18th Century and Earlier Furniture

This marble fountain sculpture in the style of Tulio Lombardo embodies the glory of Renaissance sculpture. Reminiscent of classical portrait busts, a bearded man's face serves as the...

SCHORL TOURMALINE WITH AQUAMARINE Shengus, Roundu District, Gilgit-Baltistan, Pakistan 19.2 cm tall x 6.2 cm wide Gilgit-Baltistan (formerly known as the Northern Areas) is home to m...

An exceptional George III Bat Wing Fluted Table Bowl made in London in 1790 by Peter Podio. This beautiful piece stands on a square pedestal foot decorated with a bright cut band. ...

A very rare and unusual pair of George III Neo Classical "Adam" Candlesticks made in Sheffield in 1775 by Joseph Tibbitts The Candlesticks stand on a square base which is decorated ...

John Schofield. A very unusual pair of George III Cast Candesticks made in London in 1797 by John Schofield. These exceptional Candlesticks are cast and stand on a circular base dec...

The set was hand painted at Wedgwood, in England, circa 1785. The borders are decorated with a delicate band of green leaves and berries on the vine, and the edges are painted brown....

A very fine George III Water/Wine Ewer made in London in 1778 by Makepeace & Carter The Ewer is of the Neo Classical form and stands on a domed circular foot. The main body is vase...

A very fine pair of George III Neo Classical Wine Coasters made in London in 1773 by Robert Hennell The Wine Coasters are circular in form with a spreading base, which is decorated ...

A Very Fine Pair of George II Serving Dishes Made in London in 1745 by Edward Aldridge. The Dishes are shaped circular in form, with a stepped gadrooned border, interspersed with foliate motifs. The reverse is engraved with their number in the set, in addition to their original scratch weight. Both are very well marked, also on the reverse. Each border is engraved with the Armorial, Coronet, Supporters and Motto "Semper Paratus...

A Very Rare Pair of George I Britannia Standard Octagonal Pepper Casters Made in London in 1721 by Samuel Welder. The Pepper Casters are modelled in a plain octagonal form and stand...

An important & exceptionally rare pair of George III Covered Barrel Tankards, possibly for twins, made in London in 1789 by William Bennett. Both pieces are modelled in the "Barrel"...

A Fine Pair of George II Mahogany Chair Back Settees With curved top rails above a tapering vertical splat, joined by carved tassels, the scr...

A Pair of Venetian Rococo Carved Giltwood Mirrors. These mirrors have elaborate pierced strapwork crestings surmounted by a shell-shaped corona above a cartouche-shaped plate, the...

A Hizen Katana in koshirae Signed 肥前國河内大掾藤原正廣 Hizen kuni kawachi daijō Fujiwara Masahiro - Early Edo Period (1615-1867) - NBTHK Hozon Tōken - Nagasa [leng...

The rectangular plate within a moulded frame carved with flower heads, surmounted by an elaborate pierced C-scroll cresting.

The Salver stands on three cast panel feet with scroll ends, and a beaded border. The raised rim is also decorated with a beaded band and the centre is beautifully engraved with a co...

A rare 18th century Irish mahogany knee-hole cabinet. The superbly carved swan neck cornice with Irish sunflowers carved garlands of flowers and an egg and dart mouldings, above a si...

A fine example of an “hour glass” or “duck’s nest” cast iron half hob grate, possibly from the Coalbrookdale foundry, circa 1790.

These side handled bowls were almost certainly used as eating vessels. The bowl has circular baluster sides which rise to a straight rim. The cast handle is shaped and naively pierce...

This very unusual Wine Label is broad rectangular in form, with cut corners, and displays a beautiful outer pierced border containing flower heads. This very fine example is well mar...

Unusual 18th century walnut shaped table chest of drawers.

The caddy spoon displays a stylised shell bowl and old English pattern handle decorated with prick dot bands. The style and design of this example has a ...

A neoclassical painted and gilded overdoor panel in the manner of Giuseppe Maria Bonzanigo, circa 1790.

The Mug is of an unusual small size and was most probably made for a child. This piece stands on an applied circular foot decorated with reeding. The plain baluster main body rises t...

