California

A French Belle Époque Louis XV Style Gilt-Bronze Gueridon Table with Marble Top, in the manner of Zwiener Jansen Successeur. The circular Riviera Beige marble top above a three-leg o...

Antique 18K Yellow Gold & Diamond Art Nouveau Cufflinks. Each with an oval face of an embossed portrait in relief of a beautiful young woman wearing a diadem set with one European br...

Antique imperial russian era 1907s 14k gold chain necklace in open work style made in moscow 1907s hall marked 56 imperial russian gold standard and moscow assay mark chain lenght 46cm

Beautiful Antique Elgin Pocket Watch w/ White Dial Including Gold Color Hands & Dedicated Second Dial 18K Yellow Gold Case w/ Intricate enamel design in center of dial Black Roman Nu...

This fine American Indian Pima pictorial basket is in fine condition except some roughness around the top edge of the basket. The base has some minor...

Italian carved wood painted trestle dining table with leaves. The table has a vintage, weathered look. It is made of wood with a large rectangular top. The table has a trestle-sty...

Antique Asian Bronze buddhist bell Tibetan Meditation Ceremonial Prayer Vajra Bell and Scepter. Antique Buddhist Tibetan Meditation Prayer Bell with Vajra. A Bronze ritual bell "DRIL...

A fine French 19th-20th century Louis XV style gilt bronze mounted satinwood and tulipwood Bois Satiné and Bois de Bout floral Marquetry two-drawer commode of bombé serpentine form, ...

Set of 6 Louis XIV style oak dining room chairs, circa 1900. With a cupids bow crest rail, upholstered seats, turned front legs and stretcher bars. Upholstery with brass nail trim. C...

Antique 14k gold ring centered with rose cut diamonds in detailed workmanship ring setting ring was made during the imperial russian era 1907/1910.c hall marked 56 imperial russian g...

A pair of beautiful Famille Verte vases made in China in the 1900's, finely hand-painted all around with depictions such as people with traditional attire, animals, botanical figures...

Beautiful antique Elgin pocket watch with off-white dial. Black hands and a dedicated seconds dial. Nickel case with intricate hand-etched design on case. Black numbers and markers. ...

Antique Empire Style mahogany round dining room table with gilt highlights, circa 1900. With a round top that opens (No Leaves) gilt decoration on edge of table top, a round central ...

Wall hanging that depicts a bas-relief artwork featuring cherubic figures, inspired by Renaissance art. The relief is made plaster and horse hair and has an aged patina. The scene ...

Palatial Louis XVI style mantel clock made of quality gilt bronze and fine marble with great detail all around. Depicts a group of putti figures ato...

