Vancouver

An Allegorical gilt bronze French Empire clock Depiction Clio, the the Greek Muse of History and Music. Clio is shown here sitting on the clock plinth playing her harp. To the left of the clock dial are placed wreaths, and a plaque with the names of Roman Poets “Pline”, “Homere”, “Tasse”, and “Virgile”. The lower section of the clock is decorated with a large mount and a relief of Apollo. The finely chased and gilt bronze clock has its original movement. The white enamel dial signed Boileau a Paris, with its silk string suspension system ringing the hours and halfs on a bell. An identical clock sitting on a white and gilt console...

A rare and unusual carved and gilt corner chair of the Louis XVI period. The frame is totally carved with scroll work, rosettes, ribbons, with a decorative 'acorn' at the back corner...

A tall and impressive pair of late French Empire period candelabra which have been converted into lamps. The candelabra are made of the finest quality chased patinated and gilded br...

A Grand Tour heavy bronze bas-relief of a classical scene showing a retinue of six figures consisting of two nude standing males and three classically draped maidens including Athena...

Initially introduced back in 1938, Little Petra won instant praise at the Copenhagen Cabinetmakers Guild Exhibition, subsequently winning awards at exhibi...

A large and beautiful three quarter length portrait of a partly seated lady her hat over one arm holding a bouquet of flowers, the other arm held upward holding a branch of a tree. This original oil on canvas by the British artist Laurence Koe, (1863-1913), is signed on the lower right and dated 1905. Lawrence E. Koe was a portrait painter and sculptor. He is listed as living in Brighton when he first exhibited at The Royal Academy in 1891, but by 1894 he had moved to London where he appears to have settled for the remainder of his life. Koe exhibited widely; over twenty times at The Royal Academy, but also at the R.O.I, The Royal Society of Artists in Birmingham and the Walker Art Gallery in Liverpool. Most of his exhibited works were portraits, and among his sitters were the wives of fellow artists Harold Speed RP (1872-1957) and Harold Piffard (fl. 1895-1899). In 1896 Koe exhibited “Venus and Tännhauser” at the Royal Academy, now in the permanent collection in the Brighton Museum and Art and he showed a painting of Sappho two years later. He clearly shows the influence of other artists working at the same time, notably Singer Sargent, Arthur Hacker RA (1858-1919) and Herbert James Draper...

A very large Majolica Grand Tour pedestal having dark green glazing; the circular top (detachable) supported by Trapezophorus tripod base after the Roman. original found in Hadrian...

French carved mahogany buffet ‘deux corps’. The top features cabinets and four small fitted drawers, while the base has a pair of drawers over c...

A classic painted wood marble and metal tri-pod pedestal modelled after an ancient pedestal discovered in Pompeii. Below the shaped green marble top are three metal grotesque masks w...

28sp Brass wall lamp by Bocci Dimensions: Diameter 16.5 x H 11.5 cm Materials: blown glass, electrical components, brass mounting plate. Lamping: : 1.5w LED or 20w xenon. Non-dim...

The rape of Prosperina by Francesco Fabi Altini, (1830-1906) after the 17th century original by Gian Lorenzo Bernini now in the Palazzo Borghese in Rome. Signed F. Fabi Altini Rome 1870...

A signed oil painting on canvas of a man walking on a path beside a stream at dawn/dusk by Hungarian artist Barkasz Lajos (1880-1960). The canvas is ...

An Art Deco patinated bronze sculpture of a baboon by acclaimed Italian early 20th century Florentine sculptor Sirio Tofanari, (1886-1969). The bronze i...

A classic period Sheraton English satinwood and tulipwood China display case or bookcase the upper section with dentil cornice above a pair of astra...

A rare silvered metal desk or tabletop planter inlaid with 12 framed Pietra Dura panels of inlaid colorful flowers on a black base, complete with its ...

Three small 18th century engravings of fountains at the gardens of Versailles by renowned Parisian engraver Antoine Aveline. All three are pr...

A palatial scale late French Empire mantel (fireplace) clock depicting cupid and Eurydice. The rectangular patinated bronze base sits on four lions paw feet ...

A clear glass single candelabra made in the Murano factory in Venice, circa 1930. The elaborately decorated column on a circular base supports a mid level bowl from which six 'S' sha...

An English Chippendale style library chair with the seat and inside back upholstered in gros and petite point needlework in an oriental theme. The chair back is slightly camel shaped...

