Europe

Roman Silver Signet Ring with fauno on the phallus 1st-3rd century AD Top size: 2.4cm Size 9 Weight 18,92gr.

This is a distinctive antique French patinated boxwood altar Corpus Christi of Christ crucified on an olive wood cross, dating from the late 17th Century.   The details  are very impressive, the Corpus Christi is very life-like, wearing a flowing linen cloth, his eyes closed and head upper-turned and raised on a stepped base.   The craftsmanship is second to none throughout all aspects of this magnificent altar Corpus Christi which is sure to add an unparalleled touch of sacred art to your home. Condition: In good condition. As an antique item, the piece shows signs of use commensurate with age, these minor condition issues are mentioned for accuracy and, as seen in the accompanying photographs, it displays beautifully. Dimensions in cm: Height 64 cm x Width 26 cm x Depth 13 cm Dimensions in inches: Height 2 feet, 1 inch x Width 10 inches x Depth 5 inches The Christian cross, seen as a representation of the instrument of the crucifixion of Jesus, is the best-known symbol of Christianity. It is related to the crucifix (a cross that includes a corpus, usually a three-dimensional representation of Jesus' body) and to the more general family of cross symbols, the term cross itself being detached from the original specifically Christian meaning in modern English (as in many other western languages). The basic forms of the cross are the Latin cross with unequal arms (✝) and the Greek cross (✚) with equal arms, besides numerous variants, partly with confessional significance, such as the tau cross...

We present this elegant antique Italian chest of drawers dating back to the mid-18th century, Louis XV period. An extremely refined chest of drawers, whose characteristics suggest th...

A Tonga Pakipaki war club, Polynesia, 18th century An exceptional ironwood war club originating from Tonga, Polynesia. 18th century and hand carved with complex geometric patterns running the length of the shaft. 4 human and 1 botanical glyphs and a extra carving, see details in picture 2 The Tongan war club...

An Ancient silver and high karat gold phallic ring. Roman, 2nd /3rd century AD. Ring size 8 US. It’s a substantial ring and weight 9.87 grams.

This 18 Kt gold and silver ring features an authentic neoclassical grey agate 1790's engraved with a depiction of a heron. The legend of the mythical Phoenix is said to originate ...

Depicting the cobra Uraeus with head of a goddess, stars and inscription in the field. The Uraeus is a symbol for the goddess Wadjet. She was one of the earliest Egyptian deites and ...

Armorial Coat of Arms Wall Plaque, Antique Coat of Arms, Carved Coat of Arms Wall Sculpture, Coat of Arms Oil Painting, 18th Century Coat of Arms Cartouche. Unusual mid 18th Centur...

This Roman Gladiator short sword is an absolutely outstanding and unique example of an ancient Roman Pompeian Gladius Sword from 1. AD. There were three ty...

This remarkable mid-17th-century oil painting, which probably originated in the Naples region of Italy, depicts Saint Jerome in penitence with a skull and sleeping lion. It’s reminis...

ORIGIN : ITALY, TUSCANY PERIOD : 16th CENTURY DIMENSIONS : Height : 73 cm Length : 180 cm Depth: 57 cm Good condition Walnut wood This significant Florentine cassone in the shape of a sarcophagus features a beautiful front panel flanked at the corners by two mascarons surrounded by voluted acanthus leaves. It rests on two lion's paw feet at the front. The decoration includes a beautiful frieze of scales at the bottom, which continues on the sides. Above this, in the center, a scrollwork cartouche once bore coats of arms. On either side, there is an abundant vegetal decor with vine branches and sumptuous grape clusters. The domed top lid is adorned around its edge with a wide frieze featuring a scale motif, harmoniously matching the lower cornice. This beautiful cassone is interesting for several reasons. The choice of ornamentation is not random. Grapes have numerous meanings and are often associated with fertility, especially when represented on a wedding cassone...

18th century oak longcase clock by James Draycot wells, circa 1790. Excellent quality golden oak longcase clock. Second hand dial, date and baring the makers disc at the top. Hood ...

Amazing Tiziano Vecellio's Circle of the 17th century "Ecce Homo" Oil on canvas, 17th century, based on the original housed in the Kunsthistorisches Museum, Vienna. Dimensions: 1...

Rare Baroque hallway cabinet from Frankfurt (Germany), made circa 1720. This type of cabinet originated from the city of Frankfurt, where it was developed during the 1650s. Due to th...