This extremely rare and fine garniture of George III neo classical baskets were made in London in 1778 by Philip Freeman. The Baskets all stand on a square pedestal foot which is pierced with horizontal pails and roundels, as well as being engraved with prick dot designs. The Classical vase shaped main bodies are also pierced with horizontal pails and roundels and the front of each piece displays a disc cartouche engraved with a contemporary Crest. The rim and swing handle, instead of being decorated with beading, are unusually engraved with various prick dot and bright cut bands, including stylised flower heads. Each basket is in excellent condition, has a blue glass liner and is fully marked in the foot. The baskets are of a very rare decorative design and Philip Freeman was known for producing unusual baskets and pails, although his work does not survive in great quantity. These are also unusual in that they stand on a pierced foot, echoing the designs on the main body. The smaller baskets would have been used for cream and the larger ones for sugar, however it is extremely rare to find a garniture. They are almost always found singly or in pairs, in sizes. A very rare Classical garniture of outstanding quality. Measures: Height of the sugar basket, to the rim: 5.4 inches, 13.5cm. Height of the cream basket...

The labels have an oval rounded form and double thread edge. The set are engraved for KAYAN, SOY & KETCHUP. Each is fully marked and in excellent condition. Measures: Length: 1.1...

The label is narrow rectangular in form with a bright cut border and domed section above pierced and engraved with pluming scrolls. The label is incised for CLARET. Measures: Leng...

The Taymouth Castle dishes. A very fine and unusual pair of George III Covered Serving Dishes made in London in 1794 by Henry Green. The Dishes are circular in form with an everte...

A Louis XVI mantel with roundel corner blocks and panelled jambs and frieze, hand-carved in Breche de Alep marble. Opening dimensions: 44 1/2" W x 35...

The label is narrow rectangular in form with a bright cut zig zag border and domed section above, pierced and engraved with scroll work. The label is engraved for HOLLANDS. Measu...

The wine label is plain in design, and has a curved narrow rectangular form. This example engraved for MOUNTAIN. London.

Rhode Island cherry Chippendale shaving stand with the original mirror, refinished surface, and replaced brasses. The shaving Stand has a wonderful...

A Sheraton period George III mahogany patience table, the rectangular top with a drawer front with brass handles on each side, two hinged to support two flaps which open to form a re...

Chinese Export Porcelain Lotus Leaf Shaped Dish, Circa 1765 The large Chinese Export “famille rose” porcelain saucer dish is made in the form of a lotus leaf with the rim and border...

Finely painted with insects, butterflies and caterpillars. The border molded with leaf decoration. Red Chelsea anchor mark.

This stunning mirror retains its original paint finish, the cresting with a central carved ho ho bird, perched in front of a spray of flowing acanthus, with c scrolls and carved flow...

George II sterling silver mug. Made by Samuel Welles in London in 1759. Baluster bowl with leaf-capped double-scroll handle. Raised foot with tooled leaf border. Chased and engraved ...

Fine 18th century English or welsh oak dresser, having richly molded crest over scalloped fascia, the divided shelves with plate grooves and standing on molded top over three drawers...

Happy to offer this beautiful French limestone cabochon floor. This used to be the hallway between two room in a nice mansion in the Burgundy area i...

The epitome of Russian craftsmanship, this majestic and incredibly rare pair of candelabra would have been fit for the Czar. These superb Louis XVI style figural bronze candelabra were created in the Neoclassical taste that permeated Russia during the late 18th century. The chiselled gilt bronze work is in a class all its own – a trademark of only the most exceptional Russian ormolu craftsmen. Elegant patinated bronze nudes hold aloft delicate gilt bronze branches accentuated by gilt chains. Elevated atop classical columns crafted of polished gray marble, these lights perfectly express the outstanding grace and luxurious artistry of Russian decorative art. In France during the late 18th century, Neoclassicism emerged as the most popular style after the exuberance of Rococo during the reign of Louis XV. The emphasis was on simplicity, straight lines and symmetry. Slenderness of proportion was stressed in furniture and decorating, and these patterns extended to other areas of the arts. French design taste has historically spread and influenced styles throughout Europe, and Russia in particular has a long history of adopting foreign stylistic trends considered to be the epitome of grand taste. Catherine the Great and her grandson Alexander I...

Saint Nazaire Sword, Late Bronze Age, circa 800-900 B.C. An exceptionally well preserved Bronze Age sword, with elegant, finely incised decorations,...

An exquisite miniature of French philosopher Charles Montesquieu graces the lid of this tortoiseshell-lined snuff box. The handsome portrait was fash...

Kano School painting showing ancient pine, exotic birds, peonies, azalea and cherry tree in bloom on far right. Early Edo period painting, (1614 -...