The oil painting on canvas is of a young boy 'hugging' his dog, which lies on the boy's lap. It is very much in the style of the Scottish painter Henry Raeburn. The boy is dressed in...

An unusual French gilt bronze candelabra, now wired as a lamp, combining Louis XVI and late Empire styles. An elegantly draped young lady sits beside her open jewellery box with thre...

An imposing Louis XVI style roll top desk in beautifully figured mahogany and having finely chased and gilded bronze mounts; the green marble top with a bronze gallery above three lo...

A large and impressive English Regency console table in mahogany and gilded wood; the top section with a thick white marble top rests on two large gilded winged...

An Italian Baroque painting on canvas that may have been painted as a study, (or what is referred to as a bozzetto to a larger commissioned pa...

An exceptional late 18th century Imperial Russian empire bookcase or display cabinet in the finest figured mahogany richly inlaid and mounted with gilded brass and gilt bronze. The bookcase is characteristic of the Russian "Jacob" style which was fashionable in the late 18th and early 19th century in France. The overall design however owes more to the work of David Roentgen than it does to the Jacob...

A decorative pair of Louis XV style side chairs, the well carved frames are finished in gold leaf and have recently been upholstered in a turquoise/gilt damask.

57.7 Pendant by Bocci Dimensions: D 20.3 x H 300 cm Materials: white round canopy. Weight: 11 kg Also available in different dimensions and colours. All our lamps can be wired...

14.1 Single pendant by Bocci Dimensions: D 11.6 x H 300 cm Materials: brushed nickel Weight: 2 kg Adjustable lengths, Other materials and dimensions can be ordered. All our la...

A very well executed and suggestive view from and accenting the "derriere" of female nude lying in a semi fetal position on a sheepskin rug in front of a roaring fireplace. The nude has her head pointing and looking upwards puffing contentedly on a cigarette. A cup and saucer for coffee are shown in the foreground. A jug and washbasin plus a towel set on a Napoleon!!! Table off to one side of the fireplace plus other furnishings in the background place the scene as a late 19th century Parisian Belle Époque salon. The painting is signed De Groux...

28.7 Cluster pendant lamp by Bocci Dimensions: Diameter 49.5 x Height 300 cm Materials: blown glass, braided metal coaxial cable, electrical components, brushed nickel canopy. Lamping: : 1.5w LED or 20w xenon. Non-dimmable. Coax: adjustable. 3000mm (10’) standard / up to 30500mm (100’) maximum Also available in different sizes. All our lamps can be wired according to each country. If sold to the USA it will be wired for the USA for instance. 28.7 is a cluster of seven 28 pendants...

A beautifully cast pair of French 19th century neoclassical patinated figural bronze nine arm candelabra after a model by Jaen Jacques Pradier They are signed J. Pradier and were converted into lamps in the 20th century. Each candelabra is cast as classically draped maiden with one representing Phyrne and the other unknown, standing on a circular stepped dark green marble socle base. There are no visible foundry marks on the bronzes. Born in Geneva in 1792 in Switzerland, Pradier was the son of a Protestant family from Toulouse. He left for Paris in 1807 to work with his elder brother, Charles-Simon Pradier, an engraver, and also attended the École des Beaux-Arts beginning in 1808. He won a Prix de Rome that enabled him to study in Rome from 1814-1818 at the Villa Médici. Pradier made his debut at the Salon in 1819 and quickly acquired a reputation as a competent artist. He studied under Jean-Auguste-Dominique Ingres in Paris. In 1827 he became a member of the Académie des beaux-arts and a professor at the École des Beaux-Arts. At the Salon of 1834, Pradier's Satyr and Bacchante...

A mid 19 century French Gilt Bronze Gothic style mantel clock and garniture which the French call " A la Cathedrale". The three pieces are of finely chased and gilded bronze; the cl...

A gilt bronze mounted kingwood and tulipwood two drawer commode stamped Schlichtig of the late Louis XV period, (circa 1770). The commode also bears the JME stamp, (for jurande des menuisiers-ébénistes), which was added once a committee made up of elected furniture...

A magnificent early 20th Century French Louis XVI Style Mahogany and Gilt Bronze armoire in the manner of Francois Linke. The arched top is centred by...

A large French Empire carved and original water gilded Empire picture frame inset with a modern mirror, the corners of the deeply scooped sides set with palmettes.          