A colorful butterfly pin brooch made of 18k gold, featuring various gemstones, and accented with colored enamel. The gems are mount-flush set in the gold “wings” and bezel set in the butterfly’s “body”. The “head” and “wings” feature rose cut diamonds. The butterfly’s body is made of fancy colored diamonds, orange brown, and brownish orange. This vibrant butterfly pin brooch is very cheerful and optimistic. Butterfly jewelry is often associated with freedom and joy. This delicate and whimsical jewel fully fits the description. Lovely colorful pin is made of 18 karat (stamped) yellow gold, set with white diamonds, fancy colored diamonds, rubies, sapphires and emeralds. The diamonds are rose cut, pear and round brilliant cut, H-I color VS clarity. The emeralds are pear, oval and round faceted cut. The rubies and sapphires are round faceted cut. The Victorian brooch measures 2 ¼” x 1 ¾” (5.7 x 4.2 cm) and weighs 18.6 grams. The butterfly brooch was created in the 1900s and stamped with a hallmark for 18 karat gold and unidentified maker's mark. History of Insect Jewelry: Insect jewelry carries a diverse symbolism and has deep historic roots. To us, these pieces serve as a reminder of the delicate beauty that designers found in nature. Scarab Beetles In ancient Egypt, scarab beetles were associated with the Sun God Ra. They symbolized regeneration and protection. Scarabs were often used in amulets, and seals to bring good luck and ward off evil. Bees and Butterflies Bees were revered in ancient Greece and Rome and seen as symbols of diligence and cooperation. Honey, a product of bees, was also associated with sweetness and fertility. Butterflies, with their transformation from caterpillar to butterfly, were seen as symbols of metamorphosis and the soul's journey. Insect Jewelry Resurgence In the 19th century, during the Victorian era, there was a resurgence of interest in nature-inspired jewelry. It often incorporated real insect specimens preserved in resin. This trend was influenced by the Victorian fascination with the natural world and scientific discoveries of the time. The Art Nouveau movement of the late 19th - early 20th centuries embraced organic forms and drew inspiration from nature. Insect motifs, such as dragonflies, butterflies, and beetles, were prominent in Art Nouveau jewelry. These pieces featured flowing lines and delicate designs. Today, insect jewelry continues to be equally loved by designers and jewelry buyers. For example, dragonflies are often associated with change and self-realization, while butterfly brooches symbolize transformation and beauty. Bees are still seen as symbols of hard work, community, and productivity. About Victorian Jewelry: Victorian jewelry is dated from 1837 to 1901. The era’s name was inherited from Queen Victoria who reigned during that time. Her significant input shaped the jewelry style of that time. To navigate in such a vast period, historians divide it into following parts: • The Early Victorian or Romantic • The Middle of Grand Victorian • The Late or Aesthetic Victorian Era Different materials, gemstones and techniques were popular specifically for each era. Some styles though remained in favor longer than during just one period. For instance, hair jewelry made its way from the Romantic to the Grand period. Snake and animal motifs were also in demand throughout the era. Early Victorian Jewelry As to the Queen influence, Romantic Period jewelry had well pronounced sentimental vibes. It was the time when young Queen Victoria was in love with her husband, Prince Albert. And the whole nation admired their relationship. Cameos, matching brooches, miniature portraits and lockets reflected the likeness of loved ones. After Albert’s passing in 1861, the Early Victorian Period ended, and The Grand era began. Grand Victorian Jewelry After the incandescent bulb invention in 1870s, diamond jewelry started thriving like never before. Diamonds, being placed under the electric light, revealed their dazzling nature and looked truly fascinating. Besides Victorian diamond jewelry...

Set in an 18k gold filigree fob, this Golden Sandstone orb has a mesmerizing sparkle. The orb rotates, giving the piece movement that enhances the stone's unique glittering effect. T...

Set of four primitive style bleached oak dining chairs upholstered in a soft blue printed linen with nailheads.

Rustic vintage dining table with a sturdy and traditional design. The top has a unique herringbone pattern in a light wood finish. The herringbone pattern adds texture and visual i...

Grand, two-tiered, elegantly appointed, turn of the century, gilded metal and crystal chandelier from Northern Italy. 18 cascading and scrolling arms sit amidst crystal towers...

A Fine French whimsical Belle Époque grape-vines gilt-metal, gilt-brass and giltwood console and mirror with fifteen floral lights. The ornately decorated domed floral paneled mirror...

Antique Satsuma gilt porcelain vase depicting hand painted immortal figures all around the piece in high relief. Made in Japan, c. 1900's. *Includes mark on base. Dimensions: 11.5"H ...

This piece is extremely rare as it is a Ladies Head, Face and Flowing hair ring. This was done by a master in the Art Nouveau period. It is not signed and RB in script is all that i...

Charming mid century oil painting of two horses at watering trough by William M. Lemos, Santa Cruz and San Francisco artist (American, 1861-1942), circa 1900. Writing on verso is in ...

A cast, Roman, Grand Tour bronze figure of a youth. Wonderful patina. Measures : Statue is 23"H. Base is 8.75"W x 7.5"D.

An Impressive French 19th-20th century Louis XVI style five-piece giltwood carved salon or parlor suite, comprising of a canapé (settee) and four fauteuils à la reine (Armchairs) uph...

the lushly painted still life depicting a woven basket full of finely painted bearded irises, parrot tulips, hydrangeas and peonies with discreetly painted bees and a snail; all rest...

