England

A superb and rare pair of Louis XV style kingwood ormolu-mounted side cabinets having the original breche marble tops, wonderful marquetry inlaid panels to the doors and sides. Scrol...

Star sapphire, sapphire and diamond pin. Set with an oval cabochon natural unenhanced star sapphire displaying asterism with an approximate weight of 18.00 carats, to a scalloped col...

A fine quality 19th century satinwood Sheraton Revival demilune side cabinet, with inlaid and painted classical decoration. Having a single centr...

This superb British Victorian portrait oil painting is by much noted and exhibited female artist Maud Porter. Painted circa 1890 it is a seated portrait of a young woman and her terr...

Hallmarked in London in 1899 by Harris Adelstein, this handsome and rare, Victorian, Antique Sterling Silver Yad, measures 11"(28cm) in length, by 1.5"(4cm)...

An exceptional, fine and impressive pair of antique Victorian English sterling silver piano candlesticks/candle holders; an addition of our ornamental silverware collection. These e...

Heading : Matched Victorian Sterling Silver Sucrier and Creamer Date : The sucrier hallmarked in London 1862 For George Richards and Edward Brown. The creamer hallmarked in London 19...

This is a fabulous quality antique Edwardian kidney shaped mahogany writing table by Maple & Co, circa 1890 in date. The shaped top is cross banded in various exotic specimen wood...

Ada Stone, English Victorian landscape with Oak and Yes trees on a pathway. Ada Stone had a London address but was an East Midlands painter focusing her works on tranquil English riv...

Antique late-19th Century Victorian solid silver playing cards box. Featuring a plain silver exterior and is adorned with an enamelled heart latch to the lid. Inside, it houses two s...

Antique 19th Century Victorian superb pair of Renaissance Revival electrotype wall chargers, created by Elkington & Co. The design, named "The Seasons," was conceived by Léonard More...

An astounding pair of circa 1890 French Art Nouveau painted bronze chandeliers, modeled as Cockatoos' perched within deep green oval branches, each hung from a length of period chain...

An outstanding antique walnut console table by Hamptons of Pall Mall. This was made in London in the 1890-1900 period. It is of absolutely superb quality, and has a gorgeous design....

This 19th-century watercolour by British artist Joseph Josiah Dodd (1809-1880) depicts Milan Cathedral in Italy. Rising like a Gothic behemoth, the majestic facade of Milan Cathedra...

An oval wrought fireplace fire basket brazier. The blacksmith-made fire basket of rivet-work construction with scroll finials supported on spear feet. Perfect for a garden brazier. W...

This beautiful late 19th-century oil painting by German artist Otto Kirberg (1850-1926) depicts a young woman reading by an open window. It’s a charming portrayal capturing a moment ...

English River landscape, with Church and River at Sunset, Abingdon on the Thames. England Wonderful scene of Abingdon on the Thames by one of Englands best known landscape painters....

Antique late 19th Century malachite box. This box features malachite pieces throughout the whole outer body with brass details. Inside, the original soft suede lining. This box serve...

A late 19th century bronze study of an alert Pointer. Unsigned.

Antique 19th Century Victorian park bench, crafted with cast iron and wood. It features elegantly scrolled arms and legs painted in a white finish. The bench is structurally sound an...

This is an impressive antique brass Victorian eagle lectern, circa 1890 in date. The 5ft6inch (164cm) lectern features an eagle with wings outstretched and detailed feathers to for...

A lovely antique Victorian inlaid side table. This was made in England, it dates from around the 1890-1900 period. It is of extremely fine quality and is a very useful size. The thr...

An antique crescent moon brooch, the body is set with a row of old-cut diamonds, graduating in size, tapering to rose-cuts, weighing an estimated total of 3.50 carats, claw set in si...

Gorgeous Victorian Davenport desk in walnut Hand crafted from walnut and circa 1890 Sloped writing surface which opens up to reveal storage s...

A Large Brass and Leather Club Fender This is an elegant piece of country House Furniture with newly upholstered “Ox Blood” leather seats The fender is in good antique condition, i...

Elegant Sheraton Revival Mahogany Cheval Mirror. Circa 1890 Standing Upon Shaped and Fluted Legs with Brass Castors. The Square Uprights Feature Turned Finials. The Whole of the Mirr...

Classic early Loetz glass vase enamelled with yellow flowers and green grasses on peach at the top spreading to white below made c1890. A tall necked vase...

An excellent antique free standing bentwood stained beech coat, hat and stick stand, attributed to Thonet, circa 1890 in date. It features a central pillaster complete for six cloa...

