Australia

'Rhinology' Vanity Fair portrait of Dr Robert Spicer, 'a specialist in matters relating to ears, noses and throats'. Accompanied by original descriptive text. 380mm by 260mm (sh...

'Race a laine douce, du Pays de Galles' (Soft-woolled sheep of Wales) Lithograph with original hand-colouring by Hermann Eichens (1813-1886) from a drawing by W. Nicholson after a ...

'Bobby' Vanity Fair cricket portrait of Robert Abel. Abel was a right hand batsman and bowler for Surrey and England. 390mm by 265mm (image)

'Sam Loates' Vanity Fair portrait of Samuel "Sam" Loates (1865 - 1932) was a British Thoroughbred horse racing jockey who was the Champion Jockey of 1899. 395mm by 265mm (sheet)

Vanity Fair legal portrait of Commissioner Kerr. 380mm by 260mm (sheet)

Vanity Fair legal portrait of Charles Willie Matthews in wig and gown. Specialised in criminal law. 380mm by 260mm (sheet)

An unusually long prayer rug – and comparatively rare Gendje – in good condition. Above average centre field variation of colour and a particularly lively top Mihrab area to place in...

Our star set diamond brooch and pendant is a delightful piece of vintage joy, we have named her Alice. Her decorative frame of 15 carat gold and shimmering diamond are beautiful in ...

A Chinese Metal Lock with Key, Late 19th Century Provenance: Private Brisbane Collection. Dimension: Height: 5cm Length: 14cm Depth: 2cm.

Exquisite collector’s item given its age, overall composition and especially the appearance of 16 guls. The intense indigo blues combine with painstakingly created paler shades achie...

Original Vintage French Laundry Poster 'Linge Monopole', 1897 Here, a woman looks out the window and sees a group of three animated objects composed ...

Finely embossed throughout, this pair of antique Sterling Silver salt & pepper cellars date from Victoria era Circular footed, with London hallmarks to the base, also bear...

A very fine, soft Qashgai in a tighter weave than is often found. Its 6 intricate borders deserve careful inspection, as a sign of high quality, painstaking handmade production in th...

A furo tearoom brazier by Raku Kichizaemon XI Keinyu (1817-1902) decorated in bold style over a brick red glaze. The classical scene depicts men in ‘mino’ straw raincoats pulling a barge up river under the overhanging branches of an ancient willow tree. With makers mark to base and sold with its original paulownia wood storage box. Overall the piece is in excellent condition but has sustained several stress cracks in one corner due to heat encountered during continual use. This is typical of Japanese raku ceramics...

