1850s Furniture

Title: Scenic Depiction of "Dalles" - A Majestic View of Indigenous Life Along the Columbia River Description: This exquisite lithograph titled "Dalles" captures a serene yet dynami...

Title: Tinted Lithograph of Kettle Falls on the Columbia River, 1856 Description: This stunning lithograph, "Kettle Falls, Columbia River," captures the raw power and striking g...

19Thc High back Windsor arm chair with bamboo turnings.This chair is very comfortable and sturdy.A great desk or side chair.

Wonderful image after Veronese Fine Steel engraving. Published by Tallis, London. circa 1850 Unframed.

France / 1850 / bench / oak wood / Rustic / Mid-century A rustic bench with very nice patina in oak wood, crafted around 1850 in France. With two robust feet and cross beam to ensu...

This is an antique law chambers hall chair. A Scottish, walnut reception seat in Rococo taste, dating to the Victorian period, circa 1850. Striking recept...

This ornate, antique paper hand fan was crafted in France, circa 1850. the one side showing a candlelit interior where Gallant scene on the reverse with a box but no glass of box. Se...

This stunning Irish mid-19th century table, in the style of British Ceylon specimen tables, features a dramatic spiral marquetry top of mahogany, arbut...

A Magnificent and Quite Large Pair of Hand-Carved 19th Century Chinese Rootwood Throne Chair/Arm Chairs. According to an article posted by the MET Museum, rustic rootwood chairs such as these were meant to suggest Buddhist and Daoist figure’s lack of attachment to earthly luxuries. Instead of depicting deities and important religious icons on sumptuous thrones, rootwood chairs signified the relationship between humans and nature. Each chair is hand-carved from the finest rootwood and further lacquered creating a rich dark color on the exterior of the wood. The seating areas are finished with comfortable white cushions and they are ready to be used in any decor. A similarly designed rootwood table...

Antique Qing dynasty porcelain vase with red glaze. This is an antique 19th-century Chinese Porcelain vase created during the Qing Dynasty circa 1850. It has been crafted during the...

This hand-colored engraving depicts a dramatic battle scene titled "St. Domingue - Prise de la Ravine aux Couleuvres" (Capture of the Ravine of Snakes in Saint-Domingue). The image s...

19th Century French Louis Philippe Painted China Buffet represents the epitome of form melded with functionality! The tailored architecture is enhanced by bold molding on the crown ...

A beautiful French showcase from the Louis Philippe period of the 1850s. This piece displays an outstanding executive quality due to the masterful ...

A large tobacco pipe from old Burma (Myanmar), circa 1850. Solid wood bowl, chamber and shank. The stem is made of bone, attached to the shank by a mor...

Wonderful Pair of French Ebonised and Boulle Pier Cabinets. Circa 1850 These Cabinets are Raised Upon Shaped Plinth Bases. Each Cabinet Having 1 Glazed Door Which Opens to Reveal She...

Blue & White Platter “Thomas Walker” Simla Pattern Transferware Beautiful platter and great condition no cracks or significant chips or losses

This is a magnificent antique Italian School, 19th Century, oil on canvas painting of a young lady reading a scroll,mid 19th century in date. ...

Primitive Swedish Bench, also known as "Fållbänk" from circa 1850 Showcases a lovely patina that has developed naturally over time. It includes storage compartments beneath the sea...

This is an elegant antique Victorian Gonçalo Alves writing table by Edwards & Roberts, Circa 1850 in date. The top is inset with a gold tooled burgundy leather writing surface abo...

This is an intricately detailed map from 1852 titled *Colonies Françaises en Amérique*, depicting several key French colonies in the Americas. The map focuses on regions such as Fr...

A Rare 19th Century Meissen Porcelain ‘Schneeballen’ (Snowball) Covered Bowl and Underplate with Encrusted Flowers, Vines, Leaves, and Birds. This piece is very rare and extremely hi...