A very attractive Victorian explorers compass dating to around 1890. The floating card dial pivots on a bearing and is housed under a glass crystal which is clean and free from any ...

A pair of Arts & Crafts bronze & wrought owl andiron rests. Bronze oval plaques depicting owls supported on wrought arched scrolled supports.

As part of our Japanese works of art collection we are delighted to offer this Meiji Period 1868-1912, pure silver and mixed metal table box artist signed Bunkei aside a gold seal. T...

View of the Grand Canal in Venice by one of England's best-known landscape and Venetian painters. This example is a very well-painted piece and is a great composition. It is framed in an English Classic running pattern frame. Tracing the story of William Meadows, the son of James Meadows, is sometimes a little difficult. In earlier census returns he gave his place of birth as Epping, but in later census returns he said that he was born in Mountnessing in about 1825. Between 1841 and 1901 William is recorded as William James, William George, and in 1881 simply as George, and these apparent changes of name were explained by a chaotic personal life which contrasts with his tranquil paintings of the English countryside and Venice. An entry in The Fine Arts Journal in 1847, concerning the Theatre Royal, Dumfries, reveals that "The scene-painter is Mr. W.J.Meadows, the son of Mr. Meadows, of the Surrey”. Initially, William had begun his career by following in the family footsteps at one of the theatres where his grandfather had performed. However, his training as a scene painter most probably came closer to home under his father's tuition, possibly at The Lyceum Theatre in London in 1844. (See the previous page on James Meadows for further details). In 1850, William married Lydia Maria Jarvis (born in Norwich c.1826) at St Pancras Old Church, close to St Pancras Station in London. By the time that the census was taken the following year, William and Lydia were living at 16, High Street in Poole, Dorset. So far it has been not been possible to identify a census entry for 1861 for the couple. However, when William exhibited "A scene in Surrey' at the Royal Hibernian Academy of Arts in Dublin in 1865, he gave his address as 187, Hampstead Road, London, not far from the St Pancras area once again. The reason for William's obscurity in the 1861 census may lie partially in his financial difficulties, as well as his frequent changes of address. In 1864, The Law Journal's list of impending bankruptcy proceedings included an entry for "Meadows, William George (known as William James Meadows), artist, of Old Kent Road, previously of Beal Road, Old Ford, previously of Wanstead Flats, Wanstead". A family source has revealed that William tried changing career not long afterward, when he became the landlord of The Black Bull Inn in Fyfield in Essex on the 9th November 1866, and that he "gave an opening dinner there" on 29th November 1866. However, if William was trying to achieve financial stability by changing careers, the 1871 census would suggest that it was an unsuccessful interlude. In 1871 William was recorded under the name of William George but is identifiable as the same person by his age, place of birth, and the personal details of his wife. He no longer gave his profession as an artist, but as an "Eating Housekeeper", back in the East End of London and living at 200, High Street in Shoreditch. Two servants were living with the couple, but more unusually there was also another resident, whose occupation was listed as "bailiff in possession". The presence of a live-in bailiff, therefore, seems to suggest that William's financial difficulties were far from over. In addition to his financial woes, William’s marriage to Lydia also appears to have been a stormy affair. In 1867 in London she petitioned for a divorce from William, although she must have been initially reconciled to him as the couple was living together (with their bailiff!) in 1871. However in 1874, Lydia once again petitioned for a divorce and this time the separation was definitive, and Lydia moved to a separate address in Holborn where she was living at the time of the 1881 census as a "retired publican". William, meanwhile, married for a second time in Southwark in 1875, under the name of William George Meadows. His second wife, Helen Grace Higgs, was born in Tipperary in Ireland in about 1841. By the time of the 1881 census, the couple was lodging over a pub at 87, High Holborn in London, where William is recorded simply as "George Meadows, Landscape painter". In the 1891 census, the couple was lodging at The Green Dragon...

Very Pretty Sheraton Revival Mahogany Desk. Standing on original Brass castors. Circa 1890 The Mahogany Lined Drawers (note the fine dovetails) having satinwood crossbanding and reta...

Antique Victorian cast iron combination fireplace. with slim reeded moulding framing the fire grate and dentil moulding crossing the breakfront frieze. Circa 1890. Finished with tra...

Stunning set of 8 Windsor arm chairs with distinctive wheelbacks Classic farmhouse dining chairs and we date this set to circa 1890 We have various refectory tables to match if you a...

