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Comprised of carved onyx surmounts suspending a row of moonstone and onyx drops Onyx surmounts are diamond-shaped cabochons, and drops are spiculum-shaped Measuring 8.5 x 12.0 mm an...

This exceptional Swiss Black Forest chair offers a delightful surprise—a music box hidden inside will activate when the chair is sat upon. A remarkable example of the intricate craft...

Centering a cushion-shaped moonstone tablet measuring 13.0 x 16.5 mm - carved with cameo Depicting a cameo of the Greek god, Hermes wearing a winged helmet and with caduceus Transluc...

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...

Georgian ruby and diamond coronet cluster ring. Set to centre with a cushion shape old cut ruby in a closed back grain setting with an approximate weight of 0.50 carats, encircled by...

William Stanley Haseltine paints a beautiful river landscape in Roman Campagna at the end of day in his artwork entitled, “Sunset Glow, Roman Campagna.”

A Victorian diamond set, Luckenbooth double witches' heart pendant, with rose cut diamonds set in the two hearts and bow, weighing an estimated total of 1.50ct, in grain and cut down settings, mounted in silver-upon-gold. Circa 1880. Luckenbooth brooches are traditional Scottish love tokens. They are usually a heart shaped brooch, often with a crown or coronet above one heart, or two intertwined hearts, with similar motifs to the Claddagh ring. European Heart-shaped brooches date back to late medieval period but this design probably did not appear in Scotland before the 17th century. It became very popular in the 19th century, featuring in the ranges of Scottish manufacturing jewellers, for the Highland outfitter and tourist trades. They are typically made of silver, although gold heart brooches were made for wealthy people and may be engraved or set with stones. The name comes from the Luckenbooths of Edinburgh. Luckenbooth is a Scots word for a lockable stall or workshop. Originating in the 15th century, they were the city's first permanent shops, situated on the Royal Mile near St. Giles Cathedral. Initially housing mainly silversmiths and goldsmiths. They were demolished in 1817. The brooches were often given as a betrothal or wedding gift. It might have been worn as a charm, by a nursing mother to help her milk flow or be pinned to a baby’s clothing. It was also known as a witch-brooch to protect children from evil. By the mid-18th century, Luckenbooth tokens featured heavily as trade silver...

A pair of antique Victorian period multi-gemstone earrings comprising ruby, emerald, and diamond pendants of open trefoil design, suspended from diamond surmounts, in 14k gold. * Pl...

Featuring three oval-shaped opal cabochons prong set east to west Graduated and ranging in size from 2.5 4.5 mm to 3.5 x 5.0 mm Translucent white in body color with spectral play-of...

Centering an oval-shaped opal cabochon measuring 3.2 x 7.8 mm Translucent white in body color with strong spectral play-of-color Set with talon prongs in a pierced gallery Flanked ...

Designed as a stylized jester with animated arms and legs via pull chain Featuring champlevé and basse-taille enamel throughout Opaque white, black, blue, pink, green with gloss fin...

A Victorian sapphire and diamond crescent brooch, set with seven, round faceted sapphires, graduating in size, alternating with eight pairs of old-cut diamonds, in claw and grain set...

Signed with initials lower right The painting is one of the 4 illustrations that JWS did for the book “Evangeline: Tale of Acadia”, by Henry Wadsworth Longfellow...

An antique late Victorian diamond, emerald, and enamel brooch designed as a pair of outstretched rose-cut diamond-set wings with an auburn enamel border on the top edges and centerin...

A late Victorian gold necklace, consisted of thirty-six oval shape links, connected with broader double-row pierced links, with hidden clasp, made in 9ct gold, circa 1890, measuring approximately 38.5 x 0.9cm, gross weight 15.1 grams. This antique necklace is in very good condition for its age. This lovely and strikingly modern late Victorian necklace comes from the collection of Bentley and Skinner, the London jewellers by appointment to both Her Majesty the Queen and His Royal Highness the Prince of Wales. This lightweight nine carat gold necklace features elegant links and a hidden clasp, making it the perfect necklace for everyday wear. The bold chain necklace...

Antique Persian Baluch Rug, Late 19th Century Additional Information: Dimensions: 2'10" W x 4'8" L Origin: Persia Period: Late 19th Century

Antique Persian Baluch Bagface Rug, Late 19th Century Additional information: Dimension: 2'9" W x 3'0" L Origin: Persia Period: Late 19th Century Condition: Good condition with a s...