This mahogany wheel chair has a padded back, arms and seat, reupholstered in deep buttoned blue leather. The brass-bound wheels have a secondary outer wheel, and a pair of smaller b...

Title: Scenic View of Butte de Morale - A Stunning 19th-Century Expedition Print Description: This lithograph captures the enchanting landscape of Butte de Morale, a serene and ve...

These original antique prints are beautiful examples of botanical illustrations featuring tropical plants, drawn with precise detail and coloration. The Latin and English names of th...

Circa 1850-60 Handsomely designed solid Mahogany Cabinet with Brass Inlay and surround. Beautiful patina, details and finesse abound this mag...

Title: Scenic View of the Rio Colorado Near Mojave Villages, A Historical Encounter Description: This historically rich lithograph captures a dynamic scene along the Rio Colorado, n...

We are very pleased to be able to offer this rare antique French walnut and marquetry inlaid Bonheur du Jour, or Ladies Writing Desk, for sale. Our experts have dated it to around 1...

Six dining chairs upholstered in blue. The backrest is formed by a single curved wooden veneer, with gently rounded lines, providing lumbar comfort and an aesthetic in keeping with m...

Title: Tinted Lithograph of the Great Basin from Canada de las Uvas, 1856 Description: This atmospheric lithograph, "The Great Basin from the Canada de las Uvas with Lost Mounta...

Set of 8 Pretty Victorian Dining Chairs. These Chairs are Raised upon Turned and Carved Front Legs with Sabre Back Legs. Circa 1850 The Chairs Having Lift out Seats Which Have Recent...

Stunning View of Palouse Falls – Scenic Cascade in Washington This breathtaking lithograph captures the awe-inspiring Palouse Falls, located in southeastern Washington State. The ...

Title: 1852 Hand-Colored Lithograph of Fire Salamanders – A Natural History Illustration Description: This beautifully detailed hand-colored lithograph from 1852 portrays two fire ...

Title: Bitter Root River Near Fort Owen in Montana - Tinted Lithograph from the Pacific Railroad Survey, 1856 Description: This stunning lithograph, "Bitter Root River Near Fort...

Watercolor featuring the American Barque A.J. Harvey. Inscribed in the lower center of the painting and with the original handwritten adn signed label on the reverse. "Barque A.J. ...

French 19th Century commode with old handles in later paint. Circa 1860.

Exquisite mid 19th century mahogany wood framed Federal Sheraton style upholstered sofa. The sofa features hand carved in the Sheraton style des...

American oil on canvas landscape with a flowing stream, trees and mountains, watering cows in the foreground, sun in the background, encompassed on the origi...

Historic Engraving of Newburgh, NY with Hudson River View, c. 1850 This antique engraving beautifully captures a mid-19th-century view of Newburgh, New York, nestled along the sceni...

Title: Scenic View of the Palouse Region – A Rare 19th-Century Lithograph This exceptional lithograph, titled "Source of the Peluse," offers a picturesque depiction of the Palouse r...

Majestic View of the Marias River Canyon - 19th Century Hand-Colored Lithograph This stunning 19th-century hand-colored lithograph captures a breathtaking view of the Marias River c...

Native American Camp Scene at Hell Gate Ronde – Peaceful Prairie Landscape This exquisite 19th-century lithograph portrays Victor's Camp at Hell Gate Ronde, capturing a tranquil ...

French Ormolu and porcelain mantel clock of Classical design dating from the mid-19th century stamped in the mint and original Ormolu H. Picard. Numbered in the bronze, 1297. The original ormolu is in quite pristine and totally original condition. The case inset with painted porcelain panels with fruit and floral decoration in the classical style. The clock surmounted by a Bacchanalian mask and two handled vase with grapes, standing on six vase shaped feet on a velvet plinth...

Pair French Napoleon III Bronze Wall Sconces with Cut Crystal Shaded by Baccarat. These sconces were manufactured for the Oriental market. Rare sconces. Highly detailed bronze work.

