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A ceramic vase from Thailand, with light cream glaze and painted floral decorations. Late 19th Century. While the golden age of Thai ceramics ended around the 15-16th Centuries, Th...

Handwoven in wool, this rare 5x8 antique Bessarabian kilim rug is believed to originate from Romania circa 1850-1860. Its design features a wide beige border around a rich chocolate ...

Handwoven in wool, this 7x10 antique Bessarabian kilim rug is believed to originate from mid-19th-century Romania. Its design favors rich brown tones, with elaborate floral patterns ...

John Stewart was a Scottish painter of rustic subjects and landscapes. HE exhibited 20 works at the Suffolk Street Exhibition location in London and 4 wor...

Edward LADELL Picture Size: 20 x 16" (50 x 40cm) Outside Frame Size: 26 x 22" (65 x 55cm) An exquisite example of Ladell's painting. Signed with his traditional stylistic monogram,...

Circa 1850 Large 19thC French painted pine glazed bookcase with working keys An exceptional example (2 sections) Measures: W212 x D46 x H274 cm Base W201 x D40 x H95 cm Top W21...

A good antique Chinese flambe-glazed Qing dynasty Hu shaped porcelain vase, circa 1850. The Hu shaped vase having a reddy aubergine colored flambe-glazed body, the rim and foot havin...

Francis Moltino (1818–1888) was a 19th-century English landscape painter. Most biographical accounts give his place of birth as Milan, Italy but this is incorrect. Francis Moltino was in fact born Frank George Owen Moulton in Norfolk and no doubt changed his name and reinvented himself in order to sound more exotic. Moltino married Elizabeth Nockold in 1834 and moved to London in the 1840s. Between 1847 and 1867 he exhibited at the Royal Academy, the British Institution, and the Royal Society of British Artists. Moltino specialized in atmospheric cityscapes of the river Thames and Victorian London, and in particular scenes of Venice in the style of J. M. W. Turner. Moltino died in Wandsworth, South London in April 1888. This is a bright well-painted example of the artist's work and is framed in its original Antique English frame.

French Antique Duchesse Brisée, sort of. This particular French chair and ottoman have been together for decades, but were not born at the same...

Georgian Hondurian mahogany bow front sideboard and server. Beautiful dark brown color with an old surface. Strong brass ring pull hardware. Tall He...

James Cassie was born at Keithhall near Inverurie, Aberdeenshire, the son of a prosperous tea and spirit merchant. Although briefly a pupil of the artist James Giles, Cassie was largely self-taught. He began his career as a painter of animals and portraits, but on moving to Aberdeen he increasingly turned his attention to local seascapes and coastal scenes, especially at dawn and sunset. He favored these outdoor scenes but continued to paint some domestic subjects and portraits throughout his life. In 1869 he moved to Edinburgh and was elected an associate of the Royal Scottish Academy. Shortly before his death in 1879 he was elected an Academician. This piece is framed in its original frame and the painting is signed lower right and inscribed on the reverse. From the inscription on the reverse, this painting was purchased from an important house sale...

Biedermeier secretary, Northern Europe, circa 1850. Very good condition. Wood: mahogany dimensions: height 205 cm width 109 cm depth 59 cm.

