Late 18th Century Furniture

Hinged demilune with crossbanded edge and inner fan inlay, frieze with similar inlay raised on square tapered legs.

Elegant pair of Gustavian Carrara marble and Gilt brass Candlesticks from the 1790s. Simple beauty with some charming patina. Wear consistent with age and use

A magnificent George III period seven door breakfront library bookcase. Constructed in the finest quality figured mahogany, having a moulded cornice above seven astragal glazed doors...

A magnificent and impressive Italian antique walnut table with three full width shelves that can be opened from both sides with greatly carved and beveled top and beautiful carved tu...

It is the striking blue painted finish that draws one to this handsome large oak chest of drawers. Later professionally painted in blue and teal shades...

A superb quality French ormolu grande sonnerie pendule d'officier with alarm by Le Roi & Fils. The ormolu case profusely decorated with floral swag friezes and oval floral mounts to the sides, entwined serpent handle, resting on on four paw feet. The white enamel Arabic...

Beautiful work of marquetry and inlay, the marble is original. This commode is dressy and colorful.

This is a very RARE 100% Original Swedish Rain deer sleigh. I have owned it for over 30 years and its time for someone else to enjoy it. you will NEVER see another!!!!!

A pair of sophisticated and elegant gilt bronze Candlesticks, Probably made in Paris, France. Directoire circa 1795. Beautifully decorated with leaves. Wear consistent with age an...

Antique Dutch Sofa Side Table Carved Oak Bulbous Leg Baroque Ebonzied Danish. Direct from Europe, a distinctive antique European table with a stunning si...

English mahogany tambour desk with sliding leather writing surface, interior satinwood compartmentalized drawers with the original bone knobs, five lower drawers with the original br...

These authentic Louis XVI period armchairs, original and authentic, seduced me by their modernity. Very rare with their original cream lacquer, flat and square back "à la Reine", with their strict armrests and highly visible assembly, straight legs turned into quivers in the shape of a column tapered down and fluted. The foot ends in a dice that rests on the ground, while the top is cubic is decorated with a circular molding pattern quite rare contrary to the rosette pattern often used for copies - The queen chairs have perfect proportions in their elegant silhouette. In general, I am only interested in design and contemporary pieces, but in the course of my peregrinations I sometimes come across pieces that do not leave me indifferent. As for the lyres chairs, the baccarat chandelier and the large golden mirror...

An early 19th century Georgian mahogany baby pembroke table having shaped and crossbanded two flap top above frieze drawers to front and reverse wi...

This is an antique ship's mooring bitt or maritime bollard. An extremely heavy (170Kg / 375lb), English, cast iron ship’s capstan dating to the late Geor...

A large and impressive French, 18th century Louis XVI period carved and giltwood trumeau mirror with antique mercury glass panels. A period oil on canvas painting of an expansive landscape with hunters is enclosed in a carved giltwood arched framework, surmounted by a stylized shell cartouche and supported by carved giltwood laurel...

Blue and white Delft handled chinoiserie vase. Antique Dutch porcelain vase with rich blue flowers and chinoiserie fencing in a lustrous glaze; with scro...

A rococo cabinet made in Sweden, probably made in Stockholm, about 1770. The secondary color has been removed and left the originally color with ind...

NOTE: We do not keep this in the showroom. Please let us know if you're visiting and would like to see it. Rarely does a first edition Portland vase...

Title: Der Rote Brachvogel - Hand-Colored Engraving of the Red Curlew by Johann Michael Seligmann, 18th Century This vivid hand-colored engraving, titled 'Der Rote Brachvogel', depi...

Swedish baroque centre table from the late 1700s. The table is a work table and rustic and primitive in its construction. The detached table top i...

Antique fireback / backsplash, coat of arms lions. Nice square cast iron antique fireback displaying a the coat of arms with two lions. Great co...

Life-sized Bronze Statue of Hermes, 18th Century, French, After Giambologna Direct, as seen photographed, from a Greenwich CT mansion comes t...

Oval with beaded and reeded outer frame, outer mirror frame with mounted paterae and inner leaf tip molded frame and oval plate.

Title: Hand-Colored Optical View of Buitenhof, The Hague, by Jacob Wagner, ca. 1760 This hand-colored optical view, created by Jacob Wagner and published around 1760, depicts the Bu...

c. 1770s pedal harp manufactured by Georges Cousineau (1733-1800), a French luthier who specialized in harps; Cousineau's signature is present on the soundboard as well as the city o...

