19th Century Decorative Art

An antique solid mahogany Ship’s Wheel with good size and weight. The axle has an iron core and polished brass front cap and both sides of the whee...

19th century oak hand carved framed armorial from England. The central design is of a shield with two wheat shafts, flanked by decorative scrolls, and topped with a regal standing li...

Rare Turkoman hand-knotted decorative asmalyk which is a camel trapping used in weddings. Measures: 31 inches tall to end of tassels. See other measurem...

Imperial Imari 14.25" charger with large gilded eagle and gilded flying crane, Japanese, Meiji period, circa 1870.

Large ornamental mirror in the Neo-Renaissance style, Henri II. This mirror has been patinated in grey and white. Mirror with double columns on each side with pedestal. It is a m...

Framed, signed and dated.

A pair of large porcelain plaques in their original carved gilt frames. Marked on verso, date to late 19th century. Plaques without the frames are 10.5” in diameter.

Wooden Micro Carving Plaque by Johann Rint ca. 1880 A small wall plaque with detailed relief carvings worked out of linden wood by Johann Rint ca. 1880....

Orientalist Framed Painting of an Arabic City Dated 1884 Measurements with frame: 35.5x43x4cm.

A set of three framed William Morris wallpaper panels in the Honeysuckle (yellow), Fritillary (teal), and Sunflower (red )patterns. The 'Honeysuckle' pattern wallpaper panel was des...

Four rectangular wooden molds, carved and framed. The molds show signs of wormholes, with some dated 1836.

Hand-picked by buyers at Ann-Morris Inc.

19th century cast iron shoemaker’s trade sign A highly decorative example of a late 19th century cast iron French shoemakers shop trade sign. Hand crafted from a hand cut iron metal...

A very beautiful and impressive "Fil De Soie" art piece. A silk panel intricately embroidered with silk threads creating a stunning work, housed in a giltw...

Set of three "Temperance" color engravings by Cruikshank, 19th century Each measures 13" x 9". The frames measure 20.5" x 17.5". Offered as a set of three only. Good antique...

A most attractive complete set of twelve Italian 19th century Neo-Classical st. Marble, Ormolu and patinated Bronze plaques of The Twelve Caesars. Each wonderfully decorative plaque ...

Excellent advertising poster for Manchester, New Hampshire shoe store W.P. Farmer, circa 1880. Printed by Johns & Co. Litho, Cleveland. A great and unusual...

Japanese Edo Period Nabashima Porcelain Blue Plate with Three Sake Bottles, Ca. 1850 PERIOD Edo Period ((1603-1868) – Mid-19...

Hand-carved in France, circa 1880, this wooden bracket console features a wonderfully executed winged angel beneath an angular entablature. The innocent visage of the cherub is augme...

Probably inspired by the earlier Boucher's Spring (of the 4 Seasons series), shepherdess with her flock and baskets of flowers. Colorful in an antique (possibly original) frame (with...

A pair of antique Grand Tour style framed watercolour paintings after Michelangelo’s the Hours of the Day and Night. Both paintings depict angelic figures, one playing a tambourine,...

By Jane Peacock age 8. With a Friendship poem along with embroidered birds, squirrels, and a charming house in the country with a dog in the yard. A pretty floral vine border on all ...

Floral bouquet chintz appliqué quilt square in red, blue, tan, and brown. Framed with a silk mat in UV filtering plexiglass box frame. American, circa 18...

An antique 19th century coat of arms panel of Bristol. This shaped mahogany panel baring the Bristol coat of arms has a polychrome shellac finish and mounted in a shaped moulded fra...

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. Tajikstan Ready to go on a wall. Fra...

Important Panel – La Fontaine’s Fable: The Crow and the Fox Repoussé Leather & Dinanderie – Art Nouveau – Circa 1890 A decorative masterpiece of remarkable scale, this panel encapsu...

Alfred Renoleau French Palissy Majolica platter which features a lobster, a frog and shellfish. Colouration: green, blue, ochre, are predominant. The piece bears maker's marks for th...

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

A stunning and most impressive set of twelve Italian 19th century Neo-Classical st. Bronze, Alabaster and Black Belgian marble plaques of Roman emperors. Each exceptional plaque is c...