Pieter Van Lint (Antwerp, 1609-1690) Allegory of industriousness leading to peace and abundance Oil on copper; frame measures cm H 132 x W 159 x D 8, copper measures cm H 104 x W 130 Artwork signed (bottom center) "P.V. Lint F./ en A.B" The important and valuable painting, made of oil on copper, depicts the Allegory of industriousness that leads to peace and abundance. The work is signed in the bottom and center "P V Lint", or Pieter Van Lint (Antwerp, 28 June 1609 - Antwerp, 25 September 1690), famous Flemish painter and designer active in Antwerp in the second half of the seventeenth century. Van Lint elaborates a complex and articulated composition in which he inserts several figures also drawn from mythology to propose the allegorical message of industriousness that leads to peace and abundance. The artistic style of the author is characterized by meticulous realism and by the careful attention to detail and the rendering of the materials that make up the objects described. As we will see later, every detail represented within the work contains a symbolic and allegorical meaning that reinforces the message that already the same figures express. The remarkable dimensions of the copper support, not so infrequent in the artistic production of the artist, contribute to make the work of great value: Unfortunately, many of these artifacts have been lost because copper was often recovered in times of war and famine, and reused to obtain weapons and common tools. The copper foil proved to be ideal for oil painting because it constituted a non-absorbent support, rigid, smooth and characterized by the same reddish coloring that was used for the preparation of funds. The major production centers were Antwerp, Hamburg and Amsterdam, although the technique was widely used in Italy. The considerable cost of the material indicates a wealthy client, interested in possessing a valuable and durable work over time, this characteristic that the metal foil has more than the canvas. The painting is known to scholars. It is recorded in the catalog of the artist of the RKD Netherlands Institute for Art History (with measures 104 x 129 cm). He also appeared on the French antiques market...

Spectacular and very decorative piece. Large carved wooden reliquary bust of a Saint. Beautiful weathered paint and gilding. Small losses / old repairs and without the relics. Italy ...

This compelling portrait, recently studied by Stéphane Pinta of the esteemed Cabinet Turquin in Paris, has been confidently attributed to the Austrian painter Matthäus (Matthias) Lod...

18th century French Louis XV period fireback with an allegory of the morning. The fireback is made of cast iron and has a black / pewter patina. It is in a good condition and does n...

Rectangular cabinet has nine drawers inside. Hinges, corner mounts and lock plates in gilt brass. Decorated with river landscapes, insects, birds and animals in pairs. The stand is i...

Description George II sterling silver tankard, Joseph Jackson, Dublin, 1749. Slightly flared body with circular base and a wavy, chiseled decoration along the underside. Domed, hinge...

Swedish Trestle Table from Järvsö, Hälsingland, circa 1760-1780 It has markings, cracks, and letters carved into the top, to say it has a rustic feel is an understatement. Addition...

A fine Louis XV period lacquered wood so-called a la Reine armchair covered with a yellow-orange embossed velvet. 18th century circa 1760.

With its extremely unusual central amethyst epimorph after calcite, this natural wonder evokes images of the legendary sword, Excalibur, magically fixed in the stone. Elsewhere we ...

Beautiful hand-carved white marble capital . Beautiful weathered white marble . France circa 1780- 1820 Weathered H:17cm W:18cm D:18cm

An exceptional and rare Sèvres Porcelain cabinet teacup and saucer each hand painted with birds within a landscape in coloured enamels and set...

Rare and highly legant cartonnier cabinet, crafted around 1780 in France and stamped by the renowned ébéniste Claude-Charles Saunier (1735-1807). This two-door mahogany cabinet stand...

Unique piece 18th century Spanish refectory table. Beautiful console. Impressive farm table with four drawers Geometrical carved in front and and sides with iron hardware in drawers ...

Wonderful small tabernacle that once graced a church altar. Beautiful original silverleaf and faux marble paint. weathered, small losses. Italy circa 1780  

Title: Piano elevato dell'inclita città di Venezia Bird's-eye view (etching) of Venice. Print made by: Marco Sebastiano Giampiccoli After: Matthäus Merian I Two copper engraved sh...

