18th Century and Earlier Furniture

Antique map titled 'Totius Terrae Sanctae Delineatio'. Map of the Holy Land extending to Egypt and showing the route of the Children of Israel in their e...

A set of 4 polychrome Dutch Delft tiles with flowers. Made in The Netherlands. Circa 1620 - 1640. A fine set of four tiles with flowers of one firing. A Fritillary, Imperial crown...

Antique print titled 'A true Representation of sveral microscopes with some objects (..)'. Print of various microscopes, illustrating several microscope parts. This print originates ...

Antique anatomy print of the muscular system. This print originates from 'De Ontleedkundige Plaaten van B. Eustachius' published by J.B. Elwe. Artist...

A Chinese Han Dynasty large unglazed terracotta jar, 'Hu,' with Taotie masks that has been mounted as a table lamp. Unglazed pottery like this dates to the Han dynasty (206 BC-220 AD...

IDE VAS ORDINATIS FLORIBUS CONSPICVVM Giovanni Baptista Ferrari (1584 - 1655) - Fine Quarto engraving with land colour 1638 Issued in the 1638 edition of Ferrari's spectacular Flora ouero cultura di fiori. Measures: 16 x 23.3 cm Later hand colour. Engraved by Anna Maria Vaiani (or Anna Maria Vaiana), an Italian engraver. Anna Maria Vaiani was born in Florence in 1604. Her father Alessandro Vaiani was an artist and was brought up and worked in Rome. In 1647 she married Jacques Courtois, another artist, but it was not a success. Vaiani specialized in botanical engravings, although her first recorded work was the completion of her father's paintings in the Pope's Capella Segreta in Rome. Vaiani exchanged letters with Galileo Galilei...

SHIPPING POLICY: No additional costs will be added to this order. Shipping costs will be totally covered by the seller (customs duties included). The Fall of the Damned...

Antique print titled 'Femmes de Kazegut en differens habits'. Old print showing women of Kazegut (Sierra Leone) in different costumes. This print originates from Prevost's 'Histoire ...

A 17th century hand-colored map entitled "Guineae Nova Descriptio" by Gerard Mercator and Jodocus Hondius, published in their 'Atlas Minor' in Amsterdam in 1635. It is focused on the...

AUTHOR: KIDGELL (John) TITLE: The Card. PUBLISHER: London: for the Maker & sold by J. Newberry, 1755. DESCRIPTION: FIRST AND ONLY EDITION. 2 vols., 6-5/8" x 4-1/4", hand col...

Antique print titled 'Veue du Palais d'Orleans, du coté du Jardin'. Depicting the Palais d'Orléans or Luxembourg Palace. After Israel Silvestre, published, circa 1660.

Nice plate of the Compagnie des Indes dating from the Qianlong period, XVIIIth century. Blue and white porcelain soup plate. On this plate are drawn in blue ink a set of plants or we...

Although this may look like a holy water font from an ancient Italian church, we believe it’s probably a marble wash basin, or sink based on the fact that it has an old drain hole. You can clearly see that the marble sink was mounted into a wall and it could be Roman, Turkish or even Middle Eastern. Sinks or wash basins are thought to have started in Ancient Roman bathhouses. Romans actually had warm water in bowls around the bathhouse in order to wash one’s face and hands. During the 1500’s, the wealthy would have wood washstands...

A rare, Dutch Colonial, Batavian (now Jakarta) Dutch East Indies silver and tortoise shell Sirih casket, circa 1750. The casket was used for storing highly prized betel nut, which was chewed ritually by high ranking Indonesian officials and adopted by settlers from the Dutch East Indies Company...

