1870s Furniture

Imponente mesa de comedor rústica del siglo XIX, realizada en madera de haya, una pieza de gran presencia que refleja la solidez y el carácter de la ebanistería tradicional. De form...

Lovely walnut box Wonderful figure in the wood particularly on the front Marbleized paper interior I particularly like the use brass screws for decoration on the top Free UK ship...

19th Century French Faience Duck Jardiniere Saint Clement ( Lorraine ) Model created for the universal exhibition of 1878.

This is a beautiful antique French Art Nouveau silver plated child's walking stick, circa 1870 in date The striking stick features an ornate silver crutch handle having a profusely ...

French aqua turquoise Majolica strawberry rectangular cake platter signed Sarreguemines Majolica, circa 1870.

Traditional Japanese Tansu chest of drawers from the 1870s. Manufactured during the late Meiji era (1868-1912). This piece of furniture exudes authenticity and character. The cabinet...

A gorgeous antique French Sarreguemines majolica oyster plate, circa 1870. Maker's mark and model number on reverse (this is an older model). It displays beautifully with vibrant col...

Wonderful burr walnut writing box or slope Fabulous colour and figure in the wood Fine brass hardware and ebony stringing Working secret drawers* Replaced leather No Key Free U...

Wonderful burr walnut writing box or slope Fabulous colour and figure in the wood Fine brass hardware Expertly restored Original brass topped inkwells Working secret drawers* R...

Majolica oyster plate Sarreguemines, circa 1870. 6 Shells and space for the lemon on the center. Older model.

An elegant and beautifully proportioned 19th-century Biedermeier armoire, crafted entirely in solid walnut and retaining a rich, deeply authentic original patina that speaks to gener...

Rare antique boot-lever with multi-purpose tools, typical of the Victorian era, from the second half of the 19th century and intended for cavalry officers or traveling gentlemen. Cl...

This is a fantastic and highly decorative antique pair of French gilt bronze mounted Empire Revival fauteuil armchairs, circa 1870 in date. They have been crafted from fabulous sol...

Antique Victorian Era Stepback Dresser & Mirror, c. 1870s. Made from walnut with crotch walnut veneered drawer fronts. Features a wishbone swivel mirror over two gloveboxes and a ca...

French aqua turquoise Majolica oyster plate signed Sarreguemines Majolica, circa 1870. 6 shells and space for the lemon on the center.

Very large 19th century ormolu mounted Sevres Style porcelain casket box , made in France and decorated with the characteristic celeste blue ground associated with Sèvres porcelain, ...

Majolica strawberries plate signed Sarreguemines Majolica, circa 1870. 8 plates are available.  

This is a fine antique personal diary repository, originating from Scotland during the Victorian period, circa 1870. This striking book form keepsake case showcases the craftsmanship...

Majolica oyster plate Sarreguemines, circa 1870. 6 Shells and space for the lemon on the center. Older model.

A large and impressive Victorian era dome top steamer trunk, circa 1870s. Features a tooled leather frame wrapped in black metal with oak banding ...

The image displays a collection of six chromolithographs depicting various plant species. These illustrations are characterized by their botanical accuracy and aesthetic appeal, typi...

A beautiful and very elegant petite mandolin antique cylinder music box probably made by Lecoultre Freres in Geneva, Switzerland, c. 1870....

