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An interesting and unique mid century portrait of Abraham Lincoln executed in a a variety of inlaid woods on a wooden board. The origin of the work is not known but the portrait is ...

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

The highest quality late French Empire/Charles X mantle clock in terms of bronze casting, chasing, and gilding. The partially clad figure of Fau...

28t Color table lamp by Bocci Dimensions: Diameter 16.5 x Height 16.5 cm Materials: blown glass, black flexible cord with brass base and dial cont...

A very decorative and unusual neo-classical style column lamp with a suqrw base entirely made of beautifully veined and marbled beige oynx likely manufacted in Italy in the early 196...

A simple yet elegant relatively rare malachite cased clock topped by a gilt bronze bust of a young Napoleon in uniform after the marble original work by Jean Antoine Houdon.

73.3 pendant by Bocci Dimensions: D 15.2 x H 300 cm Materials: brushed nickel round canopy Weight: 8 kg Also available in different dimensions and colours. All our lamps can b...

A very fine example of French 19th century Louis XV style Bombe two drawer chest commode. The oak carcass is veneered in kingwood and amaranth and inlaid with floral designs on the f...

A fine pair of late 19thC French Empire style candelabra now wired into lamps. The very well cast and patinated winged Victory or Nike s...

A pair of French Aubusson tapestries woven in the mid-19th century. Originally intended to hang between windows in a formal French salon, but today could be hung on walls anywhere. W...

28.7 pendant by Bocci Dimensions: D 20.3 x H 300 cm Materials: diameter brushed nickel canopy Weight: 8 kg Also available in different dimensions. Al...

An 18th century Dutch satinwood abbatant or drop front desk, with gilded beading and inlaid brass stringing. The case also has various exotic woods inlaid into the satinwood. There i...

These are an exceptionally rare pair of stylized standing gilt bronze dolphin six arm candelabra plus a central stem raised on a rectangular gilt bronze malachite veneered bases. T...

A palatial scale mahogany cylinder desk in the Louis XVI style; the superstructure with rectangular galleried bleu turquin marble top over four frieze drawers, the paneled cylinder f...

28.5 pendant lamp by Bocci Dimensions: Diameter 20.3 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. 28.5 is a random configuration of five 28 pendants...

A very finely cast French Napoleon III bronze garland festooned cassolettes with grotesque mask handles raised on round stepped griotte marble bases. The urn shaped body of t...

A small very well painted oil on board of dreamy forested winter landscape with a stream flowing through it signed L.Collius at the bottom left hand corner of the painting. The work...

A fine and rare Bisquit porcelain and gilt bronze Louis XV figural clock f depicting a famous scene in Greek Mythology of Perseus freeing Andromeda. The clock case is made of Bisquit (unglazed) porcelain. The figural group is presented on a rocky outcrop with waves lapping at their feet. She is shown lying over the clock dial with one leg and one arm chained to a rock behind her. Perseus leans agains the other side of the dial reaching to untie Andromeda from the rock behind her. Medusa's severed head is shown at his feet. The base is decorated with a gilt bronze frieze across the front showing cupids playing with stars and sun rays. The rounded sides of the clock are also decorated with gilded panels. The case sits on six toupie feet. The 6.5" white enamel dial is signed Ageron at the top and Paris at the bottom. The dial has Roman numerals with enamelled stars between the numerals; the hands are pierced and gilded. There is also a subsidiary steel hand pointing to the days of the month. The silk string suspension system has been replaced with a steel suspension system. The clock rings the hours and halfs on a bell. The movement for this magnificent clock was made by François Ageron (d. after 1783), who was one of the leading 18th century Parisian clockmakers. Ageron’s establishment was famous and known for his horological genius he created both clocks and watches, many of which had complicated movements. He was born at Arbigny and was received as a Parisian maître-horloger in 1741, at which date he was established at Place du Pont Saint-Michel. By 1747 he had moved to Quai des Augustins, five years later he was at rue Saint-Louis au Palais and then in 1763 at place Dauphine. Like other great clockmakers of the period he used cases by the finest bronziers notably Philippe and Jacques Caffiéri, Jean-Joseph de Saint-Germain, Robert and Jean-Baptiste Osmond, Jacques Dumont...

57.61 pendant by Bocci Dimensions: D70.7 x H300 cm Materials: white powder coated round canopy Weight: 110 kg Also available in different dimensions and colours. All our lamps c...

A figural gilt bronze French Empire clock, ‘Allegory to Triumph and Power’. A Roman emperor stands to the right of the central rectangular plinth housing the movement; atop the plint...

