Europe

Mid-20th century glazed ceramic elephant garden stool, flower pot seat or side table. Handmade of ceramic. Nice addition to your home, patio or garden. A nice addition to any room, p...

Armchair manufactured at the Bydgoszcz Renewal Cooperative in the 1970s. The armchair are after a comprehensive renovation of carpentry and upholstery. The oak wood has been cleaned,...

The third in my tapestry oil paintings - playing with subtle colours and not overdoing the lines - keeping it loose. ADDITIONAL INFORMATION: Oil, Pencil on Canvas 4 H x 2.98 W x 2.9...

An exquisite, tall six-panel byôbu (folding screen) featuring a painting attributed to Kanô Isen’in Naganobu (1775–1828) depicting a pair of phoenixes (hô’ô) and a section of a large...

We are thrilled to present this fantastic pair of antique Italian bookcases dating to the final decades of the 19th century. A stunning pair of bookcases with a timeless antique char...

Unusual " Chalet" pine coffee table. The table is in 2 pieces of different height. They can be positioned to increase the width ( between 100 cm and 130 cm ) Anonymous cabinetmaker...

Wall Mirror Seguso Italy, 1930 Pink twister murano glass and brass details Perfect condiction

Stunning French Riviera style rectangular organic coffee table fully made in bamboo and woven rattan wicker completed by a bronzed glass top. This stylish and unique piece was hand-m...

Scandinavian mid-century pendant lamp, produced by an unidentified Swedish manufacturer in the 1950s. Crafted from brass, it features three curved arms attached to a bell-shaped cent...

An exquisite set of three Murano glass and nickel-plated brass wall lights, Barovier & Toso Manufacture, Murano, 1940s This elegant group of three wall lights represents the finest ...

Exceptional and Rare Viennese Biedermeier Secretaire – Vienna, circa 1825 A Masterpiece of Design, Craftsmanship, and Timeless Elegance We are proud to present this elegant and rare...

Johnson’s Maine Map, USA Published c.1864 – Hand-Colored County Map This is a finely engraved and hand-colored map titled Johnson’s Maine, published by Johnson and Ward in New York ...

Our shimmering Kyanite and Pearl Drop Necklace from the Santorini Collection is a wonderful choice for those looking for elegant beach-inspired jewellery. The Necklace features a bea...

A modernist chandelier produced by the Swedish lighting manufacturer ASEA Belysning in the 1950s. Crafted from solid oak and brass, it features three curved arms holding white glass ...

a superb scale size of the Venere italica, the famous and notable sculpture carved by Antonio Canova in the 19th century standing on circular Carrara marble base. At the top of his ...

This is a signed antique oil painting by O.V. Borch (1891-1968) with a beautiful motive of the interior of a simple, well kept small holding. The fireplace corner creates beautiful...

This wonderful and rare flush mount ceiling light is a standout example of the Nordic Functionalism from the 1930s, a design movement that sought to merge beautiful craftsmanship wit...