Ferahan Sarouk Museum Quality MUSEUM QUALITY Ferahan Sarouk, third quarter 19th century 6.6 x 4.5 feet From a USA collector Ferahan Sarouk carpets produced around the wider Arak (formerly Sultanabad) area from about 1850-1910 earned a deserved reputation as amongst the most desirable and imaginative finely woven carpets in Persia. As these things go, they morphed in style around 1910- 1920 into the differently woven Mahajirhan Sarouk fashion (quality examples of which are also in demand) and then disappeared entirely. Their desirability rests not only on fine weaving, and excellent wool. Many of the better examples were commissioned by aristocrats or wealthy merchants who encouraged creativity, in an actively competitive way; rugs during this period, as before, were direct illustrations of an individual’s wealth, power and prestige. Beyond this lay a more fundamental and seemingly contradictory set of motivations by the weavers. At one and the same time they sought to emulate the great court carpets in finesse and design. And yet-- they applied rustic or village, and even tribal elements and nuances to their designs. The result was a cavalcade of creativity. So, a village-based genre came into being which produced primarily an approx. 6x4 rug size format, and also provided, if more rarely, larger formats, which command increasingly high prices, due to their rarity, visual excitement and grandeur. The artistic achievement of this “school” had to do with marrying elegance and a degree of formalism with whimsy, and design innovation. They offer a charm and a certain magic beyond that of court and most city carpets. As in any area or era, there is a quality spectrum ranging from mediocre to highly superior. Superiority is judged of course as to weave and wool quality. It is rather unusual, though, to encounter pieces made before 1890 -which are bona fide Ferahan Sarouks- with poor wool or weaving: standards were upheld during this period, and natural dyes were widely employed, particularly in the wider Arak (then Sultanabad) region. Thus, as an investment collectible to adorn the home we believe the ultimate criterion is aesthetics, this being an art form, after all. Ferahan Sarouks have been a special area of interest for us over the decades both from artistic and investment perspectives. Allowing for personal taste, our suggestions are few and simple. A Ferahan Sarouk ought to display a wide colour palette, fine drawing and delicate, sometimes “intense “ detail. The finest pieces also display an elevated sense of balance in the use of space. We have seen many finely woven pieces which in our view are garish and lack one of the two key artistic elements intrinsic to the better examples of this genre – elegance. Sometimes they are overly cluttered; the drawing artistry is muddled or lost. In other cases odd and ineffective design devices are used, detracting from or interfering with an otherwise good design. The era of the Ferahan Sarouk was rife with experiments, not all of them successful. The other important attribute, when it can be found, is original artistic creativity, even serendipity, -- or effective design innovation within the compass of this rug type and the unique standards of its prime period. On average, we examine between 30-40 antique Ferahan Sarouks to achieve one acquisition, for the benefit of our clients. This highly collectible more than 150-year-old carpet is an apex achievement of superior artistry and innovation. As an exemplar of its genre, it can be reasonably described as Museum quality, a term we do not often employ. Please observe the stunning precision of the inner guard and its pinpoint sharp hooks. The elongation of the central medallion is one of its subtle but powerful innovations in form. The nod to asymmetry – which displays a refined sense of humour - is seen in the use of the small diamond figures, as one is deliberately missing from the right hand side: a wry nod to asymmetry, in an otherwise perfectly symmetrical creation. The ultimate achievement here is in the fineness of the weaving itself, on close inspection. The herati pattern in the medallion and corners achieves an etched-on quality, a very uncommon level of attention to detail and perfectionism: clearly the work of a master. This artistic sense extends to the outer ground which is a superb example of the most subtle abrash, one of the most refined we have had the honor of viewing. The unusual beige/brown tones in the field were probably achieved by adding onion skins to the die vat. These extremely fine gradations of colour are rarely seen.(NB the colour photographs create a slightly misleading- overly yellow burnish to the field colour in spite of expert photographic efforts ) . The deliberate choice of an ink black use of indigo provides a powerful frame (border) for this piece of art, which note in the lower right-hand corner is lifted slightly through abrash to a deep blue – to highlight the design and use of emerald green in the rosettes. The green shades lighten as the border ascends harmonizing with the tones in the central medallion. The floating flow of flowers in the border is beautifully executed, with up to seven colours in a single figure. No doubt a piece commissioned by an aristocrat around 1870, it is – remarkably- in virtually perfect condition. It appears to have had very minimal footwear, and great care; a piece which was proudly displayed from time to time and appreciated. Its density and strong foundation would however allow regular use within a home, and in a spacious contemporary home or office could make a wall hanging of striking impact. This remarkable one of a kind piece is on short term reduction to coincide with our launch on 1st Dibs . Fair market value is approximately $22,000 . Fine art as investment ? The WSJ made the following comments this year : The vigor of the art market may seem counterintuitive, but it makes sense in the current environment,” economist Tyler Cowen recently wrote in The Washington Post. “First, many of the wealthy have been buying additional homes and wish to furnish them with art. Second, the recent run-up in inflation rates around the world has intensified the search for hedges.” While the aforementioned artworks fall into traditional categories, some less-prominent forms of fine art also represent ideal investment opportunities, especially because they offer more attractive—i.e., significantly less costly—entry points for new collectors. Take high-collectible and connoisseur-caliber antique Oriental rugs, for example. The best 19th-century examples often sell privately between five figures and low six figures. Today, that obscurity is fading. According to Ben Evans, the editor of Hali Magazine—a publication dedicated to the international rug and textile market—there are two primary factors to explain why antique rugs are beginning to enjoy their moment in the spotlight. “Cultural curiosity and collecting...

Original vintage lithograph, 'Wissembourg Woman Cyclist, France: c. 1880 "This poster was created by the C. Burckardt printing firm, and...

A Small Gilt-Wood and Marble Centre Table, Late 19th Century The circular veined rosso antico marble top encircled by a moulded gilt-wood border, supported by a shaped baluster stem...

Seldom encountered hardstone cameos require more time & skill to be carved, hence they are more valuable (than their shell counterparts), highly desirable & sought after. ~ This...

Bidjars are known as the "iron "carpets of Asia, owing to the hammering of knots whilst weaving, which creates an unusual density to the carpet, and exceptional , multi generational...

These hard-to-find large saddle bags, which were used by Salor Turkomen nomadic tribes can serve as stuffed and comfortable cushions, to form a bottom and back unit, or are entirely ...

This set of four stools were designed by Andries and Hiroko Van Onck for Magis, blending unique style from the 20th century modernist movement. The stools feature a metal frame with ...