Carl Friedrich Deiker (1838 Wetzlar - 1892 Düsseldorf). Vigilant fox. Pencil drawing on brown paper, 18 × 29.5 cm (inside measurement), 31.5 x 43.5 cm (mount), signed and dated "Deiker [18]54" at lower right. - a little bit stained, with a light water stain at lower right About the artwork Carl Friedrich Deiker's consummate ability to depict animals is already evident in this early work. He brought a whole new psychological dimension to animal painting, so that one could literally speak of animal portraits. The naturalistic appearance of the fox alone makes it seem alive. Every strand of muscle, even every hair, is captured, which requires an intensive artistic study of animal anatomy and physiology. But the fox's real liveliness comes not from its natural appearance, but from its internal movement: Stretched out, it has been brought out of rest. It turns around and, with its ears pricked up, looks intently in the direction from which it has seen something. His mouth is slightly open and his pointed teeth are bared, as if he were growling. Tension gradually takes hold of his whole body. While the hind legs were still in a relaxed position, closely observed by Deiker, one front leg was already raised, ready to begin a rising movement. The fox seems so alarmed with all its senses that one gets the impression that, at any moment, its tail will move jerkily and the animal will jump up. While wild animals have traditionally been portrayed as beasts or anthropomorphised, often for caricatural purposes, Deiker explores their inherent nature by attempting to capture their psychic impulses. The wild animal is neither bestial nor human, but a creature in its own right, valued by Deiker for its own sake. In this way, he brought the dignity of the animal into representation and raised animal painting to a whole new artistic level. About the artist Carl Friedrich Deiker was the son of the drawing teacher Christian Friedrich Deiker and the younger brother of the animal painter Johannes Deiker. In addition to the family art lessons, Christian Friedrich shared a studio with his brother Johannes at Braunfels Castle, Deiker attended the drawing academy in Hanau, and from 1858 he was a student at the Karlsruhe Art Academy, where he studied under the landscape painter Johann Wilhelm Schirmer. Carl Friedrich Deiker was already in demand as an artist during his first year: Grand Duke Frederick I of Baden, Margrave Max of Baden and Grand Duke Michael of Russia bought hunting scenes by him. In 1859 he went on a study trip to the Reinhardswald. Just as the Barbizon School had rediscovered the landscape, Deiker opened up the forest for animal painting. From 1861-64 Deiker had his own studio in Karlsruhe, then moved to Düsseldorf, where his brother Johannes followed four years later. Deiker married a daughter of the landscape painter Karl Hilger and remained in Düsseldorf until his death. In 1868 he finally achieved international fame with his painting 'Pursued Noble Deer' and was regarded as a virtuoso new founder of animal painting. "Deiker brought for the first time a truly great artistic quality to animal painting [...]". - Hans Vollmer From 1870 he participated in the academic art exhibitions in Berlin, Dresden, Munich and Hanover. He was also very busy as an illustrator. He drew for the Gartenlaube, the Salon, the Universum, and produced many of the finely illustrated hunting and animal books of the period. He also worked as a printmaker, while his oil paintings circulated as reprints by Franz Dinger. From 1865 to 1892 Deiker was a member of the artists' association Malkasten. Carl Friedrich Deiker's life's work was honoured with a large posthumous memorial exhibition at the Düsseldorf Kunsthalle in 1892. His son Carl Deiker, born in 1879, also became a painter. Selection of art museums that own works by Carl Friedrich Deiker: Hamburger Kunsthalle / Kunsthalle Karlsruhe / Kunstmuseum Düsseldorf / Wallraff Richartz Cologne. Selected Bibliography H. Schmidt: Johannes and...

Swedish dresser in Gustavian blue paint with three drawers and original 19th century Bronze Hardware. This Rococo style chest or drawers is from the mid 1800-hundres. The simplicit...

A Fabulous Pair of Linke Style Marble Topped Marquetry inlaid Pedestals Francois linke (1855-1946) was a well known Cabinet Maker of the late 19th These Pedestals are made from Kingw...

Outstanding small oil on velum sketch of a North African/ Arab head study. The painting is a classic sketch and I'm sure the figure would have been used in a much larger finished w...

An English 19th century pine dresser base or sideboard. Bun feet. Features 7 drawers with a center cupboard with a solid center panel and surrounded by half-pillars. Great old patina...