A rare, unique and dramatic pair of Rococo style marble topped giltwood triangular shaped consoles and complimentary slightly elliptical giltwood mirrors. The four pieces are believed to be northern Italian most likely from the Venetian region. The design and carving of the superstructure presented with bunches of grapes, vine leaves, branches and twigs. A winged dragon is shown swirling around and down the central leg of each console. The three legs are joined with a lower stretcher are all presented as vine tree trunks from which germinate more grape leaves and branches. They both have shaped red/grey mottled marble tops. The consoles show more signs of early to mid-18th century Rococo chinoiserie influence. The mirrors were likely made slightly later in the 19th century but in the same Italian region, and appear to have a more Japanese influence in their design especially the hawk/eagle leaning over the top of the mirror. The giltwood frames of the mirrors are completely covered with gilded branches and leaves. On the left side of each mirror is a 'fantastical' dragon-bird, his huge wings spread out and his long tail clinging around the lower branches. He looks up into the eyes of the top hawk/eagle who appears ready to attack the dragon-bird. The whole is a real virtuoso display of carving and whimsical Rococo design. Chippendale in England and his contemporaries were some of the first cabinet makers to design furniture in the Rococo style, the term taken from the French 'Rocaille' (rockwork), as in fantasy constructions such as grottoes. The style originated in France early in the 18th century when there was a reaction against the weighty classicism of the Baroque style. The consequent taste was for something lighter representing an escape from the stifling, self-conscious grandeurs of the Louis XIV period. As pioneered by designers such as Jean Berain and Pierre Lepautre...

A rare bronze of a bare chested sinewy Native American Indian warrior/ archer in a crouching position with one leg out for support and the other in a kneeling position as he is in throes of shooting an arrow skywards presumably hunting for a bird. The Indian is dressed in full traditional garb with patterned cotton woven loin cloth, a head band with a single feather. Buckskin leather frilly pants and moccasins. Slung on his back is a leather sheath holding a quiver of arrows. A belt holds a feathered tomahawk on one side and a sheated hunting knife...

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...

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 Classic romantic movement oil painting on wood panel depicting two lovers. They are dressed in Renaissance almost theatrical garments and they sit intimately close to one another on a bench. The atmospheric background is set in the middle of a wooded park in the early evening hours before dusk. Their faces are almost in shadow as the brilliant orange/red sun sets behind them. The painting is signed F. Heilbuth on the right hand bottom corner of the canvas and is dated ’76 in reference to 1876. It is set in a gold painted wood frame. Biography Ferdinand Heilbuth, (1826-1889), was a German-born French painter. He was born in Hamburg in 1826, and died in Paris in 1889 having become a French citizen in 1876, the same year he painted this work. He is buried in Père-Lachaise cemetery in Paris. This genre painter whose talent has the characteristics of nobility, liveliness of color and accent in expression, exhibited many times at the Royal Academy in London. His works were also shown in the Grosvenor Gallery...

21.7 Pendant by Bocci Dimensions: D20.3 x H300 cm Materials: Brushed nickel, round canopy. Weight:4.1 kg Also available in different dimensions. All our lamps can be wired acc...

A classic pair of French Empire period open armchairs each with a square back topped by a bow shaped carved frieze featuring folliate rosettes and downscrolled arms. Where the arms ...

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...

A museum worthy large painting depicting travellers before the falls of Tivoli outside of Rome, with the Temple of Vesta in the background, after the 18thC French artist Claude Joseph Vernet...

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 19th century engraving of a young Mozart playing the harpsichord in the court of Hapsburg Emperor Francis I featuring the Emperor and a number of cou...

21.7 Porcelain chandelier lamp by Bocci Dimensions: Diameter 20.3 x Height 300 cm Materials: Porcelain, borosilicate glass, braided metal coaxial cable, electrical components, bru...

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 set of eight English engravings of classical subjects titled: Bacchus Reeling; Apollo & Marsyas; Egyptian Symbols; Cupid Embracing Psyche; Mercury; D...

14s Surface light by Bocci Dimensions: D5.5 x H5.5 cm Materials: Plate Weight: 1 kg Other materials and dimensions can be ordered. All our lamps can be wired according to each...

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...

Pair of beautifully painted oil portraits of a mid-Victorian English couple. Portrayed from the chest up, the lady looks directly at the painter, showing an elaborate hair style wove...

A bronze statue of a young boy standing and holding a tethered rooster with wildly flapping wings in his arms. The boy is presumably in a farmers' market and his expression shows him screaming at the top of his lungs trying to sell the rooster. The boy is leaning against a standing wooden wheelbarrow...

A palatial scale Louis XVI style salon set comprising four arm chairs and a matching sofa. The deeply carved frames are finished in gold leaf and upholstered in antique turquoise Ita...

