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Georgian-Victorian 1840 era jeweled pendant-brooch An antique early transitional convertible piece, made in England around the 1840's. It was designed...

Aston Estate Jewelry Presents: A striking statement ring featuring a 1.3 carat cabochon cut natural black opal. Surrounded by 1.05 carats of rose cut diamonds. Diamonds are of SI1 c...

L'enfant prodigue: en pays etranger (The Prodigal Son: In Foreign Climes) Etching, 1881 Unsigned (as usual for this state) From: L'enfant prodigue, (The Prodigal Son, five plates) Ed...

13 Volumes. Oliver Wendell Holmes, The Works. Standard Library Edition. Bound in 3/4 blue morocco and marbled boards. The raised band spines display gilt-tooled detailing. The top ed...

Painted after a work by 17th century Spanish artist Bartolome Esteban Murillo (1617-1682), this enchanting KPM painting on porcelain is a beautiful rendering of the artist's original...

Good pair of English Victorian black painted tea tins, circa 1880, now as lamps.

Chinese Export Porcelain Underglaze Blue Dish, Circa 1775 The well-painted Chinese Export porcelain dish is painted in superb underglaze blue with a central large double censor, the...

Chest of drawers from France in the Louis XVI style. This piece is made of mahogany that has been finished with a lustrous French polish of museum quality. There are two dovetailed d...

Artists: Johan Ringsten (1848-1911) or Per D. Holm (1835-1903) Oil on canvas View of a "mountain Lake" with Reindeer Saggat Trask Lapland c. 1879 Canvas: 47 1/2" wide x 27 1/2" high Frame: 57 1/2 wide x 38" high x 4" deep Artist: Johan Ringsten, born October 10, 1848 in Kalmar, died August 11, 1911, was a Swedish artist and curator. He was the son of Johan Matias Ringsten and Augusta Serafina Nisbeth and married to Teckla Maria Dalqvist. Ringsten studied at the Academy of Fine Arts in Stockholm and after his studies was active as a copyist, landscape and genre painter. He participated in exhibitions arranged by the Art Association for Southern Sweden. He was hired as a curator by the National Museum, the Academy of Fine Arts and the Catholic Church in Stockholm. Ringsten is represented at Östergötland Museum, Norrköping Art Museum and Uppsala University Library [1]. Note: You should always request a shipping quote. Quoted amounts are an estimate of what it might cost to ship out to you based on destinations of the greatest distance. We would love to find you a better quote if possible. Artist: Per Daniel Holm (11 September 1835, Smedjebacken - 7 August 1903, Stockholm) was a Swedish landscape painter. His father, Alexander Holm, was a pastor at Järnboås church [sv]. He attended the KTH Royal Institute of Technology until 1855, then became a mechanical draftsman for the Köping-Hults Railway [sv], This was followed by a similar position at the zoological museum of the Royal Swedish Academy of Sciences. From 1858 to 1863, he studied landscape painting at the Royal Swedish Academy of Fine Arts, with Nils Andersson, and made numerous study trips to northern Sweden and Norway. In 1862. he was awarded a royal medal...

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

Large Framed Picture containing Six Different Engravings of Grouping of Birds, Histoire Naturelle, Ornithologie by Georges-Louis Leclerc, Comte de B...

Niello is the art of ornamenting metal surfaces that is thought to have originated with the Egyptians and spread throughout Europe in the Middle Ages. It is enamel-like substance mad...

A gorgeous Victorian (ca1880s) era diamond ring! Crafted in 18kt yellow gold, this stunning piece has a beautiful graduated 5-stone design. An 0.95ct Old Mine Cut Cushion rests at th...

Johann Seligmann Bird Print, Le Pivert Mouchese des Indes, Tab LXXVII, Circa 1770 The Johann Seligmann engravings of Le Pivert Mouchese des IndesTax LXXXVII is mounted in a decoupa...

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...

A Rare Victoria Pottery Company Majolica Sardine Box with five sardines on green glazed lotus pads and other foliage, trimmed in yellow bamboo with green shoots, the body and integra...