Maiolica sugar bowl Antonio Ferretti Manufacture Lodi, Circa 1770-1780 Maiolica polychrome decorated “a piccolo fuoco” (third fire). It measures 3.54 x 4.52 x 3.54 in (9 x 11,5 x 9 cm) Weight: 0.394 lb (0.179 kg) State of conservation: small and slight chips on the edges. The small sugar bowl has a swollen and ribbed body resting on a flat base. The cap-shaped lid follows the rib of the container and is topped with a small knob in the shape of a two-colored fruit. The sugar bowl is painted “a piccolo fuoco” (third fire) with the characteristic floral motif of bunches and isolated semis. An example which closely corresponds to this one is kept at the Civic Museum in Lodi (G. Gregorietti, Maioliche di Lodi, Milano e Pavia, Catalogo della Mostra, Milano, 1964 n. 137). This decorative style 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 later introduced by Antonio Ferretti to Italy. The 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 started their maiolica manufacturing business in Lodi in 1725. The forefather Simpliciano started the business by purchasing an ancient furnace in 1725 and, indeed, we have evidence of the full activity of the furnaces starting from April of the same year (Novasconi-Ferrari-Corvi, 1964, p. 26 n. 4). Simpliciano 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, was able to 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, both with or without contour lines, as well as in purple or green monochrome. After efforts to introduce more industrial production techniques to the sector succeeded, even the Ferretti manufacture, in the last decade of the eighteenth century, started heading towards decline despite its attempts to adapt production to neoclassical tastes. In 1796 the Napoleonic battle for the conquest of the Lodi bridge over the Adda definitively compromised the furnaces. Production resumed, albeit in a rather stunted manner, until Antonio's death on 29 December 1810. (M. L. Gelmini, pp. 28-30, 38, 43 sgg., 130-136 (for Simpliciano); pp. 31 sgg., 45-47, 142-192 (for Antonio). Bibliography G. Gregorietti, Maioliche di Lodi Milano e Pavia Catalogo della Mostra, Milano, 1964 n. 137; C. Baroni, Storia delle ceramiche nel Lodigiano, in Archivio storico per la città e i comuni del circondario e della diocesi di Lodi, XXXIV (1915), pp. 118, 124, 142; XXXV (1916), pp. 5-8; C. Baroni, La maiolica antica di Lodi, in Archivio storico lombardo, LVIII (1931), pp. 453-455; L. Ciboldi, La maiolica lodigiana, in Archivio storico lodigiano, LXXX (1953), pp. 25 sgg.; S. Levy, Maioliche settecentesche lombarde e venete, Milano 1962, pp. 17 sgg.; A. Novasconi - S. Ferrari - S. Corvi, La ceramica lodigiana, Lodi 1964, ad Indicem; Maioliche di Lodi, Milano e Pavia (catal.), Milano 1964, p. 17; O. Ferrari - G. Scavizzi, Maioliche italiane del Seicento e del Settecento, Milano 1965, pp. 26 sgg.; G. C. Sciolla, Lodi. Museo civico, Bologna 1977, pp. 69-85 passim; G. Lise, La ceramica a Lodi, Lodi 1981; M. Vitali, in Storia dell'arte ceramica...

In classic architecture, a large patera (or paterae plural) like this would have once embellished a frieze or wall of a prominent building or house. This oval patera is a beautiful example of 18th century architecture, showcasing ornate details of the period. It is made in Coade stone, a famous and innovative material of its time, developed by industry pioneer Mrs Eleanor Coade. Image source: ‘Coade etchings of many designs of Paterae, 1770s-1780s’ from Mrs Coade’s Stone by Alison Kelly

A very fine pair antique Chinese Kangxi porcelain famille verte Buddhist Lion joss stick holders dating between 1662 and 1722. The dogs sit raised on...