Antique Karachopf Kazak Rug, Late 19th Century The madder field with a central rectangular medallion within an indigo serrated leaf and rosette bo...

A pair of late Victorian, lapis lazuli and diamond, filigree drop earrings, the tops are set with round, cabochon-cut, lapis lazuli and rose-cut...

A Victorian fancy open-mesh yellow gold chain, tested as 14ct gold, circa 1890, measuring approximately 150cm in length and 4mm in width, gross weight 49.3 grams. This antique chain...

Designed as a stylized gorilla head with textured fur- carved out of labradorite. Semi-translucent gray in body color with moderate adularescence - blue, ...

A Victorian diamond set partridge brooch, set throughout with old brilliant-cut and rose-cut diamonds, estimated to weigh a total of 1 carat, with a r...

A Victorian trefoil pearl and diamond cross-over ring, the three natural pearls accompanied by an AnchorCert stating the pearls to weigh a total of 3.27 carats and to be of saltwater...

A late 19th century mandolin brooch, realistically formed and encrusted with rose-cut diamonds and multi-colour enamel, on a black patinated background...

A Victorian multi-colour gem and diamond clover leaf brooch, the three leaves each set with a pear-shaped stone, one emerald, one ruby and one sapph...

A late 19th century French enamel and diamond brooch, the centre depicting an enamelled Egyptian Queen with rose-cut diamond-set headdress decorations, within a rose diamond-set crescent, all mounted in yellow gold with a pierced gallery, bearing French gold marks for 18ct gold, Paris 1847-1919, makers mark P.B. , circa 1880, measuring approximately 2.8cm in diameter, gross weight 5.4grams. This antique brooch is in good condition, minimal enamel defiant. An exquisite late-nineteenth century Egyptian revival enamel and diamond brooch from the collection of Bentley & Skinner, the London jewellers by appointment to both Her Majesty the Queen and His Royal Highness the Prince of Wales. After Napoleon’s Egyptian...

A Victorian turtle scatter pin brooch, the brooch comprising a pair of turtles, each turtle embellished with alternating lines of half pearls and cabochon...

A Victorian ruby and diamond cluster ring/bracelet, the oval faceted ruby weighing 0.92 carats, accompanied by GCS Report stati...

A bronze study of a boy collecting fruit in his wide brimmed hat, he is wearing a jerkin and breeches over a shirt rolled up at the sleeves, with one hand to his mouth and the other holding his upturned hat in which he has collected the fruit, impressed foundry stamp ‘A*D’. French, circa 1880. It is believed that the foundry mark is that of the fondeur Alfred Daubrée...

Depicted as a bust of a Yorkshire Terrier dog with very texturous fur Eyes are two old European cut diamonds weighing in total approximately 0.03 carat Tested as 18 karat gold Cir...

