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An impressive Antique sterling Silver Salver in an elegant oval shape and standing on four feet. The Salver has large armorial engraved in the centre and the Salver has a classic app...

A pair of Antique Irish Georgian Cast Silver Candlesticks in a classic six shell design with removable nozzles featuring a complementary six shell design. The 18th century Irish Silv...

Large Derby Porcelain Figure of Africa, From a series known as the "Four Quarters". Circa 1765 The large figure, emblematic of Africa, is depic...

Very fine George III mahogany Chinese Chippendale console/serving table, the richly patinated top over blind fretwork carved apron and legs, joined by open fretted brackets and standing on blocked feet...

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...

An excellent set of 12 Antique George III Sterling Silver Dinner plates with a classic round gadroon border. Each plate has a small crest engraved on the rim. Made in London, Englan...

China, 18th Century, Blue-and-White Decorated Dish, circa 1780 This Chinese export porcelain dish, made around 1780 during the reign of Emperor Qianlong (1736-1795), illustrates the ...

Finely crafted in silver on top of gold with an Old Mine cut center Diamond weighing approximately 1.00 carat, and surrounding Old Mine cut Diamonds weighing approximately a total of...

With underglaze blue and red decoration.

Antique map titled 'Amerique ou Indes Occidentales (..)'. Vaugondy's map of America, pre-dating information from any of the Cook Voyages. The NW Coast of Amer...

This delightful 18th-century blue and white porcelain tureen was hand-painted at the Mennecy Porcelain factory in France circa 1750. Loose flower sprigs painted in cobalt blue decora...

An extremely rare, possibly unique, Chinese export lacquer bureau for the Dutch market Canton, circa 1737 H. 118 x W. 102.5 x D. 63 cm Provenance: - Private collection, The Netherlands - J.K. Driessen Antiques, Arnhem (Art Fair Breda, 1989) - Noble collection, Belgium Literature: - C.J.A. Jörg, ’De handel van de V.O.C. in Oosters lakwerk in de 18de eeuw’ in: Nederlands Kunsthistorisch Jaarboek , Jr. 31 (1980), pp. 355-363 (ill.) - Annigje Hofstede, Nederlandse meubelen van Barok tot Biedermeier, 1700-1830, Waanders, Zwolle 2004, pp. 35-37 (ill.) This lacquer bureau is one of the four writing desks purchased in Canton in 1737, and as far as is known, this is the only remaining bureau of its type from the period. As the VOC believed that large pieces of import took up too much valuable space in their trading ships...

Very fine George II walnut and parcel gilt mirror, the phoenix bird finial surmounted by acanthus carved swan neck pediment, the folia...

Boats in this engraving are intended to represent Japanese ships, particularly ceremonial or diplomatic vessels from the Edo period—but as interpreted by European artists of the late...

Chinese Export Porcelain Lotus Leaf Shaped Dish, Circa 1765 The large Chinese Export “famille rose” porcelain saucer dish is made in the form of a lotus leaf with the rim and border...

This 18th-century porcelain dish was made by the Worcester porcelain factory in England around 1785. It is decorated in underglaze cobalt blue with a classic English interpretation o...

English Creamware Gray Tortoiseshell Lead Glaze Pottery Teapot and Cover, Whieldon Type, Circa 1765. The creamware teapot and cover, of small circular f...

A lovely French Louis XV "buffet à deux corps" or cupboard in French pitch pine with chapeau de gendarme top, brass chicken wire on upper door panels, o...

A demi-parure, "parure" meaning "adorn" in French, is a partial set of matching jewelry designed to be worn en suite. This incredible handcrafted pink topaz necklace and earring...

