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A fine and rare pair of stoneware figures representing Commerce and Knowledge, possibly produced by Doulton & Co. of Lambeth, England, the figure of Knowledge depicted as a youth, classically robed and seated on a tree trunk, with open book in proper left hand and stylus in proper right hand, the figure of Commerce depicted as a youthful Hermes, the Greek god of trade, commerce and communications, partially draped, wearing a winged helmet and holding a caduceus, standing alongside a barrel topped with a book and a money pouch, English, ca. 1870. Each figure 47 ins. high. Knowledge 20 ins. wide, 16 ins. deep. Commerce 20 ins. wide, 16 ins. deep. On associated composition stone square pedestals...

Circa 1870s, 18k/silver, France. This superb example of late 19th-century French jewelry has a dreamy cabochon moonstone bordered by lively diamonds and rubies with two fleur-de-lis ...

Victorian Etruscan Revival bracelet. An outstanding classic bracelet, created in England during the Victorian Era (1837-1901), circa 1870. This bangle bracelet has been carefully cr...

This set of nine lovely Vieux Paris dishes was made by Haviland Limoges in France circa 1876. The border of the dishes features pink and yellow flowers on a vine with green leaves. A...

A Victorian oval diamond openwork brooch, with a centre cluster, set with a cushion shaped old-cut diamond, surrounded by old-mine cut diamonds, in claw settings, enclosed by four tr...

Centering an old European cut diamond weighing approximately 0.35 carat - J color with VS2 clarity Set with belcher-style prongs forming a buttercup motif Flanked by rounded shoulde...

Centering an oval-shaped tablet of carved carnelian measuring 10.0 x 17.5 mm Translucent orangey red in color - carved with an intaglio of a stag deer With a recessed gold surround...

An exceptional, fine and impressive, antique Victorian English sterling silver owl mustard pot; an addition to our collectable owl silverware collectio...

Featuring rectangular mixed-cut sapphires channel set in cross-formation Weighing approximately 20.24 carats total - ranging in color Transparent light grayish blue, light blue, and...

Derriere Le Miroir-No. 190-Page 9 Color llithograph, 1971 Unsigned (as issued) From: Derriere Le Miroir, No. 190, 1971 Publisher: Aime Maeght, Paris Printer: L’Imprimerie Arts, Paris...

An exceptional, fine and impressive pair of antique Victorian English sterling silver salad servers; an addition to our silver flatware collection. These exceptional antique Victorian sterling silver salad servers have an oval rounded bowl onto an elongated stem. The surface of each piece is plain and unembellished, with a plain rounded heel. The bowl of the serving fork incorporates six shaped tines. These impressive examples of silver cutlery are fitted with impressive carved stained wood handles, with knopped terminals. These exceptional Victorian salad servers...

A very rare Ukrainian pile rug woven with a pattern characteristic of Aubusson and Savonnerie French carpets. Carpets such as this one were woven at a time when the classical French style was extremely in favour among the Russian aristocracy, who decorated their homes with period French furniture...

