Europe

Teak wood chest with rich gilt copper applications of decorative scrolls and foliage, and probably two drooping tulips for the decoration in the center of the work top. Handles for t...

This beautiful antique chest was crafted in England at the end of the 18th century. The chest is entirely made of solid oak wood. Its front features three recessed panels with two dr...

A late 18th-century Neoclassical wall mirror in the Baroque style, and originating from Italy. Beautifully carved, its giltwood frame features a triangular pediment, centred with a w...

Early 18th Century walnut chest of drawers, having a nice figured top above a selection of two short over two long drawers with pierced brass plate handles and escutcheons, raised on...

Rare necklace Lanvin with pendant, chain and fabric choker. The pendant is' represented by a frog composed of coral-colored stones, turquoise and rhinestones. Ring closure, perfec...

18th-century rustic single-door cabinet, a remarkable demonstration of masterful craftsmanship, embodying the rich heritage and timeless beauty of its era. Its warm and inviting aest...

This supremely comfortable antique French fauteuil is a wonderful example of the Louis XVI style, with its square, padded, slightly reclining back, fluted legs and open arms. Hand ca...

A Fine Gandharan Head of a Buddha Stucco with ‘earth pigment’ Some old ‘restoration’ to the nose Afghanistan 3rd Century AD Size: 26cm high, 14.5cm wide, 14cm deep - 10¼ ins hig...

Two Fine ‘Kunstkammer’ Candlesticks Agate, Glass, Fire-gilt Bronze mounts Dresden, Germany 17th Century Size: 16cm high - 6¼ ins high Provenance: Ex Kugel Galerie, Paris, France E...

A Stone grotesque carving c1400 Size 40cms long 22 cms high and 21 cms wide

An Unusual and Rare English ‘Memento Mori’ Carved Shrine with Two Human Skulls to the underside, a carved ‘Dragonfly’ Marble 16th / 17th Century England Size: 36cm high, 28cm w...

A fabulous quality early 18th Century mahogany oval Pembroke table, having a wonderful solid figured top with a moulded edge, single oak lined drawer at one end with brass ring handl...

Mingqi in grey terracotta with white slip and polychromy, representing a Bactrian camel, ridden by a court lady. Good condition. Please note that all ancient Chinese terracotta sculp...

Giovanni Agostino Cassana (c.1658 – 6 May 1720) Venetian Birds with an Upturned Basket of Fruit Oil on canvas: 25 x 35 in. Frame: 33 x 43 in. Abate, or Giovanni Agostino Cassana ...

A french provincial walnut chest of drawers in good original condition, Louis the xv in date. These country made chests were copy's of the elegant commodes in the great palaces, but ...

Shipping policy No additional costs will be added to this order. Shipping costs will be totally covered by the seller (customs duties included). Nocturlabe in silver-plated and eng...

Here we have a very early piece of walnut furniture of small size in oak elm and walnut .The chest has elm sides, oak frame oak top and oak drawer linings . The drawers are on side r...

Mingqi in gray terracotta with white slip and polychrome, representing a rider on his horse. Very good state of conservation. Please note that all ancient Chinese terracotta sculptur...

Terracotta mingqi with white slip and polychromy, representing a horse with its finery. Very good to perfect condition. Please note that all ancient Chinese terracotta sculptures wer...

Slightly lobed dish in eight braces with flared rim with underglaze blue decoration of birds in a garden. Usual frittings on the border and a fine hairline at 12 o'clock (invisible t...

Lovely highly polished pewter plate. With hand and fleur de lys armorial Evidence of a rubbed touchmark on the underside. London maker The pewter has been polished to its original...

