand-colored engraving, titled "Sergent d'Armes," depicts a Sergeant at Arms from the Middle Ages, a role that historically combined duties of law enforcement, security, and ceremonial functions within the royal court. The figure stands in a poised and authoritative stance, dressed in a rich blue doublet with full sleeves, edged with a yellow patterned trim that denotes his official capacity. The doublet is belted at the waist, accentuating the length of the garment which falls to the mid-thigh, a typical fashion of the period for men of status. Over the doublet, he wears a cape that drapes over one shoulder, suggesting readiness for action. The cape, matching the doublet in color and trim, reinforces his dignified position. His hose are golden, fitting snugly and shimmering in contrast to the matte finish of the doublet, indicative of the esteem of his office. The sergeant...