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his lovely antique brooch is Victorian period, 1870 circa Elegantly designed in a triumph of Diamond rays complemented by natural not nucleated salt sea Pearls and swinging drop Pear...

Victorian openwork diamond pendant. Set with sixty-three round rose cut diamonds in closed back grain settings with a combined approximate weight of 0...

A 19th century Italian lava cameo bracelet Composed of seven gold-mounted vari-coloured oval lava cameos, each carved in high relief to depict a pu...

The Spring by Albert-Ernest CARRIER-BELLEUSE (1824-1887) Sculpture made in white Carrara marble signed on the base "A. Carrier-Belleuse" France circa 1870 height 76,5 cm width 30 cm depth 24 cm Biography : Albert-Ernest Carrier de Belleuse known as Carrier-Belleuse (1824-1887) was one of the most prolific artists of the century and had the greatest successes under the Second Empire, enjoying the personal support of Napoleon III. His work was greatly influenced by the style of the Italian Renaissance and that of the 18th century, which he helped to bring up to date. In 1837, the young Carrier-Belleuse apprenticed in the workshop of the engraver Bauchery. He was admitted soon after to the goldsmith Jacques Henri Fauconnier. Through François Arago, he met the sculptor David d'Angers who facilitated his admission to the School of Fine Arts. Carrier-Belleuse entered it in 1840. Noted for his skill by the great bronze companies in Paris such as Barbedienne and Denière, he soon received numerous orders for models for candelabras, pendulums, fittings for fireplaces, etc. In 1848, probably at the initiative of François Arago, who became head of state, he received his first public order for a small statue of "Mademoiselle Rachel singing La Marseillaise". In 1851, he appeared for the first time at the Salon of French Artists, where he presented two bronze medallions. From 1851 to 1855, Carrier-Belleuse stayed in England, in Stoke-on-Trent where he served as director of the modeling and drawing school of the Minton house, a large porcelain manufacturer. Back in France, Carrier-Belleuse moved to Paris in a large workshop located 15 rue de la Tour d´Auvergne. From 1857, he made regular sendings to the Salon and became famous thanks to the success of large marbles, such as the "Bacchante" exhibited at the Salon in 1863, and acquired by Napoleon III, "Angelica" (1866) or even "Hebe asleep" (1869). At the Salon of 1867, his group entitled "Messiah" earned him the medal of honor of sculpture. It was acquired by the State to adorn the Chapel of the Virgin in the Saint-Vincent-de-Paul church. Carrier-Belleuse acquired a great reputation in parallel for his terracotta busts which, in many respects, recall those of 18th century artists. He made portraits of a large number of celebrities of his time. He produced, among others, the busts of Napoleon III, Renan, Thiers, Grévy, Arago, Marguerite Bellanger, Théophile Gautier, Honoré Daumier, Delacroix, Hortense Schneider, Réjane… He also modelled numerous busts of mythological inspiration and historical and artistic portraits like Marie Stuart, Shakespeare or even Mozart. Carrier-Belleuse used and trained in his workshop in the rue de la Tour d´Auvergne many young talented artists such as Alexandre Falguière, Jules Desbois, Eugène Delaplanche, Jules Dalou or Joseph Chéret; but he was best known for having been the master of Auguste Rodin who entered his studio as a practitioner in 1864. Carrier-Belleuse devoted himself a lot to decorative sculpture. He contributed to the decorations of many important buildings. We owe him in particular the caryatids of the Renaissance theater in Paris, the pediment of the main entrance to the Banque de France, the stucco ceilings of the Lesdiguières and La Trémoïlle pavilions at the Louvre Palace, the frieze of the Palais de la Bourse in Brussels, or the decoration of the Hôtel de la Païva on the Champs-Elysées in Paris. He also received State commissions for monuments: that of Jean-Jacques Rousseau in Montmorency, of Alexandre Dumas, in Villers-Cotterêts, of Masséna in Nice. Abroad, he produced the equestrian statue of Michael the brave in Bucharest and the tomb of José de San Martín in Buenos Aires. In 1873, Carrier-Belleuse took part in the construction of the Paris Opera house, directed by his friend Charles Garnier. He created the two monumental torchieres...