From a prominent East Coast USA Dealer Sultanabad is the former name of Arak, a main center for weaving, and the locale of the famous Ferahan Sarouks, amongst other classic types and styles . In the late 19th century several significant European based companies established there to produce quality rugs and especially larger carpets for the Western market, utilyzing local talent. (Foremost among these was the Zeigler firm, and Zeigler Sultanabads...

White-faced Nuthatch - John Gould lithograph with hand-coloured size 54 cm X 37 cm Excellent Condition FREE SHIPPING Accompanied by the information page from 'The Birds of Asia' Thi...

From a Philadelphia Collector This is a very robust member of the esteemed, and increasingly rare 19th century Afstaka “family”. It is slightly longer and wider than many exam...

This rather glorious sterling silver tazza or footed comport was likely made by John R. Wendt in the 1870s. The figural piece features a stepped circula...

Rare Original Theatre Poster, 'Blue Jeans' c. 1890 by Play-write Joseph Arthur This is an original poster, it has been linen backed for preservation. This poster is advertising the...

Rather remarkably, this ring would have originally started life as part of an antique French brooch. The daisy is likely to have been part of a larger diamond 'en tremblant' brooch a...

This fine & rare piece of jewellery is an Antique Scottish Silver Circular Brooch, dating from late XIX century Crafted in Silver, the pi...

A Good Carved and Ebonised Picture-easle, French Circa 1880 Height: 170 cm Width: 72 cm Depth: 75 cm Provenance: Private Australian Collection.

A Chinese Hardwood Miniature Table Form Stand, Late 19th century Dimension: Height: 11.5 cm Length: 32 cm. Depth: 12 cm. Provenance: Old Melbourne Chinese Collection.

Ferahan Sarouk, 1870 :GLORIOUS FLOWERS . From a German collector Ferahan Sarouk carpets produced around the wider Arak (formerly Sultanabad) are...

Tsukioka Yoshitoshi Taira no Koremochi Vanquishing the Demon of Mount Togakushi From Series: “New Forms of Thirty-six Ghosts” 「新形三十六怪撰」 「平惟茂戸隠山に悪鬼を退治す図」 C. 1890 Size: Oban Ex...

Highly collectable, this Black Forest Tobacco Jar Side table is meticulously carved from walnut in a form of a bear climbing a finely deta...

A large octagonal tea-bowl, decorated in the Japanese style. “The decoration is effective and pleasing, but does not seem to have been very frequently employed” – McKenna. Pro...

Victorian yellow gold “Lovers Knot” hollow hinged bangle. The knot comprises of a polished and an embossed finish Secured with a box style clasp and fitted with a safety chain. Meta...

Get Tartarin of Tarascon, by Alphonse Daudet. Rare C. 1887. No Edition Remarks. 245 pages. No dust jacket. Half-bound brown leather with green cloth cover.

Original vintage lithograph, 'Wissembourg Guitar', France: c. 1880 "This poster was created by the C. Burckardt printing firm, and is pa...

Cattleya Trianae Ernesti -- Original colour-printed lithograph by Joseph Mansell after the watercolour by landscape painter and botanical artist, Henry George Moon (1857-1905) for Re...

Art nouveau 18 carat Yellow gold ring with one cushion old-cut Diamond, estimated 0.45 carats and two cushion old-cut Australian Sapphires, total estimated 0.90 carats. Stones are set in platinum setting. Size N (US size 6 3/4), Weight of the ring is 2.83 grams Ring is stamped “PALFREY” The maker, G.H. Palfrey, was based in Melbourne and active from 1896- 1903 (Ref: Schofield & Fahy, Australian Jewellery...

She stands barefoot, wearing a long-sleeved robe in white, deep pink and washed pale yellow and partly edged with gold; a red and gilt-topped sceptre in her right hand, an outsize pe...

