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This exquisite antique ring showcases a captivating approx 0.4-carat oval-cut pink sapphire, bezel-set at its center and encircled by a dazzling double halo of old mine-cut diamonds....

Set of 12 English Porcelain handkerchief plates, Spode, circa 1820.

Victorian Classical sterling silver shaving mug. Made by Howard & Co. in New York in 1891. Drum-form with scroll handle; interior mounted with pierced brush holder. Repousse leafing ...

Here we have a striking diamond cluster dress ring taken from the Victorian period. At the centre of this open face we find a quartet of chunky old cut diamonds. These four stones si...

Pretty Victorian sterling silver tray. Made by Theodore B. Starr in New York, ca 1890. Round with deep well. Applied cast rim with leafing scrollwork and flowers. Fully marked includ...

This daybed stands out for its impressive scale. With outward scrolling upholstered side and downswept back within an ebonized surround with gilt acanthus and lotus leaf decoration; ...

Engraved silver Kiddush cup, Poland, circa 1840. On a flat base with floral decoration and with two village scenes engraving, one of the village scene depicting a tower with a simil...

Neoclassical, sterling silver mug/cup, Providence, Rhode Island, Ca. 1880's, Whiting Mfg. Co. - maker. Measures almost 4 inches high x 4 1/2 inches wide fr...

A fine pair of neoclassical stools. Beautiful veneer with fine carved details.

Very rare, tall, sterling silver-mounted Tiffany & Co. "wheel-cut" glass decanter (Glass is signed Stevens & Williams, founder of Steuben Glass in 1903; silver mount is signed Tiffan...

Aesthetic sterling silver Turkish coffeepot. Made by Tiffany & Co. in New York. Upward tapering neck and round bowl. Ball-cover hinge-mounted to c-scroll...

Here we have a classically styled three-stone ring taken from the Victorian period. The ring showcases a trio of blue sapphires, elegantly claw set atop an 18ct yellow gold mount. Fl...

Two pairs of Medallion coin silver salt and peppers. Made by Gorham in Providence, ca 1860. Each salt: Round and curved hemispheric bowl on raised foot. Each pepper: Straight and tap...

Edwardian Cream Embroidered Cotton Voile & Lace Tea Dress With Empire Waistline And Half Sleeves

Depicting phoenix birds in flight.

Antique Victorian necklace with Bohemian garnets, comes in original fitted box. Necklace is 14.5" long and 25mm at the center widest point. ...

Signed Rancoulet. The bronze depicts the twelfth labor of Hercules.

Pewter passover tray, Germany, 18th century. The outer rim has wriggle- work engraving of the order of the Seder service, along with a pair of birds fl...

Antique Central Anatolian Kilim rug. A great example of Anatolian Kilim rug weaving from the 19th century when tribal women wove such pieces as...

Japanese Meiji Art Nouveau silver tea tray, ca 1890. Retailed by Arthur & Bond in Yokohama. Lobed oval. Well stippled and engraved with shaded interlaced monogram. Upturned c-scroll ...

Each painted with landscape roundels flanked by flower sprays within a narrow blue and gilt border, comprising: a fluted barrel-shaped teapot and cover and a hexagonal fluted stand; a covered sugar and another hexagonal fluted teapot...

Victorian Period, sterling silver-mounted decanter with hinged lid and having four matching glasses, Gorham Manufacturing Company, Providence, Rhode Island, year-hallmarked for 1894....

With famille rose-verte decoration.

Finely painted in an Italian palette with mythological and Roman battle scenes, each border rim painted with yellow enamel. With a large carved ebony...

Collas Reduction by David Danger.

Antique Kurdish long runner rug. A beautiful antique rug attributed to the Kurdish tribes in the vicinity of the city of mosul in Northern Iraq, ...

Georgian (George III), sterling silver, helmet-form cream jug/pitcher on square, pedestal base, London, year-hallmarked for 1795, Peter and Anne Bateman - makers. Measures 5 3/4 inches high (to top of handle) x 4 inches wide (from outer edge of spout to outer edge of handle) x 2 1/4 inches deep at deepest point. Weighs 3.190 troy ounces. Beaded border. Original script...

"Three-section porcelain Imari pattern tureen with a removable compartment, tray and cover."

English gilt sterling silver & agate fruit set. This set comprises 24 pieces: 12 knives and 12 forks. Each: Tapering and chamfered rectilinear handle in mottled and translucent agate. Colors vary. Gilt sterling silver blades with 2 armorials (knives) and 4-tined shanks with 1 armorial (forks); stippled and scrolled mount. In stained-wood case with fitted velvet. Fully marked with London assay stamp. Eight knives have William Theobalds maker’s stamp and 1833 date letter. Four knives have William Theobalds & Robert Atkinson...