Antique shell cameo brooch and earrings by John Brogden, English, circa 1870. A yellow gold suite of jewellery, the brooch composed of a horizontally situated oval Bull’s Mouth shell cameo of the Greek goddess Selene riding a serpentine dragon in a rubover collet setting, encircled by a conforming frame of gold beading and twisted gold wire punctuated with four gold palmette form plaques engraved and decorated with dark blue enamel and placed at the cardinal points, the reverse mounted with a hinged pin and scroll clasp, the earrings each composed of a vertical oval Bull’s Mouth shell cameo engraved with a bust length portrait of Selene with crescent-set headdress, encircled by a conforming frame matching that of the brooch with the addition of a pendant decoration composed of a horizontal bar of gold beading and twisted gold wires suspending gold link chains graduated from centre and ending in conical gold elements, the reverses mounted with French wire fittings, all in a fitted red leather case, the interior marked ‘FIRST CLASS PARIS MEDAL/ 1855.1867.1851/ PARIS FIRST CLASS & LONDON PRIZE MEDALS/ JOHN BROGDON/ Goldsmith/ MANUFACTORY/ 16, Henrietta St. Covent Garden/ London’. The cameo—defined as a gem, usually either a mineral or a shell, upon which a design has been carved in relief—is believed to have originated in Hellenistic Greece, during the third century BC. These miniature sculptures, at that time confined to the medium of hardstone, are thought to have been made with the primary purpose of personal adornment. The same practice of mounting cameos in jewellery was then continued by the Ancient Romans, and they are known to have been worn by many a Roman emperor. After the fall of Rome the fashion for cameos went into a decline, until it was again revived during the Renaissance period, brought about by a keen interest in the ancient world. At this time both antique and contemporary cameos were mounted in jewellery, as well as collected as objet d’art. The art of cameo cutting was revived in Italy, where it would remain a centre for the coming centuries. Again there was a lull in interest in carved gemstones, until the Neoclassical revival of the eighteenth century, largely stimulated by the discoveries of the ancient Roman cities of Pompeii and Herculaneum. As with the Renaissance, antique specimens were generally prized over modern cameos, and the worldliest men in Europe held them among their collections of art and antiques. That said, carving centres in Rome and Torre del Greco (near Naples) in Italy were established in response to the demand of the Grand Tourists, who travelled to Italy and Greece to become educated in the wonders of the ancient world. It was at this time that shell cameos, mostly made in Torre del Greco due to its proximity to the sea, became more popular, owing to the relative ease in carving shell over hardstone. In addition to Rome, hardstone cameos also became a specialty of Idar Oberstein, Germany, which had a long history with both the gem mining and cutting trade. In a shift away from the collector’s cases of the previous century, the nineteenth century saw a strengthening in the fashion for wearable cameos. After the Empress Josephine donned a cameo-set suite of jewellery at the coronation of Napoleon in 1804, cameo jewellery became all the rage. Napoleon played a further hand in promoting the art by establishing a gemstone carving school in Paris, inspired by his appreciation for the arts of the ancient world. By the mid-nineteenth century shell cameos, in part due to their lightness compared with hardstone cameos, were the height of fashion. Large shell cameos as well as hardstone cameos were set into contemporary mounts, often as suites of jewellery. Some of the best cameos of the nineteenth century—carved by a select group of recognized carvers—were set into revivalist mounts, corresponding to the subject matter. In Victorian England cameo jewellery was particularly prized, due in part to the fact that the Queen owned and wore a number of cameo jewels. One example which can often be seen in official portraits is the Badge of the Order of Victoria and Albert, carved by Tommaso Saulini of Rome, who also produced cameos for the maker of the present suite, John Brogden. To meet demand some carvers set themselves up in London, including William Schmidt, a German carver from Idar Oberstein, who produced cameos for top London jewellers, including Brogden, Carlo Giuliano and Child & Child. In fact, Schmidt purports to have been the first to carve cameos out of opal, which Brogden reportedly displayed in the Paris Exhibition of 1878. An extant example, now in the collection of the British Museum, was set by the Giuliano firm. Regarding subject matter, cameos throughout time have been largely figural, from bust length profile portraits to scenes with multiple full-length figures, and sometimes animals. Ancient Greek and Roman cameos often depicted mythological scenes as well as contemporary figures. During the Renaissance, mythological scenes were popular, often taken directly from ancient sculpture, as well as portraits of notable contemporary figures. During the eighteenth and nineteenth centuries, due to the revivalist styles, both Renaissance and Classical subjects were copied and set into matching (and sometimes unmatching) revivalist mounts. From the Renaissance through the Victorian era, being able to recognize the source of the carving in a cameo was a mark of erudition, revealing in the wearer knowledge of Classical art. As mentioned, the present cameo parure...

Designed as a puffed heart-shaped form with a grooved swirl fleur-de-lis motif pattern Featuring 1.0 to 3.0 mm round seed pearls bead set throughout pattern White to gray in body col...

Featuring seven graduated cushion-shaped step cut rubies flush set east to west Weighing approximately 2.80 carats total - transparent purplish red in color Natural Burmese in origin...

A Victorian, Etruscan style brooch and earrings suite, comprising an oval brooch, with three layers, with a central dome, all decorated with Etruscan style wire work, with a loop on ...

A Swiss enamel brooch, with an oval hand painted scene depicting mountains in the distance with a church surrounded by trees, with a feature tree, people and animals to the foregroun...