George Trollope and Sons. Exhibited at the Paris Universal Exhibition in 1878 winning a Gold Medal for Excellence. The set forms the four sides of a complete panelled room that was exhibited as a boudoir room or petit salon at the Paris Exhibition 1878 . The main feature and centrepiece of this boudoir room is the Rosso Antico marble fireplace surmounted by an open display niche carved in cedar wood. Each side of the room is composed of various panels and are as follows: One side with a grand Rosso Antico marble fireplace flanked by two doorways. One side with French doors originally opening onto a balcony, flanked by two large bookshelves. One side with a window flanked by two mirrors. The opposite side with three large mirrors. The complete room measures: 21 ft / 6.4 m wide, 17 ft / 5.18 m deep, and 12 ft / 3.65 m high. It could also be used in a number of different combinations to suit various room layouts. The mirrors could be replaced with windows or further bookcases. Each side is decorated with various sizes of finely carved panels and holds ornate Corinthian style columns surmounted with cherubim's on the capitals. Three cherubs are formed at the top of each corner with three columns, at the column bases there are circular carved pedestals to display statues. Published & illustrated in the ‘Illustrated Catalogue of the Paris International Exhibition’. The main part of this room, the Rosso Antico marble fireplace is surmounted by a large open display niche carved in cedar wood are illustrated with a line drawing in the Paris Universal Exhibition catalogue on page 209. The whereabouts of the seminaked caryatids and the marble bust of Alexander Pope are unknown. The bust of Alexander Pope was copied from the original one in Westminster Abbey, London. The Corinthian columns now flanking the niche above the fireplace are also in cedar wood having the identical carved fluting to the rest of the room and were made to replace the caryatid figures. Those Corinthian columns are period to the room and can only have been made shortly after it arrived back to London and before it was reassembled and fitted into the house built by George Trollope and Sons in the 1880's, and where we removed it all from. George Trollope made clever use of Alexander Pope's early 18th-century poetical successes in Great Britain and France by using ‘The Rape of Lock’, a mock-heroic narrative poem Pope wrote in 1712 about Petre who cut off a lock of Arabella’s hair without her permission, as the theme of the boudoir room or petit salon at the 1878 Paris Exhibition. In the original exhibition display of the room set, tapestries depicting the Rape of Lock were hung where the mirrors are now positioned. Alexander Pope's The Rape of the Lock is a humorous indictment of the vanities and idleness of 18th-century high society. Basing his poem on an actual incident among two families of his acquaintance, Pope intended his verses to quench hot tempers and to encourage his friends to laugh at their own foolishness. The poem is an outstanding example in the English language of the genre of mock-epic. The 'epic' was considered one of the most serious of literary forms; it had been applied, in the classical period, to the trivialities of love and war. Pope’s mock-epic is not to mock the form itself, but to mock his society in its very failure to rise to epic standards, exposing its pettiness by casting it against the grandeur of the traditional epic subjects and the bravery and fortitude of epic heroes: Pope’s mock-heroic treatment in The Rape of the Lock underlines the ridiculousness of a society in which values have lost all proportion, and the trivial is handled with the gravity and solemnity that ought to be accorded to truly important issues. The 18th-century society in this poem fails to distinguish between things that are important and things that are not. The poem mocks the men it portrays by representing them as unworthy of a heroic culture. Therefore the mock-epic follows the epic in that its main concerns are serious and moral. The point that the theme must now be satirical rather than earnest is symptomatic of how far the culture has fallen. Retaining the original exhibition label The back of the panelling still retains two original labels printed with the 'Union Jack' and printed adjacent to it, 'The Secretary Royal British Commission for the Universal Exhibition 1878 Champ de Mars Paris'. Adjacent to that and below, printed and written in ink vertically: Exhibitor: (and signed in ink) George Trollope & Sons. Address: (written in ink) Halkin Street West. London. Allotment in Block: (written in ink) a2. In the printed floor plan 'a2 square' is in the very first line to the right of the floor plan and handwritten in ink with a 'diamond shape' also written with '101' within it. This pin points where George Trollope's stand was located. With thousands of items being displayed at the Exhibition, this label would have been the floor plan for the craftsmen, so they knew the correct place to install the boudoir room or petit salon. The firm continued expanding house building and interior decoration side of the business and by 1849 was also trading as an estate agency, letting and controlling property for the Grosvenor Estates. A separate branch of cabinet-makers, bearing the family name, was opened at West Halkin Street, London. becoming known as 'The Museum of Decorative Arts' (looked after by George Robinson). Here Trollope and Sons also sold high-class antique furniture made by other makers. In 1851, the firm became formally known as George Trollope and Sons. West Halkin Street, London. The address was recorded in the listing for the firm in The Furniture Gazette Directory, 1876 & 1877. Period Press Coverage & Art Critic Review. everal newspapers also thoroughly describe George Trollope and Son's stand including the different tapestries that were hung where the mirrors are now, illustrating the poem 'The Rape of Lock', by Alexander Pope. Marius Vachon, a French Art Critic and journalist, who wrote for the journal ‘La France’ published an extensive review of the Trollope and Sons stand in a book called Les Merveilles de l'Exposition de 1878 (The Wonders of the 1878 Exhibition). Note: In the World Fairs translation it states door frame, Marius Vachon had originally written ‘chambranle’ in French, 'chambranle' loosely translates to a frame around something, and should read in its correct context: ‘fireplace in rosso antico’. We have taken the extract below written by Marius Vachon in its translated form from: Les Merveilles de l'Exposition de 1878, (The Wonders of the 1878 Exhibition). This puts into perspective the importance of this fine quality room interior when he viewed it at the exhibition in 1878: Marius Vachon: English furniture is very curious to observe; irreproachable from the point of view of execution, the furniture of our neighbours always reaches the last degree of respectability and comfort. One