Presented by Titan Fine Art, this painting formed part of a historic collection of an English aristocratic family, Lord and Lady Sandys at their magnificent baroque and Regency Grade-I listed family home, Ombersley Court. The house was among the most fascinating survivals of its kind in this country. The atmospheric interiors were distinguished above all for the works of art associated with two key moments in national history. The collection was acquired or commissioned over five centuries and remained at Ombersley Court until its recent sale, the first in 294 years. This portrait hung in the Grand Hall. This exquisite grand manner work is an evocative example of the type of portrait in vogue during a large part of the seventeenth and eighteenth centuries. The artist has depicted an elegant lady, three quarter length and seated on porch with a luxurious crimson swag curtain by her side. The clothing – known as “undress” at the time, consists of red silk fastened at the front and sleeves by large gold and diamond jewels over a simple white chemise. In her lap she holds a blue wrap and in her other hand, at her chest, she clutches the end of a sheer gauzy scarf that has been draped around her body with the other end a type of headdress – this type of sheer scarf was often employed by Wissing in his portraits. The classical architecture signifies cultivation and sophistication and the luxurious swag curtain is a signifier of wealth. The portrait can be dated to circa 1680 based on the sitter’s attire, the “hurluberlu” hairstyle, and other portraits by Wissing using the same formula. This oil on canvas portrait has been well cared for over its life, which spans almost 350 years. Having recently been treated to remove an obscuring discoloured varnish, the finer details and proper colour can now be fully appreciated. Once owned by Evesham Abbey, the manor of Ombersley was acquired by the Sandys family in the early 1600s, when Sir Samuel Sandys, the eldest son of Edwin Sandys, Bishop of Worcester and later Archbishop of York, took a lease on the manor, before receiving an outright grant in 1614. The present house, Ombersley Court, dates from the time of Samuel, 1st Lord Sandys, between 1723 and 1730. The house itself is a fine example of an English Georgian country house set in rolling countryside and surrounded by Wellingtonias, planted to commemorate the Battle of Waterloo by Arthur Hill, 2nd Baron Sandys, who played a distinguished part in the battle and was one of the Duke of Wellington’s aides de camp. The Duke also stayed in the house and in the Great Hall, was the Waterloo banner which was brought to the house by Sir Arthur Hill, aide-de-camp to the Duke of Wellington, who succeeded his mother, the Marchioness of Downshire as 2nd Lord Sandys. Further Waterloo memorabilia are kettle drums from battle. The family had a strong tradition of military and political service, dating back to the 17th century, and this was also reflected in the fine collection of portraits and paintings in the house. In short, Ombersley represented a vital aspect of British history. The house and more especially the collection were of the greatest historical importance. Houses that have remained in the possession of the same family for as many as three centuries have become increasingly rare. Through this portrait, collectors have a chance to acquire a piece of British history and an evocative vestige of a glittering way of life, which is now gone. Much of the attractiveness of this portrait resides in its graceful manner and the utter beauty of the youthful sitter. Presented in a beautiful carved and gilded period frame, which is a work of art in itself. Willem Wissing was a Dutch artist who enjoyed a solid artistic training at The Hague under Arnold van Ravesteyn (c.1650-1690) and Willem Dougijns (1630-1697). He came to London in 1676 and most probably joined the studio or Sir Peter Lely as an assistant that same year. After Lely’s death in 1680 he effectively took over his business and he scaled the heights of patronage with extraordinary ease, creating an independent practise in 1687, and painted for very important aristocratic patrons. King Charles II was so impressed by a portrait Wissing painted of his son, the Duke of Monmouth, in 1683 that he commissioned his own portrait and that of his Queen Catherine...

Glorious set of 20 prints of English country houses and gardens Fine copper-plate engravings by W.Watts Published by J. Boydell circa 1780. All dated. Unframed. The measurement g...