Rock crystal vessels were highly demanded and valuable in Medieval times. Inventories from European royal houses and the highest aristocratic families detail the important and sophisticated collections of ewers and bowls. Rock crystal has also been used extensively in religious art. Fine European reliquaries were also made of Rock Crystal including gems, enamel and other precious materials. The work of rock crystal is very ancient. The materials has been worked and valued for its solidity and its purity: it has been believed to be water ice permanently frozen. Our superb example is a gold-mounted rock crystal bowl with enamel. The items origin is not clear and various features and characteristics may lead us to think of different origins and periods of creation. A single piece of stone mounted with gold could be a Milanese work. Although the cut could be French as similar pieces belonged to the French royalty (especially the art lover Duc de Berry, (1340-1416)). French and Italian crystal cutters have been active at the same time and it is often difficult to differentiate their works. Islamic art also influenced European artists. The famous Fatimid treasury provided examples of their sophistication and quality. The seven ewers carved for the Fatimid Imans (known as "The Magnificent Seven") display impressive quality of both rock crystal and enamelled mounts. Even though not identical to works by French silversmith Jean-Valentin Morel who was appointed goldsmith to Queen Victoria in 1852 or Reinhold Vasters (1927-1909) another renown German goldsmith who embellished older rock crystal items, there are similarities between these works. Both reduce their use of colour to black and white on pure gold mounts. Moreover the black enamel design is quite similar. Also, no gems are included and no human figure is represented. Sotherby's described our bowl as a "German Rock crystal bowl with later gold mounts, 15th century." Other items from the period from Germany or Austria are usually silver mounted and the decorations are more colourful and include gems or human figures but they have in common enamel motifs. In our case, the gold foot, handles and rim could date from the 1900s. An expert has established the foot, handles and rim are pure gold. The goldsmith responsible for the improvement of the bowl is possibly the most famous Reinhold Vasters whose work has been displayed in the greatest museums such as the V&A in London and the Metropolitan Museum of Art in New York. The Rock Crystal bowl we have is gold mounted. The gold shows in enamelled details that are black and white. The gold handles are also enamelled with black acanthus-like leaves. The enamelling method could be "champleve" or "painting metal". The metal that is usually preferred is copper but these techniques are also applied to gold. The bowl itself could be from the 14th century. It's cut reminds of an estimated 14th century rock crystal ball bearing the Buoncompagni family arms...

Very old and beautiful hand forged iron candleholder. Amazing period piece with a very pure and rustic design. Despite of its high age this candleholder is still very strong. France...

circa 1800 Large 19thC French Provincial Bleached Oak Armoire sku 1595 W144 x D45 x H190 cm

An exceptional and large 18th century French wine tasting table, perfect as a dining, breakfast or centre table of good proportions. A beautifully patinated table with great visual ...

The Entrance to the Grand Canal, Venice - exquisite oil on panel, unsigned. This is a superb oil painting of one of the most famous scenes in Venice, dated around the mid 18th centu...

An exceptional large French Château table built in the 17th or early 18th century with an important provenance A beautifully patinated table with great visual impact. Timeless and ...

Portrait of a Gentleman French School, 18th century oil on canvas, unframed canvas : 25 x 20 inches provenance: private collection, France condition: the painting is in sound conditi...