Antique French Gilt Bronze Casket – Dated 17 & 20 Août 1872, High-Relief Figural Work An exceptional and museum-worthy antique French gilt-bronze jewellery casket, richly adorned in high relief and inscribed “17 et 20 Août 1872”, offering both historical significance and outstanding artistic craftsmanship. This remarkable 19th-century piece exemplifies the finest traditions of French decorative arts, featuring intricately cast and chased panels depicting romantic pastoral and mythological scenes. Each side presents finely sculpted figures – nymphs, cherubs, musicians, and classical subjects set within lush landscapes and framed by elaborate foliate scrollwork and naturalistic ornamentation. The lid is masterfully composed with dynamic figural decoration, while the casket stands proudly on sculptural zoomorphic feet, enhancing its dramatic presence and luxurious character. The deep relief work, combined with a warm, aged gilt patina, creates exceptional depth and visual richness. The engraved date suggests a commemorative or presentation piece, adding a rare layer of provenance and desirability for collectors of French ormolu, Grand Tour objects, and fine 19th-century bronzes. This is not merely a decorative object but a statement piece of historical artistry, ideal for collectors, interior designers, or high-end decorative settings. Dimensions Width: 25 cm Depth: 18 cm Height: 15 cm Key Features Authentic French gilt bronze casket, dated 1872 Exceptional high-relief figural decoration Rich mythological and pastoral scenes Ornate foliate and scrollwork detailing Raised on decorative zoomorphic feet Rare inscribed interior date Excellent antique condition antique French gilt bronze casket, 19th-century jewelry box bronze, French ormolu casket 1872, antique bronze trinket box figural relief, Victorian French decorative arts box, mythological bronze jewellery box, antique French gilt bronze box, collectible 19th century bronze casket, luxury antique decorative object, French high-relief bronze box, ormolu jewellery casket antique, French ormolu jewelry box...

French aqua turquoise Majolica oyster plate signed Sarreguemines Majolica, circa 1870. 6 shells and space for the lemon on the center.

Great image of The Battle of Naseby Fine steel engraving after G.Cattermole Published by Mackenzie C.1870 Unframed. The size given is the paper size

Shiebler sterling Victorian perfume flask pendant made originally for a chatelaine but can be used now as a pendant. It remarkably retains its original s...

This is a gorgeous antique Davenport desk which is crafted from beautiful burr walnut, circa 1870 in date. The desk has a rear stationery compartment which encloses a divided interi...

Figurehead in carved oak depicting a female figure whose body has the shape of a siren, symbol of fertility and protection, with female features in the upper part and fish tail inste...

Stunning monumental 46 piece concrete bookcase by Willy Guhl. Made up of 2 different sized hand-made concrete cubes.36 big size and 10 small size, Completely modular and able to be ...