A light and airy English 18th century mahogany spider leg table. Delicate single plank top over shaped aprons all around, standing on turned 'spider' legs....

This is a hand-painted First-Period Worcester Porcelain sugar box from the 18th century. The lively floral design is painted in green, blue, purple, and gilt. We see purple stems and...

Victorian Scottish Carved Agate 14k Earrings

Keying Up - The Court Jester Etching with drypoint, 1879 Signed in the plate lower left corner (see photos) Proof before engraved title and engraved names Printed on thin light golden Japanese tissue paper In the final state, with engraved titled and typeface engraved artist’s signature below the image Condition: excellent Plate size: 6-5/8 x 4-1/4" According to Pisano, this image was very popular during Chase’s life. It is based on his famous painting, Keying Up-The Court Jester, in the collection of the Pennsylvania Academy of Fine Arts. The painting was created in Munich during the artist’s studies there. It was exhibited in the 1876 Centennial Exhibition in Philadelphia where it won a Medal of Honor and helped establish the artist’s reputation as a leading American painter. Chase, always conscious of self promotion, created the etching and had numerous impressions printed. He sold them for a modest price to increase his fame. The etching was later published in Sylvester R. Koehler, American Art Review, September 1878. It was for this American Art Review printing that the engraved titled and type face signature below the image were added to the plate. This example was part of a group of impressions that came down in the Chase family via his daughter Dorothy Bremond Chase, his third daughter. They were acquired at auction in a single auction lot, housed in a paper board folder. The consignor was Associated American Artist’s as they were liquidating their stock prior to closing the gallery. Dorothy was the subject of Chase’s painting, My Little Daughter Dorothy. C. 1894, in the collection of the Detroit Institute of Arts as well as numerous other portraits of her. Reference: Pisano/Bake, Volume 1, Pr. 3, illustrates the rare 1st state, this being a 2nd state before any other the engraved title and Chase's name in the bottom margin which are found in the third state. Artist bio in file (Chase) In 1883 Chase was involved in the organization of an exhibition to help raise funds for a pedestal for the Statute of Liberty. The exhibition featured loans of three works by Manet and urban scenes by the Italian Impressionist Giuseppe de Nittis. Both artists influenced Chase's Impressionistic style that gave rise to a series of New York park scenes. It is also thought that he was influenced by John Singer Sargent's In the Luxembourg Gardens (1879) which was exhibited in New York at this time. Indeed, Chase had met Sargent in Europe in 1881, the two men becoming lifelong friends with Sargent painting Chase's portrait in 1902. On another European trip in 1885, Chase met James McNeill Whistler in London. While Whistler had a reputation for being difficult, the two artists got along famously and agreed to paint one another's portrait. Eventually, however, Whistler's moods began to grate with Chase who wrote home stating "I really begin to feel that I never will get away from here". For his part, Whistler criticized Chase's finished portrait and, according to Hirshler, "complained about Chase for the rest of his life". While no record exists of Whistler's portrait of Chase; Chase's portrait of Whistler remains a well-known piece in his oeuvre. In 1887 Chase married Alice Gerson, the daughter of the manager of a lithography company. Though some fifteen years his junior (Chase was 37), he had known Alice for some time through her family's devotion to the arts. The pair, who would enjoy a happy marriage with Alice in full support of her husband's career, settled initially in Brooklyn where their first child was born. The couple would parent six daughters and two sons and it was only his family that could rival his devotion to his art. Indeed, Chase often combined his two loves by painting several portraits of his wife and children in Brooklyn parks before the couple relocated to Manhattan. Later Period Between 1891 and 1902, Chase and his family spent their summers at a purpose-built home and studio in Shinnecock Hills, a close suburb of the upmarket town of Southampton on the south shore of Long Island (roughly 100 miles east of New York). Chase set up, and taught two days a week, at the nearby Shinnecock Hills Summer School of Art which benefitted from the financial backing of local art collectors. It was at Shinnecock that Chase, taken in by the region's striking natural surroundings, painted several Impressionistic landscapes. As Bettis put it, "There, among the dunes, in the bright sunlight and sea air his painterly impulse was given free sway, and he produced some of his freest and loveliest work". His passion for the area was so felt he even gave his daughter Hazel the middle name of Neamaug, in honor of the rich Native American history of Shinnecock. Chase was equally focused on the students that came to the School and who he encouraged to paint in the modern plein air style favored by the French Impressionists. Although Chase was making a name for himself as an Impressionist, he never abandoned his commitment to the sombre tones and academic tropes he had learned in Munich, though these he reserved for his portraits, and for his series of striking still lifes featuring dead fish. Chase was in fact a successful society portraitist - he painted fashionable women for a fee of $2,000 - and would paint his students as "samples" which he then donated to leading art institutions (such as Lady in Black (1888) which he donated to the Metropolitan Museum in 1891). In 1896, facing financial difficulties, Chase flirted with the idea of giving up his teaching in New York and traveled with his family to Madrid where he developed a passion for bullfighting. Chase returned however to Shinnecock in June to teach his yearly summer art class, and in the fall of that year, established his own art school in Manhattan: the Chase School which was modelled on the Académie Julian in Paris. Chase lacked business savvy, however, and the Chase School lasted only two years before it was placed under new management. It continued as the New York School of Art (changed to Parsons School of Design starting 1941) with Chase as head the School for eleven more years. Chase also taught during this period at the Pennsylvania Academy of Fine Arts. In 1902, following the premature death of his friend John Twachtman, Chase was invited to join the Ten American Painters group (who included amongst its members, Frank Weston Benson, Thomas Wilmer Dewing...

