Europe

Salmon On The Riverbank, 19th Century by JOHN BUCKNELL RUSSELL (1819-1893) sales to $20,000 Large 19th Century English study of salmon on the riverbank, oil on canvas by John Bickn...

17th-18th century French Gothic fire dogs made of wrought iron. The condition is good.

Description: Antique print, untitled. This original old antique print shows an ancient Roman tomb and a floor plan in Rome, Italy. This original old ant...

Antique map titled 'Essex, devided into Hundreds, with the most antient and fayre Towne Colchester (..)'. Map of Essex, England. Includes an inset town pl...

An exquisite William & Mary English 18th-century domed walnut chest on stand. We are proud to present a unique early 18th-century domed veneered walnut chest on stand, boasting a fa...

This statement midcentury round table boasts a sleek, cylindrical, chrome-plated base that exudes a strong sense of modernity and sophistication. The flat surfaces of the table are d...

Beautiful oil painting on canvas dating back to the Piedmontese school of the early 18th century. The work depicts the Madonna with the Baby Jesus in her arms and next to them is the...

Antonio Stom (Venice, Italy, c. 1688 - 1734) Title: Architectural Capriccio Medium: Oil on canvas Dimensions: without frame 88 x 113 cm - with frame 106 x 132 cm Carved, sculpted and...

Rustic French fireplace surround from the 18th century period in beige granite with original wear from Normandy. A manor fireplace that instantly brings the French feeling to the roo...

Antique map titled 'Scandinavie Septentrionale' and 'Scandinavie Meridionale'. Copper engraving with two maps on one sheet. The upper map depicts Northern Scandinavia with Norway, Sw...

Antique print with two religious images on one sheet. 1. Iugement de l'Inquisition dans la grande Place de Madrid, 2. La Procession de l'Inquistion, a Goa'. Antique print depicting Spanish inquisitions...

Antique map titled 'Gallia vetus ex C. Iulii Caesaris (..)'. Original antique map of France. Published by P. Mortier, c.1710.

17th-18th century French andirons made of wrought iron. The style of the andirons is gothic. The andirons have spit hooks to grill food. They have a natural brown patina. Upon reques...

This lovely Old Master portrait oil painting is attributed to the circle of Michael Dahl. Painted circa 1710 the sitter is Rachel Missing, wife of Roger Hogg of Newliston, near Edinb...

Antiques small Spanish trunk.

Two images on one sheet. This plate shows the Roman Catholic ceremony of Ash Wednesday and the receiving of the blessed bread. This print originates from 'Naaukeurige beschryving der...

A superb pair of early 18th century Japanese Imari vases, decorated in the typical palette of tones of blues, iron reds and gilded highlights on a predominantly white background. The...

Royal House Antiques Royal House Antiques is delighted to offer for sale this absolutely exquisite and important antique pair of George I circa 1700 Polychrome painted hanging corne...

Moustiers faience Chinoiserie plate Good condition: light chipping and some usual wear to the rim.

This very rare and exceptional antique baroque hanging cupboard was made in central Germany in the early 18th century circa 1720. It was made from solid oak and pine and was painted ...

Quality pair of 18th Century Chinese plates, having a quality pair of 18th century Chinese plates decorated with flowers in wonderful red, blue, gold and white colours. D. 1780

17th-18th century, French Gothic style fire dogs made of wrought iron. The andirons have spit hooks to grill food. These French andirons are called 'landiers' in France. The condit...

Antique print titled 'Mier Timoer, Eerste Groote Mogol'. This print depicts Babur, the 1st Mughal Emperor. Text on verso. This print originates from 'Oud en Nieuw Oost-Indiën' by F. ...

Mid 18th century Scandinavian baroque oak iron bound box circa 1720. Characterful oval shaped box profusely covered with iron edging and strap work.  This piece has taken on a great...

Petite Italian antique chimney piece is in Royal Brêche marble and has its original patina. The front has a heart motif. This particular is a "li...

Louis XIV period limestone fireplace surround with great wear and extra small proportions. The perfect fireplace for original apartment decoration. This 18th century period piece is ...

Antique print titled 'Sjah Sousa tweede zoon van Sjah Djihaan' and 'Donna Juliana'. Antique print depicting Shah Shuja and a Christian Lady at the Mogul Court. Shah Shuja was the second son of the Mughal Emperor Shah Jahan and Empress Mumtaz Mahal...

