19th Century Furniture

Fabulous small round table. Made from bleached tropical hardwood and pine Lions paw feet I particularly like its simplicity. I have chosen not to lacquer or wax the table. Origin...

Fabulous small Georgian tropical hardwood side cabinet with pine internal drawers. Single exterior drawer at the top. Recently bleached I particularly like the simplicity of this...

This pair of large antique Dutch Delft jars, made circa 1880, features classic blue and white Delft decoration in the "Thousand Flowers" pattern. The decoration presents a continuous...

Late 19th Century Diebold Safe & Lock Company Cast Iron Floor Safe. Features a heavy black cast iron frame with gold trim. The safe has a working combo lock and opens to a gold tri...

This exquisite pair of large blue and white Delft jars was hand-painted in the Netherlands during the late 19th century, around 1880. The design features shaped panels, each depicti...

A pair of 19th-century English wing chairs that don’t just reference William and Mary—they revel in it. Everything about them is a little extra, in the best way. The legs are deeply ...

Pair of Antique Early 19th C Biedermeier Arm Chairs

Elegant bleached tropical hardwood table Lovely colour Recently bleached With 2 drawers Original brass hardware Free Uk shipping

An unusual English circa 1830 George IV, William IV period regency form armchair or bergere, the solid mahogany frame having shaped crest rail and scroll arms with caned back, sides,...

A Superb Example of an English Georgian style Well figured Burr Walnut Double Interior Section Tea Caddy of quite rare dome top and spreading base outline, generous proportions and o...

Originally used in a French brasserie during the late nineteenth century, this white enameled cast iron bistro table or cafe table features a solid white oval marble top with grey ve...

Outstanding quality antique Regency figured mahogany 10 seater extending dining table having a quality figured mahogany extending top with a moulded edge and 2 original extra leaves,...

Antique circa 1886 St. Louis J.N. Scott’s double-barrel 12-gauge hammer shotgun. Diamond-carved walnut wood stock and front grip. Sides of frame decoratively etched and read J.N. Sco...

This mid nineteenth century French Restauration style bookcase or vitrine is constructed of solid mahogany and features a bronze plaque at the crown detailed with symmetrical leaves,...

38 STAR ANTIQUE AMERICAN FLAG WITH AN EXTREMELY RARE DOUBLE-WREATH CONFIGURATION THAT FEATURES A SQUARE OF FOUR STARS BOTH INSIDE AND OUT, ON A BEAUTIFUL, CORNFLOWER BLUE CANON THAT ...

Exceptional Viennese Biedermeier Walnut Pedestal Table – Vienna, c. 1825 We are proud to present a truly rare and exceptionally beautiful Biedermeier pedestal table, crafted in Vien...

Great image of roses Chromo-lithograph after J.L Macfarlane Published by Cassell. circa 1880 Unframed. It gives you the option of perhaps making a set up using your own choice of ...

This late nineteenth century French Louis Philippe style enfilade or sideboard is constructed of solid walnut with hand pegged joinery. This server features three book matched walnut...

A stunning papier mache tray from England, 19th century, with “Japanned” black lacquer and parcel gilt illustrations covering the surface. The tray is glowing from the intricate depi...

A wonderful antique rivetted copper boiler pot. c.1880 Great size and shape with the most perfect natural verdigris patina that only time can produce with a substantial riveted re...

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...

Small 19th century Swedish empire birch sofa circa 1860 Good quality Swedish empire period birch sofa upholstered in kalim woven fabric. Small sofa or a very comfortable single cha...

Set of 10 19th Century Majolica Asparagus Plates – White, Green, Blue & Purple – Signed Description: This is a rare and exceptional set of 10 majolica asparagus plates from the 19th...

Antique Japanese Yosegi (Marquetry) Shibayama Ko Tansu, Meiji period The marquetry is composed of keyayaki (zelkova) and kakinoki (persimmon) wood. Two small doors with inlaid Moth...

French late 19th century faux bamboo pine and bird’s eye maple bed, reflecting the Aesthetic Movement artistry for organic forms in stylized, decor...

Steeped in history, this small Swedish wall cabinet features a beautifully hand-painted tulip on the door, framed by layers of aged paint in soft, muted tones. The exterior retains...