France, circa 1890s The brooch is finely modeled as a butterfly. It is handcrafted in silver-topped 18K gold and is encrusted with rose cut diamonds, sapphires and rubies. The principal velvety blue...

Designed as a stylized devil with textured horns- carved out of labradorite Semi-translucent gray in body color with strong adularescence - blue flashes throughout With bezel set rub...

A fine pair of George III mahogany and suede library chairs of small but well-proportioned scale, the shaped back over downswept arms, the padded seat over square tapered legs with b...

FRENCH LOUIS XVI CARVED WHITE-PAINTED PARCEL-GILT CONSOLE TABLE WITH VIOLET MARBLE TOP Circa late 19th century Item # 306YPZ14Q A wonderful late 19th century carved console...

French bronze figure of bull with attacking dog on an oval base (signed alton), 19th or 20th century.

French Victorian bronze figure of (dog) retriever with a snipe standing on oval base (Delabrierre)

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...

Chinese Export Porcelain Underglaze Blue Botanical Circular Dish, Circa 1775 This Chinese Export circular dish exemplifies the underglaze blue and whit...

Antique Georgian English brass side-eject candlesticks- pair, circa 1770-1800. The pair of brass push-up brass candlesticks have a circular domed base with a central column with a button end mechanism to eject a candle. Dimensions: 8 1/2 inches high x 4 1/4 inch diameter Reference: The Brass Book American, English and European Fifteenth Century...

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...

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...

Fine French walnut, ebonized fruitwood and brass-mounted neoclassical commode, the simple top over three drawers, having elegant hip molding between the first and second, all with eb...

Chinese Export Porcelain Armorial Tea Bowl & Saucer Initials MJ, American Market, Circa 1785 The Chinese Export porcelain large tea bowl and saucer are pa...

Antique cufflinks by Black, Starr & Frost, c. 1890. Carved in a scarab motif, these hardstone antique cufflinks are slightly less than .75 inches in height and .50 inches across. Bla...

French Empire style (late 19th Century) mahogany small chest with 4 drawers and bronze trim with a black marble top There are splits in the wood at the side of the piece.

Art Nouveau (Indian style) carved teak wood filigree swing with open butterfly design side supports and inset porcelain tile panels.