Acquareccia plate Patanazzi workshop Urbino, last quarter of the 16th century It measures diameter 17.12 in; foot diameter 11.53 in; height 1.88 in (43.5 cm; 29.3 cm; 4.8 cm). Weight State of conservation: wear and a few small minimal detachments of enamel, chipping on the raised areas, peeling of enamel at the brim on the back. This large, shallow basin is equipped with a wide and convex well. It is umbonate with a contoured center. The brim, short and flat, is enclosed in a double rounded and barely raised edge. The basin has a flat base without rims; it has a slightly concave center in correspondence to the well. The shape takes inspiration from the basins associated with the metal forged amphora pourers that traditionally adorned the credenza. These were used from the Middle Ages to wash hands during banquets. Two or three people washed their hands in the same basin and it was considered an honor to wash one’s hands with an illustrious person. The decoration is arranged in concentric bands with, in the center of the umbo, an unidentified shield on a blue background: an oval banded in gold with a blue head, a gold star and a field with a burning pitcher. Rings of faux pods separate the center from a series of grotesque motifs of small birds and masks. These go around the basin and are, in fact, faithfully repeated on the brim. The main decoration develops inside the flounce of the basin, which sees alternating symmetrical figures of winged harpies and chimeras. The ornamentation, outlined in orange, green and blue, stands out against the white enamel background. This decorative style, defined since the Renaissance as “grottesche” or “raffaellesche”, refers to the decorations introduced after the discovery of the paintings of the Domus Aurea towards the end of the fifteenth century. The discovery of Nero's palace, buried inside Colle Oppio by damnatio memoriae, occurred by chance when a young Roman, in 1480, fell into a large crack which had opened in the ground on the hill, thus finding himself in a cave with walls covered with painted figures. The great artists present in the papal city, including Pinturicchio, Ghirlandaio, Raffaello, immediately visited these caves. The decorations found there soon became a decorative subject of immense success: the term grotesque , with the meaning of “unusual,” “caricatured,” or “monstrous,” was later commented by Vasari in 1550 as “una spezie di pittura licenziose e ridicole molto”( “a very licentious and ridiculous kind of painting”). The decorations “a grottesche” also widely circulated in ceramic factories, through the use of engravings, variously interpreted according to the creativity of the artists or the requests of the client. Our basin is reflected in similar artifacts produced at the end of the sixteenth century by the factories of the Urbino district. See the series of basins preserved in the main French museums, among which the closest in morphology is that of the Campana collection of the Louvre (Inv. OA1496); this however has a more complex figure decoration, while the decoration of our specimen is sober and with a watercolor style. The style, sure in its execution, approaches decorative results still close to the works produced around the middle of the sixteenth century by the Fontana workshop. The decoration is closely linked to their taste, which later finds its natural outlet, through the work of Antonio, also in the Patanazzi workshop. Studies show the contiguity between the two workshops due to the kinship and collaboration between the masters Orazio Fontana and Antonio Patanazzi, both trained in the workshop of Guido Fontana il Durantino. It is therefore almost natural that their works, often created according to similar typologies and under the aegis of the same commissions, are not always easily distinguishable, so much so that the presence of historiated or “grottesche” works by Orazio is documented and preserved in Antonio Patanazzi's workshop. Given that the studies have always emphasized the collaboration between several hands in the context of the shops, it is known that the most ancient “grottesche” works thus far known, can be dated from 1560, when the Fontana shop created the so-called Servizio Spagnolo (Spanish Service) and how, from that moment on, this ornamentation became one of the most requested by high-ranking clients. We remember the works created for the Granduchi di Toscana, when Flaminio Fontana along with his uncle Orazio supplied ceramics to Florence, and, later, other commissions of considerable importance: those for the service of the Duchi d’Este or for the Messina Farmacia of Roccavaldina, associated with the Patanazzi workshop when, now after 1580, Antonio Patanazzi began to sign his own work. Thus, in our basin, the presence of masks hanging from garlands, a theme of more ancient memory, is associated in the work with more advanced stylistic motifs, such as the hatching of the chimeras and harpies. These are found here on the front with the wings painted in two ornate ways. In addition, the theme of the birds on the edge completes the decoration along the thin brim and can be seen as representing an early style typical of the Urbino district during a period of activity and collaboration between the two workshops. Later, a more “doll-like” decorative choice, typical of the end of the century and the beginning of the seventeenth century, characterized the period of the Patanazzi workshop under the direction of Francesco. Bibliography: Philippe Morel, Il funzionamento simbolico e la critica delle grottesche nella seconda metà del Cinquecento, in: Marcello Fagiolo, (a cura di), Roma e...

Set of 2 antique entomology prints depicting various butterflies. These prints originate from 'De Uitlandsche Kapellen voorkomende in de Drie...

A set of three Thai ceramic fertility figures from the 14th or 15th century. Created in Thailand during the 14th or 15th century, this set of petite ...

A Map of Kyle & Carrick Aireshire Thomas Kitchen 1749 In original black and gold frame Just purchased more information to follow MAKER Thomas Kitchin (1718-1784) English engrave...

Antique portrait titled 'Iacobus V'. Portrait of James V of Scotland. This print originates from 'Tooneel der keyseren ende coningen van christenryck sedert de...

Antique map titled 'Kaart van het Koningryk van Tunis'. Old map of the Kingdom of Tunisia. Originates from the first Dutch editon of an interesting travel account of Northern Africa ...

Antique map titled 'A Map of the Empire of Morocco Comprehending the Kingdoms of Fez, Morocco'. Original antique map of the kingdoms of Fez, Algiers, Segelmese, Tafilet and Morocco. ...

Antique map titled 'Pannonia et Illyricum.' Charming miniature map of Pannonia and Illyria, from the pocket atlas 'Introductionis in Universam Geographiam tam Veterem quam novam .. A...

A Chinese Song period celadon glazed bowl. Really nicely thinly potted example with craquelure due to age. Provenance: From a private London coll...

A strongly engraved map of European Russia showing its political divisions, major topographical features, cities and towns. Extends to the Sea of Azov and the tip of the Caspian Sea ...