George Trollope and Sons. Exhibited at the Paris Universal Exhibition in 1878 winning a Gold Medal for Excellence. The set forms the four sides of a complete panelled room that was exhibited as a boudoir room or petit salon at the Paris Exhibition 1878 . The main feature and centrepiece of this boudoir room is the Rosso Antico marble fireplace surmounted by an open display niche carved in cedar wood. Each side of the room is composed of various panels and are as follows: One side with a grand Rosso Antico marble fireplace flanked by two doorways. One side with French doors originally opening onto a balcony, flanked by two large bookshelves. One side with a window flanked by two mirrors. The opposite side with three large mirrors. The complete room measures: 21 ft / 6.4 m wide, 17 ft / 5.18 m deep, and 12 ft / 3.65 m high. It could also be used in a number of different combinations to suit various room layouts. The mirrors could be replaced with windows or further bookcases. Each side is decorated with various sizes of finely carved panels and holds ornate Corinthian style columns surmounted with cherubim's on the capitals. Three cherubs are formed at the top of each corner with three columns, at the column bases there are circular carved pedestals to display statues. Published & illustrated in the ‘Illustrated Catalogue of the Paris International Exhibition’. The main part of this room, the Rosso Antico marble fireplace is surmounted by a large open display niche carved in cedar wood are illustrated with a line drawing in the Paris Universal Exhibition catalogue on page 209. The whereabouts of the seminaked caryatids and the marble bust of Alexander Pope are unknown. The bust of Alexander Pope was copied from the original one in Westminster Abbey, London. The Corinthian columns now flanking the niche above the fireplace are also in cedar wood having the identical carved fluting to the rest of the room and were made to replace the caryatid figures. Those Corinthian columns are period to the room and can only have been made shortly after it arrived back to London and before it was reassembled and fitted into the house built by George Trollope and Sons in the 1880's, and where we removed it all from. George Trollope made clever use of Alexander Pope's early 18th-century poetical successes in Great Britain and France by using ‘The Rape of Lock’, a mock-heroic narrative poem Pope wrote in 1712 about Petre who cut off a lock of Arabella’s hair without her permission, as the theme of the boudoir room or petit salon at the 1878 Paris Exhibition. In the original exhibition display of the room set, tapestries depicting the Rape of Lock were hung where the mirrors are now positioned. Alexander Pope's The Rape of the Lock is a humorous indictment of the vanities and idleness of 18th-century high society. Basing his poem on an actual incident among two families of his acquaintance, Pope intended his verses to quench hot tempers and to encourage his friends to laugh at their own foolishness. The poem is an outstanding example in the English language of the genre of mock-epic. The 'epic' was considered one of the most serious of literary forms; it had been applied, in the classical period, to the trivialities of love and war. Pope’s mock-epic is not to mock the form itself, but to mock his society in its very failure to rise to epic standards, exposing its pettiness by casting it against the grandeur of the traditional epic subjects and the bravery and fortitude of epic heroes: Pope’s mock-heroic treatment in The Rape of the Lock underlines the ridiculousness of a society in which values have lost all proportion, and the trivial is handled with the gravity and solemnity that ought to be accorded to truly important issues. The 18th-century society in this poem fails to distinguish between things that are important and things that are not. The poem mocks the men it portrays by representing them as unworthy of a heroic culture. Therefore the mock-epic follows the epic in that its main concerns are serious and moral. The point that the theme must now be satirical rather than earnest is symptomatic of how far the culture has fallen. Retaining the original exhibition label The back of the panelling still retains two original labels printed with the 'Union Jack' and printed adjacent to it, 'The Secretary Royal British Commission for the Universal Exhibition 1878 Champ de Mars Paris'. Adjacent to that and below, printed and written in ink vertically: Exhibitor: (and signed in ink) George Trollope & Sons. Address: (written in ink) Halkin Street West. London. Allotment in Block: (written in ink) a2. In the printed floor plan 'a2 square' is in the very first line to the right of the floor plan and handwritten in ink with a 'diamond shape' also written with '101' within it. This pin points where George Trollope's stand was located. With thousands of items being displayed at the Exhibition, this label would have been the floor plan for the craftsmen, so they knew the correct place to install the boudoir room or petit salon. The firm continued expanding house building and interior decoration side of the business and by 1849 was also trading as an estate agency, letting and controlling property for the Grosvenor Estates. A separate branch of cabinet-makers, bearing the family name, was opened at West Halkin Street, London. becoming known as 'The Museum of Decorative Arts' (looked after by George Robinson). Here Trollope and Sons also sold high-class antique furniture made by other makers. In 1851, the firm became formally known as George Trollope and Sons. West Halkin Street, London. The address was recorded in the listing for the firm in The Furniture Gazette Directory, 1876 & 1877. Period Press Coverage & Art Critic Review. everal newspapers also thoroughly describe George Trollope and Son's stand including the different tapestries that were hung where the mirrors are now, illustrating the poem 'The Rape of Lock', by Alexander Pope. Marius Vachon, a French Art Critic and journalist, who wrote for the journal ‘La France’ published an extensive review of the Trollope and Sons stand in a book called Les Merveilles de l'Exposition de 1878 (The Wonders of the 1878 Exhibition). Note: In the World Fairs translation it states door frame, Marius Vachon had originally written ‘chambranle’ in French, 'chambranle' loosely translates to a frame around something, and should read in its correct context: ‘fireplace in rosso antico’. We have taken the extract below written by Marius Vachon in its translated form from: Les Merveilles de l'Exposition de 1878, (The Wonders of the 1878 Exhibition). This puts into perspective the importance of this fine quality room interior when he viewed it at the exhibition in 1878: Marius Vachon: English furniture is very curious to observe; irreproachable from the point of view of execution, the furniture of our neighbours always reaches the last degree of respectability and comfort. One