Centerplace, Sign: Christofle n: 1286382 Book: 150 Ans D´orfévrerie Christofle silversmith since 1830 page: 60 Author: Henri Bouilhet Metal: Silver plated We have specialized in th...

Title: Expansive View of Big Blackfoot Valley – Captivating American Frontier Lithograph Description: This lithograph captures the breathtaking expanse of Big Blackfoot Valley, ...

Title: Vibrant Camp Scene in the Mojave Valley of Rio Colorado Description: This beautiful lithograph depicts a dynamic camp scene in the Mojave Valley along the Rio Colorado. The...

This is a rather stunning pair of one-handled low comports with pierced rims, a warm grey ground with elaborate gilt foliage, three very fine flower reserves each, and a large mounta...

Antique Fir Chair Dimension: H.86 cm - W. 42 cm (seat height: 44 cm) Era: circa 1850 Provenience: Alps Essence: Fir Description This antique Alpine chair, made of fir wood, embodie...

Grand 19th Century French Renaissance Revival Hunt Bookcase is a remarkable work of art, one that captivates the visual senses from the top of the crown to the base! Signed by the ...

Title: Tinted Lithograph of a View on the Gila Below the Great Bend, near Phoenix, Arizona - 1856 Description: This picturesque lithograph, "View on the Gila Below the Great Bend...