This exquisite late 19th-century Vienna porcelain charger features a vibrant depiction of “Venus in the Forge of Vulcan.” The scene captures the mythical goddess of love, Venus, surr...

Lot of nine 19th century Indian "Company School" miniature gouache paintings on mica. Shows nine men in different white attire. "Company School" paintin...

French pair of carved-wood decorative wall panels from the 19th century. This antique pair of wall ornaments from France are each rectangular i...

French Botanical study of various flora from the end of the 19th century and beginning of 20th century, plate includes species identification. The frame is from reclaimed wood. Part ...

A fine landscape watercolour of Caernarvonshire Golf Club, Conway, by H.C. Whaite. golfers in the left hand corner, the course, sea and mountain range making up the rest of the painting. There are catalogue extracts on the rear of the painting 'Mullock's, Sporting & Golfing Memorabilia...

Friedrich Ortlieb (German, 1839-1909) A fine and large oil on canvas titled "New Year's Day at The grandfather's". The joyful indoor family scene depicting a Christmas and new year's celebration with an elder seated couple, the grandparents, the grandmother holding a toddler on her arms, the grandfather with his smoking pipe by his side, both enjoying a young boy's (grandson) poem recital, while other children await their turn with gifts as the mesmerized young parents Stand and watch in awe. A Christmas tree by the window, a cat sneaking by and a basket with wine and bread awaits being delivered as a gift to the elders. A young boy sits patiently on a chair, an apple and an umbrella by his side. Signed: Fried Ortlieb, München 1873 - (lower right). An engraved brass plaque reads "New Year's at the grandfathers - Friederich Ortlieb 1839-1909) Munich, circa 1873. Friedrich Ortlieb was an accomplished artist, born in Stuttgart in 1839 and died in Munich on the 4th October 1909. He received his formal art training at the L’Ecole des Beaux-Arts in Stuttgart and also at Steffeck, Berlin. He exhibited widely, though most notably in Dresden and Vienna from 1871. He is best remembered for his genre scenes with children as shown in this finely detailed example of his work. Epitomizing the very best in this genre, Ortlieb depicts the character and personality of the children in joyful situations with accuracy and great sensitivity to the subject matter, a frozen moment in time with so much detail and emotion expressed in the children’s and elder's faces. Related literature: E. Benezit, Dictionnaire des Peintres, Sculpteurs, Dessinateurs et Graveurs by Gründ, Volume 8, Page 41 Provenance: Grogan & Company, Dedham, December 5, 1999 - Sale No. 81, Lot 13 Gallerie in Paris, 2000 Christie's New York 2003 Paris art gallery...

A fine flemish 18th-19th century Verdure landscape tapestry, the wool and silk tapestry centered by a scene of a tall tree within a forest background and a foliage border. Circa: 180...

18th-19th century Old Master "The Holy Family" After Anthonius van Dyck Fine old master painting depicting The Holy Family after a painting by Flemish artist van Dyck. Original...

Early copy of Dutch painting. Oil on canvas in antique style wooden frame. “Elisabeth Bas (1571, in Kampen – 2 August 1649 in Amsterdam) was a figure in the Dutch Republic. She was the wife of Jochem Hendrickszoon Swartenhont, an admiral in the navy of the Dutch Republic and military hero. The portrait is now in the Rijksmuseum Amsterdam, where it is known as Elisabeth Bas and attributed to Ferdinand Bol...

Royal House Antiques Royal House Antiques is delighted to offer for sale this stunning original pair of John W Morris signed Victorian oil painting of Sheep...

A 19th century Liverpool Delft blue and white 6-inch tile of a fox and a bird in a garden scene. This scene is intricately illustrated with stylised details of the fox as it carrie...

Antique Print of the Marquises Turbot (Passer marchionessarum) – Hand-Colored Lithograph, 1846 This beautifully detailed hand-colored lithograph depicts Le Turbot des Marquises (Pas...