A beautifully carved and giltwood 18th century Louis XVI wall barometer having its original mercury tube and mechanism but presently with the mercury missing.    

A beautifully executed and rare complementary pair of oil on canvas paintings depicting two of the moist famous and important counter reformation catholic saints St Francis Xavier and St Carlo Borromeo shown in scenes of what the respective saints are mostly famous for. St Francis Xavier for the conversion to Christianity of many S. E Asian countries notably India and St Carlo Borromeo shown asking the Virgin Mary to intercede for the cessation of the terrible plague of 1576. The paintings are presented in refreshed gilded carved wooden frames and are unsigned. St. Francis Xavier was born in Spanish Navarre in 1506 and in 1528, he met St. Ignatius of Loyola. He became one of the seven in 1534 who founded the Society of Jesus (Jesuit Order). In 1536, he left the University of Paris and joined St. Ignatius in Venice. He was ordained in 1537, and in 1540 after the Society was recognized by the Pope, he journeyed to the Far East. Francis Xavier first evangelized the Portuguese colony of Goa in India, then Travancore, Ceylon, Malacca, and the surrounding islands. From there he journeyed to Japan, where he gave Christianity such deep roots that it survived centuries of violent persecution. He died on Sancian Island in 1552, while he was seeking to penetrate into the great forbidden land of China. Despite language problems, lack of funds, resistance from the Europeans as well as the natives, he persevered. St. Francis converted more people in his life than anyone since the Apostle St. Paul. He baptized over 3 million people, converted the entire town of Goa in India, and he labored in India, Pakistan, Bangladesh, Sri Lanka, Malaysia, Indonesia, Singapore, and Japan. He was truly a missionary par excellence. St Carlo Borromeo (1538-1584), was a Cardinal of the Holy Roman Catholic Church and Archbishop of Milan from 1565 to 1583. He was described in the decree for his canonization, as “a man, even while the world smiles on him with the utmost flattery, he lives crucified to the world, spiritually, trampling earthly things, seeking continuously the things of heaven, emulating the life of the Angels on earth, in his thoughts and actions. The plague began in the month of August that year. Milan was celebrating joyfully the arrival of Don John of Austria, on his way to Flanders, where he had been appointed governor. The city authorities were abuzz with excitement in their desire to bestow the highest honours on the Spanish prince, but Charles, who had been Archbishop of the diocese for six years, was following with concern the news coming from Trento, Verona and Mantua, where the plague had begun claiming victims. The first cases exploded in Milan on August 11th, right at the moment when Don John of Austria arrived. The victor of Lepanto, followed by the governor, Antonio de Guzmán y Zuñiga, departed the city, while Carlo Borromeo, who was in Lodi for the Bishop’s funeral, returned in haste. Confusion and fear reigned in Milan and the Archbishop dedicated himself completely to assisting the sick and ordering public and private prayers. Dom Prosper Guéranger sums up his infinite charity in this way: “In the absence of local authorities, he organized the health service, founded or renewed hospitals, sought money and provisions, decreed preventive measures. Most importantly though, he took steps to ensure spiritual help, assistance to the sick and the burial of the dead. Unafraid of being infected, he paid in person, by visiting hospitals, leading penitential processions, being everything to everyone, like a father and true shepherd” St. Carlo was convinced that the epidemic was “a scourge sent by Heaven” as chastisement for the sins of the people and that recourse to spiritual measures was necessary to fight against it: prayer and penitence. He rebuked the civil authorities for having placed their trust in human measures rather than divine ones. “Hadn’t they prohibited all the pious gatherings and processions during the time of the Jubilee? For him, and he was convinced of it, these were the causes of the chastisement. The magistrates who governed the city continued to oppose public ceremonies, out of fear that the large gathering of people would spread contagion, but Charles “who was guided by the Divine Spirit” – recounts another biographer – convinced them by citing various examples, among which was the one regarding St. Gregory the Great who had halted the plague devastating Rome in 590. While the pestilence spread, the Archbishop then ordered three general processions to take place in Milan on the 3rd, 5th and 6th of October, “to placate the wrath of God”. On the first day, the Saint, despite it not being the Lenten season, placed ashes on the heads of the thousands gathered, exhorting them to penitence. Once the ceremony was over, the procession went to the Basilica of St. Ambrose. Charles put himself at the head of the people, dressed in a hooded purple robe, barefoot, penitential cord at his neck and large cross in his hand. The second procession led by the Cardinal headed towards the Basilica of San Lorenzo. The third day the procession from the Duomo headed for the Basilica of Santa Maria at San Celso. St. Carlo carried in his hands a relique of Our Lord’s Holy Nail, which had been given by the Emperor Theodosius to St. Ambrose in the 5th century. The plague didn’t show any signs of waning and Milan appeared depopulated, as a third of its citizens had lost their lives and the others were in quarantine or didn’t dare leave their homes. The Archbishop ordered about twenty stone columns with a cross at the top to be erected in the main squares and city crossroads, allowing the inhabitants from every quarter to take part in the Masses and public prayers - from the windows of their homes. One of Milan’s protectors was St. Sebastian, the martyr the Romans had recourse to during the plague in 672. St. Charles suggested that the magistrates of Milan reconstruct the sanctuary dedicated to him, which was falling into ruins, and to celebrate a solemn feast in his honour for ten years. Finally in July 1577, the plague ceased and in September the founding stone was laid in the civic temple of St. Sebastian, where on January 20th every year, even today a Mass is offered to recall the end of the scourge. St.Carlo Borromeo died on November 3rd 1584 and was buried in the Duomo of Milan. His heart was solemnly translated to Rome, in the Basilica of Saints Ambrose...