An excellent, fine and impressive antique Georgian English sterling silver candle snuffer / pen tray; an addition to our 18th century silverware collection. This exceptional antique Georgian sterling silver candle snuffer tray has a navette shaped form. The surface of this antique silver snuffer/pen tray is ornamented with a contemporary bright cut engraved crest depicting a centaur regardant holding and arrow on a bended bow, above the bright cut engraved initials 'WIL'. The outer circumference of the surface is encompassed with an undulating wriggle work decorated border. The raised rounded sides of the tray are embellished with pierced decorated urn designs conjoined by suspended bright cut engraved festoon ornamentation further accented with undulating pin struck decoration. The tray is further embellished with an applied bead decorated border to the rim. Either end of the tray incorporates an impressive pierced and applied scrolling leaf decorated handle accented with a pendant drop design to the inner surface. This exceptional tray was crafted by the London silversmith William Plummer who is known for his work with pierced decoration. The centaur in this stance is also a depiction of Sagittarius (otherwise known as Arcitenens), one of the twelve signs of the Zodiac. Condition This antique silver candle snuffer...

A deep delft punch bowl with polychrome decoration in reds, yellows and blues on a white ground with extensive exterior coverage depicting flowers in overlapping rounded tiles with a...

Tyrannosaurus Rex Tooth in Fossil Matrix. Late Cretaceous, circa 65 Million years before present. Lance Formation, Marchant Ranch Quarry, Niobrara County, Wy...

Exceptionally Fine Wooden Sarcophagus Mask Third Intermediate Period, 21st Dynasty, circa 1069-945 BC. Acacia wood, rosewood, hippopotamus ivory Masterfully carved from a single piece of fine-grained hardwood, the present mask is characteristic of the most exquisite funerary art made during the 21st Dynasty, and was probably commissioned for a particularly high-ranking individual. The oval face displays a gently smiling mouth with full, outlined lips, furrows at the corners and a bow-shaped philtrum. The straight nose with rounded nostrils, the cheeks full and fleshy and the large, almond shaped eyes with heavy lids and tapering cosmetic lines, set below long, sweeping eyebrows. Social collapse across the Mediterranean in the Late Bronze Age meant that the 21st Dynasty in Egypt was a period of great turmoil. Trade routes were disrupted, governments collapsed, and mass migration occurred. Economic scarcity meant that traditional funerary practices in Egypt were also affected, with a lack of material and financial resources leading to the reuse of preexisting material. As a result, during the 21st Dynasty, 19th and 20th Dynasty coffins changed ownership rapidly and were heavily recycled for new purposes. Tombs were also unmarked allowing them to be shared by many people. These new practices brought forth a shift in the understanding of funerary paraphernalia. No longer important objects owned forever by the deceased, they were now simply seen as short-term transformative devices, whose symbolic and ritualistic meaning could be appropriated for others. However, paradoxically, the art of coffin-making also reached new heights during this period, and many of the richly dec- orated “yellow” coffins, characteristic of the 21st Dynasty, are remarkable works of art in their own right. Indeed, knowing that coffins were being reused throughout Egypt, the Egyptian élite set themself apart by commissioning lavish sarcophagi decorated with the images and texts meant to help guide them to the afterlife, and which would otherwise have adorned the tomb walls. As coffins were the chief funerary element which now identified the dead and allowed them a physical presence in the world of the living, their quality and appearance were of the utmost importance. The traditional coffin ensemble was made of three parts: a wooden mummy cover, which laid directly atop the mummy, an inner coffin, and an outer coffin, both made of a lid and case. Additional decorative elements, such as masks, were carved out separately and later glued or pegged to the lids. After the completion of the painted decoration, the sarcophagus was covered in a varnish to give it its yellow colour. Gilding was sometimes used for the coffins of the high priests’ families, notably on parts representing naked skin, such as the face mask. However, some of the élite tactically avoided gilding altogether as to ensure that their coffin would not be looted. When manufacturing the inner and outer coffins, particular attention was paid to the woodwork. Displaying the skill of the carpenter, this type of funerary art has largely remained unparalleled throughout Egyptian history. The principal wood used to craft the present mask is Acacia nilotica. The evergreen Egyptian acacia was considered sacred and said to be the tree of life, the birthplace of the god Horus, as well as symbolic of Osiris, the god of the dead and resurrection. The modelling of the face in the wood is superb, but the inlays also help mark this mask out as exceptional. Inlaid eyes and eyebrows were extremely rare and reserved to the finest and most expensive coffins. Traditionally, eyes were made of calcite, obsidian, or quartz, and eyebrows of coloured glass paste or bronze. Here, the pupils, eyebrows, and cosmetic lines are inlaid with Dalbergia melanoxylon, a rare type of wood which belongs to the rosewood genus. In antiquity, however, it was known as Ebony of the Pharaohs, from the Egyptian word “hbny”, meaning dark timber, because of its black, lustrous appearance. An extremely dense and hard wood requiring significant skill to work with, ebony was a luxury material highly coveted by the pharaohs themselves, to make furniture, decorative and funerary objects. The wood was imported with great effort from the southern Land of Punt, most likely modern Sudan, Ethiopia, Djibouti, and Eritrea, alongside other luxury goods such as gold and ivory. A magnificent ebony throne, recovered in the tomb of King Tutankhamun, illustrates the incredible aesthetic potential of this material and why it was so highly valued by Egyptian royalty. Only élite members of Egyptian society could have afford- ed Ebony of the Pharaoh inlays for their funerary mask. The sclerae on the present piece were once both inlaid with hippopotamus ivory. Whiter than elephant ivory, this type of ivory is also denser, and more difficult to carve. The use of this luxury material, reputed for its gleaming appearance, enhances the lifelikeness of the eyes. For the Egyptians, hippopotamus ivory was imbued with magic powers. The hippopotamus was indeed both feared and venerated due to its aggressive behaviour. Whilst the male hippopotamus was associated with danger and chaos, the female was benevolent and invoked for protection, especially of the house and of mothers and their children, through the hippopotamus goddess Tawaret. Thus, not only was hippopotamus ivory used as an inlay and to make practical objects, such as combs and clappers, but it was also used to make talismans like apotropaic wands or knives. Made during a time of scarcity where few could afford made-to-order coffins, the present mask could have only belonged to one of the highest-ranking individuals in society. Undoubtedly one of the finest Egyptian coffin...