Large wool and glass beads needlework panel of Mary Queen of Scots Scottish, circa 1870 Panel: Height 107cm, width 150cm, depth 2cm Frame: Height 155cm, width 187cm, depth 20cm Handmade by a group of Scottish sisters from the Stark family around 1870, this needlework picture panel portrays an important scene from British history. Mary Queen of Scots is seen weeping over the dying George Douglas of Lochleven at the Battle of Langside in which she was defeated. This event was significant because it let to Mary’s imprisonment in England under the command of Elizabeth I in 1568. The piece is crafted in polychrome wool with detailing such as jewellery or shadows are highlighted in shining glass beads. Charles Landseer’s painting...

19th century, French hand hammered plaque historicizing a village, circa 1850. Copper plaque in a wood frame.  

A striking Japonist wall clock crafted in dark carved wood, adorned with inlaid panels of deep green hardstone. The radiating fan-shaped structure is enriched with fantastical and my...

A very attractive set of four European 19th century prints in their original oak frames. Each beautiful print depicts soldiers on foot and horseback with chariots and boat marching o...

A Very Large and Exceptionally Fine Quality Antique Italian Micro-Mosaic Plaque Depicting "The Saint Peter Square" in Rome. The center medallion surrounded by a beautiful Laurel Wreath in multiple shades of Green Mosaic amidst a black Belgium Marble border. The interior rounded subject depicts Saint Peter Square which is found in Rome, Italy. The entire center panel is made up of a captivating array of tesserae in a variety of shapes and colors, which create this stunning mosaic construct. When inspected from up-close, small rectangular tesserae are found in an assortment of colors, which include: white, green, blue, red, black, brown, orange etc. When the subject is seen from afar, a fantastic image of the entire Saint Peter Square can be viewed as if a painting has been created. The oil on canvas of this scene, by was sold in Christie's Auction for over $2,000,000 USD. The plaque rests in a custom ebonized and gilt square frame. This can be used as a decorative object on the wall to serve as a painting, or, be converted to a table-top by mounting it on a table stand. Rome, Circa: 1850 Giovanni Paolo Panini (Piacenza 1691-1765 Rome), View of Saint Peter's Square, Rome. From Christie's Auction: Giovanni Paolo Panini arrived in Rome in 1711, painting capricci and architectural pieces in a vigorous if slightly eccentric style, and by 1719, when he was admitted to the Academy of St. Luke and the virtuosi al Pantheon, he was a rising star in the Roman art world. From around 1719-1726 he was much in demand for decorative frescoes, including quadratura, ornament and landscape and other genres, often in collaboration with figure or flower painters. During this period he worked for Cardinal Patrizi at Villa Patrizi, Cardinal Annibale Albani at Palazzo Albani (now del Drago) alle Quattro Fontane, Livio de Carolis at Palazzo de Carolis, Cardinal Alberoni at Palazzo Alberoni, Innocent XIII Conti in the Quirinal and in the library of S. Croce in Gerusalemme. In 1724 he married Caterina Gosset, the sister-in-law of Nicolas Vleughels, the director of the French Academy in Rome, to which he was admitted in 1732, and as a result he was much patronized by the French. During the 1720s he developed his figure style away from the awkwardness of his early works into one that concentrated on groups of stylishly-dressed aristocrats and skillfully modelled bystanders, sibyls and pseudo-antique figures. These he noted down in drawings (such as a sketchbook in the British Museum) that he drew upon to populate his paintings. He also began to receive commissions to design and record temporary festivals, often for French ambassadors to Rome. By the beginning of the 1730s Panini was developing a distinctive subgenre of the capriccio in which recognizable monuments are placed in imaginary topographical relationships, which were well-received in the classicizing era of Clement XII Corsini. In 1732 he was one of the panel of judges for the competition instituted by Clement for the Lateran façade, and in the following year painted an impressive View of Piazza del Quirinale for the pope. At about this time he was developing his best-known topographical subjects, interior views of St Peter's and the Pantheon, which were much in demand, to judge by the number of extant versions extending into the 1750s. By about 1734 he was beginning to attract the attention of English patrons, who ordered sets of Roman views, such as those at Marble Hill House (1738) and Castle Howard. In 1736, through Filippo Juvarra, he received important commissions from Philip V of Spain for scenes of the life of Christ in the Chinoiserie room at La Granja in Spain (1736). From as early as the 1720s he had been producing some vedute (view-paintings), initially based on prototypes by Gaspar van Wittel, and he developed the genre in subsequent decades in works that would include impressive panoramic views of the Forum or Palatine, although his staple genre was the capriccio rather than the veduta. He also expanded his repertory of church interiors, adding such churches as S. Paolo fuori le Mura and S. Agnese in Piazza Navona, as well as church interiors recording special events. His son by his