A beautifully cast matching pair of patinated bronze figural torcheres in the manner of Clodion modeled as classically draped young girls with garlands of flowers in their hair and h...

A 19th century copy of a painting by Claude Lorrain titled, " Harbor with the Villa Medici". Early morning light filters over a wholly imaginary scene, an exquisite example of the ...

A well cast patinated bronzed metal statue of Napoleon Bonaparte in full military garb on his horse Marengo. The statue is ona faux speckled green marble metal base. The statue...

A fine Regency giltwood and composition triple plate overmantel mirror, each mirror being beveled. The frieze is decorated with ebonized balls above alternating acanthus and anthemio...

A magnificent large scale 19thC French "bleu celeste"and gold Sevres porcelain vase mounted with decorative gilt bronze handles and gilt bronze base. The 'bleu celeste' coloured porc...

A late 19 Century bronze statuette of Napoleon Bonaparte in uniform, standing with the trademark right hand tucked in his jacket and the other behind his back after an 1840 model ...

A mahogany cabinet decorated with gilded metal mounts constructed in two sections, the upper section with two glazed doors flanked by mahogany columns opens to reveal a fabric lined ...

A museum quality early 19th century Paris porcelain urn. The twin handled vase sits on a rectangular porcelain base (modelled as part of the vase), which is decorated on all four sides with finely painted scenes titled 'Gene de Corrinte', 'Gene de Mytilene', 'Gene de Sparte', and 'Gene de Chiu' in reference to various Greek city states. The ovoid body of the vase is richly decorated with Greek key and stylized acanthus designs over and below a large gilt framed oval cameo of Athena on one side and a similar cameo on the other side bearing an undecipherable name. The overall background colour scheme of the vase is dark red/burgundy and dark emerald green, two colours which were more commonly used by the Dagoty factory in Paris than other porcelain manufacturing firms at the time. The vase is unsigned. Note: Pierre Louis Dagoty's porcelain was characterized by the use of vivid colours and the thick application of burnished gold leaf. He borrowed from the repertoire of Neoclassical ornament but his designs also included Egyptian and Chinoiseries motifs. Dagoty's elegant ceramics won him the patronage of Empress Joséphine. At the height of production, in 1807, he employed over a hundred workers, and exported his wares to Russia. After the fall of the First French Empire in 1814, manufacture continued under the Duchesse d'Angoulême, the only surviving child of Louis XVI and Marie-Antoinette. Between 1816 and 1820, Dagoty worked in partnership with François Maurice Honoré. In 1817. Dagoty and Honoré received a commission from President James Monroe...

A figure of a standing young lady finely carved in white alabaster. dressed in an almost ‘flapper’ style skirt as she leans with her elbows against an ochre mottled rectangular alaba...

An English sterling silver five-piece ladies vanity dresser set consisting of a hand mirror, two hand brushes and two brushes each piece hallmarked ...

A relatively large Chinese carved stone lamp mounted on a stepped brass and a carved wood base. The carved stone is often referred to as Jadeite or Quartz but is in fact from the flu...

Specially designed by Studio Piet Boon to celebrate the close cooperation with Linteloo, the bold and refined solid cast bronze HERO is a true sculptu...