This 18th-century First Period Worcester Porcelain sugar box was hand painted featuring beautiful swags painted with green leaves, purple berries, and two-tone blue and yellow apples. Each swag is tied with a purple ribbon in an elegant bow. Green leaves and two-tone plums hang from each ribbon. The cover finial is crafted as a budding rose painted in gorgeous pinkish purple and yellow with two green leaves. The sugar box's border and cover are both adorned with a band of underglaze blue and a chain of golden ribbons and are gently lobed, which adds visual excitement as light plays over the curved surfaces. Made in England circa 1775, this sugar box is a gem! Dimensions: 5" tall x 4.5" diameter Condition: Excellent Marks: On the underside is the Worcester First Period crescent in underglaze blue (see last image). Early Worcester Porcelain marks are rarely seen—a blue crescent mark (seen here) dates pieces back to the 'First' or 'Dr Wall...

This lovely 18th-century Dutch Delft charger showcases hand-painted decoration in deep, dark blue. We see ten panels of floral decoration filled with tulip bulbs and scrolling vines....

Beautiful Georgian period Diamond drop earrings of lovely design Close back, hand crafted of solid 15 KT gold topped by silver – tested – 1790/1810 ca English origin Articulate to sw...

We are pleased to offer this pair of blue and white Dutch Delft dishes with lovely chinoiserie decoration, which features an image of a vase overflowing with flowers. Around the vas...

Pair of French Provincial Louis XV open Armchairs with carved floral crest on top of back frame with floral upholstered seat, back and arm rests

The rectangular tilt-top of finely figured timber with removable reading ledge; raised on a turn columnar support and three downswept cabriole legs terminating in pad-form feet. P...

Antique Georgian Silver Salver Tray London 1785 John Scofield 1785. Circular form salver with bead rim raised rim and interior, family crest to center, raised on three feet, hallmark...

Fine pair 18th century Swedish late baroque chairs in their original finish with great patina and proportions. Ca 1850 Sweden.

Charming 18th Century English Aubusson Tapestry, handwoven in wool and silk at the famous Mortlake workshop. It depicts a scene from the well known "Bacchanalia and Playing Boys" se...

Chinese Export Porcelain Rouge de Fer Large Punch Bowl, Imari, circa 1735-50 This fabulous Chinese Export porcelain large Imari punch bowl is painted on the exterior with underglaze...

Russian (18/19th Cent) ornately painted and carved sleigh with carved shell front sleigh

The first screen is depicting a mother watching her young frolicking under pine tree by river's edge, the second, a mother and her young playing under a ...

Antique,ca late 18th - early 19th century hand-made necklace, Egyptian revival styled or could be used for ceremonial or religious purposes. A linked chain with repeating floral pat...

Chinese Export porcelain famille rose botanical teapot stand, circa 1775 Great for jewely or cuff links! The attractive Chinese Export porcelain teapot...

A very handsome 19th century Qing dynasty Chinese table on square legs with hoof feet and offering three drawers. Black-lacquer finish. China early 19th or late 18th century. Note: Y...

Chinese Export Pseudo Tobacco Leaf Oval Dish, Circa 1765 The oval Chinese Export porcelain dish is painted in a variation of the Tobacco Le...

Produced in Bristol, England, circa 1760, this handpainted blue and white Delft charger is a visual delight. The center of the charger features a flower garden with songbirds seated ...

A handsome George III sideboard in mahogany with bowed front and square tapered legs ending in spade feet, with central frieze drawer flanked by two cellarette drawers. Top is compos...

This hand-painted plate, made in the Netherlands around 1780, features the "Walking Man," a decorative motif commonly found in 18th-century Dutch Delftware. The image depicts a man i...

Kano School painting of horses in stabile, with a monkey. Mineral pigments on mulberry paper with silk brocade border.

Untitled print of various fish species from Indonesia. This print originates from 'Oud en Nieuw Oost-Indiën' by F. Valentijn.

Gold posy ring 'Noe joy in life like a good wife'. The smooth plain D-shape band engraved to the interior in italic script 'Noe joy in life like a good wife', approximately 4.2mm in ...

Rare and impressive early 18th century coat of arms, the whole carved in oak, the frame with relief carved strapwork on punched and worked gr...