thing to be noticed is that for large pieces of furniture, the English upholsterer is transformed into a sort of architect; everything he makes takes on a monumental aspect. The first object that catches the eye when one enters the furniture class is the beautiful boudoir-salon exhibited by Mr. Trollope. The boudoir (or petit salon), of carved cedar wood, is an attempt to reproduce the style which prevailed in England during the first decade of Queen Anne's reign, and all the details have been studied, but not copied, from examples of decorative work of the time. The fireplace is in "rosso antico" movement, and the ceiling is in portable plaster. The panels painted on canvas represent scenes from the heroic-comic poem "The Abduction of the Hairpin," (The Rape of Lock) written by Alexander Pope in 1712, the eighth year of Queen Anne's reign, in which the customs and mores of the time are satirized in a pleasing manner. The apotheosis of the Loop and its sidereal transformations will form the decoration of the ceiling. In these illustrations of Pope's charming poem, the costumes and accessories have been taken from models of the time; and the bust of the poet, copied from his tomb in Westminster Abbey, occupies the niche in the centre of the mantelpiece. M. Marius Vachon, the period writer of the above continues with: Now we shall mention at random the magnificent dining table of Messrs. Johnston and Co., their oak mantelpiece, their boudoir table; Mr. Watt's drawing-room mantelpiece stepped in the old style and imitating the Japanese; Mr. James Shoolbred's great The Decorative Arts Society on Trollope and Sons The boudoir or petit salon is mentioned again in the Decorative Arts Society: Trollope did not exhibit such highly rated objects at the 1878 Paris Exhibition as at previous exhibitions; items included a large mirror frame carved in limewood in Renaissance style and a satinwood cabinet in Adam revival style, with a similar armchair (illus. Meyer (2006), p. 242) and probably two rooms; one was a boudoir in cedar wood in Queen Anne style and the other was a boudoir decorated by the firm in the theme of Pope’s The Rape of Lock. In the above extract, it is quite clear that the two rooms mentioned are in fact the very same room, because the fireplace and niche are illustrated in The Paris Universal Exhibition catalogue on page 209 and Marius Vachon describes the rest of the room set in the above… Trollope and Sons exhibition pieces listed and described by Meyer in an article he wrote for: The Decorative Arts Society 1850 to present, Journal 25 in 2001., where he points out the importance of George Trollope and Sons and mentions a table by Trollope exhibited at the 1867 exhibition that sold for £40,000 in 1996. He also mentions a cabinet exhibited by Trollope at the International Exhibition of 1862 that sold at Sotheby's in 1997 for £150,000. Interest was not as strong in the 1990's as it is today for rare exhibition pieces, high quality items were abundant back then, it was a golden era when the most beautiful works of art just kept coming onto the market. But there are exceptions as in this instance, when a unique, gold medal-winning exhibition work of art comes onto the market for the very first time. Meyer continued researching and writing about the great exhibitions and released his book in 2006, 'The Great Exhibitions, London, New York, Paris and Philadelphia 1851- 1900, where he mentions only in passing, The Boudoir Room or Petite Salon exhibited by Trollope, he even states that an image was not reproduced and that Trollope's exhibits in 1878 were not up to the quality and class of the items Trollope exhibited in London in 1862 and Paris in 1868. This is probably because Meyer didn't know of the line drawing illustrating the Roso Antico Fireplace, Niche and Panelling reproduced in The Illustrated Catalogue of the Paris International Exhibition 1878 shown in the above which Geering recently uncovered. John Meyer continues in the DAS journal: Undoubtedly they (Trollope) are a firm worthy of further research as they were right at the forefront of the furniture business in London from 1860 to 1880. Our research shows that the Petite Boudoir was awarded the gold medal for excellence in 1878 (see Journal La Liberté 23-10-1878 with the list of all medals attributed), something George Trollope and Sons did not achieve at the London 1862 and the Paris 1867 exhibitions. Jonathan Meyer joined Bonham's in 1977. He was Director at Sotheby's in charge of 19th Century Furniture from 1994 to June 2007. He was also chairman of the Fine Arts Faculty for The Royal Institute of Chartered Surveyors. In the original description from the article in Les Merveilles de l’exposition de 1878, M. Marius Vachon states: The first object that catches the eye when one enters the (English) furniture class is the beautiful boudoir-salon exhibited by Mr. Trollope. Suggesting, it was in his opinion the very best on display in the English section, and being awarded the gold medal for excellence can only add weight to this. Adjacent to the original label that was printed by The Secretary - Royal British Commission for the Universal Exhibition 1878 in stencil ‘TO BE KEPT’, i.e. ‘to be returned’. This confirms why it came back to London. We removed the Boudoir Room or Petite Salon from a Trollope house, part of a grand high-class housing estate in London which around the time of the exhibition Trollope and Sons were in the process of building, and where the room set was installed directly after it returned from the exhibition in 1878 until now. Worthy of note is the machines that did the carving for the Boudoir Room or Petite Salon and also did all of the decorative carving (most of which was linenfold carving) for the Houses of Parliament, London. This machine, the engraving and description of which we copy from Engineering, was specially designed by its inventor, Mr. Jordan, for assisting in the production of the vast amount of carved decorations required for the walls and ceilings of the Houses of Parliament, London, and it was so employed during the entire progress of the work. The late Sir Charles Barry was so well satisfied with it, that he frequently declared it would have been impossible to have accomplished the work without it. The Department of Woods and Forests employed five of the machines at the Government Works, Thames Bank, for several years; and the machines have now passed into the hands of Messrs. George Trollope and Son, and are still used in the same building. They also exhibited the new technique of xylatechnography and sgraffito, methods of impressing coloured design into soft wood and engraving veneer to reveal the base wood. The newspaper, La Liberte October, 23rd 1878 listing the medal winners of the Paris 1878 exhibition. Third column, ''GROUPE III MOBILIER ET ACCESSOIRES'', (GROUP III FURNITURE AND ACCESSORIES). Medailles d'or. (Gold Medals) where G Trollope et fils (G Trollope and Sons...