Antique map titled 'La Generalite Proprie Taire De Lyon (..) - Propriae Lugudunensis Generalitatis (..)'. Detailed regional map of the Beaujolais region including the cities of Lyon,...

Six-panel Kano School tiger screen by Yosenin Korenobu (1753-1808). Sumi-e ink on paper, late 18th century. Dimensions: H 169cm x W 382cm.

Antique map titled 'Rama'. This maps shows a view of Ramma (Ramallah?) in Palestine or the Holy Land. With Dutch legend. Source unknown, to be determined. Artists and Engraver...

Antique map titled 'Carte de la Situation du Paradis Terrestre (..)'. Detailed map of the Holy Land and the Middle East, centered on the Garden of Eden and including a large Cyprus. ...

1 of the 8 beautiful bubble glass chandeliers or pendant lights designed by Helena Tynell for Glashütte Limburg. A design Classic, the hand blown glass gives a wonderful warm glow. ...

Antique print titled 'Emir Chef des descendans de Mahomet'. This print originates from 'Naaukeurige beschryving der godtsdienst-plichten, kerk-zeden en gewoontens van alle volkeren d...

Antique print titled 'Castelle an dem Ausflus des Nîls nicht weit von Damiât'. Translated: 'Fort at the estuary of the Nile near Damietta, Egypt'. This print originates from 'Reisebe...

A pair of Song Dynasty porcelain olive green vases decorated with gods around the vase and flying dragon on top of each vase. Each lid decorat...

A fine pair of English porcelain shaped bowls or dishes. By Caughley. In a heart-form or shield shape. Decorated throughout with painted cobalt blue and gilt floral devices....

This Chinese export platter Is late 18th century early 19th century in great condition, possibly earlier. The platter has orange peel porcelain glaze and has cut corners.

Antique map titled 'De IIIde Landkaart 't land Kanaan en Gilead onder de XII stammen Israëls verdeelt.' Map of biblical Palestine. Inset map of the land of Israel divided in 12 tribes...

Copper engraving published by Giovanni Pietro Olina (1585-1645) for his scarce treatise: Uccelliera overo discorso della natura e proprieta di diversi uccelli. Rome: Andrea Fei, 1622. Measures: 22.3 x 15.8 cm Fine hand colour. Uccelliera is a discourse on the characteristics of the many birds to be found in Italy, and gives instructions on their care, and identifies their habits and songs. Antonio Tempesta, also called il Tempestino (1555 – 5 August 1630), was an Italian painter and engraver, whose art acted as a point of connection between Baroque Rome and the culture of Antwerp. Francesco Villamena was an Italian engraver and artist. Villamena was born in Assisi. He studied under Cornelis Cort...

Map 2: 'Carte des parties nord et est de L'Asie'. (Map of the Northern parts and East Asia.) Five maps on one sheet, showing California, Alaska and Siberia, Korea and Japan. South to...

Fine set of 8 antique George III mahogany dining chairs consisting of a pair of elbow chairs and 6 single chairs having superb quality mahogany carved backs with a turned mahogany su...

This chandelier is an original variation of the chain models that could be found in the eighteenth century, like the one with the torch, from the Louis XVI period, at the Palace of V...

Antique print titled 'Leijden in Hollandt'. Old print of the city of Leiden, the Netherlands. This print originates from 'Thesaurus philopoliticus oder Politisches Schatzkästlein'. T...

An exceptional, fine and impressive antique English sterling silver gilt tobacco box; an addition to our 18th century collection This exceptional English antique George III sterling silver gilt tobacco box has an oval form. The surface of this antique box is plain and retains the original gilding. This antique tobacco box retains the original push fit cover embellished with an impressive shield shaped cartouche displaying the crest of a bull below the engraved name 'F Daw'. The surface of the cover is further ornamented with impressive bright cut engraved floral festoon and ribbon bow designs. The rim of the cover is encompassed with a thread decorated border. This impressive example of Georgian silverware was crafted by the renowned and collectable female silversmith Hester Bateman; such examples crafted by this lady silversmith...

This antique and reclaimed mantel is crafted from French limestone, originating from Bordeaux in 1780. Its authentic material and vintage origin add a touch of elegance to any firepl...

A wonderful 18th century Italian sunburst religious artifact resting in its stone base.

Plate XVII: 'Chirurgie'. (Surgery.) This plate shows the medical procedure called trepanning and surgical instruments used for trepanning or ...