This stunning British Old Master landscape oil painting, with excellent provenance, is by George Lambert. Lambert was a pioneer of British landscape in art for its own sake. Painted in 1744, the painting is entitled View of a Manor House and Cottages in Elizabeth Einberg's 63rd volume of the Walpole Society 2001 and is described as follows: In the foreground a road emerges from a wood to cross a ford and then leads up the hill to the right, towards a manor house seemingly built into the remains of a medieval or Tudor edifice. The main track, crowded with sheep and rustic figures, passes the massive square gateposts lower down the hill on the left. Further to the left is a thatched cottage with smoke coming out the chimney. In the distance is a wide coastal view. The main buildings, which are in the dead centre of the composition, represent almost certainly an as yet unidentified English view. The colouring and detail in the trees and foliage are superb. This is an excellent Old Master oil painting by one of the all time great British landscape artists with extensive provenance. Signed and dated 1744 lower left on rock in black. Provenance. Elizabeth Einberg, “Catalogue Raisonnè of the works of George Lambert” The Annual Volume of the Walpole Society, 2001 Vol. 63, page 149 no P1744, fig.71. Antonacci Efrati Antichità Rome Gallery. Burden sale, Parke Bernet, New York, 20-21, April 1938 (376 repr.) Robert E. Peters, Sotheby Parke Bernet, New York, March 1975 (41 repr.) Lit. Schnackenburg 1995, pp 83-84, cat. no.14 fig 13. Condition. Oil on canvas, 54 inches by 52 inches and in good condition. Frame. Housed in an ornate gilt frame, 64 inches by 62 inches and in good condition. George Lambert (1700-1765) was an English landscape artist and theatre scene painter. With Richard Wilson he is recognised as a pioneer of British landscape in art, for its own sake. Lambert was born in Kent and studied art under Warner Hassells and John Wootton, soon attracting attention by the quality of his landscape painting. He painted many large and fine landscapes in the style of Gaspar Poussin and Salvator Rosa. Many of his landscapes were finely engraved by François Vivares, James Mason (1710–1785), and others, including a set of views of Plymouth and Mount Edgcumbe (painted conjointly with Samuel Scott), a view of Saltwood Castle in Kent, another of Dover, and a landscape presented to the Foundling Hospital in London. Lambert also obtained a great reputation as a scene-painter, working at first for the Lincoln's Inn Fields Theatre, in London, under John Rich. When Rich moved to Covent Garden Theatre, Lambert secured the assistance of Amigoni, and together they produced scenery of far higher quality than any previously executed. Lambert was a man of jovial temperament and shrewd wit, and frequently spent his evenings at work in his painting-loft at Covent Garden Theatre, to which men of note in the fashionable or theatrical world resorted to share his supper of a beef-steak, freshly cooked on the spot. Out of these meetings arose the well-known "Beefsteak Club" which long maintained a high social reputation. Most of Lambert's scene-paintings unfortunately perished when Covent Garden Theatre was destroyed by fire in 1808. Lambert was a friend of William Hogarth and a member of the jovial society that met at 'Old Slaughter's' Tavern in St Martin's Lane. In 1755 he was one of the committee of artists who proposed a royal academy of arts in London. He was a member of the Society of Artists of Great Britain, exhibited with them in 1761 and the three following years, and during the same period contributed to the Academy exhibitions. In 1765 he and other members seceded and formed the Incorporated Society of Artists of Great Britain, of which he was elected the first president. In conjunction with Samuel Scott, Lambert painted a series of Indian views for the old East India House in Leadenhall Street. He also etched two prints after Salvator Rosa. Lambert was associated in 1735 with George Vertue, Hogarth, and John Pine (engraver, 1660–1756) in obtaining a bill from parliament securing artists a copyright on their works. Lambert's portraits were painted by Thomas Hudson, John Vanderbank (engraved in mezzotint by John Faber the younger in 1727, and in line by H. Robinson and others), and Hogarth. Lambert's most famous painting is "A view of Box Hill, Surrey" (1733) which depicts a well-known beauty spot south of London. Hogarth considered Lambert a rival to the famous French landscape painter Claude Lorrain (1600–1682) with respect to his use of soft light to unify the scene in this painting. Though he never visited Italy he was inspired by the classical tradition of landscape painting. Lambert died on 30 November 1765 at his home on the Piazza in Covent Garden. His pupils included John Inigo Richards...

Immerse yourself in the artistic legacy of Catalan artist Diaz Costa with our vintage hand-painted ceramic plate artwork, circa 1960. This exquisite piece captures the essence of mid...

MARTIAN STONE - NWA 14713 Lherzolitic shergottite 127 g “This 127-gram fragment of the NWA 14713 meteorite displays a green-black mottled exterior. The rock is a martian shergottite (a basalt) composed mainly of coarse grains of pyroxene as well as calcium-plagioclase glass. This glass, called maskelynite, formed from crystalline plagioclase when the specimen was blasted off the surface of Mars by an energetic collision. There are currently less than 350 known martian meteorites...

Second half of the 18th century, follower of François Boucher Odalisque Oil on canvas, 75 x 125 cm Framed, 124 x 152 cm In the 18th century, French artist François Boucher did no...

Important antique solid table from the 16th century. Characterized by a simple and rustic line in solid oak wood for the legs and a single walnut board for the top. These tables were...

Pretty 18th century Welsh oak potboard dresser base on turned legs. 1780. Code: 8853 Dimensions: W: 70" (177.8 cm) H: 31.5" (80 cm) D: 18" (45.7 cm)

Dutch silver corkscrew, 18th Century A solid silver Dutch corkscrew. At the bottom Dutch hallmarked with the silver hallmark a coat of arms with a sword in the middle and a misper f...