first marriage, Giuseppe (1718-1805), began to support him in architectural and festival design projects. By the 1740s Panini was at the peak of his powers, and evidently had a considerable workshop helping him meet demand, especially of capricci to be used as overdoors and other decorative installations. Giovanni Paolo was successful in elevating himself socially above the usual artisanal status of genre painters, and would sometimes include a self-portrait in paintings commissioned by the great and powerful. He also appears to have been successful financially, and owned a substantial palazzo in via Monserrato. He increasingly concentrated on important commissions, such as a view of the Lottery in Piazza Montecitorio (London, National Gallery, 1743-1744), the designs for the festival decorations for the birth of the Dauphin in Palazzo Farnese (Waddesdon Manor, 1751), or the view of an imaginary picture gallery housing the collection of Cardinal Valenti Gonzaga (Wadsworth Atheneum, 1749). In the mid-1750s he received an important series of commissions from the Duc de Choiseul, French ambassador to Rome and soon to become one of the most powerful men in France, that included his best-known compositions, Ancient Rome (Roma Antica) and Modern Rome (Roma Moderna). These large paintings, of which there are three sets (in Boston and Stuttgart, the Metropolitan Museum, and the Louvre) represent imaginary picture galleries based on the Valenti Gonzaga composition but hung with what purport to be Panini's own vedute of ancient and modern sites respectively (with corresponding pieces of sculpture). These paintings sum up the eighteenth-century canon of the greatest works of architecture and sculpture, and the equivalence between modern and ancient Rome. By this time Panini was being assisted by his son by his second marriage, Francesco (1748-1800), who was a skilled draughtsman and painter who continued his father's work after his death in 1765. The Farnborough Hall paintings The Piazza S. Pietro and the Campidoglio are important vedute by Panini painted in 1750 and originally installed, with other works by Panini and Canaletto, in the seat of the Holbech family, Farnborough Hall, Warwickshire (National Trust). Farnborough Hall had been inherited in 1717 by William Holbech (circa 1699-1771), who is documented on the Grand Tour in Florence, Rome and Venice from late 1732 until his return home at the end of April 1734 with his brother Hugh. Holbech is said to have gone on the Grand Tour to recover from a broken heart and to have spent a considerable time there prior to these documented appearances. During his time in Rome he acquired two Paninis, which were seen by an anonymous antiquary around 1746, who referred to various sculptures "all brought from Rome with two pictures, one of the Rotunda, and the other of diverse buildings by Panino" (British Library, Add. MS 6230, pp. 31-32). The Rotunda (the Pantheon) is a painting now in a private collection in New York, and is signed and dated 1734. The Diverse Buildings, which was probably one of Panini's capricci, has not been identified. On his Grand Tour Holbech seems also to have acquired two Canalettos, although they are not mentioned by the antiquary, who may only have had eyes for things Roman. In about 1746-1747, Holbech remodelled the house by creating a Saloon, now the dining room, at the back of the house. This room, the entrance hall, the staircase, library and closet were stuccoed by William Perritt of York, and a bill for this work dated 14 November 1750 survives (or survived until recently; G. Beard, Decorative Plasterwork in Great Britain, London, 1975, p. 233). The two Canalettos acquired on the Grand Tour were installed in the Saloon, together with two new works commissioned from Canaletto, who was then in England and working nearby at Warwick Castle in 1748. The two Paninis acquired on the Grand Tour may have been installed in the Library, as Alastair Laing assumes (op. cit.), while three new works commissioned from Panini in Rome were placed in the Hall and Saloon: the Piazza S. Pietro for the overmantel in the Hall (fig. 1), the Campidoglio as the overmantel in the Saloon (fig. 2), and an Interior of St Peter's (now in Detroit) (fig. 3) on the adjacent wall facing the windows. Two of the Canalettos flanked the Campidoglio, while the others were on the opposite wall. The Interior of St Peter's was therefore effectively the fifth member of the Canaletto set, distinct from the two overmantels. Holbech's installation of his Canalettos and Paninis in fixed stucco frames was unusual for England in 1750, and had probably been inspired by what he had seen on his Grand Tour in Northern Italy, where fixed stucco installations of canvases were common in the 1720s and 1730s (Cornforth, II, p. 51). The Campidoglio and the Interior of St Peter's are both signed and dated 1750, a date that corresponds to the payments for the stucco. The commission for the new Paninis would have been made through an agent, possibly the Roman dealer in antiquities Belisario Amidei from whom some of the antique busts in the Hall were acquired in 1745, who was also a picture dealer; or perhaps the painter Pietro Berton, who on 7 December 1750 shipped a Panini to England. The paintings were sold to Savile Gallery in 1929 and replaced by copies by one Mohammed Ayoub. The four Canalettos were exhibited at Savile