A Very Large and Exceptionally Fine Quality Antique Italian Micro-Mosaic Plaque Depicting "The Saint Peter Square" in Rome. The center medallion surrounded by a beautiful Laurel Wreath in multiple shades of Green Mosaic amidst a black Belgium Marble border. The interior rounded subject depicts Saint Peter Square which is found in Rome, Italy. The entire center panel is made up of a captivating array of tesserae in a variety of shapes and colors, which create this stunning mosaic construct. When inspected from up-close, small rectangular tesserae are found in an assortment of colors, which include: white, green, blue, red, black, brown, orange etc. When the subject is seen from afar, a fantastic image of the entire Saint Peter Square can be viewed as if a painting has been created. The oil on canvas of this scene, by was sold in Christie's Auction for over $2,000,000 USD. The plaque rests in a custom ebonized and gilt square frame. This can be used as a decorative object on the wall to serve as a painting, or, be converted to a table-top by mounting it on a table stand. Rome, Circa: 1850 Giovanni Paolo Panini (Piacenza 1691-1765 Rome), View of Saint Peter's Square, Rome. From Christie's Auction: Giovanni Paolo Panini arrived in Rome in 1711, painting capricci and architectural pieces in a vigorous if slightly eccentric style, and by 1719, when he was admitted to the Academy of St. Luke and the virtuosi al Pantheon, he was a rising star in the Roman art world. From around 1719-1726 he was much in demand for decorative frescoes, including quadratura, ornament and landscape and other genres, often in collaboration with figure or flower painters. During this period he worked for Cardinal Patrizi at Villa Patrizi, Cardinal Annibale Albani at Palazzo Albani (now del Drago) alle Quattro Fontane, Livio de Carolis at Palazzo de Carolis, Cardinal Alberoni at Palazzo Alberoni, Innocent XIII Conti in the Quirinal and in the library of S. Croce in Gerusalemme. In 1724 he married Caterina Gosset, the sister-in-law of Nicolas Vleughels, the director of the French Academy in Rome, to which he was admitted in 1732, and as a result he was much patronized by the French. During the 1720s he developed his figure style away from the awkwardness of his early works into one that concentrated on groups of stylishly-dressed aristocrats and skillfully modelled bystanders, sibyls and pseudo-antique figures. These he noted down in drawings (such as a sketchbook in the British Museum) that he drew upon to populate his paintings. He also began to receive commissions to design and record temporary festivals, often for French ambassadors to Rome. By the beginning of the 1730s Panini was developing a distinctive subgenre of the capriccio in which recognizable monuments are placed in imaginary topographical relationships, which were well-received in the classicizing era of Clement XII Corsini. In 1732 he was one of the panel of judges for the competition instituted by Clement for the Lateran façade, and in the following year painted an impressive View of Piazza del Quirinale for the pope. At about this time he was developing his best-known topographical subjects, interior views of St Peter's and the Pantheon, which were much in demand, to judge by the number of extant versions extending into the 1750s. By about 1734 he was beginning to attract the attention of English patrons, who ordered sets of Roman views, such as those at Marble Hill House (1738) and Castle Howard. In 1736, through Filippo Juvarra, he received important commissions from Philip V of Spain for scenes of the life of Christ in the Chinoiserie room at La Granja in Spain (1736). From as early as the 1720s he had been producing some vedute (view-paintings), initially based on prototypes by Gaspar van Wittel, and he developed the genre in subsequent decades in works that would include impressive panoramic views of the Forum or Palatine, although his staple genre was the capriccio rather than the veduta. He also expanded his repertory of church interiors, adding such churches as S. Paolo fuori le Mura and S. Agnese in Piazza Navona, as well as church interiors recording special events. His son by his first marriage, Giuseppe (1718-1805), began to support him in architectural and festival design projects. By the 1740s Panini was at the peak of his powers, and evidently had a considerable workshop helping him meet demand, especially of capricci to be used as overdoors and other decorative installations. Giovanni Paolo was successful in elevating himself socially above the usual artisanal status of genre painters, and would sometimes include a self-portrait in paintings commissioned by the great and powerful. He also appears to have been successful financially, and owned a substantial palazzo in via Monserrato. He increasingly concentrated on important commissions, such as a view of the Lottery in Piazza Montecitorio (London, National Gallery, 1743-1744), the designs for the festival decorations for the birth of the Dauphin in Palazzo Farnese (Waddesdon Manor, 1751), or the view of an imaginary picture gallery housing the collection of Cardinal Valenti Gonzaga (Wadsworth Atheneum, 1749). In the mid-1750s he received an important series of commissions from the Duc de Choiseul, French ambassador to Rome and soon to become one of the most powerful men in France, that included his best-known compositions, Ancient Rome (Roma Antica) and