Evocative seascape, circa 1900, by artist Constantin Alexandrovitch Westchiloff (1877-1945) Signed on bottom left corner and on verso. Titled "Maine" on verso. Presented in a contemporary giltwood frame. Image size: 9"H x 12"W. Framed size: 10.60"H x 14"W x 1"D Westchiloff is an American-Russian artist. He was born in Russia in 1877, and studied at the Academy of Fine Arts in St. Petersburg; as an artist he traveled extensively in Europe and in the USA. He finally settled in New England, where he died in 1945. He is probably best-known for seascapes (particularly of the New England coastline), but was also well regarded for his landscapes, portraits and figures, and genre subjects. His work, especially after his travels in Europe and then in America, is closest to Impressionist in style. His favored medium was oil, which was well suited to his confident and strong technique. This in turn imbued his paintings of the rugged landscapes and seascapes of New England...

Bisque bust with ploychrome enamel decorated with painted gilt and raised on a circular socle with a square plinth. After Albert-Ernest Carrier-Belleuse by Ferdinand and Bing Co. an ...

"Confidences" James Abbott McNeill Whistler Conversation with a Fellow Artist "Confidences" James Abbott McNeill Whistler Conversation with a Fellow Artist A Drypoint etching on Wove...

A French Louis XVI Style Gilt Wood Carved Guéridon Side Table with Marble Top. The circular gilt wood carved apron with an acanthus tied leaf wreath, raised on four fluted carved leg...

Edwardian Polka Dot Sheer Lace Blouse. Machine faux Irish crochet lace.

Four Panel Tropical Underwater Scene with Mother of Pearl Inlays on Wood Panel Elaborate four panel scene by an unknown artist. Water, coral, and some tropical fish have been painte...

Set of two antique French majolica plates made by Salins in France around 1900. The plates in an art nouveau style feature flowers and pa...

Edward S Curtis (1868-1952) Title: Autumn - Apsaroke Plate: 130 Portfolio: Volume IV Printer: John Andrew & Son Medium: Photogravure Date: 1908 Edwar...

A French 19th-20th century Louis XV style tulipwood parquetry and mahogany gilt-bronze mounted three-door Meuble d' Appui (Side cabinet) with marble top, Paris, circa 1900. Measur...

A very fine pair of French 19th-20th century neoclassical style patinated cast iron figural torchères by A. Durenne, Paris, each representing a figure of a standing young maiden, her arms raised forward while holding a a flaming urn gas light (Now electrified) with a frosted glass flame, each raised on a veined grey marble column stand, both cast-signed 'A. Durenne, Paris'. Antoine Durenne was an internationally renowned French art founder. He attended École Nationale Supérieure des Beaux-Arts in 1842. Durenne purchased a small foundry in Sommevoire, near the Val d'Osne, Haute-Marne, France and established The Durenne firm, circa Paris, 1900. Cast-iron had been in production during the 18th century but its inferior status to the more fashionable and delicate wrought iron had generally confined its use to architectural work. By the early 19th century, however, rapid developments of the Industrial Revolution combined with the simultaneous burgeoning of a new middle class provided the impetus for a dramatic Expansion in its application and in a short space of time a proliferation of iron foundries across Europe and America thrived on the production of everything from inkstands to railway stations. The use of cast-iron for garden ornament became particularly widespread at this time, as the possibilities for its mass-production at a fraction of the cost of bronze made it the material of choice for outdoor statuary...

A very fine French 19th-20th century Louis XVI style mahogany and gilt bronze (Ormolu) mounted guéridon side table with marble top, attributed to François Linke, (1855-1946). The sin...

This limited luxury edition has a issue of 200 copies, this set is number 98. Each book has a handcolored frontispiece, with tissue guards, each volumen averages 300 or more pages, ...

each of good proportion the ribbon crest above an oval caned back over a serpentine caned seat flanked by open arms; all raised on turned fluted supports ending in toupie feet

Wonderful Antique French buffet/hutch made of solid oak wood with marble top. The base has two drawers and three doors with a single shelf inside. The drawers have brass handles and ...

in the neoclassical taste, the rectangular top with turret rear and front corners over a conforming body with 3 paneled long drawers flanked by fluted turrets; all raised on turned t...

Fabulous Victorian diamond drop stud earrings. Made of 14 karat (stamped) yellow gold and silver, the earrings feature two Old European cut diamonds, one is approximately 8.84-carat...