Huge Carved Stone Center Water Fountain Column Spout Basin Architectural Element . This exquisite large Carved water Center fountain with Basin of the late 18th Century Early 19th Century . The decades left its marks and a very nice patina that changes with the seasons . A Grand and imposing Architectural elements Focal center sculpture and water pool Basin coping . This water feature will be the focal point in any landscape design commercial and or residential palatial . The fountain originally was with a dug out fountain basin in the ground, with a coping stone surround, then decades later they added two stone basins to it , to make it easy for the daily use at the time. then when we purchase it, we decided to take it back to the original design, of a center column with crown and the original carved urn that holds the crown in place with the right amount of weight. and we removed the basin, and we left the coping. so when you install it, you create the basin in the ground and you will have the coping to mount all around. It is a piece of art , sculpture lion figures fountain Head Spouts...

Larger than the typical Louis XV writing desk, this cherrywood bureau de pente was hand-carved in France during the late 1700’s, just after the period ended. This type of desk went by several names, including bureau dos d’âne and secrétaire à dessus brisé, and they almost always featured a fold-down writing surface. Four long, slender cabriole legs, which are typical of Louis XV writing desks, provide a sturdy base for the beautiful desk. The curvaceousness of the legs continues throughout the desk, from the subtly contoured sides to the highly sinuous apron on all sides. Set within the apron are two drawers with round bronze pulls that flank a faux center drawer with a foliate and shell handle. The fold-down writing surface, which has a functioning lock with a foliate escutcheon, opens to reveal eight small arbalete drawers arranged in four columns. Above the topmost drawers of each column is an open storage compartment. There are two more larger storage compartments in the center above a false-bottom hidden compartment. The fold down writing surface is held by a set of polished steel arms. A graceful and functional bureau de pente from the late 18th century, this cherrywood slant top writing desk...

This is a very decorative French Faience plate dinner plate made from tin-glazed earthenware (pottery) which we date to the late 18th century. The plate has a pan shaped base with n...

This gorgeous 18th-century Chinese plate was meticulously hand-painted in the Famille Rose style during the Qianlong period of the Qing dynasty, circa 1770. The center features a del...

English Chippendale mahogany and satinwood fall front secretary / bookcase with a molded edge pendent cornice, flanking upper case hinged original glass doors revealing removable int...

Very fine and rare Old English Sheffield plate hand engraved "Armorial" Dish Cover with maker's marks for Matthew Boulton and a later "married" sterling silver Rococo style handle. ...

18th century small yew wood dresser circa 1780. Lovely piece of characterful furniture, which due to it's smaller size is ideal for many uses around the home. Made from yew wood. O...

Decorative Set of Blue and White Porcelain Plates, China, 18th Century This striking and unusual set of 19 blue and white porcelain pieces includes plates, platters, and lidded pla...

When you want the room to make a elegant statement... This very impressive unique English-made Pine breakfront fire surround will set an important tone within the room. A well propo...

18th Century Oak Dresser Base. An oak dresser base or sideboard, the top with good colour and patination. The three drawers with brass teardrop pull handles. The sideboard raised on ...

A fabulous quality 18th Century inlaid mahogany bowfront chest of drawers, having a lovely figured top decorated with chequered inlay, four long graduated drawers below with finely e...

Hand carved stone container fountain basin trough planter sink Antiques LA CA . Large, exquisite 18th century water fountain basin of hand carved stone. t...

Late 18th Century French Louis XVI Period Walnut Bergere with Tapered Legs & Downswept Arms

Dutch Stoelklok Arched bracket with two painted mermaids, gilded lead cresting moulded with two lions beside an armorial crest, side glazed windows ...

18th Century Mater Dolorosa Religious Oil Painting, Antique Spanish Colonial Religious Oil Painting, Our Lady of Sorrows Painting, Antique Religious Oil Painting...

Louis XVI mahogany chest of drawers with brass hardware and a marble top, circa 1800. With a grey, black and white marble top with molded front and side edges and canted front corner...

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...

Chinese six-panel folding screen with decorative carved forest with standing and flying cranes, with reverse side depicting village and figures of people, terminating on brass square...

Japanned steel clock face with English roses in the spandrels and center with an Arabic numeral dial. The clock face retains its original steel ha...

American Federal Mahogany Tripod Table, late 18th century, the circular top above a turned baluster column, issuing three splayed legs, on pad feet. 26.5" H x 23" Diameter.

Antique stylish gustavian commode from Stockholm made around 1790. The commode is from the Swedish gustavian period or neoclassical as it’s more known internationally. The commode ha...