Dazzling pair of museum quality chandelier earrings (collector's item), with electric foiled Emeralds. Inlaid with rose-cut and table-cut diamonds. Superbly preserved, dating from the late 18th century (1780). A set of sparkling flat rose-cut diamonds decorates each earring along with sixteen vibrant step-cut green emeralds. They range in value from 0.15ct (6 emeralds) to 1.20ct (8 emeralds), and total approximately 10ct in both. The galleries have ornate detailing and are fitted with three droppers at the bottom with a hinge in the center to allow them to swing and dance freely. The earrings preserve its original clip hooks and are divided into three bodies, the upper one can be separated and worn independently. Size: Height 80mm (78mm inc. hooks) x Width 23mm x Depth 5.5mm. Metal: Silver/ 18ct Gold (Tested) Stones: Emeralds (Major 6.46mmx 5.38mm, approx. 1.20ct each - 10 carats total), Diamonds (approx. 4ct total). Weight: 43.21g Modern Spain, Portugal and parts of France were once part of the Iberian peninsula- Please note that the earrings are in original condition with the original fittings. Sometimes these earrings are referred as Catalan as they were mainly made in the region at the late 18 cent. Spanish jewellery benefited from the Colombian emerald mines abundant supply by the end of the 18 century. During the eighteenth century, Spain controlled the gold and emerald mines of Colombia and Peru. This wealth of resources resulted in exquisitely fine gem-set gold jewelry. Parures of emeralds, necklaces, stomachers, rings, earrings, etc. were plentiful at the court of Spain. A long gold earring...

Classical Still Life of Fruit in Basket with other objects Italian artist, 18th century oil on canvas, unframed canvas: 24.5 x 33 inches provenance: private collection, UK condition:...

Antique painting depicting the Face of Christ as Salvator Mundi Flemish painter, 16th-17th century Oil on copper 22 x 18 cm./ framed 42 x ...

Ancient Roman Statue, from the series "Antiquities of Herculaneum", is an original etching on paper realized by Giovanni Morghen in the 18th century. Signed on plate on the lower le...

A superb quality late 18th century Georgian mahogany secretaire cupboard having well figured and banded top over one secretaire drawer to frieze, enclosing attractive satinwood in...

A beautiful and rare antique ring with a secret compartment. Charming enamel ring, with a concealed compartment for keepsakes and brimming with e...

The Tax Collectors Italian School, early 18th century oil on copper panel, framed framed: 14 x 11.5 inches copper panel : 11.5 x 9 inches provenance: private collection, UK conditio...

Travel desk made of lacquered and gilded wood with drawers inside, reserved scenes with figures in palatial environments surrounded by flowers, birds and Taoist symbols. Exquisite E...

A large and impressive Flemish 17th century richly carved reverse molded mirror with old, possibly original, spotty mercury glass. Beautiful patina and character. Due to their timel...

Outstanding Spanish carving of San Juanito, 16th century, school of Juan de Ancheta. Juan de Ancheta (1533 - November 30, 1588) was a Spanish sculptor in the Romanesque style. His w...

Follower of Adriaen Coorte (1665-1707) 18th Century Still Life c1795 A sumptuous still life painting depicting peaches, grapes, plums, exotic birds and butterflies in the style of ...

A beautiful French Louis XV daybed with lovely wood carvings. The frame and base are in good condition but needs new upholstery. Nice original chippy paint...

Hyacinthe Rigaud (Perpignan 1659 - Paris 1743) Circle Portrait of Philip V, King of Spain (Versailles 1683 - Madrid 1746) Oil on canvas 72 x 59 cm - framed 87 x 74 cm. The painting...

Large iron cassaforte with rivet decoration and one door. The safe has a large key and two lock picks to unlock the lock's extensive mechanism.

A Good Quality And Unusually Small Georgian Mahogany Butlers Tray, Of Diminutive Proportion, Having Elegant Shaped Sides With Pierced Carrying Handles And Well Figured Top, Housed On Later Square Chamfered Leg Mahogany Stand. During the 18th and 19th centuries a coffee table was not what we regard as a coffee table in the 21st century. Coffee tables back then were always full height, effectively side tables. The modern, low, coffee table is really something which began to be seen during the early 20th century onwards. Based on the above there is a variety of different methods to incorporate a coffee table into an interior for people who wish to furnish their properties with genuine antique furniture, whilst still allowing for the practicalities and function which is required in modern times. Therefore it is now incredibly common to find 18th and 19th century trays of varying shape, size and design utilised as coffee tables. As with all the others that we have seen this particular tray has been fitted onto a low, practical and sturdy stand constructed from old antique wood. It’s worth noting that generally this means an old broken table...