Insika (Screen or Wall Panel) Rwanda-Burundi, Tutsi people Circa 1900 or earlier Natural fibers and dyes H 23 ins (58.5 cm) W 16 ins (40.5 cm) Depth 3 1/2 ins (9 cm) This superb ...

This dark-stained Victorian wicker, rattan, and bamboo cradle possess intricate patterns that give it an almost Gothic quality. An array of symmetrical reed arches and seamless strip...

Antique Empire style mahogany desk with gilt bronze mounts, circa 1890-1910. This desk has very fine quality gilt bronze mounts.

Chinese red chinoiserie decorated demi lune console table, circa 1900. With a demi lune top with raised gilt chinoiserie decorations, a scalloped apron with gilt decorations, resting...

A Fine and Large French Early 20th Century Bronze of Napoleon Marching in Waterloo Cast after a model by Marius-Jean-Antonin Mercié (French, 1845-1916). The impressive bronze sculptu...

A Fine Italian 19th Century Oil Painting on Canvas "La Madonna della Seggiola" after Raphael (Raffaello Sanzio da Urbino 1483-1520). The circular painted canvas depicting a seated Madonna holding an infant Jesus Christ next to a child Saint John the Baptist, all within a massive carved gilt wood and gesso frame, which is identical to the frame on Raphael's original artwork. This painting is a 19th Century copy of Raphael's Madonna della Seggiola painted in 1514 and currently exhibited and part of the permanent collection at the Palazzo Pitti, Galleria Palatina, Florence, Italy. The bodies of the Virgin, Christ, and the boy Baptist fill the whole picture. The tender, natural looking embrace of the Mother and Child, and the harmonious grouping of the figures in the round, have made this one of Raphael's most popular Madonnas. The isolated chair leg is reminiscent of papal furniture, which has led to the assumption that Leo X himself commissioned the painting. A retailer's label reads " Fred K/ Keer's Sons - Framers and Fine Art Dealers - 917 Broad St. Newark, N.J." - Another label from the gilder reads "Carlo Bartolini - Doratore e Verniciatori - Via Maggio 1924 - Firenze". Circa: 1890-1900. Subject: Religious painting Canvas diameter: 28 inches (71.1 cm) Frame height: 54 inches (137.2 cm) Frame width: 42 1/2 inches (108 cm) Frame depth: 5 1/2 inches (14 cm) Raffaello Sanzio da Urbino (Italian, March 28 or April 6, 1483 - April 6, 1520), known as Raphael, was an Italian painter and architect of the High Renaissance. His work is admired for its clarity of form, ease of composition, and visual achievement of the Neoplatonic ideal of human grandeur. Together with Michelangelo and Leonardo da Vinci, he forms the traditional trinity of great masters of that period. Raphael was enormously productive, running an unusually large workshop and, despite his death at 37, leaving a large body of work. Many of his works are found in the Vatican Palace, where the frescoed Raphael Rooms were the central, and the largest, work of his career. The best known work is The School of Athens in the Vatican Stanza della Segnatura. After his early years in Rome much of his work was executed by his workshop from his drawings, with considerable loss of quality. He was extremely influential in his lifetime, though outside Rome his work was mostly known from his collaborative printmaking. After his death, the influence of his great rival Michelangelo was more widespread until the 18th and 19th centuries, when Raphael's more serene and harmonious qualities were again regarded as the highest models. His career falls naturally into three phases and three styles, first described by Giorgio Vasari: his early years in Umbria, then a period of about four years (1504–1508) absorbing the artistic traditions of Florence, followed by his last hectic and triumphant twelve years in Rome, working for two Popes and their close associates. Raphael was born in the small but artistically significant central Italian city of Urbino in the Marche region, where his father Giovanni Santi was court painter to the Duke. The reputation of the court had been established by Federico III da Montefeltro, a highly successful condottiere who had been created Duke of Urbino by the Pope - Urbino formed part of the Papal States - and who died the year before Raphael was born. The emphasis of Federico's court was rather more literary than artistic, but Giovanni Santi was a poet of sorts as well as a painter, and had written a rhymed chronicle of the life of Federico, and both wrote the texts and produced the decor for masque-like court entertainments. His poem to Federico shows him as keen to show awareness of the most advanced North Italian painters, and Early Netherlandish artists as well. In the very small court of Urbino he was probably more integrated into the central circle of the ruling family than most court painters. Federico was succeeded by his son Guidobaldo da Montefeltro, who married Elisabetta Gonzaga, daughter of the ruler of Mantua, the most brilliant of the smaller Italian courts for both