A beautifully cast late 19 century French bronze statue by Emile Picault of a classically draped winged maiden on clouds holding a tablet inscribed "La Reconnaissance est La Memoire ...

A large oil on canvas depicting a youthful father with his three children, two of which are behind him playing musical instruments, the daughter with her harp and son playing the flute. A third child with his back to the painter faces his father. The painting is presented in a carved and gilded wood frame. Like the great majority of Opie's work, this painting is not signed or stamped. Opie lived at No 8 Berners Street where he moved in 1791, the street famous for artists, composers and instrument makers. Jacob Erat the famous harp maker lived in the neighbourhood and moved to 23 Berners Street before his death in 1821. This painting could be the painting referenced in John Jope Rogers, "Opie and his Work" Truro 1878, Page 220, entitled 'Musical Party'. Provenance: Charles St. George Quechee, Vermont; New England Private Institution; Sotheby's New York April 7, 1989, Lot 1, as John Opie, Portrait of a Gentleman and his three children; Private collection Connecticut. John Opie RA, (May 1761 – 1807), was a Cornish historical and portrait painter. He painted many great men and women of his day, including members of the British Royal Family, and others who were most notable in the artistic and literary professions. Opie's artistic abilities eventually came to the attention of a local physician and satirist, Dr John Wolcot (Peter Pindar). Recognising a great talent, Wolcot became Opie's mentor, buying him out of his apprenticeship and insisting that he come to live at his home in Truro. Wolcot provided invaluable encouragement, advice, tuition and practical help in the advancement of his early career, including obtaining many commissions for work. In 1781, Opie moved to London with Wolcot, having entered into a formal profit-sharing agreement with him. Although Opie had received a considerable artistic education from Wolcot, the doctor chose to present him as a self-taught prodigy. A portrait of a boy shown at the Society of Artists the previous year had been described in the catalogue as "an instance of Genius, not having ever seen a picture." Wolcot introduced the "Cornish wonder" to leading artists, including Sir Joshua Reynolds, who was to compare him to Caravaggio and Velazquez, and to prospective patrons. The business arrangement with Wolcot lasted for a year after which Opie informed the doctor that he now wished to go it alone, leading to the estrangement of the two former partners. Through the influence of a Mrs Boscawen, Wolcot managed to have Opie introduced at the court of King George III. The king purchased one of his pictures and commissioned him to produce a portrait of Mary Delany...

A decorative pair of contemporary Venetian beveled glass mirrors of almost rectangular shape with domed tops.

The rectangular superstructure centred by two drawers above two shelves, flanked by an pair of cupboard doors flanked and separated by patinated and gilt bronze caryatids, the lower part with a leather lined writing slide above three drawers around a slight kneehole each side fitted with a writing slide raised on square supports joined by stretchers and fitted at the front with painted and parcel gilt wood female torsos...

A late 19th century French Bureau Plat in kingwood and amaranth parquetry with three drawers to one side with gilt bronze decoration all round; notable are the drawer handles modelled with Chinese heads; the two ends decorated with Apollo heads...

An atmospheric oil painting depicting a seaside with sunlit high sand dunes in the forefront and in Stark contrast a dark stormy sky in the background with seagulls overhead. Small sailing ships can be seen in the distance. Climbing the dunes is a shepherdess and her small flock of sheep grazing on meagre offerings along the dunes. A young couple can also be seen sitting on the beach in the background. The painting is in its original carved and gilded frame. Signed James Webb and dated 18_7 on the bottom right hand corner of the canvas. Why the artist omitted the "decade" digit and put an underscore instead is a mystery. The painting is set in an intricately carved gilded frame which has been professionally restored. James R Webb...

A Chinese celadon baluster vase lamp (likely 20th century porcelain) with loose ring handles on its neck. The vase is now set on a large scale finely chased and gilded bronze 19th ce...

A pair of fluted round marble columns, the marble being a mid green colour with grey veining; both with circular tops and bottoms; likely Italian l...

350 Individually handcrafted porcelain ceramic leaves by Jeremy Cole, geometrically arranged for even light distribution. Stainless steel frame, central glass diffuser & retractable lamp...

A rare complicated music clock behind a fine oil on canvas painting of the Quai De Brancas In Nantes, France. The painting of the Quai at Brancas on the Ri...

A 19th C three quarter length portrait of an aristocratic gentleman with his personal valet shown behind him. The young man with flowing long hair is portrayed from the waist up and ...