This magnificent grand-scale work, offered by Titan Fine Art, formed part of a collection of family pictures and heirlooms of the Rivers Baronets and their descendants for over 325 years, before it was dispersed by the last in the line in 1988. The work was painted by the most technically proficient painter in England after the death of Van Dyck, and the dominant court painter to Charles II and James, Duke of York, Sir Peter Lely. It is no surprise that for years Lely had no serious rivals, was enormously influential and successful, and one of the country’s most important painters – and his work influenced countless artists over generations. The exquisite carved and gilded auricular frame is an astounding work of art in itself. The sitters in this exquisite double portrait are Sir John Rivers, who succeeded as the 3rd Baronet Chafford in 1657 (c.1638 - c. 1679), and his wife, Lady Anne Hewitt (c.1640-c.1689). They are seated in an outdoor setting beside a fountain modelled as a female figure with water issuing into a scallop-shell. The water, the elaborate sculpted fountain with its scallop-edged bowl, and the open shell in her hand are symbols of fertility - as such they make an appropriate allusion to Lady Anne’s potential as wife and mother, recalling Proverbs, chapter 5, verse 18: “Let thye fountain be blessed, and rejoice in the wife of thye youth”. This reference was realised, as Sir John and Lady Anne produced at least six children; their son George (1665-1734) became 4th Baronet of Chafford. The composition, thus, represents a celebration of marriage and was likely commissioned around the time of the betrothal (the marriage took place 26th Feb 1662 or 1663). The statues in the left margin are 'Youth and 'Old Age' and are a typical form of Memento Mori reminding virile young man that even they will lose their youth and grow old. The Rivers family, originally of Kent, traces its history to Sir Bartholomew Rivers, in the reign of Edward IV. The family included several prominent members including several knights, a Commander in the King's Army, a steward of a ducal estate, a Lord-Mayor of London, and an M.P. John Rivers (c.1659-c.1651) was made 1st Baronet of Chafford in 1622 by King James I. The Chafford estate was the family seat and it remained so until the early 1700s with the death of Sir George Rivers, 4th Baronet (1665–1734), whose sons had all died. The Chafford estate was left to his daughters while the baronetcy passed to nephew John Rivers, 5th Baronet (c. 1718–1743), and then Sir John’s brother, Sir Peter Rivers-Gay, 6th Baronet (c. 1721–1790). Upon Sir Peter Rivers Gay's death the estate passed to his eldest son, Sir Thomas Rivers Gay, 7th Baronet (c. 1770–1805). Sir Thomas, dying in 1805 with no children, bequeathed the estate to his mother Dame Martha Rivers Gay, who managed the estate until 1834 when she settled it on the then Sir Henry Rivers, 9th Baronet (c. 1779–1851) her younger son, before dying shortly thereafter in 1835. Sir Henry had married in 1812 to Charlotte Eales, with whom he had 6 sons and 8 daughters. Upon his death in 1851 the estate passed to his eldest surviving son Sir James Francis Rivers, 10th Baronet (1822–1869). Sir James married Catherine Eastcott in 1867 but died childless in 1869, and the estate passed to his only surviving brother Sir Henry Chandos Rivers, 11th Baronet (1834–1870) but he died a year later in 1870 also childless; with no male heir the Baronetcy was therefore extinguished. The estate was bequeathed, in trust, by Sir Henry Chandos Rivers to Thomas Frederick Inman, a solicitor of Bath, who then managed the estate as a trustee on behalf of Sir Henry Chandos Rivers' sister Katherine Rivers (c.1826-1895). It then passed to Katherine River’s daughter, Katherine Wall (born c.1855), who had also inherited Worthy Park House from her father, George Alfred Ellis Wall (1825-1875). Until 1958 our portrait is known to have hung at Worthy Park House. Upon Katherine Wall’s death, the Rivers estate passed to her daughter, Katherine Eleonora Rivers Fryer (1889-1963), who married Colonel James Alexander Butchart 1877-1853. In 1958 the family sold Worthy Park House but our portrait was loaned to Southampton Museum and Art Gallery. After the death of Katherine and Colonel James, the estate was left to their only son, Charles Bruce Rivers Butchart (1917-2005) and upon Charles’ retirement to a nursing home in 1988, and without heirs, our portrait, along with the residual assets of the Rivers estate were sold, thus ending over 325 years of continual family ownership. Lady Anne Rivers is thought to have been born circa 1640. She was the fourth child of the second marriage of Sir Thomas Hewitt (or Hewett) (1606-1662), 1st Baronet of Pishobury, Herts, and his wife Margaret Lytton (died 1689). Sir Thomas was an English landowner and M.P. for Windsor and upon the English Restoration...