Gallery in 1930 and entered the London art trade, finding their way at various times to Augsburg, Melbourne, Ottawa and a private collection. The Paninis seem to have been resold immediately to Knoedler & Co. in New York. When the stucco was removed from the library by Holbech's great-grandson, another William Holbech, shortly after his succession in 1812, the Interior of the Pantheon and the Diverse Buildings may have been taken down. Although there is no record of either painting being at Farnborough subsequently, the Interior of the Pantheon at least must have remained there, since it appeared at Knoedler's in 1930 at about the same time as the other Paninis, and was presumably acquired at the same time from the same source. The Campidoglio was a rare subject for Panini: this is the only known extant version, apart from fictive versions in the Metropolitan Museum (1757) (figs. 4) and Louvre (1759) versions of his Roma Moderna composition (but not in the first Boston version of 1757). Probably Holbech insisted on the choice of subject in order to represent the centre of Rome's civic administration to complement the religious one of St Peter's. The Campidoglio may have been of interest to English patrons because it represented the seat of a form of government they were more comfortable with than the papacy. For example, Canaletto painted the subject, together with English subjects, for Thomas Hollis, 'the most bigoted of all Republicans' in 1755, who may have wanted to 'represent London as the heir to the legacy of Ancient Rome and Renaissance Italy' (see Michael Liversidge and Jane Farrington, eds., Canaletto and England, exhibition catalogue, Birmingham Museums and Art Gallery, London, 1993, p. 25). Canaletto also painted the subject for Sir Richard Neave, Ist Baronet (1731-1814) of Dagnam Park, Essex, at the end of his English stay or shortly afterwards (i.e. 1755-1766) (sold, Sotheby's, London, 10 July 2002, lot 8). Like Holbech, Neave mixed Venetian and Roman subjects, but his Roman subjects steer clear of St Peter's: the others were the Piazza del Quirinale and Piazza Navona. While Holbech had gone to both Venice and Rome and commissioned views of both cities, Rome sets the keynote for his decoration: antique busts line the Hall, and its religious and civic centres are the overmantels in the Hall and Saloon respectively. The Piazza S. Pietro The Piazza S. Pietro shows the piazza much as it appears today, apart from the absence of Valadier's late eighteenth-century clocks on the towers. Bernini's colonnade (1656-1667), both ends of which are visible, reaches out its arms to embrace the viewer. In the center of the piazza is the obelisk moved by Sixtus V in 1586 from the left side of the church where it had formed part of the Circus of Nero. On either side are two fountains, the one on the right by Carlo Maderno (1613) and the one on the left created to match it by Carlo Fontana in 1677. Beyond is the rectangular forecourt to the church, the piazza retta, leading to the façade by Maderno, completed in 1610, and the dome by Michelangelo, Giacomo della Porta and Domenico Fontana. To the right of the façade the roof of the Sistine Chapel is just visible, followed by the Cortile di S. Damaso, the palace of the Swiss Guards and the palace of Paul V. A Cardinal is being driven in a carriage across the piazza at the right in the direction of the Borgo Nuovo and Ponte S. Angelo with his blue-liveried retinue and subsidiary carriages. Unlike the later versions of the subject that depict the Duke de Choiseul, there seems to be no intent to portray any particular cardinal: the procession of a cardinal here is presented simply as characteristic activity within the piazza. Various groups of figures, including well-dressed women in brightly colored dresses, Swiss Guards, priests, gentlemen, idlers and a pilgrim are distributed around the piazza. In the foreground an imaginary heap of fallen masonry provides visual interest in an otherwise dead space. Panini painted the Piazza S. Pietro on a number of occasions, and his works falls into two types, one with the viewpoint shifted slightly to left of the axis, as in the Farnborough Hall version, and one with it shifted slightly to the right. The first type is based on a composition by Gaspar van Wittel, of which there are numerous versions from 1684 until 1721 (Fig. 9 van Wittel). The work by Panini that seems closest to Van Wittel and therefore probably the earliest is the version in the Circolo della Caccia, Rome, which has been dated to the second half of the 1730s, but is probably a decade or so earlier. Another, on the London art market in 2002-2009, and a version with workshop participation at Sotheby's, Milan (20 November 2007, lot 137) and currently on the art market in Rome, are closer to an important painting in Toledo (Arisi no. 308) that is signed and dated 1741 (fig. 6). Van Wittel employed a wide format (about 2:1), showed both of the end faces of the colonnade almost to their full extent, and introduced the theme of a heap of masonry to enliven the foreground. His choice of perspective implies a viewpoint located in the small piazza between the Borgo Nuovo and Borgo Vecchio, now the Piazza Pio XII at the top of the Via della Conciliazione. From this viewpoint a building at the left tended to interfere with the view of the end of the left arm, as can be seen from the Nolli map...