L’Angelus (The Bell Tower) etching & drypoint, c. 1876 Signed in the plate with the artist's initials (see photo) Condition: Excellent Image/Plate size: 5 7/8 x 4 1/4 inches Sheet s...

Victorian Etruscan Revival celestial star ring. Exceptional highly decorated ring of a celestial star, created in England during the Victorian Era (1837-1901), back in the 1870. Thi...

Un Debarquement en Angleterre (A Disembarking in England) etching, drypoint, aquatint, roulette and spirit ground, 1879 Signed with the artist’s red owl stamp, Lugt 977 (see photo) ...

La Fête Nationale du Boulevard Clichy Etching, drypoint, and aquatint, 1878 Signed lower left in the plate (see photo) Printed chine collee, mounted on white wove paper Upper plate m...

An antique Victorian period gold long guard chain comprised of handmade, interlocking reeded and beaded links, in 15k. England. (French swivel hinged bale in 18k.) Gorgeously subst...

Circa 1870-80s, 18k, France. This nineteenth-century Gothic Revival cross was styled to speak reverently across the ages. Beautifully hand-made in 18k yellow gold, and decorated with...

Centering a cushion cut sapphire weighing 1.58 carats - transparent medium blue in color Natural Kashmir in origin and displaying no indications of heat treatment Set by talon prong...

This piece is made from antique Victorian laces we sourced in Paris dating from the 1870s to the 1890s. Because of the age there are several are...

Chinese Famille Rose Porcelain Figure of a Phoenix, circa 1875

Victorian Etruscan Revival celestial star bracelet. Very rare bracelet of a celestial star highly decorated, created in England during the Victorian Era (1837-1901), back in the 187...

Centering an oval-shaped tablet of banded agate measuring 9.5 x 13.5 mm Opaque reddish orange with carved cameo on gray-white band Depicting a lamb asleep on a cross - symbolic of t...

Victorian natural pearl and enamel locket. Set to centre with a natural half pearl in a closed back grain setting, encircled by a single row of eight natur...

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

The cover of this majolica game pie dish shows three newly hatched baby chicks emerging from their shells. The chicks are standing tall and proud. The brown color of the baby chicks ...

Comprising: teapot, coffeepot, creamer, sugar bowl with cover, slop bowl, and spooner with servant's bell. Each stamped: MFD & PLATED BY / REED & BARTON / 2585 Each teapot stamped: ...

Designed as quatrefoil-shaped surmounts suspending articulating kite-shaped drops Quatrefoil and kite forms are comprised of filigree and granulated domed forms Surmounts center pro...

Large, beautiful, Aesthetic Movement, sterling silver, parcel gilt serving spoon (great for vegetables, cake/pie, desserts, potatoes, etc.), J.E. Caldwell, Philadelphia, Ca. 1880's. ...

This exceptional antique locket bracelet, circa 1870s, sparkles with a six-rayed diamond-set star mounted atop a cobalt blue guilloche enamel c...

Original stone lithograph with hand-coloring from "Birds of North America." First Octavo Edition, by John James Audubon. Plate 422. Philadelphia, J.T. Bowen, ca. 1839-44. Custom fr...

Hallmarked in London in 1878 by George Fox, this charming pair of Victorian, Antique Sterling Silver Pepper Pots, are modelled as Owls with glass eyes. Each pepper pot measures 3.2...

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...

A fine and impressive antique Victorian English sterling silver composite Fiddle pattern flatware service for twelve persons; an addition to our silver cutlery collection. The pieces of this exceptional, antique Victorian composite sterling silver canteen service for twelve persons have been crafted in the Fiddle pattern. The surface of each handle is plain and unembellished. The posterior surface of each silver spoon has a rounded heel to the bowl. This Victorian sterling silver flatware set consists of eighty-nine pieces: Basic Service: 12 Table knives 12 Table forks 12 Table spoons 12 Dessert knives 12 Dessert forks 12 Dessert spoons 12 Teaspoons Additional Service: Soup ladle Pair of sauce ladles Pair of gravy spoons This exceptional and composite Fiddle pattern silver...

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...

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 ...

La Rieuse napolitaine (The Laughing Neapolitan Woman) by Jean-Baptiste CARPEAUX (1827-1875) Bust in terra cotta, in "Propriété Carpeaux" Signed on the side " JBte Carpeaux " Marked...

