Late 19th Century Furniture

A very good carved walnut Swiss German Black Forest writing box, folding desk desk, Brienz Switzerland, circa 1890. The slant front is finely carved in relief with a design of quills...

This is an antique Kutani tea service. A Japanese, porcelain 6 person teapot and cups set, dating to the late Victorian period, circa 1900. Superb Japanese tea service...

74044 Oversized Late 19th Century Antique Persian Serapi Rug, 16'04 x 22'05. This magnificent hand-knotted wool antique Persian Serapi rug epitomizes the grandeur and elegance of 19th-century Persian artistry. Its breathtakingly abrashed red field serves as the perfect backdrop for a concentric octofoil medallion, exuding an air of regal sophistication. The central medallion is anchored by graceful palmette pendants at each end, evoking a sense of symmetry and refinement that is characteristic of classic Serapi designs. As the medallion blooms outward, the richly detailed pattern draws the viewer's eye to the interplay of vibrant colors and meticulous details that unfold throughout the field. Surrounding the medallion is an enchanting array of geometric floral motifs, delicately arranged in a rhythmic pattern. Each element—serrated leaves, stylized florals, rectilinear vinery, buds, and rosettes—adds to the complexity of the design, while the use of bold and contrasting hues creates a visually captivating tapestry. The corner spandrels, reflecting the motifs within the main field, are outlined with elegant cloudband accents, adding a touch of ethereal beauty to the composition. The interplay of colors, from the deep indigo blues to the rich reds and beige highlights, showcases the weaver’s mastery of natural dyes and nuanced color gradations. Framing this harmonious design is a classic samovar turtle scroll border, a hallmark of fine Serapi rugs. This traditional border, with its stylized florals and curling vinery, is flanked by a double inner and outer carnation meander guard band that unifies the composition. The elegant framing not only defines the central field but also draws the colors and motifs from within, creating a seamless transition that enhances the overall sense of balance and harmony. The meticulous detailing and proportionate layout reflect the influence of both tribal and courtly weaving traditions, making this oversized antique Serapi rug a rare blend of sophistication and rustic charm. Steeped in history, this exquisite Serapi rug is more than just a decorative piece—it is a testament to the rich weaving heritage of Northwest Persia. Such oversized Serapi rugs were woven for grand interiors, gracing the floors of opulent residences and state buildings with their majestic presence. The rug’s exceptional artistry and luxurious appeal make it a true collector’s item, capturing the essence of Persian elegance and timeless beauty. Whether displayed as the focal point of a grand living space or as a statement piece in a hospitality setting, this masterpiece exudes an undeniable sense of history and artistic mastery. Rendered in variegated shades of brick red, ruby red, crimson, in +blue, navy blue, cerulean, royal blue, beige, sand, tan, ecru, taupe, dark rose, and sky blue with other accent colors. Abrash. Hand-knotted wool. Made in Iran (Persia). Hotel Lobby Size Carpet 16 x 22 Rug...

An antique Japanese silver wire enamel Kogo box for incense. Early Meiji period. The oval shaped box is covered with polychrome medallions representing a pair of Phoenix birds and fl...

Magnificent Antique French Louis XV Rococo Armoire. This cabinet is in remarkable condition considering its considerable age. Imported from Europe featuring exquisite carved details ...

I want to offer you this beautiful set of eight Meissen dessert plates. Each plate is painted with a different central flower bouquet. Inside th...

Louis XVI style Bouillotte table in walnut and marble top, 19th century. The circular top of variegated white marble within a perforated brass gallery, on a frieze, raised on fluted ...

Antique American Colonial Cherry Wood Wavy Glass Door China Cabinet Hutch Top. Item features individual panes of antique wavy glass, blue painted interior, solid wood construction, q...

This is a highly decorative antique Victorian silver plated folding biscuit box, the base bearing the makers' mark of the renowned silversmiths Fenton Brothers of Sheffield, England, circa 1890 in date and bearing the Staniforth's Patent mark as well as the registration number 3549. It has a beautifully shaped body sitting in a cast frame with remarkably chased branch supports and the original interior features elegant hand-pierced dividers. It opens out into two halves and is held shut by gorgeous laurel wreath loose ring handles at the top. This wonderful container could house anything from sweets to biscuits or trinkets. Whatever you choose to store in this lovely item you are sure to do it in style. Condition: In excellent condition, please see photos for confirmation. Dimensions in cm: Height 25 x width 19 x depth 15 Dimensions in inches: Height 10 inches x width 7 inches x depth 6 inches Fenton Brothers Ltd Sheffield Firm established in 1875 at South Moor Works, East Street, Sheffield by John Frederick Fenton...