thing to be noticed is that for large pieces of furniture, the English upholsterer is transformed into a sort of architect; everything he makes takes on a monumental aspect. The first object that catches the eye when one enters the furniture class is the beautiful boudoir-salon exhibited by Mr. Trollope. The boudoir (or petit salon), of carved cedar wood, is an attempt to reproduce the style which prevailed in England during the first decade of Queen Anne's reign, and all the details have been studied, but not copied, from examples of decorative work of the time. The fireplace is in "rosso antico" movement, and the ceiling is in portable plaster. The panels painted on canvas represent scenes from the heroic-comic poem "The Abduction of the Hairpin," (The Rape of Lock) written by Alexander Pope in 1712, the eighth year of Queen Anne's reign, in which the customs and mores of the time are satirized in a pleasing manner. The apotheosis of the Loop and its sidereal transformations will form the decoration of the ceiling. In these illustrations of Pope's charming poem, the costumes and accessories have been taken from models of the time; and the bust of the poet, copied from his tomb in Westminster Abbey, occupies the niche in the centre of the mantelpiece. M. Marius Vachon, the period writer of the above continues with: Now we shall mention at random the magnificent dining table of Messrs. Johnston and Co., their oak mantelpiece, their boudoir table; Mr. Watt's drawing-room mantelpiece stepped in the old style and imitating the Japanese; Mr. James Shoolbred's great The Decorative Arts Society on Trollope and Sons The boudoir or petit salon is mentioned again in the Decorative Arts Society: Trollope did not exhibit such highly rated objects at the 1878 Paris Exhibition as at previous exhibitions; items included a large mirror frame carved in limewood in Renaissance style and a satinwood cabinet in Adam revival style, with a similar armchair (illus. Meyer (2006), p. 242) and probably two rooms; one was a boudoir in cedar wood in Queen Anne style and the other was a boudoir decorated by the firm in the theme of Pope’s The Rape of Lock. In the above extract, it is quite clear that the two rooms mentioned are in fact the very same room, because the fireplace and niche are illustrated in The Paris Universal Exhibition catalogue on page 209 and Marius Vachon describes the rest of the room set in the above… Trollope and Sons exhibition pieces listed and described by Meyer in an article he wrote for: The Decorative Arts Society 1850 to present, Journal 25 in 2001., where he points out the importance of George Trollope and Sons and mentions a table by Trollope exhibited at the 1867 exhibition that sold for £40,000 in 1996. He also mentions a cabinet exhibited by Trollope at the International Exhibition of 1862 that sold at Sotheby's in 1997 for £150,000. Interest was not as strong in the 1990's as it is today for rare exhibition pieces, high quality items were abundant back then, it was a golden era when the most beautiful works of art just kept coming onto the market. But there are exceptions as in this instance, when a unique, gold medal-winning exhibition work of art comes onto the market for the very first time. Meyer continued researching and writing about the great exhibitions and released his book in 2006, 'The Great Exhibitions, London, New York, Paris and Philadelphia 1851- 1900, where he mentions only in passing, The Boudoir Room or Petite Salon exhibited by Trollope, he even states that an image was not reproduced and that Trollope's exhibits in 1878 were not up to the quality and class of the items Trollope exhibited in London in 1862 and Paris in 1868. This is probably because Meyer didn't know of the line drawing illustrating the Roso Antico Fireplace, Niche and Panelling reproduced in The Illustrated Catalogue of the Paris International Exhibition 1878 shown in the above which Geering recently uncovered. John Meyer continues in the DAS journal: Undoubtedly they (Trollope) are a firm worthy of further research as they were right at the forefront of the furniture business in London from 1860 to 1880. Our research shows that the Petite Boudoir was awarded the gold medal for excellence in 1878 (see Journal La Liberté 23-10-1878 with the list of all medals attributed), something George Trollope and Sons did not achieve at the London 1862 and the Paris 1867 exhibitions. Jonathan Meyer joined Bonham's in 1977. He was Director at Sotheby's in charge of 19th Century Furniture from 1994 to June 2007. He was also chairman of the Fine Arts Faculty for The Royal Institute of Chartered Surveyors. In the original description from the article in Les Merveilles de l’exposition de 1878, M. Marius Vachon states: The first object that catches the eye when one enters the (English) furniture class is the beautiful boudoir-salon exhibited by Mr. Trollope. Suggesting, it was in his opinion the very best on display in the English section, and being awarded the gold medal for excellence can only add weight to this. Adjacent to the original label that was printed by The Secretary - Royal British Commission for the Universal Exhibition 1878 in stencil ‘TO BE KEPT’, i.e. ‘to be returned’. This confirms why it came back to London. We removed the Boudoir Room or Petite Salon from a Trollope house, part of a grand high-class housing estate in London which around the time of the exhibition Trollope and Sons were in the process of building, and where the room set was installed directly after it returned from the exhibition in 1878 until now. Worthy of note is the machines that did the carving for the Boudoir Room or Petite Salon and also did all of the decorative carving (most of which was linenfold carving) for the Houses of Parliament, London. This machine, the engraving and description of which we copy from Engineering, was specially designed by its inventor, Mr. Jordan, for assisting in the production of the vast amount of carved decorations required for the walls and ceilings of the Houses of Parliament, London, and it was so employed during the entire progress of the work. The late Sir Charles Barry was so well satisfied with it, that he frequently declared it would have been impossible to have accomplished the work without it. The Department of Woods and Forests employed five of the machines at the Government Works, Thames Bank, for several years; and the machines have now passed into the hands of Messrs. George Trollope and Son, and are still used in the same building. They also exhibited the new technique of xylatechnography and sgraffito, methods of impressing coloured design into soft wood and engraving veneer to reveal the base wood. The newspaper, La Liberte October, 23rd 1878 listing the medal winners of the Paris 1878 exhibition. Third column, ''GROUPE III MOBILIER ET ACCESSOIRES'', (GROUP III FURNITURE AND ACCESSORIES). Medailles d'or. (Gold Medals) where G Trollope et fils (G Trollope and Sons...