Antique Konya Kilim rug. A fantastic antique kilim rug from Central Anatolia, with its larger-than-usual size, its dramatic border design and e...

Victorian Classical sterling silver creamer and sugar. Made by Wood & Hughes in New York, ca 1880. Upward tapering sides with basket-weave exterior and gilt-washed interior; rectangu...

An earring with movement and fringe is fashionable and fun. These earrings pass the swinging test, as each component swings forward and back freely. A small diamond on a wire suspe...

Unusual, large, Victorian, sterling silver-mounted, crackled crystal match striker (looks like cracked ice) having an all sterling silver match cup, Birmingham, England, 1896, Hillia...

Sarreguemines mark to jardinière.

Sterling silver Aesthetic Movement mug/cup on pedestal base, New York, Ca. 1875, Wood and Hughes - makers. Lovely etched designs on mug. Handle is in the form of a swan (its long nec...

Japanese Meiji silver box, ca 1890. Rectangular with curved corners. Box sides have chased and engraved birds amidst blossoming branches and bamboo in rectangular frames. Cover top h...

Victorian, Continental silver .800, footed tea caddy, Germany, with Hannau marks, circa. 1895, B. Neresheimer and Sohne - makers. Chased with dancing ...

Fine George III octagonal tea caddy inlaid with various woods on a harewood ground, the central panels veneered with coucous wood and banded by holly stringing around a kingwood band, vines and berried...

FAPG 20247D John Bennett (1840-1907), New York Plaque with pink and blue phlox, circa 1881-1882 Earthenware, painted and glazed Measures: 14 7/8 in. diameter, 1 13/16 in. high Signed and inscribed (on the back): J B[monogram] ENNETT / E 24 NY. / MC [or] CM If the Herter Brothers was the most distinguished and successful cabinet making and decorating firm in New York in the 1870s-1880s, the transplanted Englishman John Bennett was probably the most gifted ceramicist working in New York in the Aesthetic period. (Bennett was included in The Metropolitan Museum of Art’s landmark exhibition, In pursuit of beauty: Americans and the Aesthetic Movement, in 1986–87, and Alice Cooney Frelinghuysen’s chapter, “Aesthetic Forms in Ceramics and Glass,” pp. 216–19, significantly informs this essay). Born in England, the son of a potter who worked in the Staffordshire district, Bennett came under the influence of John Sparkes, head of London’s Lambeth School of Art. Soon thereafter, he was hired by Henry Doulton of the eponymous firm to teach artisans there the new art of underglaze faience decoration, which was part of a revival of the sixteenth-century interest in hand-painted ceramics. A number of Bennett’s works for Doulton were shown in the Doulton display at the Centennial Exposition in Philadelphia in 1876, and the considerable success enjoyed by Bennett and Doulton from an American audience undoubtedly played an important role in Bennett’s decision to leave Doulton and England and set up shop in New York in 1877. By the next year, he had already established a studio in New York, where he produced his own pottery in the tradition of the Arts & Crafts innovators, William Morris and William De Morgan, and also taught classes at the new Society of Decorative Art to the growing band of women who had taken up china painting, both professionally and avocationally. Bennett’s pottery developed a very serious following among students and collectors, and was offered for sale at such leading retail establishments as Tiffany & Company in New York. Typically, his work was brilliantly colored, with carefully drawn naturalistic flowers against a monochromatic background. Bennett’s fully developed American work, particularly pieces of larger scale, is exceedingly rare, as he worked in New York only from 1877 to 1883, in which year he withdrew to a farm in rural West Orange, New Jersey, where his production continued on a limited basis. He remained listed as a ceramicist there until 1889. While in New York City, Bennett maintained a studio at 412 East 24th Street. The present charger, boldly featuring pink and blue phlox, is signed by Bennett, and is inscribed “E 24 NY,” indicating its manufacture during Bennett’s time in New York. Although it is not dated, this piece is closely related stylistically to various dated pieces from 1881–82, which would place its production toward the end of Bennett’s New York years. Although we do not know whether Bennett worked out of this 24th Street studio from the outset, he was indeed working there by 1879 when he made (and signed, inscribed, and dated) a charger with white and red flowers now in the collection of the Art Institute of Chicago, which specifically points to “412 East 24 / NY” (acc. no. 1998.317). Additionally, the U.S. Census of 1880 lists Bennett as a ceramicist located at that same address, married to Mary Bennett with whom he had had six children. There are several other examples from Bennett’s time in New York City, which also give his studio address on East 24th Street, including a covered jar in cadmium yellow with indigo and green flowers made in 1881; an undated footed vase with lilac...