CHIPPENDALE MAHOGANIZED-BIRCHWOOD REVERSE SERPENTINE CHEST OF DRAWERS Massachusetts, probably Boston circa 1780 retaining origina...

Swedish Rococo 18th century cabinet, origin: Sweden, circa 1760 - 1775, red exterior with glass doors revealing six shelves in a dark grey/blue interior and two cabinets below. Beaut...

This rare Georgian period cross pendant is 1770 ca 22 Kt solid gold, superb design artful made throughout, adorned with red pigeon blood natural Rubie...

English Staffordshire Pearlware Neoclassical Faux Marble Obelisks on Pedestal Bases, Wood Family, Circa 1790-1800 The pair of Neoclassical pearlware pottery obelisks are of outstand...

FRANCISCO de GOYA y LUCIENTES (1746 -1828) OBSEQUIO á el MAESTRO (‘A gift for the master’) Plate 47 from the 1st edition of Los Caprichos (Blas, ...

Fine early George III walnut settee of very graphic form, the square back over deep seat having gentle scrolled arms, the square legs with original brass castors and having dramatic ...

Rare Scottish George III corporation treasury box, dated 1772, of caddy form, the lid with cove molded edge, the front with polychrome decoration commemorating the Edinburgh Corporat...

18th century Swedish Rococo commode with four drawers and fantastic shape & proportions. ca 1760 Stockholm, Sweden.

French, 18th century Verdure Aubusson tapestry handwoven in wool with silk highlights framed with a complete floral border. Two birds wade ...