Majolica Pink Daisies Plate Sarreguemines, circa 1890.

Biedermeier Secretaire From the 2nd Half of the 19th Century Imagine a piece of furniture that marries the clean lines of Northern European design with the warm glow of richly figur...

This striking bulbous jardinière is a fine example of traditional Japanese Imari ware, likely dating to the late 19th century (Meiji period, circa 1880–1910). Crafted in porcelain, t...

Late 19th century slag pendant light / chandelier. Alternating green and yellow stained slag glass panels arranged in a traditional flower petal / umbrella shape with brass collar at...

We kindly invite you to read the entire description, as we strive to provide you with detailed technical and historical information to ensure the authenticity of our items. This eleg...

19Thc Side table with pad feet and very nice finish /patina.The condition is very good.

19th Century Majolica chocolate oyster plate with green seaweeds Luneville. Reference: Page 43 "Oyster plates" of J. Karsnitz.

Important Venetian 1910s Chippendale-Baroque Revival bedroom set in carved walnut and burl walnut applied. Original mirrors and handles. Polished with wax. Top bedside tables and dresser in Imperial gray marble Excellent condition. Measures cm: Bed H 144\82 x W 176 x D 216 Cupboard H 230 x W 202 x D 56...

Large English Victorian Hunt Scene Jardiniere Circa 1890. Decorated with hound dogs with a deer. Dogs heads handles. 19.5 by 8.5 inches.

Rare antique 19th century table clock in ormolu gilt bronze. Characterized by a refined decoration chiseled in bronze, in the upper part a s...

Arina Hugenholtz (1848-1934) - Untitled - Extraordinary watercolor and gouache painting on paper - depicting a shepherd and his sheep resting under trees next to a lake - signed lower right - Netherlands (Laren) - late 19th century. Excellent antique condition - strong color with no loss or restoration to the painting - toning to the back of the paper from acidic back boards - unframed - signs of age and use. Painting Size - 11" (28 cm.) Wide x 7 7/8" (20 cm.) High. Arina Hugenholtz (1848-1934) - Closely associated with the Laren School (offshoot of the Hague School) - early tutoring by Anton Mauve...

Antique Louis Philippe style burl walnut chest of drawers with marble top, late 19th century. With a rectangular Saint Anne's marble top with canted corners, 4 matched burl walnut dr...

French majolica oranges wall pocket signed Perret Gentil Menton circa 1890.

A rare precursor to our modern refrigerator and freezer, this rustic cabinet in pine has an interior that is lined with zinc and a central compartment where the ice was kept, Norther...

An extraordinary Beautiful antique Kirman hand-knotted wool rug with a beige and red field. This Persian rug has multicolor accents in a gorgeous medallion floral pattern design. ...

Late 19th Century N.W. Heriz Carpet, Size: 14' 8" x 23' 2"

An antique Victorian style wrought iron garden gate, decorated with an elaborate repeating, timeless scrollwork design. This beautiful traditionally-made side gate will work in sett...

Glass Body with Silver Plated Mounts From our Glassware collection, we are pleased to offer this Art Nouveau Silver Plate Swan Decanter by WMF. The Deca...

Good condition Ebonized Napoleon III Bedel & Cie Parisian made Boulle style centre table. One centre drawer, four cabriolet legs. The table is heavily decorated with bronze sabots, k...

This is an antique incense burner. An Oriental, brass censer, dating to the late Victorian period, circa 1900. Appealing golden tones and of tactile f...

Majolica white swan jardinière Delphin Massier Vallauris, circa 1890.

A good antique Imperial Chinese Qing dynasty, Guangxu period yellow glazed and incised decorated dragon bowl, mark & period, circa 1875. The bowl...

A magnificent hammered silver plate candy box designed by Dr. Christopher Dresser for Hukin & Heath, boasting an elegant scrolled branch handle and a beautifully ruffled lid. The bas...

PRESENTING AN ABSOLUTELY STUNNING Large ‘Huntsman/Valet with his Hounds’ Bronze Sculpture by PJ Mene – 1869. This is a LARGE sculpture, weighing over 175 lbs....

This is an antique master shipwright's chest. An English, ebonized mahogany tool trunk with ornate interior, dating to the Victorian period, circa 1880. ...

A large and versatile 19th Century Victorian lightly veined Carrara marble fireplace surround. A generous top shelf rests above a stepped frieze with a high relief central flower. Fl...