Pyramid studded varnished wood body, gilded wooden legs, with two doors and bottom drop-down shelf, featuring interior glass shelves and original ke...

Purse revealing diary and pen in the interior.

George III sterling silver punchbowl. Made by Paul Storr in London in 1806. Round and curved on raised foot. Egg-and-dart rim and gadrooned borders. Cast lion-head side mounts with l...

Large, sterling silver-mounted threaded crystal, cup-form match striker, Birmingham, England, year-hallmarked for 1897, Charles Mappin (of Mappin Brothers) - maker. Measures 4 inches...

Antique Art Nouveau 18k gold pocket watch, high relief case, decorated with diamonds. Case is 23mm in diameter. With porcelain dial and original filigree hands. Suspended on a 14k gold Nouveau floral...

This striking brass menorah, crafted in the Netherlands during the late 19th century, exemplifies a blend of artistic craftsmanship and symbolic meaning. Measuring approximately 20 i...

Art Nouveau sterling silver trophy cup. Made by Tiffany & Co. in New York. Urn on tall and spread foot; double-scroll side handles. Chased semi-abstract tendrils terminating in volut...

1850'S Green & Pink Organic Cotton Floral Ombre Printed Dress

Rare Victorian Classical sterling silver tankard pitcher. Made by Tiffany & Co. in New York, ca 1875. Drum-form with high-capacity v-form spout and skirted base. Cover hinged and rai...

On a sky blue ground, the gilding finely tooled.

An English Antique 15 karat gold/silver top ring with sapphire and diamonds. The ring has a no heat oval-cut sapphire with an approximate weight of .9...

A fine French Needlepoint Rug circa 1860 featuring hues of red, gold, green and blue in a symmetrical neoclassical design. This rug measures 15’4” in length and is 36” wide.

James Whistler (1834-1903), The Bridge, Santa Marta, 1879-80, etching with drypoint, printed in sepia on fine laid paper. Signed with the butterfly and inscribed imp on the tab (also with an exceedingly light butterfly lower right in the plate). Kennedy 204, probably eighth (final) state; Glasgow 201, probably state 9 (of 9) (cf. Margaret F. MacDonald, Grischka Petri, Meg Hausberg, and Joanna Meacock, James McNeill Whistler: The Etchings, a catalogue raisonné, University of Glasgow, 2011), Lochnan 199. Trimmed to the platemark by the artist, h: 11.8 x w: 7.9 in / h: 30 x w: 20.1 cm. A fine impression, printed with subtle tone. The bridge theme occurs repeatedly in Whistler’s vistas. It is also the main focus of more than one of the Venetian prints. While some bridges are seen from below, from where one would see it if approaching in a gondola (for example Ponte del Piovan, Kennedy 209), The Bridge depicts the scene from a high perspective, opening up the view into the far distance. The small boat approaching the arch in the foreground is again, as in the earlier Thames prints, a stock motif that is probably ultimately derived from the Japanese woodcuts of Hokusai and Hiroshige. The bridge here is the Ponte de le Terese over the Rio de l’Arzere in the Santa Marta quarter. The early biography of Whistler by Elizabeth and Joseph Pennell is essential for its “immense quantity of information” but also notorious for “the inherent hyperbole and misinformation” (Eric Denker, Annotated Bibliography, in Fine, p. 184). Still, it is worth quoting from the Pennels’ appraisal of The Bridge: “Simplicity of expression has never been carried further. Probably the finest plate, in its simplicity and directness, is The Bridge. Whistler now obtained the quality of richness by suggesting detail, and also by printing. In The Traghetto...

Victorian Neoclassical silver covered urn. Made by Edward Barnard & Sons Ltd in London in 1896. Bowl with half-gadrooning interspersed with acanthus leaves; leaf-capped flying side h...

A pair of antique Victorian period gold earrings of girandole design comprised of three ball pendants suspended from a scrolled openwork surmount, in 14k.

Victorian novelty decanter. Made by Cornelius Saunders & Frank Shepherd in Birmingham in 1895. Purple glass ovoid body with clear tubular tucked-under wings forming handle. Cylindric...

American Classical sterling silver mustard pot, ca 1870. Bellied bowl on short and spread foot ring; c-scroll handle. Cover hinged and domed with ball finial; set in scrolled and gad...

A very large antique kilim, woven in the Oushak region of Western Turkey, displaying the classic central medallion design and a dazzling color palette. Such kilims were contemporary ...

English creamware covered soup tureen and stand, Wedgwood, circa 1790. Impressed Wedgwood.

Edwardian Mustard Yellow Wool Antique Mens Silk Lined Military Vest With Gold Metal Embroidery

Each relief molded urn flanked by upright handles, painted with roundels with a scene of lovers on the front and back, on a cobalt blue ground.