Ancient entrance door, main door in poplar, finished with nails, rustic and curved in the upper part, built in Italy in the 18th century, mounts wall hinges for push opening, current...

Indistinctly signed and dated In the first quarter of the 17th century a new form of flower painting was developed in Flemish painting, which, recreated by a large group of artists and workshops, would achieve considerable success throughout the century in much of Europe: the garland of flowers surrounding a central figure. Brueghel de Velurs was the initiator of this type of composition, however, it was his pupil, Daniel Seghers, who was the dominant figure in this specialised production and the creator of a prototype that would serve as a model for the numerous artists who followed in his wake. It seems undeniable that the artist of the present painting had seen the Garlands of Flowers Surrounding a Medallion Depicting the Triumph of Love by Daniel Seghers and Domenico Zampieri (now in the Musée du Louvre in Paris). In our painting, the present floral wreath encircles a carved cartouche within which sits Saint Dorothy of Caesarea and the attribute which often accompanies her in art, a basket of roses. The extremely delicate flowers have been rendered in meticulous detail, so that every species can be identified from exotic tulips to roses, irises and forget-me-nots; this obvious attention to naturalism is inherited from the Flemish manner. Each flower is so precise and refined that they are an individual study in their own right. The still-lifes are from the hand of Jan Anton van den Baren, with the central figures by another accomplished hand. Van den Baren’s arrangement of flowers would have delighted connoisseurs in both Flanders and in Vienna, where the impossibility of their all blooming at the same time of year would have been understood as a further statement of the wonder and beauty of the divine. Van den Baren worked first in Brussels, where he collaborated with Erasmus Quellinus II for the figures in his works, before moving with Archduke Leopold Wilhelm, his patron, to Vienna in 1656, where he instead worked with fellow Flemish émigré painter Nikolaus van Hoy. The iconography relates to an eighth century legend where she was presented a basket of roses by a child. In addition to the brilliance of his handling of still-lifes Van den Baren played an important art historical role as Director of Archduke Leopold Wilhelm’s Picture Gallery in Vienna, then one of the greatest collections in the world and the core of what was to become the present collection of the Kunsthistorisches Museum, Vienna. Van der Baren compiled an inventory of the collection in 1659, and his predecessor as Director of the Archduke’s Picture Gallery (when it was still housed in Flanders), David Teniers, depicted van der Baren (third from right) in his celebrated Archduke Leopold Willem in his gallery at Brussels, conserved at the Kunsthistorisches Museum. It is a shining example of the Flemish Baroque and is a very rare object indeed, considering there are only 14 paintings accepted as authentic works by this artist. We are grateful to Fred Meijer for confirming the attribution to Johannes Antonius van der Baren. A feature of this painting is its outstanding carved and gilded frame with a plethora of flowers and foliage. Titan Fine Art

A very good quality Georgian, 18th century, mahogany oval Pembroke table, having well figured top with two drop flaps and crossbanded decoration, over one frieze drawer opposed by on...