Early Georgian Mahogany Dressing Table or Music Piano Stool with Drop in seat on Reeded Square Leg - 21"w x 16"d x 19"h

Oil on canvas Image size: 30 1/4 x 25 inches (77 x 63 cm) Original hand carved gilt frame Provenance Private Estate, England This is a very fine example of Kneller's work in the early 18th century. Here, the emphasis is placed directly on the sitter's alluring femininity, with this being enhanced by the falling hair around her shoulder. This looseness of focus is created with a free fluidity of brushstrokes. He has used a Rembrandt-esque technique of subtle tones in the face, and we can see how Kneller often allowed the bluer ground layer to show through when suggesting the darker flesh tones.The painterly technique seen here is an excellent demonstration of Kneller’s style. The bold handling of the flesh tones is Kneller at his most emphatic, while the sizeable areas of dark grey ground we see are indicative of his method of painting quickly, developed by this stage in his career to cope with the many demands of a large circle of patrons. The same effect is used for the shadows in the face: rather than paint darker colours on top of the pink flesh tones, as most artists would have done, Kneller instead painted in the reverse order, using the ground layer for his dark shadows, and then painting the lighter colours on top. Often he worked with an almost dry brush in strong firm strokes. Here the flesh tones have been rapidly, almost roughly painted, with bold areas of impasto giving way to areas where almost no paint has been applied at all, a trick that allowed Kneller to use the blue-grey ground layer to show darker flesh tones. Godfrey Kneller...

A portrait of a lady three-quarter length, seated in an interior, wearing a red silk gown draped in a pink silk sash with an exotic bird perched on her hand and one arm resting on a stone plinth, her young daughter wearing a green silk gown standing at her side. Oil on canvas, housed in a period 'Lely' giltwood frame. This double portrait was painted at the height of Dahl's career in circa 1715 when Dahl had become firmly established as one of the leading portrait painters in Britain. Although the identities of the sitters are currently unknown, it is a sensitive depiction of a close and affectionate bond between a mother and daughter, with the young girl's hand resting affectionately on her mothers lap. The tamed exotic bird adds a charming decorative element which also serves to convey the high social status of the lady, given only the very wealthy would be able to own such a rare and expensive pet and the lively colouring of the bird's feathers is reflected in the colours of the sitters' silk gowns. Provenance: Private collection, London Michael Dahl (Stockholm 1659-1743 London) was born in Stockholm in Sweden and studied under Martin Hannibal (d 1741) and later with David Klöcker Ehrenstrahl. In 1682 he travelled to London, where he became acquainted with Godfrey Kneller and Henry Tilson, and in 1685 he left for Europe with Tilson, working briefly in Paris before continuing to Venice and Rome, where they stayed for about two years. In Rome Dahl converted to Roman Catholicism and gravitated towards the circle of Christina, former Queen of Sweden, who sat for him (Grimsthorpe Castle, Lincs). He returned to England with Tilson via Frankfurt and arrived in London in 1689, staying in England for the remainder of his career. During Dahl's absence, Kneller had consolidated his supremacy in London as the most fashionable portrait painter, but Dahl rapidly became Kneller’s closest competitor. His patrons probably had roots in the Swedish diplomatic circles, but it expanded as a result of his ability and his agreeable personality. His prices were lower than those of Kneller and he favoured softer, more diffused, colour tones and could respond to his sitters with sincerity and humanity. Politically, Kneller supported the ascendant Whigs while Dahl was a Tory, but they frequently painted the same sitters from both parties, and in spite of fundamental differences in technique and temperament, their work was sometimes similar in appearance. Dahl was prolific but rarely signed his work, and comparatively few of his portraits were engraved in mezzotint, the method used by Kneller to widen his reputation. By 1690 he had painted the aged Duke of Schomberg (engraved by William Faithorne) and Prince George of Denmark (London, Kensington Palace). He was ignored by William III but received commissions from Princess Anne, including one for a portrait of herself (Oakly Park, Ludlow, Salop). He also painted the future Duke and Duchess of Marlborough, and his informal portrait of the Duchess (Althorp House, Northants), formerly attributed to Kneller, is perhaps the most intimate of all images of her. During the 1690s he secured the patronage of Charles Seymour, the ‘Proud’ 6th Duke of Somerset, who ordered a series of seven full-length portraits of notable contemporary beauties from Dahl (1690s; Petworth House, W. Sussex, NT). This was originally a scheme similar to Kneller’s more famous ‘Hampton Court Beauties’, but the portraits were subsequently reduced to three-quarter-length formats. The features of the sitters are not individualized, but they possess a decorative, languorous glamour that recalls Lely rather than Kneller. Somerset gave Dahl further employment over the next 25 years. In 1698, following the death of Klöcker Ehrenstrahl, Dahl was offered the post of court painter at Stockholm, which he apparently refused, preferring to remain in London at his studio in Leicester Fields, near the Swedish legation. In about 1700 he was joined by a young compatriot, Hans Hysing, who worked with him for many years. Dahl seems not to have married until after 1708, He had a son Michael (d. 1741), also a painter, of whose work nothing is known, and two daughters. After the accession of Queen Anne in 1701, she and Prince George sat for a number of official portraits. His royal patronage ceased with Queen Anne’s death, and when Dahl refused to paint the infant Duke of Cumberland in 1722. He was suspected of Jacobite sympathies, and relations had cooled between him and the Swedish legation. However, his practice continued to prosper, and he acquired another important patron in Edward Harley, 2nd Earl of Oxford, who shared his political views and whose circle included the architect James Gibbs and the poets Matthew Prior and Alexander Pope, all of whom Dahl painted. Oxford commissioned several portraits of himself. In the earliest (1719; Welbeck Abbey...