This remarkably fluid terracotta bozetto was made in preparation for Pietro Pacilli’s most important public commission, a large-scale marble statue of San Camillo de Lellis for the nave of St Peter’s Basilica in Rome. Expressively modelled, this terracotta sculpture is a rare and significant work made by a major Roman sculptor at a transformative moment of European sculpture. Pacilli began his working life on the great Baroque decorative projects initiated in the seventeenth century, but he found success as a restorer of ancient sculpture working to finish antiquities for a tourist market, becoming an important figure in the emergence of an archaeologically minded Neoclassicism. Pacilli trained Vincenzo Pacetti and provided important decorative work for the Museo Pio-Clementino, at the same time he is recorded restoring some of the most celebrated antiquities excavated and exported during the period. Pacilli was born into a family of Roman craftsmen, his father Carlo was a wood carver, and Pacilli is recorded working with him on the Corsini Chapel in San Giovanni Laternao as early as 1735. In 1738 his terracotta model of Joseph and Potiphar’s Wife won the first prize in the second class of the sculpture concorso at the Accademia di San Luca, this is particularly notable as Bartolomeo Cavaceppi came third. He worked as a carver and stuccoist completing works for the churches of San Marco and SS. Trinita dei Domeniciani Spagnoli. Pacilli operated as a sculptor and restorer of antiquities from his studio at the top of the Spanish Steps, close to Santa Trinita dei Monti, where he is listed as a potential vendor to the Museo Pio-Clementino in 1770. In 1763 Pacilli completed a silver figure of San Venanzio for the treasury of San Venanzio. He is recorded as Pacetti’s first master and it was evidently through Pacilli that he began to acquire his facility as a restorer of ancient sculpture. Pacilli, at his studio ‘poco prima dell’Arco della Regina alla Trinita dei Monti,’ exercised, what the nineteenth-century scholar, Adolf Michaelis called ‘rejuvenating arts’ on several important pieces of classical sculpture, including in 1760 the group of a Satyr with a Flute for the natural brother of George III, General Wallmoden, Hanovarian minister at Vienna. In 1765, Dallaway and Michaelis record that Pacilli was responsible for the restorations, including the addition of a new head, to the Barberini Venus which he had acquired from Gavin Hamilton. The Venus was then sold to Thomas Jenkins, who in turn passed it on to William Weddell at Newby Hall. In 1767 Pacilli exported a series of ancient busts ‘al naturale’ including portraits of Antinous, Julius Ceaser and Marus Aurelius, also a statue of a Muse and a Venus. As early as 1756 Pacilli seems to have been operating as an antiquarian, helping to disperse the collection of the Villa Borrioni. Pacilli supplied sculpture to notable British collectors, including Charles Townley, who on his first trip to Italy purchased the Palazzo Giustiniani statue of Hecate from Pacilli. Pacilli was involved with the Museo Pio Clementino from its conception, supplying busts of Julius Ceaser and a Roman Woman as well as completing stucco putti surmounting the arms of Pope Bendedict XIV to signal the entrance to the new Museo Critiano. In 1750 Il Diario Ordinario del Chracas announced that Pacilli had begun work on a sculpture of San Camillo de Lellis for St Peter’s. Camillo de Lellis founded his congregation, the Camillians, with their distinctive red felt crosses stitched on black habits in 1591. Having served as a soldier in the Venetian army, Camillo de Lellis became a novitiate of the Capuchin friars, he moved to Rome and established a religious community for the purpose of caring for the sick. In 1586 Pope Sixtus V formerly recognised the Camillians and assigned them to the Church of Santa Maria Maddalena in Rome. Camillo de Lellis died in 1614 and was entombed at Santa Maria Maddalena, he was canonised by Benedict XIV on June 26, 1746. It was an occasion that prompted the Camillians to make a number of significant artistic commissions, including two canvases by Pierre Subleyras showing episodes from San Camillo’s life which they presented to Benedict XIV. In 1750 Pacilli was commissioned to fill one of the large niches on the north wall of the nave with a sculpture of San Camillo. The present terracotta bozetto presumably had two important functions, to enable Pacilli to work out his ideas for the finished sculpture and at the same time to show his design to the various commissioning bodies. In this case it would have been Cardinal Alessandro Albani and Monsignor Giovan Francesco Olivieri, the ‘economo’ or treasurer of the fabric of St Peter’s. Previously unrecorded, this terracotta relates to a smaller, less finished model which has recently been identified as being Pacilli’s first idea for his statue of San Camillo. Preserved in Palazzo Venezia, in Rome, the terracotta shows San Camillo with his left hand clutching his vestments to his breast; the pose and action more deliberate and contained than the finished sculpture. In producing the present terracotta Pacilli has expanded and energised the figure. San Camillo is shown with his left hand extended, his head turned to the right, apparently in an attempt to look east down the nave of St Peter’s. The model shows Pacilli experimenting with San Camillo’s costume; prominently on his breast is the red cross of his order, whilst a sense of animation is injected into the figure through the billowing cloak which is pulled across the saint’s projecting right leg. The power of the restrained, axial contrapposto of bent right leg and outstretched left arm, is diminished in the final sculpture where a baroque fussiness is introduced to the drapery. What Pacilli’s terracotta demonstrates, is that he conceived the figure of San Camillo very much in line with the immediate tradition of depicting single figures in St Peter’s; the rhetorical gesture of dynamic saint, arm outstretched, book in hand, head pointed upwards was perhaps borrowed from Camillo Rusconi’s 1733 sculpture of St. Ignatius...

This rare antique late 18th century gold ring was made in France and features a painted enamel miniature of an elegant woman in bust form, encircled by a string of small balls. Size ...

Here we have a splendid diamond solitaire ring originally dating back to the Georgian period. A single sizeable rose cut diamond sits alone and proud in a bezel setting at the centre...

This beautiful antique cross is Georgian era 1740 ca – Possibly French from the hallmarks Superb 18 KT past artwork of the era with rare design and rich back details Adorned with a s...

This impressive pair of French armchairs displays the splendor and elegance of the Louis XV period. Crafted by the famed ébéniste Jean-René Nadal l'Ainé (1733-1783), the chairs are e...

This mid-18th-century Bow Porcelain plate features a hand-painted chinoiserie scene with a pair of black storks. One stork wades in the water while the other flies above it. Near the...

The arrangement of the stones, with a center flanked by two rows of threes, first became popular during the late 17th century; its form was intended to resemble that of a decorative ...