This exquisite work is an accomplished example of the type of portrait in vogue in England during the third quarter of the 17th century. There was a large demand for paintings in England and the demand for portraits was greatest. Many artists worked in this lucrative field, even artists who initially trained in the more respected field of history painting, such as Peter Lely, turned their attention to portraiture to meet this demand. Moreover, it was not uncommon for the British, even for men, to present a gift of one’s portrait to a friend - portraits were first and foremost a memento. Woman at court often vied with one another in displays of rich and fashionable clothing. The drapery was either painted from the customer’s own clothes or was perhaps a creation using fabrics loosely tacked together in the studio. This was a common practice of Lely and his studio props included swathes of fabric and pieces of cloth. The sitter’s sumptuous attire and gauze scarf, fastened by a large diamond brooch, is of the finest material and is representative of wealth. Pearls were an obligatory accompaniment since at least the 1630s and they are worn in abundance – in her hair, on her attire, as a necklace, and as pear-shaped earrings called unions d’excellence, reflecting the difficulty of finding perfectly matched pearls of such large size. They could range up to 20 millimetres in diameter. Her hairstyle help date the painting to the early 1660’s. Peter Lely, the son of a Dutch...

Ancient and large wardrobe, two-door wardrobe in precious hand-carved solid walnut wood, panels with baroque shapes, originating from Northern Italy, built in the 1600s, maximum dime...

An 18th century George III period mahogany Serpentine Chest, having well figured and cross banded top above four long drawers with original brass handles. Flanked by fluted canted...

Maiolica plate (tondino) Urbino district, Casteldurante or Pesaro, 1533-1555 It measures: diam. 7.48 in (19 cm), foot diam. 2.75 in (7 cm), height 1.0...

An extremely rare mid 18th century George II period walnut tea table having well figured foldover top enclosing divisions to well raised on elegant turned legs with carved lappet ...

The iron coffer, fully original in every part of it, was forged and handcrafted in German in the 1610. Complete with key. Full working iron mechanisms. It ...

A superb quality 18th century Georgian mahogany north Country chest having well figured top over four well Figured long drawers retaining original brasswear Flanked by canted corn...

“Stop of the travelers” is a charming scene depicting several characters, horses and dogs with a backdrop of woods and a small house. The composition used here is a typical character...

Rotterdam-born painter Willem Muys (1720-1763) specialized in wallpaper paintings. Little is known about his work, as not many paintings can be attributed to him. His children Cornelia, Robbert and Nicolaes were trained by him and have all made a career as artists. In the story of Rebecca (Gen. 24: 46-67) the servant...

This piece of antique Italian wrought cast iron pedestal is made with an high level of quality in consideration of the age of the realization. From a...

Venice Italy mid-18th Century baaroque hand carved walnut sideboard This gorgeous sideboard was hand carved in walnut by the Venetian artisans in the 18th century. The front is cur...

Painting after Gerard Ter Borch. The orginal "The Letter" is in Munich, Alte Pinakothek . It measures height: 56 cm (22 in); width: 46.5 cm (18.3 in) and dates from c. 1655.

Austrian School, 18th Century A Portrait of a Gentleman, thought to be Moses Diego Lopez Pereira, 1st Baron d’Aguilar, in an elaborate coat and a powdered wig Oil on canvas Provena...

Chinese circular bowl beautifully painted in a brilliant enamel blue. The outside is decorated with different scenes, including animals and flowers. The inside bottom is painted wi...

Lovely hand-carved wooden panel representing the teaching of Maria by mother Ann. Most likely it once was a door of a tabernacle. Beautiful weathered. France circa 1750 Measurements ...

Pair of armchairs by Gio Ponti for "Casa e Giardino", 1940. Shell in beech and upholstery in vintage velvet. The upholstery, as shown in the photo, is faded and in some parts worn.

Lovely highly polished pewter plate. With an elk armorial Evidence of a rubbed touchmark on the underside. London maker The pewter has been polished to its original shine to imita...

We present you this stunning Carrara marble clock, a masterpiece capturing a statue of a graceful young woman from classical antiquity in exquisite detail. Her foot delicately rests ...