An Extremely Fine and Very Important 17th Century Japanese Lacquer Cabinet on French Giltwood Stand of Regence Period circa 1680-1690 Provenance Likely acquired by Herman Willem ...

circa 1790 Monumental Georgian English Mahogany Breakfront Library Bookcase A rare & exceptional example, excellent patination, proportions & scale. sku 1977 Together W403 x D52 x H2...

Outstanding quality large Antique George III 18th century Irish mahogany wake/dining table having a outstanding quality mahogany top with two oval drop leaves, double gateleg action ...

Exceptional fountain trough. Extra raw and in hard red French stone. 15th century or earlier. Reclaimed in Provence. The real deal, rare to find with unique artempo details and wear....

‘Fire and Moonlight’ by Abraham Pether FSA (1752–1812). The painting – which depicts an extensive moonlit view across the City of London with a cottage on fire in the foreground – was exhibited at the Society of Artists Exhibition in London in 1790 and is sold with detailed provenance going back over 230 years. Such is the painting’s quality that for over 150 years it was thought to be by Joseph Wright of Derby (1734–1797) and was exhibited as such on many occasions alongside many of Joseph Wright’s paintings then in the important private collection of Lord Belper of Kingston Hall. This contemporary view of London in the late 18th century is seen from One Tree Hill in what was once the Great North Wood three miles south-east of the capital; prominent amongst the dozens of famous landmarks of Georgian...

An Exceptional 17th Century William and Mary Period Kingwood Strong Box or Coffre Fort of Excellent Colour and Patina on George I Period Walnut Stand England circa 1690 -1710 Thi...

This remarkable Ancient Egyptian New Kingdom scarab faience ring, dating from 1550 to 1070 B.C., is a rare and captivating piece of history. The ring features a finely crafted scarab...

Antique George III quality mahogany drop leaf table having a quality mahogany top with two oval drop leaves standing on turned tapering legs with pad feet A handsome 18th century e...

A massive pottery pair of horses standing on all fours and striding with its right hoof forward. Extended snout ends in parted lips showing teeth beneath in a braying attitude. Low relief bridle on face and well defined eyes. Raised mane down back of the neck A fantastic example of the Wei dynasty horses. Large, exquisite walking Ferghana horses with great attention paid to anatomical detail were the choice of the wealthy. The horse was second only in importance to the dragon. It was supposed to possess magical powers which the early Chinese were eager to explore. It would be the horse that would carry the deceased to the next life and it would be the amount of horses that an individual owned that would guarantee his ongoing status in the hereafter. Thermoluminescence certificate from Madrid Labs included. In southern China, people turned to Daoism, and mingqi, as well as above-ground sculptures, became ever more infused with animal iconography and energized with dynamic lines. The north of China was eventually united by nomadic Tuoba invaders who founded the Northern Wei dynasty...

The Arcadian Landscape Italian School, 18th century oil painting on canvas, unframed canvas size: 32 x 40 inches condition: excellent condition for its age, fully restored. provenance: from a private collection in Paris, France. Large scale classical 18th century Italian Old Master...

This is a very characterful 18th century English cricket table made from Elm. The tall tapered legs with a slight irregularity to them make this particularly attractive and would sit...

Here we have an Antique Georgian, George III (1760-1820), Mahogany Chest On Chest with 6 large drawers and 2 smaller drawers to the top. The top features a moulded dentil cornice, ea...

Portrait of a Young Noble Lady Dutch Old Master, 17th century oil painting on cradled panel, framed in 17th/ 18th century frame framed: 16.5 x 14.5 inches panel: 12 x 10 inches Pro...

18th century antique carved oak coffer having a lift up plank top lid with a moulded edge opening to reveal a storage compartment. It boasts ...

Sideboard, antique Tyrolean red painted cabinet - 19th century, Central Europe Measures: H. 192 cm – L. 87 cm – P. 50 cm (82 cm to the frames) ...

Large Antique Wooden Carved Black Forest Baroque Stag Head with 10 Point Trophy A large antique baroque stag's head. Carved in the typical style of the late 18th century. It has gla...

Muy interesante ÓLEO SOBRE CRISTAL, representando a una Virgen con Niño, de finales del siglo XVIII principios del XIX. Escuela colonial, va con un fino marco de madera dorada al oro...