Ormolu bronze mantel clock flanked by a troubadour and musical instruments, signed 'Ferdinand Berthoud a Paris'. The end of the 18th and beginning of the 19th century was a crucial time in which new technological advances helped to make watches more accurate and more portable. During the 1790s, the production of gilded bronze increased considerably as working conditions improved. The freedom of trade initiated by the French Revolution allowed many casters to develop large factories. The new factory environment gave them a chance to execute all stages of bronze work including drawing, casting, gilding, assembly, and trade of art objects. While the bronzers took creative liberty in creating all kinds of clocks in contrast to the noble and rigorous structure carried by the movement of neoclassicism. Under the reign of Empire, the case designs started gradually to develop away from a proportionate and strict classicism towards a baroque style and revival style. The rediscovery of medieval civilization was one of the intellectual curiosities of the beginning of the 19th century, with much input from the Ancien Régime and its institutions, rites and the medieval churches in which family ceremonies occurred. This early nineteenth-century figural mantel clock is surmounted by a medieval musician. To be more precise, it is a french troubadour. Troubadours were known for composing and performing lyric poetry for the nobility back during medieval times. The clock is featuring a chiselled bronze troubadour, dressed in medieval fashion while holding a flute, playing a tune from sheet music called "Du Troubadour" that is resting on top of the rectangular clock case. In addition to that, the clock features a gilt bronze lute or vielle resting on a small stool on the opposite side of the clock’s case. The white enamel dial features the inscription Berthoud and is underlined by a bronze entourage chiselled with palmette motif, plus encompassed by c-scrolls and wreaths. The original hands are in blued steel and encircled by Roman numerals indicating hour next to Arabic numerals indicating minutes. The small details that adorn the hexagonal plinth are reliefs, depicting two water fountains or basins on both sides with a lyre in between. The sculpted image of a lyre raised above the background features also foliage garlands tied on top with ribbons. The clock rests on seven spinning feet. The clock was made in the well-known workshop of the Berthoud’s family that was recognized for their excellent work by the King. Berthoud Clockmakers History. Ferdinand Berthoud was a horologist and author of extensive treatises on timekeeping as well as a Swiss clockmaker serving the king of France, that produced many marine clocks, including a weight-driven version that inspired the first American sea-going clock. He was born in Plancemont, Switzerland, the son of an architect and judiciary. In 1741 he began a three-year apprenticeship as a clockmaker under his brother, Jean-Henri. He made his first marine chronometer in 1754 (sent for trial in 1761) and in 1764 was appointed a member of the Royal Society, London and Horloger Mécanicien de Sa Majesté et de la Marine ayant l'inspection de la construction des Horloges Marines. In 1769, Ferdinand Berthoud sent for his nephew Pierre-Louis Berthoud (1754–1813), commonly known as Louis Berthoud, a talented young watchmaker and clockmaker, inviting him to come to Paris from Couvet, Switzerland, to pursue his apprenticeship. Louis helped Ferdinand manufacture and repair the sea clocks...

A 18th-19th century, light-grey, white antique Swedish Gustavian two part bureau made of hand crafted painted Pinewood, in good condition. The Scandinavian secretaire is composed wit...

This is a stunning part-dessert service made by Derby between about 1795 and 1800, painted with named botanical studies by John Brewer. The service consists of a lidded sauce comport on a stand, two kidney shaped dishes, two lozenge shaped dishes, one lozenge shaped low footed comport...

This original antique map is an 18th-century nautical chart by Laurie & Whittle, a well-known British firm that was involved in the publication of maps, charts, and maritime books. ...

Dutch Delft blue and white lamp. Beautiful large Delft faience vase mounted as a lamp with bold floral decoration and borders with spectacul...

For sale is a good quality early 19th century double gateleg table. The solid oak top above nicely turned barley twist legs, the two flaps support...

Large boat bed in solid mahogany flamed, mahogany veneer, with rich decoration of finely chased and gilded bronzes, Empire period. Four baluster uprights, dec...

This is a hard paste porcelain waste or slop bowl by New Hall in a hand painted Chinoiserie figure pattern No. 20, dating to the late 18th century, circa 1790. The bowl is well potted on a mid depth foot. The decoration is hand-painted using bold enamels in a charming chinoiserie figure pattern, number 20, showing a Lady with a parasol being presented a flower by a young man, all by a fence in a garden setting. The inner rim has a repeated border pattern and the inside base has a hand painted flower bud sprig which is worn and faded. This is a recorded New Hall pattern No 20. Overall a charming 18th Century Bowl...

Octagonal tray in Chinese porcelain for export. Qing Dynasty, Qianlong period (1736-1795). Polychrome and gilded decoration, with flowers. The central motif features a delicate flora...

This is a very rare and stunning vase with cover made by Chelsea-Derby in 1783-1784. The pear-shaped vase stands on a square foot and has two handles with moulded floral chains, and ...

A large French Louis XVI mahogany extension dining table with five leaves This exceptional table is highly decorative and very functional with many lengths available with the additi...

Pair antique Chinese export porcelain rectangular form urns with covers, in Nanking pattern, circa 1790's. Good color and crisp detail. Fanciful dragon form handles. These make an im...