Exceptional, rare Loetz Witwe glass vase out of the world renowed workshops in Klostermuehle (Bohemia) from the early Art Nouveau period around 1902. The beautiful mouth-blown pink g...

A set of three antique deer antler trophies on hand carved, Black Forest wooden plaques. They are dated. All of them from the 1930s. Measurement'...

Oil and tempera on cardboard attributed to William Dyce and realized in 1873. Hand titled and dated lower right. Includes a modern gilded wooden frame, cm. 23.5x32.5.

This antique reliquary contains 10 relics of saints with paper scrolls and red velvet. It is handcrafted from metal. This is a 3rd class relic. For better understanding, relics are d...

NOOM x Patience & Gough Present a Bold Collaboration Bridging HELLO chair, Textile, and NFT Art In a bold cross-disciplinary collaboration with British design studio Patience & Goug...

This small-format oil painting "Calling to nature " by French artist Natalya Mougenot evokes the quiet ambiguity of nature. Painted on stretched cotton canvas (20 x 20 cm / 7.9 x 7...

Pablo PICASSO Carmen, The Sleeping Woman, 1949 Original burin engraving (Atelier Lacourière, Paris) Unsigned On Montval wove paper 33 x 26 cm (12.9 x 10.2 in) REFERENCES : - Catal...

Another stunning hand-painted oil on canvas work of religious art. This antique oil painting was first hand-painted on canvas and later mounted onto a zinc backplate .. a traditiona...

The Flock Sofa is a bold addition to the sculptural Flock collection, defined by organic forms and expressive design. With its timeless wraparound silhouette and deep lounge seating,...

1924 Paris Olympic Games gold medal vase by Octave Guillonnet and Emile Louis Bracquemond at Manufacture Nationale de Sèvres, 1924. Height : 13.2"(33.5cm), Diameter : 6.3"(16cm). Sta...

Pablo PICASSO Carmen, Woman in Profile, 1949 Original aquatint engraving (Atelier Lacourière, Paris) Unsigned Dated in the plate On Arches vellum 49 x 35 cm (c. 19.2 x 13.7 in) REF...

This Limited Canvas Edition ( #10 of 20 ) is hand painted on Giclée printed Canvas. , finishing by the artist Shizico Yi with original brushstroke and oil paints on 90% of the painti...

This small study desk is made with a beetroot powder-coated steel frame and a burgundy coloured natural linoleum tabletop. The linoleum for our desks is selected for the ecological p...

The Isabella Carver Chair is the latest edition to our signature collection – 12 years in the making. Sister of the original Stuart Scott piece, the Isabella Dining Chair, the Carver...

This antique oil on canvas maritime painting is alluring due to the nighttime setting with ghostly ships under a gloomy full moon with looming clouds and uneasy waters. This little p...

Exhibition quality pair of antique Victorian amboyna and carved ebony pedestals having an amboyna top with a crossbanded edge above a frieze drawer and single door opening to reveal ...

A striking example of Swedish modern design, this rare table lamp, model 29595, was designed by Erik Tidstrand for the prestigious department store Nordiska Kompaniet (NK) in the lat...

Italian vintage chandelier in Murano glass and nickel-plated metal structure. The armor polished nickel supports 48 large pink glass tubes. The glasses have a beautiful color, object...