An antique tramp art box. A beautiful & early piece of tramp art, intricately layered in the traditional manner with notch carved wooden strips & finished with a pressed brass lion r...

An Empire style gilt bronze and marble top side table. France, Circa 1880-1900 45.5 cm high by 43 cm diameter

Jack Hubert Bonnefoy was an English painter working in France during the last part of the 19th century through the early part of the 20th century. He worked and travelled throughout...

Sheraton Revival Mahogany Display Cabinet. Circa 1890 Standing upon Shaped Legs with a Shaped Frieze. The Cabinet Features 2 Astragal Glazed Doors Which Open to Reveal 2 Interior She...

Stunning set of 8 Windsor arm chairs with distinctive wheelbacks Classic farmhouse dining chairs and we date this set to circa 1890 We have various refectory tables to match if you a...

An elegant set of 6 dining chairs. There is a lovely sort of greyness to the wood Limed oak. I particularly like the cabriole legs at the back and the simple os de mouton sh...

A superb and finely crafted original 1895 English Arts and Crafts period hammered copper oval mirror believed to be designed by Archibald Knox for Liberty & Co; the hammered copper b...

An exceptional, fine and impressive antique silver and niello enamel box; an addition to our diverse silverware collection This exceptional antique Persian silver box has a rectangular form, supported with four plain ball feet. The body of this antique box is embellished with impressive niello enamel floral festoon panels, encompassed with fret band decorated borders. The box is fitted with an impressive hinged cover, embellished with further niello enamel decoration incorporating a vacant scroll shaped cartouche to the centre. This exceptional box has been independently tested using state of the art technology (Niton XL2 Analyzer) and verified as 850 standard silver. NOTE: The majority of such boxes have a wood lining; it is a sign of quality when boxes have an unlined, solid silver interior. Condition This antique Persian silver and niello enamel box is a superior gauge of silver, exceptional quality and in exceptional condition. The piece has some natural surface wear in keeping with age. The written Iranian/Persian hallmark has wear in keeping with age; the date can be determined by the composition and decoration. Reflections in photograph may detract from the true representation of this Persian silverware...

A stunning, fine and impressive antique 9.32 carat peridot and seed pearl, 15 karat yellow gold necklace - boxed; part of our diverse Victorian jewellery collections This stunning a...

Hallmarked in London in 1899 by Joseph Braham, this stylish, Antique Sterling Silver Cigar Lighter, features an Impala horn handle, and works on a gimba...

Hallmarked in Birmingham in 1898 by Norton & White, this charming, Victorian, Antique Sterling Silver Toast Rack, will hold 2 pieces of toast, and is...

A matching pair of Victorian single antique beds with unusual finials and beautiful decorated castings on the panels. These beds have been hand pain...

Pair Of Chinese Silver Prunus Blossom Bud Vases, Maker Wang Hing, circa 1890 Lovely quality embossing by the renowned prolific chinese silversmiths, Wang Hing & Co of Hong Kong.

Substantial and comfortable bentwood bench, the seat with a pattern of pierced boxes, the back with a series of gothic arches. With a small makers label for Cambier Freres, a well...

A Mahogany Victorian Show Framed Sofa with lovely buttoned back and scrolling arms. The upholstery recently done with a GP and J Baker neutral linen. Seat ...

A Victorian Mahogany Framed Button Back Armchair recovered in a green linen with contrast buttons and a Colefax and Fowler Fushica patterned fabric on the arms and back legs leading ...

An exceptional, fine and impressive antique French 18 karat yellow gold Art Nouveau style bracelet; part of our diverse antique jewelry and estate jewelry collections. This exceptio...

5397 William De Morgan Ruby Lustre Bowl Decorated by with Fish to the interior and Persian decoration to the exterior by Fred Passenger. Small glaze frits...

A late Victorian 18ct yellow gold sapphire and diamond Navette (Marquise) cluster ring. The ring is set with 3 sapphires surrounded by a further 18 diamonds. The ring is stamped '18...

'Tempt me Not' by Frederick French (British flourished 1883-1916) signed with monogram lower left, signed and dated 1896 to the reverse, titled to frame plaque oil painting on canva...

Wonderful antique oil painting of a shepherd herding his flock of sheep Glorious work of art is by Belgium artist Henry Schouten 1857-1927 We date this piece to circa 1890 Great work of art by a collectable artist...

Carrying import marks for London in 1897 by Berthold Muller, and London in 1925 by Israel Segalov, this charming, matched pair of Sterling Silver Models of Partridges, are handsomely...

