South Coast

American Empire tiger maple center table, circa 1830. With a 1 3/8" thick solid tiger maple top with a molded edge, a tiger maple pedestal, tiger maple platform with 4 scrolled tiger...

Early 19th Century Portrait of Dutch Man and Woman - Pair - Original Oil on Line Exceptional Dutch School portraits of young man and woman. Some craquelure through due to age. Laid d...

William IV rosewood writing / games table, circa 1830. With a rectangular rosewood top with rounded corners, a beech wood and rosewood inlaid checker board that lifts up to a leather...

Sumiyoshi: Dengaku dance performed during an Onda ceremony - Woodblock Print Bright woodblock print by Utagawa Hiroshige (Japanese, 1797-1858). In this scene, two dancers with swords and fans are facing each other, in the center of a courtyard. There are spectators surrounding them, including nobles in black clothing on a balcony. Presented in a new off-white mat with foamcore backing. Mat size: 16"H x 20"W Paper size: 9.63"H x 14.5W" Utagawa Hiroshige (1797-1858, sometimes called Ando Hiroshige) was the second of the two great masters of the Japanese landscape woodblock print...

The high-end Baker manufacturer was inspired by this so refined Biedermeier style and made these chairs with the same attention. Biedermeier itself was inspired by the Directoire Fr...

This is an imposing pair of stoneware saltglaze spaniels that were made at the Briddon Pottery in Brampton Derbyshire circa 1830. They are a unique design and historically significan...

A striking and uncommon 1839 cast bronze with dark patinated finish titled “La Liberté” by important and celebrated French sculptor Pierre-Jean David d’Angers (b. 1788–1856). The iconic figure of Liberty—the powerful personification of the French Republic also known as Marianne—is styled by David d’Angers after Eugène Delacroix’s famous depiction of her in his painting commemorating the July Revolution of 1830, completed that same year. A strong and proud young woman, clear eyed and solemn, she gazes into the distance with a determined resolve. Dressed in a simple, loosely draped tunic and sporting a phrygian cap, the American and later French Revolution’s symbol of freedom and the pursuit of liberty, with her hair spilling out in waves. She clutches a sheaf of laurel in her right hand, representative of the rights acquired by her people who’ve broken the yoke and chains of servitude which now lay under her feet. In her left hand is a long rifle that originally would’ve included a bayonet extending up from her fist, but which was lost decades ago judging by the dark patina on the break. An exceptionally evocative and captivating composition, with exquisite details throughout that reward closer examination. Various patriotic legends and dates are displayed about the work. On the front of the base is a verse from the Marseillaise: “Liberté, liberté chérie/ combats avec tes défenseurs”. On the square—a symbol of equality—atop the Grecian plinth are the inscriptions “Egalité-Fraternité”. The dates of the French Revolution of 1789 and the July Revolution of 1830 appear on a scroll in the right hand. Signed “P-J David” and dated “1839” in the mold on the right side of the base. Foundry mark of “Cresson Editeur” appears on the top of the base at lower left. Other matching original castings of this work can be found in Paris at the Louvre and Musée des Arts Décoratifs, in Angers at the eponymous Galerie David d’Angers, and in Washington, D.C. at the National Gallery of Art. For one to be available for acquisition outside of auction, and especially stateside, is quite uncommon. Born Pierre-Jean David in 1788, he adopted the name David d’Angers after his birthplace in western France to differentiate himself from his contemporary, painter Jacques-Louis David. His many medallions and busts brought him great acclaim and a prosperous career, with an array of extremely notable and influential contributions to French public art. In the 1830s and 1840s, David became the country’s preeminent monument maker. Of particular importance were his pedimental sculpture for the Pantheon, his marble sculpture “Wounded Philopoemen” in the Louvre (for which he also contributed to the exterior), and his equestrian monument...

Actor Arashi Rikan II as Aburaya Yohei - Figurative Woodblock Print on Paper Woodblock print of kabuki actor by Shunbaisai Hokuei (Japanes...

19th century antique Chinese hand painted lacquer scene gilt fan with original lacquer box.

19th century antique Chinese hand painted gold lacquer scene gilt fan 100 faces with original lacquer box, fan is 17 inch x 9.5 x 1, the lacquer fan box is 10....

19th century antique Chinese hand painted lacquer scene gilt fan with original lacquer box.

Wonderfully preserved hand-colored 1830's lithograph "Ground Squirrel" by Thomas Doughty (American, 1793 - 1856), circa 1830. From "The Cabinet of Natural History and American Rural Sports." Phila: J.&T. Doughty, 1830-32. Sold previously by Bland Gallery, Early 20th century East Side gallery specializing in miniatures. Presented in frame with new acid-free mat under plexiglass. Image size: 7.25"H x 8.75"W. Doughty’s short-lived magazine “The Cabinet of Natural History and American Rural Sports” is an important imprint in the history of American printing. It contained the first colored sporting prints made in America. Issued in monthly parts and published from the end of 1830 until the spring of 1834, “The Cabinet” featured articles on hunting, detailed descriptions of newly discovered flora and fauna, and some of the finest examples of early American hand-colored lithography. It was originally the work of the Doughty brothers, Thomas and John, with virtually all of the plates being the work of Thomas, who also founded the Hudson River School. But, by the spring of 1832, the partnership had broken up and Thomas had moved to Boston. An abbreviated third volume lacked Thomas’ touch. Printed by Childs & Inman, the partnership between Philadelphia engraver and lithographer Cephas G. Childs and New York portrait...

Continental (probably German) Biedermeier cube parquetry chest of drawers with pull out writing slide, circa 1835. With a cube parquetry top, front and sides. Ebonized top border, ba...

Biedermeier burl walnut armchair, circa 1835. With a nicely figuered burl walnut crest rail, ebonized wheat sheath back splat, s shaped arms resting on c scrolled arm supports on squ...

William IV era footstool with decorative brass claw feet and handle rings, upholstered in cream-colored linen. A uniquely charming addition to any seating arrangement. England, c...

English early 19th-century dark wooden desk box. Featuring a thin wide drawer with bead-shaped brass pull, four upper compartments of various sizes an...

19th Century antique Chinese hand painted gold lacquer scene gilt fan 100 faces with original wood case and stand, fan is 13 inch x 8 '', the fan in ...

A beautiful, large, hand-carved walnut veneered center table on tapered, fluted legs above a unique, tri-petal base. The top surrounded by a matching, fluted edge.

This is a unique pair of period Regency foot stools that features beautifully carved hairy paw feet and finely cast lion head side handles. The stoo...

Antique 19th century Chinese stacked snack box. Decorated all-over with intricate designs and handle connects to depiction of family under a tree. Heig...

Fanciful yet handsome, 19th century, N. Italian, commode with three, paneled drawers atop bun feet. The whole is of walnut and features burl veneer and pearwood inlay. The front is i...

Pair of fine, hand-carved, circa 1830, gilt-wood, Florentine console tables. Porphyry veneered tops sit above a tiered, plinth supported by fl...

Fine, hand carved, beautifully veneered, circa 1830, Tuscan, clipped corner, two-drawer walnut and ebonized wood commode with two doors opening o...