Modern Rome (Roma Moderna). These large paintings, of which there are three sets (in Boston and Stuttgart, the Metropolitan Museum, and the Louvre) represent imaginary picture galleries based on the Valenti Gonzaga composition but hung with what purport to be Panini's own vedute of ancient and modern sites respectively (with corresponding pieces of sculpture). These paintings sum up the eighteenth-century canon of the greatest works of architecture and sculpture, and the equivalence between modern and ancient Rome. By this time Panini was being assisted by his son by his second marriage, Francesco (1748-1800), who was a skilled draughtsman and painter who continued his father's work after his death in 1765. The Farnborough Hall paintings The Piazza S. Pietro and the Campidoglio are important vedute by Panini painted in 1750 and originally installed, with other works by Panini and Canaletto, in the seat of the Holbech family, Farnborough Hall, Warwickshire (National Trust). Farnborough Hall had been inherited in 1717 by William Holbech (circa 1699-1771), who is documented on the Grand Tour in Florence, Rome and Venice from late 1732 until his return home at the end of April 1734 with his brother Hugh. Holbech is said to have gone on the Grand Tour to recover from a broken heart and to have spent a considerable time there prior to these documented appearances. During his time in Rome he acquired two Paninis, which were seen by an anonymous antiquary around 1746, who referred to various sculptures "all brought from Rome with two pictures, one of the Rotunda, and the other of diverse buildings by Panino" (British Library, Add. MS 6230, pp. 31-32). The Rotunda (the Pantheon) is a painting now in a private collection in New York, and is signed and dated 1734. The Diverse Buildings, which was probably one of Panini's capricci, has not been identified. On his Grand Tour Holbech seems also to have acquired two Canalettos, although they are not mentioned by the antiquary, who may only have had eyes for things Roman. In about 1746-1747, Holbech remodelled the house by creating a Saloon, now the dining room, at the back of the house. This room, the entrance hall, the staircase, library and closet were stuccoed by William Perritt of York, and a bill for this work dated 14 November 1750 survives (or survived until recently; G. Beard, Decorative Plasterwork in Great Britain, London, 1975, p. 233). The two Canalettos acquired on the Grand Tour were installed in the Saloon, together with two new works commissioned from Canaletto, who was then in England and working nearby at Warwick Castle in 1748. The two Paninis acquired on the Grand Tour may have been installed in the Library, as Alastair Laing assumes (op. cit.), while three new works commissioned from Panini in Rome were placed in the Hall and Saloon: the Piazza S. Pietro for the overmantel in the Hall (fig. 1), the Campidoglio as the overmantel in the Saloon (fig. 2), and an Interior of St Peter's (now in Detroit) (fig. 3) on the adjacent wall facing the windows. Two of the Canalettos flanked the Campidoglio, while the others were on the opposite wall. The Interior of St Peter's was therefore effectively the fifth member of the Canaletto set, distinct from the two overmantels. Holbech's installation of his Canalettos and Paninis in fixed stucco frames was unusual for England in 1750, and had probably been inspired by what he had seen on his Grand Tour in Northern Italy, where fixed stucco installations of canvases were common in the 1720s and 1730s (Cornforth, II, p. 51). The Campidoglio and the Interior of St Peter's are both signed and dated 1750, a date that corresponds to the payments for the stucco. The commission for the new Paninis would have been made through an agent, possibly the Roman dealer in antiquities Belisario Amidei from whom some of the antique busts in the Hall were acquired in 1745, who was also a picture dealer; or perhaps the painter Pietro Berton, who on 7 December 1750 shipped a Panini to England. The paintings were sold to Savile Gallery in 1929 and replaced by copies by one Mohammed Ayoub. The four Canalettos were exhibited at Savile Gallery in 1930 and entered the London art trade, finding their way at various times to Augsburg, Melbourne, Ottawa and a private collection. The Paninis seem to have been resold immediately to Knoedler & Co. in New York. When the stucco was removed from the library by Holbech's great-grandson, another William Holbech, shortly after his succession in 1812, the Interior of the Pantheon and the Diverse Buildings may have been taken down. Although there is no record of either painting being at Farnborough subsequently, the Interior of the Pantheon at least must have remained there, since it appeared at Knoedler's in 1930 at about the same time as the other Paninis, and was presumably acquired at the same time from the same source. The Campidoglio was a rare subject for Panini: this is the only known extant version, apart from fictive versions in the Metropolitan Museum (1757) (figs. 4) and Louvre (1759) versions of his Roma Moderna composition (but not in the first Boston version of 1757). Probably Holbech insisted on the choice of subject in order to represent the centre of Rome's civic administration to complement the religious one of St Peter's. The Campidoglio may have been of interest to English patrons because it represented the seat of a form of