Signed and dated oil on panel figure in landscape by sought after impressionist painter Henri Le Sidaner. The work depicts a farmer walking beneath blossom trees in an orchard in spr...

Hallmarked in Sheffield in 1899 by John & William Deakin, this attractive, Victorian pair of Antique Sterling Silver Candlesticks, are in the Adam style. Each candlestick measure...

Signed figurative oil on board circa 1890 by French Nabis school painter Edouard Vuillard. The work depicts two seated ladies dressed in black with grey pinafores enjoying coffee together. Illustrated in the Catalogue Raisonne of Edouard Vuillard by Antoine Salomon and Guy Cogeval - Volume I, Page 229 - Reference IV-7 This striking work dates to between 1890 and 1891 which was without doubt Vuillard’s greatest decade as an artist. At this time the painter was working with the group of artist known as "Les Nabis" which included Pierre Bonnard, Maurice Denis, Paul Ranson, Ker-Xavier Roussel, Félix Vallotton, Paul Sérusier and Auguste Cazalis. The group played a large part in the transition from impressionism and academic art to abstract art, symbolism and the other early movements of modernism. They believed that a work of art was not a depiction of nature, but a synthesis of metaphors and symbols created by the artist. Signature: Signed lower right Dimensions: Framed: 19.25"x20.25" Unframed: 9.25"x10.25" Provenance: Renou et Poyet - Paris Roland, Browse & Delbanco - London (labels verso) c. 1955 The collection of Sir Alec Guinness Galerie Jan Krugier, Geneva - 1972 Nichido Gallery - Tokyo 1972 Private collection - Japan Christie's London - Impressionist & Modern Art - June 2016 Édouard Vuillard attended the Lycée Condorcet in Paris, where he made friends with Maurice Denis, Lugné-Poe, and Ker-Xavier Roussel, later his brother-in-law. He studied in Maillart’s studio; for six weeks came under the tutelage of Jean-Léon Gérôme at the École des Beaux-Arts in Paris; and later under William Bouguereau and Robert at the Académie Julian, where he became closely linked with the Nabis group (from the Hebrew word for ‘prophet’). He met Marcel Proust in 1902. From 1908, he taught at the Académie Ranson. In 1937, he was elected member of the Institute. At first, Vuillard painted small subjects, disciplined and proficient, qualities for which the prestigious École Française was famous. His earliest still-lifes (1888) are astonishing in their decisiveness and subtlety. His empathy for the object had already compelled him to soften its appearance; the object, which, by virtue of its bright or glossy presence, remained the nonego and the ‘thing represented’ for so many others. ‘Intimacy’ developed immediately between the painter and this modest environment; inhabiting it every day enabled him to celebrate its splendour, and it was to remain his favourite environment. But he was already alternating between small portraits and still-lifes, which gained recognition because of their natural qualities and dignity of tone: a rare combination in a beginner. About 1890, influenced indirectly by Paul Gauguin, all the certainties which the self-styled Nabis painters had contented themselves with suddenly collapsed. Everything was called into question again: both the linear layout of the picture and its colour scheme; the choice of subject and its material aspect; its manufacture and its purpose. Vuillard’s paintings at that time show surprising, bold innovations and an arbitrary power, which one would expect 15 or 20 years later at the height of the Fauvist period. The preoccupation with an internal geometry set them apart from earlier studies. From then on, the paintings were based on forms, lines, and colours. Vuillard made concessions. He produced a portrait or interior with its furniture and its wallpapers, in which the family inhabiting it, evolves. Treated with flat areas of colour and solid shades of ochres, reds, blues, and saffron yellow, without modulation, they seem to prefigure certain paintings by Henri Matisse and Roger de La Fresnaye. In 1891, Vuillard painted an Elegant Lady, a silhouette seen from the back; a long vertical shape starting from the hair decorated with brown feathers; there is a kind of pink cloak, the tight and never-ending black skirt, erect in front of a half-open, bright orange door in a green wall, from where the light of another vertical shape emerges, which is bright yellow, and is reflected in red on the parquet at the feet of the elegant lady. This painting meets his concerns about the actual moment of creating ‘harmonies corresponding to our feeling’, and by virtue of its almost geometric structure, its drawing entirely free of detail, its light effects and colour harmonies, very much prefigures aspects of the future Abstraction movement and is oddly reminiscent of the final period of Nicolas de Staël. All too often, Vuillard is only admired in his role as the harmonist, the serene contemplator who combines an exquisite sense of nuance, rhythms, and values with the most acute observation. These singular investigations, these three-dimensional meditations including a table, a folding metal cot...