Harry Humphrey Moore led a cosmopolitan lifestyle, dividing his time between Europe, New York City, and California. This globe-trotting painter was also active in Morocco, and most importantly, he was among the first generation of American artists to live and work in Japan, where he depicted temples, tombs, gardens, merchants, children, and Geisha girls. Praised by fellow painters such as Thomas Eakins, John Singer Sargent, and Jean-Léon Gérôme, Moore’s fame was attributed to his exotic subject matter, as well as to the “brilliant coloring, delicate brush work [sic] and the always present depth of feeling” that characterized his work (Eugene A. Hajdel, Harry H. Moore, American 19th Century: Collection of Information on Harry Humphrey Moore, 19th Century Artist, Based on His Scrap Book and Other Data [Jersey City, New Jersey: privately published, 1950], p. 8). Born in New York City, Moore was the son of Captain George Humphrey, an affluent shipbuilder, and a descendant of the English painter, Ozias Humphrey (1742–1810). He became deaf at age three, and later went to special schools where he learned lip-reading and sign language. After developing an interest in art as a young boy, Moore studied painting with the portraitist Samuel Waugh in Philadelphia, where he met and became friendly with Eakins. He also received instruction from the painter Louis Bail in New Haven, Connecticut. In 1864, Moore attended classes at the Mark Hopkins Institute in San Francisco, and until 1907, he would visit the “City by the Bay” regularly. In 1865, Moore went to Europe, spending time in Munich before traveling to Paris, where, in October 1866, he resumed his formal training in Gérôme’s atelier, drawing inspiration from his teacher’s emphasis on authentic detail and his taste for picturesque genre subjects. There, Moore worked alongside Eakins, who had mastered sign language in order to communicate with his friend. In March 1867, Moore enrolled at the prestigious École des Beaux-Arts, honing his drawing skills under the tutelage of Adolphe Yvon, among other leading French painters. In December 1869, Moore traveled around Spain with Eakins and the Philadelphia engraver, William Sartain. In 1870, he went to Madrid, where he met the Spanish painters Mariano Fortuny and Martin Rico y Ortega. When Eakins and Sartain returned to Paris, Moore remained in Spain, painting depictions of Moorish life in cities such as Segovia and Granada and fraternizing with upper-crust society. In 1872, he married Isabella de Cistue, the well-connected daughter of Colonel Cistue of Saragossa, who was related to the Queen of Spain. For the next two-and-a-half years, the couple lived in Morocco, where Moore painted portraits, interiors, and streetscapes, often accompanied by an armed guard (courtesy of the Grand Sharif) when painting outdoors. (For this aspect of Moore’s oeuvre, see Gerald M. Ackerman, American Orientalists [Courbevoie, France: ACR Édition, 1994], pp. 135–39.) In 1873, he went to Rome, spending two years studying with Fortuny, whose lively technique, bright palette, and penchant for small-format genre scenes made a lasting impression on him. By this point in his career, Moore had emerged as a “rapid workman” who could “finish a picture of given size and containing a given subject quicker than most painters whose style is more simple and less exacting” (New York Times, as quoted in Hajdel, p. 23). In 1874, Moore settled in New York City, maintaining a studio on East 14th Street, where he would remain until 1880. During these years, he participated intermittently in the annuals of the National Academy of Design in New York and the Pennsylvania Academy of the Fine Arts in Philadelphia, exhibiting Moorish subjects and views of Spain. A well-known figure in Bay Area art circles, Moore had a one-man show at the Snow & May Gallery in San Francisco in 1877, and a solo exhibition at the Bohemian Club, also in San Francisco, in 1880. Indeed, Moore fraternized with many members of the city’s cultural elite, including Katherine Birdsall Johnson (1834–1893), a philanthropist and art collector who owned The Captive (current location unknown), one of his Orientalist subjects. (Johnson’s ownership of The Captive was reported in L. K., “A Popular Paris Artist,” New York Times, July 23, 1893.) According to one contemporary account, Johnson invited Moore and his wife to accompany her on a trip to Japan in 1880 and they readily accepted. (For Johnson’s connection to Moore’s visit to Japan, see Emma Willard and Her Pupils; or, Fifty Years of Troy Female Seminary [New York: Mrs. Russell Sage, 1898]. Johnson’s bond with the Moores was obviously strong, evidenced by the fact that she left them $25,000.00 in her will, which was published in the San Francisco Call on December 10, 1893.) That Moore would be receptive to making the arduous voyage across the Pacific is understandable in view of his penchant for foreign motifs. Having opened its doors to trade with the West in 1854, and in the wake of Japan’s presence at the Philadelphia Centennial Exposition of 1876, American artists were becoming increasingly fascinated by what one commentator referred to as that “ideal dreamland of the poet” (L. K., “A Popular Paris Artist”). Moore, who was in Japan during 1880–81, became one of the first American artists to travel to the “land of the rising sun,” preceded only by the illustrator, William Heime, who went there in 1851 in conjunction with the Japanese expedition of Commodore Matthew C. Perry; Edward Kern, a topographical artist and explorer who mapped the Japanese coast in 1855; and the Boston landscapist, Winckleworth Allan Gay, a resident of Japan from 1877 to 1880. More specifically, as William H. Gerdts has pointed out, Moore was the “first American painter to seriously address the appearance and mores of the Japanese people” (William H. Gerdts, American Artists in Japan, 1859–1925, exhib. cat. [New York: Hollis Taggart Galleries, 1996], p. 5). During his sojourn in Japan, Moore spent time in Tokyo, Yokohama, Kyoto, Nikko, and Osaka, carefully observing the local citizenry, their manners and mode of dress, and the country’s distinctive architecture. Working on easily portable panels, he created about sixty scenes of daily life, among them this sparkling portrayal of a young woman dressed in a traditional kimono and carrying a baby on her back, a paper parasol...