19th Century French Hand-Painted Faience Vases Signed set of 2

Racing the Wind: A Grand Sailor’s Woolwork of the Tea Clipper Fiery Cross Circa 1875 This impressive large-scale sailor's woolwork presents a detailed port-side view of the Fiery Cr...

19th Century green Majolica tureen with stand signed Sarreguemines Majolica, circa 1870 With grapes leaves. Height / 7.5", diameter / 8 inches.  

A wonderful antique 24 karat gold Egyptian Revival brooch set with an ancient 1500 B.C.E Egyptian faience pottery scarab, by the famous 19th century Italian jeweler Cesare Tombini, c...

This is a beautiful antique Napoleon III gilded ormolu and Limoges enamel jewellery casket, Circa 1870 in date. The hinged lid having a beautiful finely painted miniature Limoges en...

Grand 19th Century French Walnut Renaissance Revival Queen Bed was crafted from solid French walnut and richly carved with the strength, drama, and romance that made 19th century bed...

Made by the world-renowned French maker of ‘Daum’ of Nancy, France circa 1960-80. An antique crystal masterpiece of exceptional proportions, the vase crystallizes the extraordinary k...

Sensational image by Gustave Doré From Milton's " Paradise Lost " Woodcut engraving Published C.1870 Unframed. Free shipping

A finely decorated Chinese Export Rose Medallion porcelain plate dating to the Qing Dynasty, circa 1875. Hand painted in vivid enamels, the plate is richly detailed with alternating ...

A handsome and very well crafted English break-front bookcase or bibliotheque in solid mahogany by S.E. & R. Johnson of Warrington, England, circa 1870. Features six doors with glass panels in the upper section over a base with ten drawers on each side, flanking a middle section consisting of three doors with wooden panels. There are two adjustable shelves in each of the three upper sections, with a total of ten interior drawers. Original tear-drop pulls on doors turn to release a lever allowing the doors to be opened with the pulls as well as locked, a most unusual and attractive feature. All of the hardware is original to the bookcase including the locks. Comes with working locks and keys. Measurements: 13' 8 1/2" long x 21 1/2" - 27 1/2" deep x 101" high (8'5" high) All of the drawers are stamped with the cabinetmaker's stamp, "S.E. & R. (Ralph) Johnson, Warrington". This fine bookcase was manufactured prior to 1880 in Warrington in Cheshire, England. While information is scant, it would seem that S. E. would have been Ralph's father's workshop listed at 78 Bridge Street in Warrington, England, circa 1878. Ralph would have likely been an apprentice at that time. He opened his own workshop, presumably when his father retired. By the Edwardian period, Ralph had become a cabinet maker of some renown. Drawer locks are original and stamped "Chance Son & Co. W Chance, Son, & Co" and are listed in the 1850s directories as "Merchants and Factors" in Birmingham, England. They would have been middlemen having various merchandise made for them, primarily for export to North America. The type of locks employed in this bookcase is a lever combination lock. In the cabinet lock trade, lever locks became available circa 1855 and superseded the earlier tumbler and back-spring locks. Some points about the breakfront to note are that it is made entirely out of solid mahogany which is unusual; there are no veneers. Even the drawer sides, backs and bottoms are made of mahogany. The interior wood, i.e., the back and the insides of the cabinet is pine. One of the great features is that the upper door hardware has a dead latch that operates with the tear drop pull. You can lock the doors, but if you don't want to lock them, you can use the tear drop pull to operate the dead latch to open and close by turning it to the right. There are 20 exterior drawers and 8 interior drawers. Lower cabinets each have 1 fixed shelf; upper cabinets have 2 adjustable shelves each. There are enough extra original cast iron shelf...