music and the visual arts. Under them, the court continued as a centre for literary culture. Growing up in the circle of this small court gave Raphael the excellent manners and social skills stressed by Vasari. Court life in Urbino at just after this period was to become set as the model of the virtues of the Italian humanist court through Baldassare Castiglione's depiction of it in his classic work The Book of the Courtier, published in 1528. Castiglione moved to Urbino in 1504, when Raphael was no longer based there but frequently visited, and they became good friends. He became close to other regular visitors to the court: Pietro Bibbiena and Pietro Bembo, both later cardinals, were already becoming well known as writers, and would be in Rome during Raphael's period there. Raphael mixed easily in the highest circles throughout his life, one of the factors that tended to give a misleading impression of effortlessness to his career. He did not receive a full humanistic education however; it is unclear how easily he read Latin. Early Life and Works His mother Màgia died in 1491 when Raphael was eight, followed on August 1, 1494 by his father, who had already remarried. Raphael was thus orphaned at eleven; his formal guardian became his only paternal uncle Bartolomeo, a priest, who subsequently engaged in litigation with his stepmother. He probably continued to live with his stepmother when not staying as an apprentice with a master. He had already shown talent, according to Vasari, who says that Raphael had been "a great help to his father". A self-portrait drawing from his teenage years shows his precocity. His father's workshop continued and, probably together with his stepmother, Raphael evidently played a part in managing it from a very early age. In Urbino, he came into contact with the works of Paolo Uccello, previously the court painter (d. 1475), and Luca Signorelli, who until 1498 was based in nearby Città di Castello. According to Vasari, his father placed him in the workshop of the Umbrian master Pietro Perugino as an apprentice "despite the tears of his mother". The evidence of an apprenticeship comes only from Vasari and another source, and has been disputed—eight was very early for an apprenticeship to begin. An alternative theory is that he received at least some training from Timoteo Viti, who acted as court painter in Urbino from 1495.Most modern historians agree that Raphael at least worked as an assistant to Perugino from around 1500; the influence of Perugino on Raphael's early work is very clear: "probably no other pupil of genius has ever absorbed so much of his master's teaching as Raphael did", according to Wölfflin. Vasari wrote that it was impossible to distinguish between their hands at this period, but many modern art historians claim to do better and detect his hand in specific areas of works by Perugino or his workshop. Apart from stylistic closeness, their techniques are very similar as well, for example having paint applied thickly, using an oil varnish medium, in shadows and darker garments, but very thinly on flesh areas. An excess of resin in the varnish often causes cracking of areas of paint in the works of both masters. The Perugino workshop was active in both Perugia and Florence, perhaps maintaining two permanent branches. Raphael is described as a "master", that is to say fully trained, in December 1500. His first documented work was the Baronci altarpiece for the church of Saint Nicholas of Tolentino in Città di Castello, a town halfway between Perugia and Urbino. Evangelista da Pian di Meleto, who had worked for his father, was also named in the commission. It was commissioned in 1500 and finished in 1501; now only some cut sections and a preparatory drawing remain. In the following years he painted works for other churches there, including the Mond Crucifixion (about 1503) and the Brera Wedding of the Virgin (1504), and for Perugia, such as the Oddi Altarpiece. He very probably also visited Florence in this period. These are large works, some in fresco, where Raphael confidently marshals his compositions in the somewhat static style of Perugino. He also painted many small and exquisite cabinet paintings in these years, probably mostly for the connoisseurs in the Urbino court, like the Three Graces and St. Michael, and he began to paint Madonnas and portraits. In 1502 he went to Siena at the invitation of another pupil of Perugino, Pinturicchio, "being a friend of Raphael and knowing him to be a draughtsman of the highest quality" to help with the cartoons, and very likely the designs, for a fresco series in the Piccolomini Library in Siena Cathedral. He was evidently already much in demand even at this early stage in his career. Influence of Florence Raphael led a "nomadic" life, working in various centres in Northern Italy, but spent a good deal of time in Florence, perhaps from about 1504. Although there is traditional reference to a "Florentine period...