Harry Humphrey Moore led a cosmopolitan lifestyle, dividing his time between Europe, New York City, and California. This globe-trotting painter was also active in Morocco, and most importantly, he was among the first generation of American artists to live and work in Japan, where he depicted temples, tombs, gardens, merchants, children, and Geisha girls. Praised by fellow painters such as Thomas Eakins, John Singer Sargent, and Jean-Léon Gérôme, Moore’s fame was attributed to his exotic subject matter, as well as to the “brilliant coloring, delicate brush work [sic] and the always present depth of feeling” that characterized his work (Eugene A. Hajdel, Harry H. Moore, American 19th Century: Collection of Information on Harry Humphrey Moore, 19th Century Artist, Based on His Scrap Book and Other Data [Jersey City, New Jersey: privately published, 1950], p. 8). Born in New York City, Moore was the son of Captain George Humphrey, an affluent shipbuilder, and a descendant of the English painter, Ozias Humphrey (1742–1810). He became deaf at age three, and later went to special schools where he learned lip-reading and sign language. After developing an interest in art as a young boy, Moore studied painting with the portraitist Samuel Waugh in Philadelphia, where he met and became friendly with Eakins. He also received instruction from the painter Louis Bail in New Haven, Connecticut. In 1864, Moore attended classes at the Mark Hopkins Institute in San Francisco, and until 1907, he would visit the “City by the Bay” regularly. In 1865, Moore went to Europe, spending time in Munich before traveling to Paris, where, in October 1866, he resumed his formal training in Gérôme’s atelier, drawing inspiration from his teacher’s emphasis on authentic detail and his taste for picturesque genre subjects. There, Moore worked alongside Eakins, who had mastered sign language in order to communicate with his friend. In March 1867, Moore enrolled at the prestigious École des Beaux-Arts, honing his drawing skills under the tutelage of Adolphe...

Designed as a six-legged bug set with single cut demantiod garnets and Swiss cut diamonds Three Swiss cut diamonds weighing approximately 0.03 carat Six single cut demantoid garnet...

Medium: Ink, Graphite, and Watercolor on Paper Mounted Signature: Signed Lower Right circa 1881 Exhibited: Kennedy Galleries, with their label suggesting the creation date of 1881.

Medium: Oil on Canvas Dimensions: 28.00" x 22.00" Signature: Signed Lower Right

A splendid Antique Axe Brooch showcasing 4.5 carats of Old Cut Diamonds, highlighted by a Fancy Brown Diamond and a Sapphire stone, mounted on 18k White Go...

Gothic revival gold bracelet by Wiese. A yellow gold articulated openwork bracelet, flowing with movement, composed of ten quatrefoil shape links e...

George Edward Horton: The Launch of H.M.S. ‘Victoria’ from the Elswick shipyard of Sir W. G. Armstrong Whitworth and Co. Ltd, Newcastle-upon-Tyne in 1887, watercolour and pencil heig...

A pair of Italian solid olive wood side tables, each with a shaped circular top raised on a fluted support and scrolling tripod feet, (possibly Sorrento.) Italian, circa 1870. Mea...

This is a unique antique piece showcasing two old european cut diamond centers. Each diamond securely set in 5 prongs on a platinum composition. More diamonds accent the shank. Total...

Rare and beautiful late 1800’s 18k yellow gold engagement ring with top gem natural rubies- GIA certified natural and no heat. Two nice old mine cut diamonds. Handmade Victorian ring...

Victorian natural pearl suite. A natural pearl suite comprising a pendant/brooch and earrings, the circular bombé brooch/pendant set with graduating round ...

‘The Finding of Moses’ - An Important Florentine White Marble Figural Group, by Pietro Bazzanti on a carved Rosso Levanto Pedestal. Italian, circa 1870. Incised to the base ‘P. Bazzanti , Firenze’. The sculpture depicts the Pharaoh’s daughter in classical dress and wearing the Egyptian...

Medium: Oil on Canvas Signature: Signed Lower Right

Medium: Gouache Signature: Signed Lower Right a slave with shackles on the ground behind him appealing to Abraham Lincoln with the Civil War battle s...

This exceedingly pleasing Bidjar runner approaches the long and narrow format in a playful and novel manner. During the late 19th century the Kurdish town of Bijar and its surrounding area became a major Persian carpet producing center, weaving a variety of rugs and carpets both small and large. Central medallions were a popular design format used in these carpets. While a variety of all-over designs appear in Bidjar pieces, here a design based on a repeating prominent central medallion is skillfully improvised. Runners were traditionally paired with large carpets so it is likely that this piece was woven as part of a set, of which the central piece was a large medallion carpet. Indeed, khaki panels drawing colorful linked palmettes of the type used in the borders of large Bidjar...