Eye-catching gilt florentine wall mirror out of Italy dating back to the end of the 19th century around 1890. The large, outstanding looking, open worked frame is ornamented by elaborately handcarved acanthus leaf motifs, confering the piece a sense of luxury mixed with a calming feel of nature as well. Extraordinary shaped lines combined with an artfully made top showing a large weeping acanthus leaf in the center, deserves this antique wall mirror a real unique appearance. This gilt florentine mirror...

A superb Napoleon III Ormolu Mounted Empire Revival Flame Mahogany Partners Pedestal Desk, Circa 1870 in date. This imposing Empire Revival partners desk is mounted with fine ormolu...

This festive hanging rack is a wonderful example of the folk art found in Eastern Europe during the 1800's. The original blue painted background has traditional contrasting red trim....

Available from Shogun's Gallery in Portland, Oregon for over 40 years specializing in Asian Arts & Antiques. This is an Antique Japanese Yonezawa Kimono chest or Ishodansu. This che...

This is an antique privacy screen. An English, handpainted pine 3 panel room divider in Japanese taste, dating to the Victorian period and later...

1874 Map of Western United States by Keith Johnston – Detailed Atlas This is an original antique map titled “United States of North America (Western States)” by Alexander Keith John...

***Reduced Delivery Rates - See Below or Click “Ask The Seller” to Request a Quote*** Antique Renaissance Revival Carved Walnut Figural Marble Top & Mirrored Hall Tree with Lion Hea...

Period: 19th century Condition: Perfect condition Material: Wool & Silk Width: 210 cm Height: 170 cm Depth: 0.5 cm Located a stone's throw from the Eiffel Tower in Paris, we are a F...

French Napoleon III majolica slip aperitive or dessert set by Jerome MASSIER, Vallauris, France, end of 19th century. 6 (2x3) plates : anemone, pansy and daisy - Diameter : 7.5"(19cm). 1 platter with the three same flowers - Height : 3"(7.5cm), Diameter : 13"(33cm). Platter and plates (except one) are intaglio stamped. "J.Massier Vallauris" (platter), "Jerome Massier Vallauris" (4 plates) "Jerome Massier Fils Vallauris AM" (1 plate). Excellent original condition (an original crack in the firing on a plate, see last photo). The Massiers’ work represents a link between traditional Victorian majolica and Art Nouveau pottery. There were three Massiers working in the second half of the nineteenth century, heirs to an old line of potters, who transformed traditional utilitarian ceramics into an art form. Their ancestors had worked for several centuries in Vallauris on the French Riviera, where, in the twentieth century, Pablo Picasso was reigning ceramic artist. Delphin Massier (1836 - 1907), and Clément (1845 -1917) were brothers. A cousin, Jérome (1850 – 1916) worked with them, using the signature « Jérome Massier fils ». By 1899 the family firm was divided into branches headed by these three men. In 1860 the Massiers began to produce their vibrantly colored majolica, perhaps inspired by the flowers of the Cote d’Azur. Clément was particularly interested in designs drawn from ancient Egypt, Greece, and Rome, as well as from Renaissance maiolica...

Late 19th Century Catalan Spanish Carved Walnut Console Table with Three Drawers

Campaign style brass mounted mahogany English traveling desk, late 19th century on a late 20th century stand. The rectangular mahogany top inset with a central plaque that reads "Ric...

From Northern Spain, constructed of solid walnut, the rectangular top with molded edge atop a conforming case housing two drawers over two doors, the doors paneled with solid walnut,...

Antique Tekke Main carpet or rug. A handsome antique tribal carpet, woven by the Tekke Turkmen tribal groups in Central Asia. Featuring one of the mo...

Late 19th Century chest of drawers painted in black. This classic Gustavian commode is a very versatile piece that works well in a foyer, living room or bedroom.

Antique English Georgian Style Mahogany Corner China Cabinet Display Case Curio. Item features individual panes of glass, pencil inlay, solid wood construction, beautiful wood grain,...

Beautiful walnut desk table that can be used as a desk or work table. Made of robust walnut wood. All its legs and stretcher are Solomonic and it has a drawer with its iron handle, i...

A beautiful finely carved British Colonial wooden circular side table with a pedestal leg.

19th century Swedish birch curule stool circa 1890. Elegant Scandinavian birch stool with empire influences. Shaped arms with inlaid fans to the top of each end. Generous seat, upho...

Eagle weathervane in a beautiful form with great folk presence, possibly made by A.L. JEWELL & CO. (1852-1867) or its predecessor, Cushing & White / ...

High victorian inlaid black marble mantel clock circa 1870. Fine quality mantel clock of large proportions from the period in victorias reign when it was in vogue to commemorate the...