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...

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 ...

An antique Victorian period gold, garnet, and diamond slide bracelet of belt strap design, the gold ribbed strap of adjustable size and centering on a cabochon garnet bulla inlaid 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...

Victorian diamond and enamel memorial ring. Set to centre with a cushion shape old mine diamond in an open back grain setting with an approximate weight of 0.40 carats, to a solitaire memorial ring featuring intricate carving, black enamel detail and open backholing, leading to decorative shoulders and flowing through to a solid D-shape shank with engraving to exterior 'IN MEMORY OF'. Marked 18 carat yellow gold, engraved to interior 'Thomas Gray...

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...

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...

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

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...

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 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 ...

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...

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.

This amazing rare chain is Victorian period, 1880 circa Hollow totally hand made Curb chain of immense beauty and incredible length of 1.82 mt equals to 1.99 yards Incredible curb li...

This magnificent pair of Diamond drop earrings are Victorian era, 1870 circa Hand crafted during the time of solid 18 KT gold silver topped They articulate into a distinctive circula...

Lovely Victorian Gunmetal Locket and Long Chain from the late 19th Century. Original long chain interspersed with bar and bead sections. Original gunmetal hook and fittings. Large lo...

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...

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/...

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...

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...

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...

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.

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...

Take a cruise on the River Thames, the river where the seed pearls that make the fringe of these earrings originate. Who did the selection, matching and beading of this tiny pearls? ...

Diana with an arrow by Albert-Ernest CARRIER-BELLEUSE (1824-1887) Bronze sculpture with a dual light and dark brown patina signed on the base "Carrier-Belleuse" inscribed on a front plaque "Diane à la Flèche par Carrier-Belleuse (Sculptr)" France circa 1870 height 83 cm arrow added probably in the 20th c. Biography : Albert-Ernest Carrier de Belleuse known as Carrier-Belleuse (1824-1887) was one of the most prolific artists of the century and had the greatest successes under the Second Empire, enjoying the personal support of Napoleon III. His work was greatly influenced by the style of the Italian Renaissance and that of the 18th century, which he helped to bring up to date. In 1837, the young Carrier-Belleuse apprenticed in the workshop of the engraver Bauchery. He was admitted soon after to the goldsmith Jacques Henri Fauconnier. Through François Arago, he met the sculptor David d'Angers who facilitated his admission to the School of Fine Arts. Carrier-Belleuse entered it in 1840. Noted for his skill by the great bronze companies in Paris such as Barbedienne and Denière, he soon received numerous orders for models for candelabras, pendulums, fittings for fireplaces, etc. In 1848, probably at the initiative of François Arago, who became head of state, he received his first public order for a small statue of "Mademoiselle Rachel singing La Marseillaise". In 1851, he appeared for the first time at the Salon of French Artists, where he presented two bronze medallions. From 1851 to 1855, Carrier-Belleuse stayed in England, in Stoke-on-Trent where he served as director of the modeling and drawing school of the Minton house, a large porcelain manufacturer. Back in France, Carrier-Belleuse moved to Paris in a large workshop located 15 rue de la Tour d´Auvergne. From 1857, he made regular sendings to the Salon and became famous thanks to the success of large marbles, such as the "Bacchante" exhibited at the Salon in 1863, and acquired by Napoleon III, "Angelica" (1866) or even "Hebe asleep" (1869). At the Salon of 1867, his group entitled "Messiah" earned him the medal of honor of sculpture. It was acquired by the State to adorn the Chapel of the Virgin in the Saint-Vincent-de-Paul church. Carrier-Belleuse acquired a great reputation in parallel for his terracotta busts which, in many respects, recall those of 18th century artists. He made portraits of a large number of celebrities of his time. He produced, among others, the busts of Napoleon III, Renan, Thiers, Grévy, Arago, Marguerite Bellanger, Théophile Gautier, Honoré Daumier, Delacroix, Hortense Schneider, Réjane… He also modelled numerous busts of mythological inspiration and historical and artistic portraits like Marie Stuart, Shakespeare or even Mozart. Carrier-Belleuse used and trained in his workshop in the rue de la Tour d´Auvergne many young talented artists such as Alexandre Falguière, Jules Desbois...

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...

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...