Hollow form depicting the face of an owl, with an old European cut diamond in its mouth and single cut diamond eyes Total diamond weight approximately 0.08 carat, eye-clean and whit...

An antique 18kt yellow gold link bracelet, showcasing a 15ct Ceylon cabochon sapphire (no heat), highlighted with diamonds. Circa 1890

A framed Gelatin photograph of the crew of HMS Dido on deck, circa 1880.

Count Gleichen’s Russian shell paperweight, the tooth shaped fragment of a Russian armament shell set above another of rectangular form both raised on a silver mount on an ebonized rectangular plinth, applied with a plaque reading ‘Two fragments of a Russian shell fired at Mr Fred Burne assist.t paymaster and Mr Henry Crave St John midshipman of H.M.S. Cumberland in Aug.t 1854 from Tsee Fort Bonarsund whilst conveying refreshments to the English camp – for their messmate – H.S.H. Prince Victor of Hohenlohe Midshipman landed with the Naval Brigade in 1854’. With a framed caricature of Count Gleichen inscribed Vanity Fair, London, July 5, 1884. Vice Admiral H.S.H Count Gleichen – the Queen’s Nephew.Russian and English, 1854. The print has the following biography on the reverse and on the mount ‘His Serene Highness Prince Victor …. of Hohenlohe-Langenburg, is better known in England as Count Gleichen and as the Queen’s nephew. Born fifty years ago, he was sent to school at Dresden; but at the age of fourteen he conceived ideas not to be bounded within the confines of the small life of a German principality. So he ran away from school to go to sea, and his aunt the Queen of England, being informed of the fact, proposed to her sister to let her adventurous nephew become naturalised as an Englishman and enter the English Navy. This was accordingly done, and Prince Victor, as he was then called, was appointed to the Powerful on the Mediterranean Station, in 1848. He served in the Crimean War and in the operations in China he proved a popular officer and a good sailor-man, and was three times wounded in battle. In 1861 he married the daughter of Admiral Sir George Seymour, sister of the fifth Marquis of Hertford on which occasion it was that he put down his title of Prince and took up for future use that of Count. He became, in due course a Vice-Admiral, and in the meantime he also became a sculptor. It is in the latter art that he now mainly busies himself, and he has created many pleasing busts of his royal relatives and some works of greater pretensions than family portraits. An Alfred the Great, a Beaconsfield, and a Prince Imperial...

A very fine late Victorian four fold mahogany draught screen, attributed to Hicks of Dublin, each tall rectangular leaf divided into three panels below a flowerhead border, all inlaid with stained and exotic woods on a satinwood ground, the central panels showing four classical muses, the plain lower panels with satinwood stringing on a harewood ground. English, circa 1895. Footnote: James Hicks was born into a family of Dublin chair-makers and the moved to London to train in workshops on the Tottenham Court Road, London. On returning to Dublin in 1894, he opened a business in Lower Pembroke Street, which rapidly became one of the city’s leading cabinet-making firms and won the royal warrants of King Edward VII and Princess Victoria, the Crown Princess of Sweden. He was inspired by the styles of Sheraton...

Painted pine. Presented at the Stockholm exhibition of 1897. Measures: H 108 cm/ 3'7” W 60 cm/ 23 1/2" D 56 cm/ 22” SH 42 cm/ 16 1/2".

A pair of pedestals in the manner of Befort Fils of Paris Constructed in bois noirci, dressed with gilt bronzes, and hardstone inlays; rising from incurved serpentine stepped bases, the inverted tapering columns having central hardstone panels...

Dimension - 1.25 X 1.75 inch Weight - 18.5 G

Fereghan Sarouk. Measures: 4'3" x 6'7".  

It was during the late Meiji period that exquisite examples of bronzes, such as this one, were first seen by the West during the international expositions. It was only the Japanese t...

A fine pair of gilt-bronze mounted Marquetry inlaid card tables with Sèvres-style porcelain plaques. English, circa 1870. Each table has a rec...

A fine transitional style gilt bronze mounted Mahogany Chiffonier Tambour.  French, circa 1880. This fine chiffonier is of drum shape with a Brèche d’Alep marble top with a th...

A pair of large cast iron andirons in the form of Tweedleddee and Tweedledum, late 19th century.

Medium: Pastel on Paper Dimensions: 24.00" x 15.00" Signature: Signed Lower Right "His Rise to Power" Novel by Henry Russell Miller