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 fine half length portrait of a powder wigged 18th century French aristocratic gentleman simply dressed in a brown waistcoat over an embroidered buttoned vest in which he has placed...

An exquisite pair of French Napoleon III gilt-bronze mounted ebonised wood and boulle brass marquetryrcabinets referred to in French as Meubles d'Appui. The cabinets are not stamp...

A classic mid century modern cast resin Disk sculpture produced in various colors in 1968 by American artist DeWain Valentine regarded as a pivotal figure in the Light & Spac...

A rare and highly unusual French Napoleon III carved wood, gesso and gilded frame with a modern mirror in it. The frame is decorated with cartouches and is further embellished with...

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...

This classic planter is carved from a single piece of Carrara marble. The wasted shaped pot sits on four large lions paw feet each of which are topped...

A pair of elegant and unique mahogany and gilt armchairs designed by Gianni Versace, part of the 1994 Vanitas Furniture collection. The front legs have columnar shaping and taper do...

A large, beautifully carved and gilded mirror frame in the Louis XV style; open carving to the sides and corners with two carved birds on each of the four sides, the top further deco...

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...

The finest quality Louis XV/XVI transitional style gilt bronze mounted tulipwood and amaranth cylinder desk by L. Cueunieres after models by Jean-Francois Oeben (French 1721-1763). T...

28.7 pendant by Bocci Dimensions: D 20.3 x H 300 cm Materials: white powder coated round canopy Weight: 8 kg Also available in different dimensions. All our lamps can be wired a...

Designed in 1951 by Marco Zanuso for Arflex, the Lady armchair won the gold medal at the IX Milan Triennale in the same year. The armchair stands as a modern icon, the fruit of innov...

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 set of three original copperplate engravings by the renowned Parisian 18th century Engraver Antione Aveline ( b 1718 - d 1762 ). The three engravings are numbered 62, 64 and 45 and were commissioned with the permission of the Louis XV the King of France at the time. All three engravings show views and perspectives of features in the gardens of Versailles...

A mahogany cheval mirror and jewellery cabinet, once belonging to Leitizia Bonaparte, Napoleon's mother. The veneered semi circular topped mirror framed by columns topped with gilt bronze cassolettes and single arm candle holders. The bottom section is fronted by two doors which open to reveal nine shallow leather cartonniers and six jewellery drawers; the whole carcass richly decorated with gilt bronze friezes and various classical motives. Similar gilded bronze mounts are found on various pieces of furniture in the collection of the Louvre Paris. This rare museum worthy piece of furniture came from the Chateau Du Pont Sur Seine. The piece is not stamped but the quality of the mahogany and the amount of finely chiseled and burnished gilt bronze mounts, plus the presence of the cartonnier and jewellery drawers almost certainly point to a royal provenance and which almost certainly came from the workshop of Georges Jacob. The Chateau De Pont Sur Seine was originally built in 1632 and hosted such important historical figures as Catherine de Medicis and Cardinal Richelieu. In the late 17C it was acquired by the Duc de Saxony, one of Louis XVI’s uncles whose family maintained ownership until 1792 until the start of the French Revolution when they had to vacate to escape the guillotine. While it suffered damage by the revolutionairies it was still very habitable and in 1805, Napoleon purchased the chateau for his mother Madame Letizia Bonaparte where she resided until Napoleon’s fall from grace in 1814. Madame Mere...

A Napoleon III ebonized cabinet with front and sides decorated with hand painted floral medallions. The cabinet has turned columns to eac...

A beautifully carved gilt wood framed oval mirror French, circa 1840, gilt frame carved with an egg and dart design alternating with convex fillets and an inner gilded beaded loop. A...

A pair of early 19 Century period framed and matted engravings of neoclassical urns from the copper plate catalogue of Giovanni Battista Piranesi (1720-1778) engraved posthumous...

A rare and important Russian late 18th Century twelve candle crystal chandelier attributed to the renowned firm of Johann Zekh. Crafted in Sa...

An oil painting on canvas showing a portrait of a classical maiden depicted as a vestal virgin dressed in classical attire, having chestnut hair concealed by a guarnello or thin veil and holding a Roman oil lamp. The painting signed “F. Hofelder" on the lower right of the canvas was executed circa 1873 almost 100 years after the original by the late 18 Century neoclassical Swiss artist Angelika Kauffman. The virtually unknown Polish artist is likely to have copied the original painting hanging at the Gemäldegalerie Alte Meister (Old Masters Picture Gallery) in the Staatliche Kunstsammlungen, Dresden, Germany. The Swiss-born artist Angelica Kauffman...