Pair of hollow core cast brass candlesticks with an octagonal urn form candle cup and trumpet form shaft, threaded to a conical dome centered on...

Simply gorgeous and so delicately and beautifully made. This work has been molded in a whitish, dense terracotta, typical of the region of the capital of Luoyang, and then lightly glazed. We are not sure how to date this work. We believe, based on comparisons, that this piece could date as far back as the Tang dynasty (though we are not experts and have not had this verified by one. Again, this is not our area of expertise). The white terracotta and glaze appear correct as does the figures stately pose and elaborate hairstyle which was a characteristic feature of Tang pottery women. The people of ancient China believed that some part of the essence and life force of a human being was contained in the hair. Much time and effort went into this to create elaborate coiffures that the woman proudly displayed when in public. The Tang dynasty is also the only period in Chinese History to have known a female sovereign, The Empress Wu Zetian (625-706). Comes with Lucite display stand...

Maiolica flower pot “a mezzaluna” decorated with trompe l’oeil Pasquale Rubati Factory Milan, 1770 circa It measures: 4.7 in (cm 12) X 5 in (...

Antique pair of similar fireplaces, mantel frame of fireplaces, hand-carved in stone from Aquitaine, simple but refined geometric shape, built in the 18th century Italy. Beautiful i...

A fine and rare 18th century George III silver-gilt vase by Daniel Smith and Robert Sharp, London 1770. Based on a design by the Italian printmaker Stefano della Bella (1610-1664). The design was adapted by the architect Robert Adam (1728-1792). The overall form of the vase and some of the ornaments, such as the drapery swags, figural masks and acanthus leaves on the body, are based on a design by the Italian printmaker Stefano della Bella (1610-1664). He produced about 1,400 prints during his lifetime which were very influential, particularly a series of designs for vases in Raccolta di Vasi Diversi, published between 1639 and 1648. The design was adapted by the architect Robert Adam (1728-1792), whose drawing, now in Sir John Soane's Museum in London and was copied by the highly-fashionable silversmithing partnership Daniel Smith and Robert Sharp. Daniel Smith and Robert Sharp’s partnership ran from 1763-1788. They supplied high-quality silver and silver gilt in the Neo-classical style to the most fashionable retailers and clients, including the Prince Regent. They were the principal manufacturers of a series of magnificent race cups, one of which was designed by the architect Robert Adam (1728-1792) and another is in the Royal collection Robert Adam (1728-1792) was arguably the most famous eighteenth century British architect and designer, whose remarkable career in partnership with his brothers James and William has been thoroughly documented elsewhere and whose major commissions can still be seen at Harewood House...

18th century French fauteuil with beautifully carved scroll arms and shell detail. Newly upholstered in crisp white.

Carte De L’Isle De Sainte Lucie Detailed copper engraved map of Saint Lucia by Jacques Nicolas Bellin. This map was completed by Krevely 1775 for for the rare Dutch edition of ...

Antique map titled 'Eyland Ceylon.' Map of the islands near Ceylon or Sri Lanka. Dutch text on verso. Source unknown, to be determined. Artists and Engravers: Philip Baldaeus (1632-...

This engraving is based on the sketches of Johan Niehof and published in Antonine de Prevost d' Exile's Histoire generale des voyages.     

Antique print, titled: 'Basis Columnae Rostratae (?)' - This original old antique print shows a rostral column in Rome, Italy. It is a type of victory column, originating in ancient Greece and Rome where they were erected to commemorate a naval military victory. This original old antique print / plate originates from: 'Beschryving van Oud en Nieuw Rome. Verdeelt in drie Deelen. In 't Fransch beschreven door den Heer Francois Desseine. En in 't Nederduitsch vertaalt.', by Francois Desseine and published by Francois Halma in 1704, first published in French in 1690. Copies of this work are rarely complete as the maps and engravings are of high quality matching the work of Piranesi. Artists and Engravers: Made by 'P. Sluiter' after 'Jan Goeree'. Made by P. Sluiter after Jan Goeree. Jan Goeree (1670-1731) was a Dutch engraver and poet. He was the son of the Middelburg bookseller Willem Goeree. Born in Middelburg, but soon they moved to Amsterdam. Initially he focussed on painting, assumably a student of Gerard de Lairesse. But he is best known for his engraving skills, depicting mosttly emblematic and historic scenes. In 1705 he was commisioned by the Mayor of Amsterdam to design the drawings for the ceiling paintings for the grand hall of the old city hall...

A late 18th century Italian neoclassical gilt metal and crystal basket chandelier with 6 lights and greek key design.