Centering an oval-shaped tablet of agate measuring 8.0 x 15.0 mm Banded opaque white and reddish orange - carved with cameo Depicting the Greek goddess Nike - winged with palm branc...

This gemmy Colombian emerald pendant was once likely part of a larger necklace dating to the early to mid 19th C. Weighing approximately 12 carats, this vibrant emerald glows from wi...

A French Victorian 15 Kt signet ring that shows all the signs of power. There is an arm raised up showing a dagger. This symbol shows the willingness to prevail. Above the arm is a w...

An exceptional, fine and impressive, antique Victorian English sterling silver owl mustard pot; an addition to our collectable silverware collection. This exceptional antique Victorian sterling silver mustard pot has been realistically modelled in the form of an owl/owlet. This impressive antique silver owl mustard pot...

Centering an oval cut, buff top garnet measuring 12.0 x 9.0 mm - transparent medium brownish red in color Set in an engraved foliate motif bezel with a bombay shaped surround Engra...

A fanciful lace and natural pearl button cuff bangle by Auguste Lahaye (workshop later purchased by the esteemed French jeweler Rene Boivin). Masterfully hand fabricated in contrasti...

Designed as a 1.5 mm twisted rope chain Terminating with a hinged fob lobster clasp Stamped for 14 karat gold With maker's mark Circa: 1870s Width at widest: 1/4 inch Length: 49 1/...

Original stone lithograph with hand-coloring from "Birds of North America." First Octavo Edition, by John James Audubon. Plate 383. Philadelphia, J.T. Bowen, ca. 1839-44.

An amazing amethyst measured to weigh approximately 30 carats is the centerpiece of this incredible antique brooch. The faceted, extremely well-cut Amethyst displays a unique color s...

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...

A charming 19th Century portrait of a prize cow - “Forest Bell”. A 19th century portrait of a prize winning cow in a landscape setting - “Forest Bell” attributed to A M Gauci. A pl...

Circa 1872, 18k, England. Set with a .50-carat sapphire and diamond eyes, this 19th-century English serpent ring speaks of the jewelry of the ancients. In Victorian times snake rings...

Original stone lithograph with hand-coloring from "Birds of North America." First Octavo Edition, by John James Audubon. Plate 383. Philadelphia, J.T. Bowen, ca. 1839-44.

Rigid, articulated cuff-type bracelet in yellow gold,set with three pave’ turquoise topped by an old cut diamond in a filigree setting. English work, circa 1870's. Total gross weigh...

Comprised of knot-style links with single jump rings Suspending a spinning dog clip clasp Stamped with French hallmarks for 18 karat gold Circa: 1870s Width...

Centering an oval-shaped sapphire cabochon weighing approximately 5.18 carats - bezel set with flat face up Transparent light blue in color and carved with an intaglio of the Greek ...

A pair of mid-Victorian diamond lined sweethearts nestled side-by-side and crowned with a twinkling bow. Sweet as can be. Currently a size 6. Metal: Silver topped 18K Weight: 3.7 g...

A gorgeous Scottish Victorian Landscape Agate cross shows how the hand of man can enhance a gift of nature. Translucent dendritic agates are cut int...

British Sailor's Woolwork of Royal Navy Ship, The sailor's woolwork or woolie depicts a starboard view of a Second-Rate Royal Navy Ship with three masts. T...

One Antique French Ruby and Diamond 18k Yellow Gold Enamel Hinged Cuff Bracelet. Featuring one pearl, measuring 4.76mm. Accented by four cushion mixed cut rubies with a total weight ...

An antique gold, pearl, and diamond cuff bracelet of openwork, lattice design, the front featuring alternating pearls and rose diamonds, with each diamond in a quatrefoil setting, an...

Bathing at Long Branch-“Oh, Ain’t it Cold” Wood engraving, 1871 Signed in the block with the artist's initials "WH", see photo Published in: Every Saturday, Aug. 16, 1871 Condition: ...

Victorian tortoise beetle brooch. Set horizontally with three iridescent Brazilian tortoise leaf beetles graduating in size from the centre in closed back claw settings, to a novelty...