Acquired from a Swedish collector Ferahan Sarouk carpets produced around the wider Arak (city) area from about 1850-1900 earned a deserved reputation as amongst the most desirable and imaginative finely woven carpets in Persia. As these things go, they morphed in style around 1910- 1920 into the differently woven Mahajirhan Sarouk fashion (quality examples of which are also in demand) and then disappeared entirely. Their desirability rests not only on fine weaving, and excellent wool. Many of the better examples were commissioned by aristocrats or wealthy merchants who encouraged new approaches and creativity, one source of their excellence. Beyond this lay a more fundamental and seemingly contradictory set of motivations by the weavers. At one and the same time they sought to emulate the great court carpets in finesse and design, and yet-- they applied rustic or village, and even tribal elements and nuances to their designs. The result was a cavalcade of creativity. So, a village-based genre came into being which produced primarily an approx. 6x4 rug size format, and also provided, if more rarely, larger formats, which command increasingly high prices, due to their rarity, visual excitement and grandeur. The artistic achievement of this “school” had to do with marrying elegance and a degree of formalism with whimsy, and design innovation. They offer a charm and a certain magic beyond that of court and most city carpets. As in any area or era, there is a quality spectrum ranging from mediocre to highly superior. Superiority is judged of course as to weave and wool quality. It is rather unusual, though, to encounter pieces made before 1890 -which are bona fide Ferahan Sarouks- with poor wool or weaving: standards were upheld during this period, and natural dyes employed universally. Thus, as an investment collectible to adorn the home we believe the ultimate criterion is aesthetics, this being an art form, after all. Ferahan Sarouks have been a special area of interest for us over the decades both from artistic and investment perspectives. Allowing for personal taste, our suggestions are few and simple. A Ferahan Sarouk ought to display a wide colour palette, fine and creative drawing and delicate, sometimes “intense “detail. The finest pieces also display balance in the use of space. We have seen many finely woven pieces which in our view are garish and lack one of the two key artistic elements intrinsic to the better examples of this genre – elegance. Sometimes they are overly cluttered; the drawing artistry is muddled or lost. In other cases odd and ineffective design devices are used, detracting from or interfering with an otherwise good design. The era of the Ferahan Sarouk was rife with experiment, not all of them successful. The other important attribute, when it can be found, is original artistic creativity, even serendipity, -- or effective design innovation within the compass of this rug type and the unique standards of its prime period. On average, we examine between 20-30 antique Ferahan Sarouks...

Japanese art became a major inspiration to artists and makers in the West following the forced re-opening of foreign trade with Japan in 1858. The origins of Art Nouveau in the decad...

Rare Afshar Bidjar 1880 BIDJAR (AFSHAR BIDJAR RARE VARIANT) 1880 or earlier 6 x 4 feet Acquired from an Australian collector Bidjar carpets are known as the iron carpet...

From an Australian Collector Ferahan Sarouk carpets produced around the wider Arak (formerly Sultanabad) area from about 1850-1910 earned a deserved re...

ARISTOCRATIC Ferahan Sarouk 1890 Measures: 6 ft 8 inches x 4 foot 4 inches Ladies, if you seek a gift for your much loved man, to make him feel like...

From early in the red anchor period, a fluted tea bowl and saucer, exquisitely painted with flowers and insects.

Masdevallia Shuttleworthii and M.Xanthocorys -- Original colour-printed lithograph by Joseph Mansell after the watercolour by landscape painter and botanical artist, Henry George Moo...

Masdevallia Backhousiana -- Original colour-printed lithograph by Joseph Mansell after the watercolour by landscape painter and botanical artist, Henry George Moon (1857-1905) for Re...

Naga Nuthatch - John Gould lithograph with hand-coloured size 54 cm X 37 cm excellent Condition FREE SHIPPING Accompanied by the information page from 'The Birds of Asia...

Cypripedium Cenanthum Superbum -- Original colour-printed lithograph by Joseph Mansell after the watercolour by landscape painter and botanical artist, Henry George Moon (1857-1905) ...

Himalayan Nuthatch - John Gould lithograph with hand-coloured size 54 cm X 37 cm excellent Condition FREE SHIPPING Accompanied by the information page from 'The Birds of Asia...

Angraecum sesquipedale, also known as Darwin's orchid, Christmas orchid, Star of Bethlehem orchid, and king of the Angraecum. Original colour-printed lithograph by Joseph Mansell af...

Philippine-Islands Thickhead - John Gould lithograph with hand-coloured size 54 cm X 37 cm excellent Condition FREE SHIPPING Accompanied by the information page from 'The Birds of A...

Laelia Harpophylla is native to Brazil and grows in humid semi-shady areas in intermediate to warm temperatures. Original colour-printed lithograph by Joseph Mansell after the water...

MacGregor's Niltava - John Gould lithograph with hand-coloured size 54 cm X 37 cm excellent Condition FREE SHIPPING Accompanied by the information page from 'The Birds of Asia...

Qashgai circa 1870-80 Qashgai, UNUSUALLY FINE ANTIQUE TRIBAL PIECE circa 1870 - 1880 3 x 5 ft Acquired from a French dealer The Qashgai Federation...

Materials: Oil and paper cut outs on canvas.