government they were more comfortable with than the papacy. For example, Canaletto painted the subject, together with English subjects, for Thomas Hollis, 'the most bigoted of all Republicans' in 1755, who may have wanted to 'represent London as the heir to the legacy of Ancient Rome and Renaissance Italy' (see Michael Liversidge and Jane Farrington, eds., Canaletto and England, exhibition catalogue, Birmingham Museums and Art Gallery, London, 1993, p. 25). Canaletto also painted the subject for Sir Richard Neave, Ist Baronet (1731-1814) of Dagnam Park, Essex, at the end of his English stay or shortly afterwards (i.e. 1755-1766) (sold, Sotheby's, London, 10 July 2002, lot 8). Like Holbech, Neave mixed Venetian and Roman subjects, but his Roman subjects steer clear of St Peter's: the others were the Piazza del Quirinale and Piazza Navona. While Holbech had gone to both Venice and Rome and commissioned views of both cities, Rome sets the keynote for his decoration: antique busts line the Hall, and its religious and civic centres are the overmantels in the Hall and Saloon respectively. The Piazza S. Pietro The Piazza S. Pietro shows the piazza much as it appears today, apart from the absence of Valadier's late eighteenth-century clocks on the towers. Bernini's colonnade (1656-1667), both ends of which are visible, reaches out its arms to embrace the viewer. In the center of the piazza is the obelisk moved by Sixtus V in 1586 from the left side of the church where it had formed part of the Circus of Nero. On either side are two fountains, the one on the right by Carlo Maderno (1613) and the one on the left created to match it by Carlo Fontana in 1677. Beyond is the rectangular forecourt to the church, the piazza retta, leading to the façade by Maderno, completed in 1610, and the dome by Michelangelo, Giacomo della Porta and Domenico Fontana. To the right of the façade the roof of the Sistine Chapel is just visible, followed by the Cortile di S. Damaso, the palace of the Swiss Guards and the palace of Paul V. A Cardinal is being driven in a carriage across the piazza at the right in the direction of the Borgo Nuovo and Ponte S. Angelo with his blue-liveried retinue and subsidiary carriages. Unlike the later versions of the subject that depict the Duke de Choiseul, there seems to be no intent to portray any particular cardinal: the procession of a cardinal here is presented simply as characteristic activity within the piazza. Various groups of figures, including well-dressed women in brightly colored dresses, Swiss Guards, priests, gentlemen, idlers and a pilgrim are distributed around the piazza. In the foreground an imaginary heap of fallen masonry provides visual interest in an otherwise dead space. Panini painted the Piazza S. Pietro on a number of occasions, and his works falls into two types, one with the viewpoint shifted slightly to left of the axis, as in the Farnborough Hall version, and one with it shifted slightly to the right. The first type is based on a composition by Gaspar van Wittel, of which there are numerous versions from 1684 until 1721 (Fig. 9 van Wittel). The work by Panini that seems closest to Van Wittel and therefore probably the earliest is the version in the Circolo della Caccia, Rome, which has been dated to the second half of the 1730s, but is probably a decade or so earlier. Another, on the London art market in 2002-2009, and a version with workshop participation at Sotheby's, Milan (20 November 2007, lot 137) and currently on the art market in Rome, are closer to an important painting in Toledo (Arisi no. 308) that is signed and dated 1741 (fig. 6). Van Wittel employed a wide format (about 2:1), showed both of the end faces of the colonnade almost to their full extent, and introduced the theme of a heap of masonry to enliven the foreground. His choice of perspective implies a viewpoint located in the small piazza between the Borgo Nuovo and Borgo Vecchio, now the Piazza Pio XII at the top of the Via della Conciliazione. From this viewpoint a building at the left tended to interfere with the view of the end of the left arm, as can be seen from the Nolli map...

John Tallis & Company were renowned for their ornate and detailed maps in the mid-19th century. Their works often featured elaborate borders, decorative motifs, and insets of vignett...

Great image after Giorgione Fine steel engraving Published circa 1850 Unframed. Free shipping

This is a very attractive set of four antique silver plate coasters by Davis and Sons, Glasgow, Scotland,  Circa 1850 in date, Decorated with grape vines sculpture relief around the...

Magnificent Botanical Chromolithographs from Revue Horticole, Circa 1885 Artist and Lithographer Details: - Artist (Del. - Delineavit): The mention of "Godard del." signifies that ...

This 19th-century magnificent throne chair is made of oak wood and upholstered in fabric with an ornate motif. The wood is decorated with fine Renaissance-style sculpting, which sho...

Wonderful image after Carracci Fine Steel engraving. Published by Jones & Co. C.1850 Unframed.

Dutch Marquetry burl walnut Bombay figural and foliage desk with exotic exterior inlays, fitted interior, three lower case drawers, original urn brasses, carved scalloped skirt, and ...

A charming pair of victorian era Staffordshire porcelain Spaniels. These beloved 19th century mantel dogs feature finely painted detai...

Ca. 1850 Antique French Pillow