Hallmarked in London in 1876 by Martin, Hall & Co., this ornate, Victorian, Antique Sterling Silver Tea Set, features wondeful chased d...

Outstanding Dinner Size King William by Tiffany and Co. sterling silver flatware set, 60 pieces. This old English style pattern was introduced in the year 1870. The pieces are large ...

A solid, warm tone, substantial 11.9 gram 15 Kt gold buckle ring, like all the buckle motif bracelets of the Victorian era symbolized two people uni...

Centering an oval cut sapphire weighing 1.12 carats - transparent light purple in color Natural Sri Lankan in origin with no indications of heat treatment Prong set with a recessed...

Antique turquoise and rose cut diamond necklace. Antique revival necklace with three turquoise set pendant sections with wirework throug...

Hallmarked in Sheffield, 1878 by Roberts & Belk, this very attractive, Victorian, antique, sterling silver Posey holder, or tussy mussy, has scroll pierced...

A pair of antique Victorian period gold and coral earrings in the Etruscan style, designed as coral amphorae with applied wire work and granulation, suspending from gold florette sur...

These romantic mid-Victorian diamond day-to-night earrings are composed of a detachable rose cut diamond top that gracefully suspends a softly shimmering rose-cut diamond frame and c...

This original Victorian-era navette ring boasts a cluster of old mine-cut diamonds with a total approximate weight of 3.50 carats, I-J color, and SI1 clarity. The ring features an el...

An antique amber and gold bracelet, with large amber beads, with gold discs either side, decorated with Etruscan style wirework, with single ov...

Victorian 19th century Festoon drop Necklace with Turquoises. A magnificent and exceptional piece of jewelry, most probably British created during the mid Victorian era (1840-1901),...

Whistler, James A. M. NOCTURNE: PALACES. Glascow 200, Kennedy 202. Etching and drypoint with platetone, 1879-80. From the Second Venice Set. Signed on the tab with the butterfly in pencil. Printed in sepia on laid paper with no visible watermark. Trimmed just outside the platemark, leaving the tab. In excellent condition. As with all of the Whistler Nocturnes, each impressions of this print is different, dependng on how Whistler wiped and manipulated the platetone. 11 5/8 x 7 7/8 inches (plate and sheet, plus the tab). Framed to 20 x 16 inches. Provenance: Collection of Thomas Jefferson Coolidge, Jr. with his collection stamp (Lugt 1429) verso; Kennedy Galleries, with its inventory number a65609 in pencil verso, and with another inscription, "FWCX" in pencil, verso. Thomas Jefferson Coolidge, 1831-1920, was a great-grandson of Thomas Jefferson, a powerful Boston businessman, and an Ambassador to France. In 1875 he became the manager of the largest textile mill in America, the Amoskeag Mill in Manchester New Hampshire, and had major financial interests in the textile, banking, railroad, publishing and electrical industries. In 1880 he became the President of the Atchison, Topeka & Santa Fe Railway. He was one of the founders of the United Fruit Company...

Decorated in relief with Asian emblems and flowers. Both with impressed marks and one with additional green mark.

Of marquise form set with rose cut diamonds weighing approximately two carats, to a gold shank. Bezel 2.9 cm by 1.4cm. Finger size: 7 Weight: 5.8 gr

Comprised of floral surmounts with curling filigree petals suspending drops via cable chain Drops are designed as stylized amphora vases With filigree body and scrolling wire handles...

Handmade natural pearl rose gold pin and locket necklace with original handmade chain. Bail and chain are removable to wear as a pin. Back opens to hold a picture. Circa 1870. 18...

This rock crystal natural pearl and delicate enamel locket is a rare piece of jewelry history made by one of the most world renown and accomplished jewelers, Carlo Guiliano. It is a ...

A fine eight-light gasolier of tent and waterfall design by F&C Osler with graduating drop hung dishes cascading to a rule drop tent, this draped to the main ring issuing eight decor...

The New York Yacht Club Regatta ewer by Tiffany won by sloop Gracie, 1872. This large sterling silver ewer, based on the ancient Greek Oenochoe form of wine jug, has a bulbous body a...

An exceptional, fine and impressive antique Victorian sterling silver parcel gilt goblet; an addition to our London silver wine and drinks related silverware collection. This except...