Paul of Thebes, commonly known as Saint Paul the First Hermit or St Paul the Anchorite (d. c. 341) is regarded as the first Christian hermit. He is not to be confused with Paul the Simple, who was a disciple of Anthony the Great...

Antique Map of Mecklenburg-Vorpommern by J.B. Homann, c.1720 Old colored antique map of Mecklenburg-Vorpommern by Johann Baptist Homann. This stunning map, titled "Ducatus Meklenbur...

A pair of exquisite Empire candlesticks which combine gilt and patinated brass. Made in 1820s France. Various intricate rose, floral and leaf patterns adorn the bases in gilt brass. ...

Antique print titled 'Afbeeldingen der Muzykale Instrumenten, van welke gesproken wert in de H. Schrift'. Beautiful print of various musical instruments mentioned in the bible like c...

Rare early 18th century Blue Delftware platter with Daniel Marot style decoration of bird and insects amidst flowers and foliage. Beautiful border decoration of rich foliage, flowers...

Two images on one plate. Image 1. Kiwasa: This Idol is placed in the temple of the town of Secotam, as the keeper of the king's dead corpses. Image 2. The God of Wind. Both idols are...

Phenomenal original antique fireplace surround in Arabesco marble from the regency period from the city of Antwerp. One unique city palace mantle piece. Regency period, 18th century....

Extraordinary Blue Delftware (deep) platter with chinoiserie decoration of three birds above blossoming peony and flower sprays. The border and with a decoration of tracery and carto...

Attribution to Francesco Solimena "Resurrection of Christ" 18th Century oil on canvas (129x77 cm.) framed good condition for the period Francesco Solimena, also called l'Abate C...

Entretiens sur les vies et sur les ouvrages des plus excellens peintres anciens et modernes Title: Entretiens sur les vies et sur les ouvrages des plus excellens peintres anciens et modernes Par Mr. Felibien, Secretaire de l' Academie des Sciences & Historiographe du Roi. Tome premier, 1705, Nouvelle Edition revue, corrigeer & augmentée des Conferences de l'Academie Royale de Peinture & de Sculpture and Tome second, 1705 A londres, chez David Mortier, Libraire dans le Strand, a l'enseigne d' Erafme Tome premier 68 pages and on page 69 second entretien till page 248 8 pages with table des martieres, Continues dans le premier Tome Tome second 165 pages with troisieme entretien and on page 166 quatrième entretien till page 297 5 pages 'table' Brown leather binding with paper board and 5 spine...

Fine French Louis XIV period, 18th century period, original fireplace surround in a rose Burgundy hard stone/marble with remaining original patina....

A large early 18th century carved gilt wood eagle, mounted on a square red velvet covered plinth. Originally used as a lectern adornment, this archite...

JESUS CHRIST CRUCIFIED 18th Century Italian Sculpture in ivor.... The figure is represented dead, wearing a cendal point at the waist. Cross in carved rosewood wood. Silver termin...

Compass with pocket sundial, with case. Bronze. BUTTERFIELD, Michael (1635-1724). Paris, circa 1700. Pocket sundial made of engraved metal, with a gno...

Absolutely superb example of Georgian cut steel. The way it sparkles and catches the light is just beautiful. This necklace sits perfectly flat and ...

An exceptionally, rare 18th century, upholstered, elm, wing armchair with a scalloped back from Notley Priory & The Collection of Vivien Leigh & Laurence ...

A delightful early 18th century solid walnut bureau bookcase having attractive double domed top with replacement mirror plates to panelled doors enclosing well fitted interior abov...

Beautiful veneered chest of drawers in walnut wood and walnut root, enriched with fruit wood fillets. Its uniqueness and sophistication are evident in the wavy front and in the geome...

A fine and rare English parcel-gilt walnut stool. Early-18th century, George I-period, circa 1720. Upholstered in 17th-century tapestry and partially clo...