An exquisite, tall six-panel byôbu (folding screen) featuring a painting attributed to Kanô Isen’in Naganobu (1775–1828) depicting a pair of phoenixes (hô’ô) and a section of a large...

Zoology Print of Starfish, Sea Urchins and Sea Cucumbers by T Bromme c1865 This detailed hand-colored lithograph was published around 1865 by German geographer and scientific educator Traugott Bromme. Taken from his educational compendium *Illustrirter Hand-Atlas der Erde und der Menschheit*, this plate presents a captivating array of echinoderms, including starfish, sea urchins, brittle stars, feather stars, and sea cucumbers—marine invertebrates known for their radial symmetry and varied textures. At the center of the plate is a large sea cucumber (1), shown in profile with fine detail in its tube feet and body texture. Prominently featured are multiple starfish species (7, 8, 9), including both classic five-armed and more elaborate forms like a sunstar (12). Also included are brittle stars (10, 11), distinguishable by their slender, flexible arms. A variety of sea urchins (4, 5, 6, 17) are represented in both their natural forms and skeletal structures. The plate also includes feather stars or crinoids (3), whose delicate, feathered arms evoke the movement of aquatic flora. Additional forms such as the sea lily and other early echinoderms further illustrate the evolutionary range of this phylum. Each species is numbered and arranged with clear spacing and balance, rendered with lithographic precision and enhanced through delicate hand coloring. These prints offered 19th-century audiences both education and aesthetic pleasure, combining scientific observation with artistic presentation. This particular sheet is ideal for collectors of marine natural history, antique scientific illustration...

A timeless mahogany commode from France, 19th century, with finely carved decoration in the Louis XVI style, fitting with traditional and transitional tastes easily. The planks of th...

A petite French 19th century faux bamboo bedside table-cabinet, carved from pine and accented with marble surfaces to use in a bedroom, bath, or other living area that needs a fun si...

A magnificent English Victorian tea table (late 19th century) of ebonized wood and inlaid with mother-of-pearl on the surface. Deep ebonized color ...

A superb antique French Art Nouveau silver handled walking stick, Circa 1880 in date. It features astunning  silver crook handle embossed with floral garlands with a decorative inse...

An ingenious leather-topped mahogany writing desk with hidden extensions on each side to add occasional surface area. The leaves on the sides are a matcha green leather framed by gol...

French late 19th century faux bamboo pine bed, reflecting the Aesthetic Movement artistry for organic forms in stylized, decorative ways. Pine planks on the flat surfaces (inside and...

solid mahogany with polished finish, original brown leather; decorative knobs; strikingly high backrest with stylised decoration in bas-relief; rear legs curved, forelegs tapering do...

Unusual and humoristic 19th French Majolica jardinière with insects playing musicals instruments. Decorated with leaves and flowers.

An exceptional circa 1805 Irish late George III neoclassical hall bench of solid mahogany construction, the rectangular seat with satinwood and ebony 'zigzag' border inlay above flat...

A faux-bamboo pine armoire from France, late 19th century, with a lovely amber patina in the frame. This tall storage piece appears as a rectangular silhouette, projecting a peaked c...

French faux bamboo armoire, late 19th century, carved from pine and stained to give an exotic appearance down to the intermittent nodes along the stalk. This example takes the famili...

French 19th century faux bamboo carved pine vanity, offering daily inspiration in the organic forms and artistic ingenuity during the Aesthetic Movement of the late 1800s. Functionin...

Beautiful Japanese table with weathered patina. The surface of the tablet is velvety soft. Simplicity with an extremely unique character. We ship safely with insurance worldwide, ...

Antique 1899 Rookwood Pottery 705 ceramic flower vase by Edward Timothy Hurley. Simply styled vase with tapered base and flared mouth, decorated with a golden green to dark brown om...

Large 12 seater Outstanding quality antique Victorian figured mahogany extending dining table having a figured mahogany oval ended extending top with a double moulded edge and two or...

19th century Antique Stripped Finish Dutch Serpentine Commode Approximate size: 32.5 (h) x 41.5 (w) x 23 (d) in. Anonymous The Netherlands; 19th century Wood, brass. A striking 19...

This small scale early nineteenth century French walnut armoirette or wardrobe features hand pegged paneled sides and doors. The piece is crowned with a multi-beveled cornice. Its tw...