Canton Famille rose 9.6 inch plate, ca. 1840, enameled with seven figures, the four males forming a band, one playing the erhu, one playing symbols, one playing the dizi (bamboo flute...

Set of 4 Italian Rococo (17th/18th Century) green painted columns with gold swirl carved floral design and Corinthian capitals.

Italian Neo-classic (18th Century) center table with 2 white marble bases having carved winged lions and claw feet centering a rouge & Siena marble rondel...

Corinthian helmet with Bull Horns and Lotus Flower Decoration. Archaic Period, c.550-500 BC. Cast, hammered and incised bronze. An exceptionally well preserved example of one of the most iconic ancient Greek...

Edo period (18th century) painting of a flowing array of various types of chrysanthemums painted on beautifully faceted heavy gold leaf and behind afinely painted fence. Petals of th...

An exceptional, fine and impressive antique George II Scottish sterling silver teapot; an addition to our Georgian silver teaware collection This exceptional antique Georgian sterling silver teapot has an globular bullet-shaped onto a cast circular spreading foot. The surface of this silver teapot is embellished with flat engraved foliate and floral decoration to the upper portion. The body of the teapot incorporates the engraved crest of on a mount, a centaur with a bow and arrow, all above the motto 'Ut Quocunque Paratus' - As prepared for whatever may happen*. This antique 18th century silver teapot...

This complete cross-sectional slice from the Imilac meteorite has been prepared to reveal shimmering olivine and peridot gems embedded in an iron-nick...

George III Burl Yew and Satinwood Octagonal Tea Caddy with Conch Shell Panels, Circa, 1790, The burl yew double tea caddy is of an octagonal form with canted corners. The interior ...

A late 17th century marble sculpture of a saint, possibly Central Italian. Monogrammed on the marble base "F G F."

18th Century pair Irish mahogany fold-over card tables with green baize interiors. The pair with central carved scallop shell detail are flanked on either side by cabriole legs with ...

An exceptional, fine and impressive antique Georgian English sterling silver locking tea caddy; an addition to our silver teaware collection. This exceptional antique George III sterling silver locking tea caddy has a navette, paneled shaped form. The body of this silver tea caddy box is embellished with bands of bright cut engraved volute spiraling leaf ornamentation on a matte background to the upper and lower portions; these bands flank a plain undulating bordered panel. The ornamentation to the surface of the caddy alternates with panels of concave vertical fluted decoration. This antique Georgian tea caddy is retains the original hallmarked flush hinged covers; the flush hinge indicates the fine quality of this piece. The cover is embellished with further bright cut engraved undulating borders accented with bud motifs, in addition to simplified borders paralleling the domed paneled portion; the domed portions reflects the incurved shape of the body. This impressive cover is surmounted with a cast sterling silver urn style finial, in the Classic Adams style. The caddy retains the original fitted fully working lock and functional key. This sterling silver tea caddy is a highly desirable shape and style. Condition: This Georgian silver tea caddy...