This is a very fine Authentic Antique French Tapestry in Wool & Silk. This piece is truly a magnificent work of art featuring a lady feeding birds while a dog watches nearby. It is a...

A stunning large antique French wood Vernis Martin five panel display cabinet in the Louis XV manner and of extravagantly shaped Bombe form, circa 1870 in date, with exquisite hand painted decoration and exquisite ormolu mounts. It has five decorative Vernis Martin panels with beautiful hand painted decoration, the central panel depicting a courting couple and the others with classical figures in pastoral country scenes. The central panel bears the artists signature, Le Brun. The large central clear serpentine glazed door opening to a large capacious cupboard below, flanked by clear glazed serpentine panels, with further shaped glass on the sides. It is smothered in gorgeous gilded ormolu mounts, the shaped apron with foliate mounts and sabots, standing on cabriole legs. The mirror backed interior is fitted with glass shelves, the lower shelf lined with golden velvet, to display your collection of china or silver beautifully. This magnificent piece is in excellent condition and the quality and attention to detail throughout is second to none. Add a touch of unparalleled style to your home. Condition: In really excellent original condition having only been beautifully cleaned, polished and waxed in our workshops, please see photos for confirmation. Dimensions in cm: height 193 x width 115 x depth 50 Dimensions in inches: height 6 foot, 4 inches x width 3 foot, 9 inches x depth 1 foot, 8 inches Vernis Martin is a lustrous lacquer substitute widely used in the 18th century to decorate furniture and such personal articles as brisé fans...

AUTHOR: DODGSON, Charles Lutwidge: (Lewis Carroll). TITLE: Through The Looking-Glass And What Alice Found There. PUBLISHER: London: Macmillan & Co., 1877. DESCRIPTION: PRESENTATI...

Topographic level signed W.F Stanley of burnished brass, from the second half of the 19th century. In excellent condition and complete with original mahogany box with brass hinges an...

This is a beautiful oil on canvas painting of the view of the The Grand Canal in Venice by the renowned British artist Alfred Pollentine (1836-1890) and signed lower right and verso, 'A Pollentine, circa 1870 in date. This beautiful landscape captures a striking view of the Grand Canal, it features a busy canal scene with gondoliers in the foreground, in the distance the facades of Santa Maria della Salute complete the painting. Housed in it's original and beautiful gilt gallery frame. Several examples of his work have sold at top auction...

Fabulous Thebes Stool from the Egyptian Revival period which borrowed ( heavily) from the days of Cleopatra. Constructed from Walnut with numerous precision made lathe turnings. Cros...

Fabulous and freshly painted mid victorian cast iron garden bench Strong and stable as the day it was made with a cross x stretcher between the 4 legs Ornate with precise castings of...

This is a delightful antique Victorian English silver plated engraved and embossed mug, circa 1870 in date. Condition: In excellent condition, please see photos for confirmation....

This is an antique baronial settle. A Scottish, carved oak reception hall bench with storage, dating to the Victorian period, circa 1870. Superior estate piece, with wonderful carve...