Set of 6 English Victorian white porcelain dinner plates with blue fountain design on edge and bird center (Lenox)

This large 18th century Meissen porcelain leaf form dish incorporates the prevailing artistic trends of the time. Rococo art was known for its emphasis on asymmetry and naturalistic ...

Unusual and Elegant Victorian Carved Bone Riding or Hunting Brooch from the 19th Century. A hand carved hoof is entwined by a textured snake like crop moti...

Wonderful polychromed lithograph under glass with reverse glass hand painted gold gilt rectangular double lined border, along with a hand painted black matte; unique; I have not seen...

In the style of Thomas Chippendale, a lovely American 18th century tilt-top table in mahogany that, historically, doubled as a candlestand. The square top is cut in curves at the cor...

During the 19th century, the discoveries of ancient archaeological finds influenced what is referred to as "archaeological revival jewelry," or "Egyptian revival jewelry." The initial Egyptian Revival period flourished from the 1820s onward, and was inspired by ancient Egyptian imagery, such as the scarab beetle, sphinxes, pharaohs, and hieroglyphics. Austrian born, Carl Bacher...

One of Durgin's most popular and beautiful patterns is "Chrysanthemum". The design is of leaves and chrysanthemum buds and blooms on the front. The back displays two chrysanthemums in bloom among leaves and buds. The chrysanthemum flowers flow down beautifully onto the tines, bowls and serving areas of many of the pieces. Chrysanthemum by Durgin...

Circa 1880s High Style Victorian, Etruscan Revival Yellow Gold Earrings, measuring 2 3/4 inches in length X 3/4 inch wide. Showing some signs of 100 years of Patina and Tarnish and a...

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...

Elaborate filigreed Victorian 14k gold earrings from the late 19th Century. Rose gold applications in harp form are framed by etruscan bead work and flo...

French Victorian gilt rectangular wall mirror with a heavily carved floral and leaf design frame (as is)

Paul Sormani (1817-1877) designed and was the maker of this superb quality small dressing table; from his Paris workshop at 10 R. Charlot Park (this was his second workshop---opened in 1867). The attention to detail and intricate design, in addition to selection and application of premium materials and resources are typical of Sormani dedication to excellence, as was recognized by many of his contemporaries during several mid-century Parisean exhibitions. Brass inlaid Fleur de Lis medallion decorates the center; surrounded by beautiful and rare burl Amboyna veneer wood from Indonesia. The surface is bordered by a bold brass application to the serpentine perimeter. A satinwood inlaid border decoration to the surface further enhances the decor. The highly figured veneer design of the surface is further on display to the rectangular 4" skirt support above four elegant cabriole legs with full length linear bold inlaid and applied brass accoutrements to the corners; top to bottom; ending in bronze mounted feet. The special interior is accessed by lifting the top up connected by a pair of decorated and embossed rear hinges; revealing a full surface mirror back and a fitted storage sections with a sliding tray for personal particulars; jewelry, papers, make up, sewing implements, or valuables as may be kept private by locking mechanism which bears the signature and street address of "Paul Sormani, 10 R. Charlot Park". The condition of the table is original, sturdy, and well made with no replacements. Surfaces have a mellow patina displaying warm, age related hues. A small rectangular section to the top surface measuring 2" x 3 1/2", just off the left and front of the center medallion is present. It does not look like a replacement because the grain transcends the section matching perfectly. It simply looks like an early restoration of some kind; possibly done contemporaneously with the manufacture of the table and possibly at the workshop of Sormani Maison because it is done so well. Please note the close up image (#3) of this repair. The base of the interior underneath (see image) is fastened with butterfly wood...

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...

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 Gutta Percha Pendant Necklace, circa 1880. The oval pendant finely carved with a morning glory motif within surrounding leaves. Original faille...

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...

English Victorian silver plate faux bamboo design cruet set with woven wicker handle and 6 cut crystal bottles.  

--Stone(s):-- (1) Natural Genuine Diamond - Elongated Cushion Old Mine Cut - Prong Set - Fancy Intense Yellow Color - I1 Clarity - 2.99ct (exact - certified) ** See Certification Det...