First the fragment has been hand backed on a linen fabric, then stretched over a wooden stretcher and finished with a wooden frame. Late 19th C. Uzbekistan Ready to go on a wall. Fr...

19th French Majolica Pink Daisy Plate Delphin Massier.

A timeless case piece, this 19th century Louis XVI style walnut enfilade brings a comforting presence to a dining room or other living space with its warm color and patina. The top s...

Another stunning hand-painted oil on canvas work of religious art. This antique oil painting was first hand-painted on canvas and later mounted onto a zinc backplate .. a traditiona...

An exceptionally fine early English Well Figured Solid grained Walnut Ladies or Gents Travelling Writing Slope of outstanding quality and compact proportions. Last quarter of the Nin...

This is an old Japanese BORO. It was made in the late Edo period (1800s-1860s) and is an extremely valuable piece that has been carefully passed down to the present day. BORO" is a ...

A magnificent large rare and most impressive Italian baldachin tabernacle altar niche / altarpiece. circa 1800 Exquisitely hand-crafted in Italy in the early 19th century, this extraordinary one of kind masterpiece originally a prominent altarpiece fixture in a Catholic church, typically displaying a Santo or Jesus altar figure statue inside. Exceptionally executed throughout, parcel gilt polychrome painted, gessoed and carved wood two-piece architectural baldachin form, with dome top vaulted ceiling, raised on eight fluted Corinthian columns, over a shaped platform base with elaborate molded frieze, further raised on integral bracket risers in marbleized faux marble paint decorated finish. Breathtaking visually striking aesthetic, very fine quality craftsmanship, lavishly decorated with extraordinary detail throughout, even the unseen interior of the dome profusely decorated with the most intricate painstaking hand applied 24k gold leaf ornamentation, the exterior in brillant gilded finish, enhanced by beautifully aged warm rich dark patina! Dimensions: (approx) 45" Tall, 26.5" Wide, 26.5" Deep *Additional photos available upon request* Condition Report: A superb museum quality example, in overall very good antique condition, especially considering its 200 years old. Attractive appearance, with nicely aged distressed patina, authentic antique character and charm throughout, including scattered nicks, chips, losses, exposed gesso, fading, acrecetions, possible old touchups and restorations, all expected wear commensurate with age, use, handling and exposure. Overall strong, sturdy, stable, structurally sound. The floral dome painting likely later. Central hole and discoloration where altar figure was once placed. Overall a truly remarkable work of art! -- We here at Lynx Hollow Antiques absolutely love decorating with religious antiques and have a special place in our heart for them. We have an extensive collection from around the world, spanning all regions and religions, including old world European Baroque period altarpiece, Spanish Colonial altar table, Roman Empire reliquary monstrance, architectural salvaged building elements, church architecture model, apprentice prototype, baptismal font, sacristy liturgical items, sanctuary vessel, vestment chest, monastery refectory table, Gothic court cupboard...

Refined French Art Nouveau table from the early 20th century, featuring a flowing cast iron base with vegetal curves and elegant organic motifs. The table retains its original wooden...

A columnar, French mahogany and marble top bedside table that offers both storage and display to fit in any room around the home. The top surface is a flat disc of pale gray marble t...

This is a large antique jardinière, a Japanese bronze planter pot with rich relief decoration, dating to the Victorian period, circa 1880. Of generous proportion, ideal for interior...

Hammered Silver Decoration From our Japanese collection, we are pleased to offer a Japanese Meiji Period Silver Dragon Box. The box of rectangular f...

Fully Partitioned Jewellery Tray From our Jewellery Boxes collection, we are delighted to offer this Rosewood Inlaid Jewellery Box. The Jewellery Box of slim rectangular form venee...

A large porcelain oval serving dish, finely decorated with classical hand-painted iron red and cobalt blue patterns enhanced with fine gold : flowers, leaves and fantastic animals in...

A pair of console tables produced in Sweden, 19th Century. Overall Dimensions (inches): 26.75"H x 36.75"W x 18.15"D All items ship from High Point, North Carolina.

A superb heavy tribal bracelet from the Horn of Africa, attributed to the Ethiopian, Somali, or Nubian regions. Crafted from high-grade silver, this substantial piece is richly decor...