19th century spongeware pitcher. Great smaller sized pitcher with hand painted sponge pattern. Great pitcher with beautiful blue and wh...

José MANGE (1866-1935) Still life with carnations Oil on canvas signed lower right Size : 31.5 x 40 cm unframed. This is a pretty and colourful impressionist still life of carnation...

***Reduced In-House Delivery Rates - Click on “Ask Seller” to Request a Quote*** Antique Mott Iron Works Victorian Painted Cast Iron Garden Love Seat With Trellis & Floral Pattern C1...

Antique English Server Sideboard Barley Twist Carved Oak Renaissance Dumbwaiter. Direct from England, a fabulous antique server or dumbwaiter, quite large and majestic, over 4 ft. t...

Description: A fine depiction of Guanyin, possessing the regal tranquillity that the Chinese Bodhisattva of compassion has come to be visually associated with. Marked by an urna signifying her spiritual enlightenment and crowned with a diadem depicting the Buddha Amitabha, the figure is immediately recognisable as Guanyin. Her androgynous figure is gracefully poised in the Lalit asana or “royal ease”, the pose classical in representations of the deity. The figure is asymmetric, with the weight of her supple form falling upon her left hand placed against the base, her right knee raised and left pendant. Her right hand rests upon her raised knee, delicately pinching at her draped attire. At first unassuming, this gesture may be suggestive of the Apana Mudra, the seal of purification. This Mudra is associated with physical wellbeing, fecundity and the cleansing of the body. Though she is adorned in the princely garb of dhoti, she bears features of idealised feminine beauty as prescribed in Asian art. With plump cheeks and near pouted lips, her full face gazes down upon the viewer with an empathetic and half-lidded gaze, upholding her title as ‘One who hears the cries of the world.’ Notes on the item: Guanyin is the Chinese interpretation of Avalokiteshvara, the Indian Bodhisattva of compassion. The term “Bodhisattva” is derived from the Sanskrit “Bodhi”, meaning ‘awakening’ or ‘enlightenment’, combined with “Sattva”, meaning ‘spirit’ or ‘being’, referring to one on the path to achieving enlightenment. Bodhisattvas in Mayahana Buddhism are recognised as figures who have effectively achieved enlightenment yet relinquish their accension to nirvana in order to remain amongst mankind in the ultimate act of compassion to aid as spiritual guides. As such, the Bodhisattva inhabit a liminal space between samsara and nirvana; enlightened beings that maintain a relationship with humanity that buddhas cannot, as attaining Buddhahood necessitates the abandonment of all worldly attachments, including mankind. Guanyin’s very name, ‘One who hears the cries of the world’ highlights this role as a compassionate figure who acknowledges the suffering and strife of man. Along with Mahāsthāmaprāpta, a fellow bodhisattva, Guanyin serves as an attendant to Buddha Amitabha, with these three deities recognised as the Three Sages of Western Pure Land Buddhism, a sect of Mayahana Buddhism popular in East Asia. Avalokiteshvara is commonly posited to have been adopted from Indian Buddhism into China as Guanyin around 200-400 CE, however it was the Tang dynasty (618-907) which saw the popularisation of the deity. By the Ming (1358–1644) and Qing (1644–1911) dynasties, Guanyin held the position as the most popular female deity in China. The unique state of religion in China held no monolithic canon regarding Buddhism and saw the assimilation of several belief systems, primarily Daoism, Buddhism and Confucianism. Consequently, Guanyin became a deity to be revered beyond Buddhism alone, appointed as both an official imperial deity and Daoist deity in the 12th century. Guanyin may also be seen to fulfil the role of idealised femininity as prescribed by Confucianism, with the scarcity of female Chinese deities perhaps accounting for the gradual gender shift Guanyin underwent. The Indian Avalokiteshvara is unequivocally recognised as male, whilst the supposed gender of Guanyin remains contentious. Although there is a clear shift from the masculine Avalokiteshvara towards a more feminine representation, it is unclear if Guanyin is understood to be entirely feminine, to inhabit qualities of both genders or to be elevated beyond gender entirely, embodying neither. Depictions of Guanyin are highly androgynous, which some believe lends credence towards Guanyin symbolising the unity of dualistic forces as recognised in Daoism, displaying the anthropomorphism of yin and yang. Comparative Analysis: Market comparisons of similar Qing Dynasty polychrome figures of Guanyin include lot 767 (no.2) From Christies ‘Important Chinese Ceramics and Works of Art,’ New York, 25 March 2022, with the price realised USD 52,920 (Estimate USD 20,000 – USD 30,000). Christies also auctioned a comparable polychrome Guanyin...