A Japanese Kakiemon-style bird-and-flower painting has been used here by a Dutch painter to decorate a Chinese porcelain bowl. The grouping of a pair of magpies, plum blossoms, and b...

Antique statue life sized Roman Greek natural stone old sculpture. The antique statue displayed in this Ad is one of 12 reclaimed life sized limestone statues. In this specific ...

A Rare and Unusual Pair of 18th Century Spanish Colonial 'Enconchado' Mirrors Veneered in Tortoiseshell and Inlaid With Bone and Mother of Pearl Made in Lima (Peru) or Mexico Circa 1720 Provenance One of the mirrors with a fragmentary label printed with "Bodmer", possibly relating to one of the branches of the Bodmer family in Switzerland, some of whom were renowned collectors of South American art The mirrors of rectangular form with ripple moulded outer borders framing tortoishell veneered inner borders inlaid with fine bone stringing and sinuous floral motifs inlaid in mother of pearl. The sight edges also veneered and inlaid with a repeating geometric motif. The mirrors are notable for the fine quality of the inlay, their unusually large size for this date, in particular the size of the plates themselves (possibly original) and the fact that they are a pair. The term 'Enconchado' comes from Spanish colonial art, particularly associated with Mexico, comprising of oil paintings inlaid with mother of pearl and other iridescent minerals. This form of art is discussed in great detail by Miguel Arisa in his essay Luminosity in Mexican Enconchado Paintings and Conceptions of the Sacred in Visual Culture and Indigenous Agency in the Early Americas, The Early Americas: History and Culture, Volume: 10 Chapter 4 (October 2021). He argues that the development of this style was an attempt to combine pre-Hispanic indigenous South American traditions regarding the sacred properties of "shiny objects" and "Baroque concepts of the miraculous", the sparkling inlay adding to the power of the European religious imagery. Mirrors such as the present pair are likewise cross-cultural objects, fusing European form and aesthetic concerns with indigenous craftsmanship to create objects of great prestige and decorative appeal. The ripple mouldings are clearly the result of a 17th century Dutch...

[MERIAN, Maria Sibyl]. Pineapple with foliage. The Hague, Gosse, 1719. Engraving of a Pineapple with foliage by J. Mulder, P. Sluyter and D. Stoopendaal after Merian, with later hand-colour, from Dissertatio de Generatione et Metamorphasibus Insectorum Surinamensium. Framed and glazed, overall dimensions: 40cm by 53.2cm by 4.5cm. Superb engravings which depict the metamorphoses of South American insects and the exotic plants on which they feed. Maria Sybilla, daughter of the German engraver and publisher Matthias Merian, devoted herself to the study of European insects and their metamorphoses. As a result of the wealth of tropical varieties being brought back by the Dutch West Indies Company...

An oval cameo carved out of sardonyx depicts an antique mythological female bust in profile. The cameo has been executed in the 1st half of the 18th century and mounted in 18K gold. ...

A pair of slim carved and gilded chestnut architectural panels. Both vigorously carved in high relief from a single section of chestnut with its first gilded finish still in place, ...

An early-18th century walnut wing armchair. Queen Anne/ George I-period, ca 1714. This fine English walnut wingback chair is raised on well-drawn carved cabriole legs. With a lovely kick on the back legs. Remarkably, after some 310 years, it still retains its original gros-point needlework upholstery in vibrant colors. Of superb proportions, color, figuring and patination. Measures: H 106 cm (42'') D 68 cm (27''). W 87.5 cm (34 1/2''). Seat H: 42.5 cm. (16 3/4''). Literature: Herbert Cescinsky 'English Furniture Of The Eighteenth Century', George Routledge & Sons (1911) vol. I, p. 81, fig. 105. ''A walnut easy chair'' dated 1710. Nb. A slightly earlier antique walnut and beech wing armchair with contemporary needlework, circa 1710, sold in Christies, Lot 164, October 2015 @ £48,350 -The Property of the Metropolitan Museum of Art. Sothebys sold a George II needlework...

A rare 18th century oak bureau of particularly small and diminutive proportions. the fall with a moulded book-rest, opening to reveal a steppe...

A rare set of 3 Brass Baroque repousse wall sconces Original late 17th/ early 18th century large detailed Repoussé back plates designed with hi...

Unique antique weather vane in handwrought iron. The weather vane is dated ‘1725’ and the plaque with the dating is made from copper. It is very u...

A pair of Regence gilt-bronze mounted celadon lidded vases, Qing dynasty, Kangxi (1662-1722), in the manner of Yuan dynasty, and circa 1720. Each turquoise colored lidded vase / urn ...