Early 20th Century Spanish refractory table with hand carved grapevines around the perimeter of the table. There are two extensions on either end that are easy to remove. This waln...

A fine pair of Louis XVI style chinoiserie gilt-bronze mounted Chinese export famille rose porcelain vases. The ovoid hand painted porcelain body with dual scenes of a sword presenta...

Pair of Louis XIV style carved walnut armchairs, circa 1900. With upholstered rectangular shaped backs, acanthus carved serpentine shaped arms and arm supports, serpentine shaped leg...

Antique Gilt-Carved Red and Black Lacquer Javanese Ceremonial Circumcision Chair. A low teak chair carved having cabriole legs, claw feet, skirt detail in a tendril floral relief, so...

Early 20Thc Old Hickory child's chair with a hand woven replaced seat.

A very fine museum quality Italian 19th-20th century life-size marble sculpture titled "Searching for Love" by Vito Pardo (Italian, born in Venice in 1872) Depicting a semi-nude life...

A very Fine French 19th-20th century Louis XVI style mahogany and ormolu-mounted four-door vitrine, with two central bombé glass doors and single bombé glass doors on each side, the fluted mahogany...

B. J. O. NORDFELDT (Bror Julius Olsson) 1878-1955) THE BRIDGE, 1906 Color woodcut signed, dated 1906 and numbered 150 in pencil. Image 8 x 10 - small margins as issued. 4 corners tipped to acid free support board. Nordfelt is one of the most important early twentieth century American Masters of the Color woodcut. This 1906 work predates many of the other woodcut masters. Nordfeldt had a peculiar numbering system. The number is not necessarily the edition number. Frances H. Gearhart, Blanche Lazzell, William S. Rice, Gustave Baumann, Margaret Patterson, Norma Basset Hall. Waldo Chase.

In very good condition. Total weight is 3.3 grams. Totally is diamond 1 ct. The diamond is has I-J-K-L-M-Brown color and s2-s3-Pique 1-2 clarity. Ring size is US 7.25 We can make an...

Tiffany Gilt Bronze and Damascene Favrile Aladdin Floor Lamp Measures: 28.5"W × 13"D × 54"H Tiffany Studios Gilt Bronze and Favrile Glass Aladdin ...

A SILVER OFFERING BOWL WITH SCENES FROM THE VIDHURA-PANDITA JATAKA, LOWER BURMA (MYANMAR), DATED 1901. A hammered repoussé Buddhist beggar’s bowl form with high relief  design depicting scenes from the Vidhura-Pandita Jataka on the upper row of cartouches and beneath neat rows of semicircular lappets each depicting various auspicious human and animal forms with scrolling acanthus leaf backgrounds. The overall concept is similar to the layered effect of a Burmese court costume. The circular etched design on the base is of Punnaka astride his magical horse mid-stride holding the white umbrella and Vidhura pleading behind. All surrounded by an inscription, translated as, "Mr Saw Marn's silver bowl. Year 1263 [1901 CE]". Excellent condition. 11 3/4 in. (30 cm) diameter x 5 7/8 in. (15 cm) high. 38 troy oz., 2lbs. 10 oz. (1175 grams). Provenance: The Noble Silver Collection. Bonhams New York, 24 March 2022, The Noble Silver Collection Treasures from the Burmese Silver Age, lot 942. Published: David Owens, Burmese Silver Art: Masterpieces Illuminating Buddhist, Hindu and Mythological Stories of Purpose and Wisdom, 2020, p. 76, no. S81, fig. 3.57. Bonham’s Footnotes: In the Vidhura-Pandita Jataka, the bodhisattva that will later become Gautama Buddha perfects the virtue of truthfulness (sacca), at once a keen perception of the true reality of things and an unwavering commitment to imparting this truth. Reborn as a renowned advisor to a virtuous king, the bodhisattva uses undivided speech throughout the story—even when it puts him in harm's way—thereby preventing disputes among rulers, offering amnesty, and ultimately saving the antagonists who initially conspired to kill him. Burmese Silver Ceremonial Offering Bowls were produced in great numbers, the finely decorated ceremonial offering bowl is the quintessential Burmese silver artwork...