This is a stylish antique Victorian burr walnut table top cigar humidor or collectors table-top cabinet, Circa 1870 in date. The cabinet features two doors fitted with the original ...

This is a very early stone ware glazed piggy bank from New England. This is a handmade piggy bank in very good condition.

An Incredible and Very Unusual 19th Century Meissen Porcelain “Elements” Ewer Emblematic of Water. This large porcelain ewer is modeled in flattened baluster form with a shell molde...

Original 1875 EN Welch Gale Drop 5 Dial 6 Hand Complication Calendar Wall Clock This is one of the most amazing clock you can find online, an original Welch Gale No. 2 perpetual calendar clock...

Wonderful bird prints Chromo-lithographs Published by Cassell, C.1880 The measurement shown relates to one of the prints Unframed. Free shipping

An outstanding quality antique gilded bronze & Sevres porcelain French 3 piece, 8 day clock garniture with candelabra, by Brocot & Delettrez, Paris, circa 1870. The clock with an 'egg' shaped urn made of cobalt blue Sevres porcelain with a hand-painted panel with a neo-classical beauty and a cupid, the rear is painted with gilt birds & floral decoration. The urn with gilt bronze handles to the sides held in the mouths of lion's masks, the clock below also with sumptuously decorated with gilded cobalt porcelain panels, the clock dial with black Roman numerals & is finely painted with two horses and a chariot with a putti falling out of the chariot. The clock has two winding arbors one for the 8 day time wind the other for a chime, the clock chimes the hours on a soft delicate sounding bell, the clock is in full working order and was recently professionally cleaned. The clock is complemented with a pair of gilt bronze & cobalt blue Sevres porcelain four branch vasiform candelabras, decorated with oval panels to the front with putti & Neoclassical maidens, the back panels finely painted with birds, each candelabra is in two sections and raised on gilt bronze bases with corbel brackets & acanthus leaf feet. The bronze casting is very likely by the Barbedienne Foundry in Paris, as the quality is outstanding, the clock is stamped "BD" for Achille Brocot (1817-1878) and Jean-Baptiste Delettrez (1816-1887), they were two of the most important French clock makers of the mid to late 19th century, please see some biography below. The clock is mechanically & cosmetically in excellent condition, and was recently overhauled by a clock-smith, the porcelain & ormolu are also in excellent condition, one of the very best investment quality gilt-bronze & Sevres porcelain clock garnitures by the top French makers of the period, circa 1870. This garniture will be professionally crated for shipping. Delettrez and Achille Brocot, son of the respected clockmaker Louis-Gabriel Brocot, established the clockmaking company "Brocot et Delettrez" in Paris on 20 October 1851, with premises at 62 Rue Charlot Paris. Jean-Baptiste Delettrez worked alongside Achille Brocot for several years and their clock movements are considered to be the most effective made during the late 19th century. Their specialty was a range of clocks based on the innovations of Brocot père and his other son Antoine, but generally of Achille's greatly advanced original design, some having a unique single-arm double-wheel escapement, some having a temperature-compensated pendulum, some having two dials, one of which showed the time and the other which showed a calendar and often other information such as phases of the moon, times of sunrise & sunset in Paris, etc. The firm was awarded a 1st class prize at the Paris World Exposition of 1857 for a commercial clock...

A rare set of Daniel Defoe's works published in 1878 by George Bell & son's in London. George Bell & Sons was a reputable publisher in the 19th century, known for producing ...

1875 Antique Red Tapestry Europe Flat Weave( 7' x 8' 9" 213 x 267 ) Antique Red Tapestry Europe Flat Weave, Country of Origin: Continental, Circa Date: 1875. This exquisite piece...

Traditional Japanese Tansu chest of drawers from the 1870s. Manufactured during the late Meiji era (1868-1912). This piece of furniture exudes authenticity and character. The cabinet...

This is a striking antique Chinese hardwood jardinière stand, dating to the Victorian period, circa 1870. This exquisitely carved planter stand or lamp table boasts refined craftsman...

Sculpture of cupid by Eutrope Bouret (1833-1906). This is a fantastic sculpture created in Paris France during the Napoleon III period, by Eutrope Bouret, back in 1860-1870. The scu...