French “Clichy” pink coloured glass pendant lamp Brass glass holder Weight : 0.75 kg / 1.7 lb Priced per individual item. All lamps have been made suitable by international standar...

Desk lamp, originally manufactured at the historical Wiener Werkstätte and archived at the WW-pattern-books with the # S 142 - all in all, just eight lamps were manufactured at the W...

PRE-OWNED GOODS ARE EXEMPT FROM IMPORT TARIFFS FOR U.S., UK, AUSTRALIAN & CANADIAN CUSTOMERS. THEREFORE, NO IMPORT TARIFFS WILL BE APPLICABLE TO YOUR PURCHASE. Møller & Bøgely, ...

"Yellow buoys" (2025) Medium: Archival pigment print on premium matte photo paper Dimensions: 20 x 27 cm / 7.8 x 10.6 inches (unframed) Edition: Limited Edition of 50 Signed on the b...

Beautiful vintage green glass carafe in the shape of an eagle or bird of prey, by Bessi, Italian, collector's item from the 1960s-1970s, marked at the bottom. These glass carafes we...

Elegant white lacquered brass ceiling lamp by Paavo Tynell, with a streamlined shade perforated with small holes. The underside of the lamp has a glass shade that covers the light so...

Claude Sauthier was born in Geneva, Switzerland, in 1929 and passed away in the same city in 2016. He studied at the Geneva School of Decorative Arts and initially worked as a graphi...

Old Chinese rosewood jewelry box with 2 doors and 3 drawers, jewelry box with brass fittings and a jade plaque in the center of the doors and sides, inside a red lining with silver-c...

Very elegant Italian Art Deco Mid-Century Modern drinks dry bar cabinet in beautiful veneer walnut briar burl wood, two doors with great wooden decor craftmanship and handles. When o...

York display cabinet, with 2 doors and 2 internal glass shelves, is entirely made of Canaletto walnut wood, for both the rear part and the internal part. The glass of the doors is a ...

1961 Moisès Villèlia Linocut — “Aumun” (Colour Variant), No. 89/100, with Alain Arias-Misson Poem, Framed & Free Worldwide Shipping Red pulses through Villèlia’s organic lattice lik...

Very elegant and refined Italian 1950s Mid-Century Modern design, pair of bedside tables with double drawer and front door, blue glass top and beautiful wood veneer burl decors on th...

Classic early 1950s Austrian bottle opener, attributed to be designed by Ludwig Bemelmans showing "Noodle" the Dachshund dog. Nice addition to your room or just for your collection o...

"Madrid" Wall Lamp Réne Lalique 1930 Rare and original Art Deco Nickel Brass frame Crystal cutted and Frosted glass shade Must have for any Lalique lover and Art Deco collector. E...

Art Nouveau-Style Ginkgo Leaf Vide-Poche in Polished Brass – Sculptural Golden Catchall Description: This elegant brass vide-poche, shaped like a ginkgo leaf, draws inspiration from...

The Conservatory Collection offers a window to a bygone era, when conservatories and orangeries were sanctuaries of peace and quiet, seamlessly blending the indoors with the natural ...

Art deco vase with polychrome flower decor and gilding by Raymond Chevalier designer artist for Boch Frères, La Louvière. In a very good condition with light gold fading on the handl...

Victor Vasarely (1906-1997) - Cibria Lithograph from 1971. Dimensions of work: 48 x 40 cm. Reference: Catalogue Raisonné Vol I par Pedro Benavides n°189. The work is in Excellent...

Vintage Italian wall lights with clear Murano glass cups hand blown with bubbles inside the glass using Bollicine technique and small glass finials, mounted on brass frames / Made in...

At Escat Gallery we are committed to maintaining the highest standards of trust and professionalism for our collectors. Every artwork in our collection comes with a Certificate of Au...

Chanel 2010 dress composed of an ecru silk crepe top, large rounded collar, sleeveless and a skirt, high waist almost empire (below the ribs), in black viscose and elastane knit deco...

Pablo PICASSO Carmen, The Moon Woman, 1949 Original burin engraving (Atelier Lacourière, Paris) Unsigned On Montval wove paper 33 x 26 cm (12.9 x 10.2 in) REFERENCES : - Catalog r...

Vita Kin dress, Shalimar model, in saffron yellow linen embroidered with large ethnic-inspired patterns (Ukraine) in ecru and white, round slit collar c...

This is the iconic “Praxi” table lamp designed by Bruno Gecchelin for iGuzzini, Italy, in 1982. A hallmark of 1980s Italian industrial design, the lamp features a sleek, articulated ...