This extraordinary First Edition Wedgwood rendering of the legendary Portland Vase is one of the rarest masterpieces of Josiah Wedgwood, the most important ceramics manufacturer of the 18th century. A tour de force of ceramic art, the Portland Vase First Editions are regarded as one of the greatest ceramic accomplishments of the 18th century, and they are a testament to the superior skill of Josiah Wedgwood, his extraordinary ambition and his tireless dedication to perfection. One of the very few First Editions still in private hands, this exceptional Wedgwood Portland Vase is one of the most important works of ceramics on the market. The story of Wedgwood and the Portland Vase is legendary. The original Portland Vase is the ancient world's most famous decorative arts masterpiece—a cameo glass vase dating to circa 25 CE with a frieze representing the myth of Peleus and Thetis, initially thought to be carved from stone. When it was first rediscovered around 1582, it captivated the world with its opaque white cameo figures over its rich blue background. After the vase was excavated it was owned by Cardinal Barberini, whose family later sold it to the Duke of Hamilton who eventually sold it to the Duchess of Portland, from whom the famed vase now takes its name. The famed British sculptor John Flaxman was likely the first to have brought the vase to Wedgwood’s attention. In a letter dated February 5, 1784, he wrote: “I wish you may soon come to town to see William Hamilton’s vase, it is the finest production of Art that has been brought to England and seems to be the very apex of perfection to which you are endeavouring to bring your bisque and jasper…” Indeed, the Portland Vase is a masterpiece of cameo-cutting, with a stunning frieze of opaque white cameo glass over its translucent deep blue form. Its beauty and translucence would inspire Wedgwood to undertake his years-long endeavor to precisely replicate the original in porcelain. Upon closer examination, Wedgwood realized the vase was not made of stone or earthenware, but of cameo glass—a technique so advanced it remains the masterpiece of cameo-cutting. Today, the vase is housed in the British Museum, where it is the second most viewed antiquity, only after the Rosetta Stone. It then took Wedgwood several painstaking years to craft his unparalleled copy of the vase, during which he perfected the jasperware technique that would become his crowning achievement. To this day, the renowned porcelain firm regards the vase as its most momentous triumph, so much so that the vessel’s silhouette is incorporated into the Wedgwood logo. The four years it took Wedgwood to complete his vase were not without tribulations. From the start, Wedgwood encountered numerous problems with his copies, from cracking and blistering to the difficulty of replicating the translucent effects of the original. The first acceptable copy was produced in October 1789 and sent to Wedgwood’s physician and friend Erasmus Darwin, the grandfather of Charles Darwin. Wedgwood presented another copy to Queen Charlotte in May 1790 and afterward organized a private exhibition of the vase at the Portland House in London. The viewing proved so popular that Wedgwood was forced to restrict the show to 1,900 visitors. Much of London wished to see Wedgwood’s greatest major achievement. Perhaps the highest praise of Wedgwood’s copy came from the famed artist Sir Joshua Reynolds, the founder of the British Royal Academy: “I can venture to declare it a correct and faithful imitation, both in regard to the general effect, and the most minute detail of the part.” Over the next few years, Wedgwood's oven records listed 43 First Edition copies of the Portland Vase produced between 1791 and 1796, 11 of which were broken during the firing process. In all, it is believed around 30 First Edition vases were completed, though an unknown number of these were somewhat damaged—one of these imperfect examples is currently held by the Victoria & Albert Museum in London. The perfect examples such as ours have found their way into the most important museum collections in the world. The British Museum (London), Art Institute of Chicago, Birmingham Museum of Art, Museum of Fine Arts (Boston) and the Fitzwilliam Museum (Cambridge, UK), among others, all hold one of these highly coveted vases in their collections. In terms of technical achievement, the First Edition Portland Vases...

An early 18th century English side table in walnut, having molded edge top over single drawer with hand-forged cloverleaf shaped wrought iron finger pulls, standing on baluster turne...