Located a stone's throw from the Eiffel Tower in Paris, we are a French family business specializing in the purchase, sale, expertise, cleaning, restoration and conservation of tapes...

Wonderful image after Domenichino Fine Steel engraving. Published C.1850 Unframed.

Set of 7 Antique Watercolour & Feather Bird Pictures , originating from Germany in the late 19th Century, each picture depicting a different bird perched on tree stumps in a natural ...

19th century oil portrait of a young man Original oil on canvas. Dimensions: 27.5" wide x 39.25" high. Signed lower left "Samuel"

19th C. Swedish Carved Pine Wood Clock Grandmother Grandfather Long Case Antique . Freestanding hand carved pine wood clock with all the original mechanics and hardware , weights rack...

19th century Japanese framed hand painted on Silk.

19th century oil on canvas fruit still life, after David Teniers the Younger or David Teniers II (1610-1690) was a Flemish painter, printmaker, draughtsman, miniaturist painter, staffage painter, copyist and art curator. He was an extremely versatile artist known for his prolific output. Beautifully and deftly painted, in original period handmade gold leaf carved frame...

Possibly inspired by a 1771 painting by Jacques-Louis David, this set of large gilded copper chargers depict the Roman deities, Mars and Minerva. The painting by David (Minerva Fight...

Antique Sampler, 1821, by Susanna Farrow. The sampler is worked in silk on a linen ground, mainly in cross stitch. Meandering strawberry border. Colour...

English School 3 Terriers Hunting Oil On Canvas in Wood Frame, 19th Century

Barbizon School (19th century) Forest Landscapes oil on canvas; oil on board 13 3/8 x 21 3/8 inches.

Frame with three miniatures. XIX century. Rectangular frame with a textile background that shows three oval miniatures with female portraits, enhanced with gilded bronze frames (the sides are finished with lacework, the central one crowned). The back has two rings at the top to hang the piece on a wall. Starting on the left and identified by small metal signs with black letters, we have “Madame Elisabeth” (Elisabeth of France [1764-1794] was the sister of Louis XVI and eldest daughter of Louis, Dauphin of France, and the Duchess Mary Josefa of Saxony), to “Marie Antoinette” (Marie Antoinette [1755-1793], archduchess of Austria and queen of France, was the daughter of Emperor Francis I and Empress Maria Theresa), and to “Madame Lebrun” (Louise-Elisabeth Vigeé LeBrun...

English fairground panel We share what we love, and we love this very well carved turn off the century fairground rounders panel/frieze, depicting a...

Two English antique ‘Milton’ shields in the style of Elkington English, Late 19th Century Height 82cm, width 62cm, depth 4cm These striking decorative shields are inspired by the ...