Loch Awe and Kilchurn Castle is a landscape oil painting on board by 19th century artist Edward Train (1801 -1866). Train was a British artist, painting mostly landscapes in northern England and, like this one, in Scotland. The painting is signed E. Train (lower left) and dated 1850 or 1856, the last number being too faint to be certain. From 1850 to 1880 Train flourished as an artist, but his work was exhibited in galleries in northeastern England and Edinburgh from the 1830s. Born in Gateshead, Tyneside, Train left to take an apprenticeship with a London engraver. In the 1830s Train traveled with an expedition to the Hebrides and Shetland Islands. Here he became fascinated with the Scottish scenery that would become part of his repertoire of landscape art. Loch Awe lies in the west of Scotland in Argyll and Bute. Kilchurn Castle, built in the 16th century, lies on a peninsula inside the Loch, on the water's edge. Train would have traveled to the Highlands and painted the dramatic scene from the east banks of Loch Awe, across from the Castle. This painting captures the Highland mountains, loch and castle that was very much the ouevre of this artist's work. Train painted the Highlands decades before other renowned landscape artists of the 19th century, such as Alfred de Breanski, Louis Bosworth Hurt, Douglas and Duncan Cameron...

Circa 1850s James Dixon & Sons silver plated meat dome with bold beaded border. Raised by hand. Fully hallmarked. Minor blemishes reveal nickle ...

English pine server, has nine drawers with the original hand turned walnut knobs. The top has a shaped gallery. The center compartment has a shaped arch bracket and a concave lower s...

A rare pair of large 19th Century antique Islamic Multan pottery moon flasks, India, Sindh province (now Western Pakistan), circa 1850. The flasks are decorated in blue, white and tu...

Andreas Thomas Juuel (1816 Copenhagen - 1868 Copenhagen). Summer landscape with tall deciduous trees by a lake. Oil on canvas, 54,5 x 42 cm (visible size), 71 x 58 cm (frame), signed...

American Empire mahogany marble-top chest, with rojo Alicante marble top, the four drawers with crotch mahogany veneer, brass knobs and escutcheons, tiger birch...

Antique Italian oil painting of Venice. Oil on canvas. Signed. Framed. Image size, 31L x 21H.

A beautiful French showcase from the Louis Philippe period of the 1850s. This piece displays an outstanding executive quality due to the masterful ...

The Bee Bride is an original lithograph on ivory-colored paper realized by J.J. Grandville from Scènes de la vie privée et publique des animaux, 1852. Published by Manesq & Harvard, ...

Circa 1860 19thC Large English Vernacular 2 Plank Fruitwood Work Table with block tapered legs joined by time worn stretchers Exceptional worn patination, colour & form. sku 915 ...

Pair of bronze appliques made in the 1800s, each of which has a pair of original hand-sculpted cameos with different scenes / views Both lights come with wiring and wiring, which ...

19th-century English sideboard. Carved doors on each side and a carved arch in the middle.

"Sun Saburo Matsugaya" - Mid 19th Century Figurative Japanese Woodblock Print Beautiful mid 19th century figural Japanese woodblock print of a seated man with lilies in the background by Utagawa Toyokuni III (Kunisada) (Japanese, 1786-1864/5). Artist's chop is in the lower right corner of the piece. The actor is Magosaburo Matsugaya from the play "Katakiuchi Rumors" Presented in a new grey-blue mat with foamcore backing. Mat size: 21"H x 16"W Paper size: 14"H x 9.75"W During his lifetime Kunisada Utagawa...

Fine quality antique Victorian burr walnut dressing table having a quality burr walnut shaped framed adjustable mirror flanked by shaped solid walnut carved supports above four bow f...

19th Century French Renaissance Hunt Vaisselier Buffet was artistically sculpted to celebrate the bounty of the earth, and perform a display, serving...

Extraordinarily fine mid 19th century Antique English Hepplewhite style Server or small Sideboard having its original oval brasses and original brass casters. It has a most unusual m...

John Frederick Kensett White House and Trees, circa 1853 Oil and gouache on paper 6 3/4 x 9 3/4 inches Provenance: Estate of Vincent Colyer (1824 - 1888) By descent Paul Magriel Collection Private Collection, Long Island Exhibited: New York, The Finch College Museum of Art; Southampton, New York, The Parrish Art Museum; New Orleans, Louisiana, Isaac Delgado Museum of Art; Norfolk, Virginia, Norfolk Museum of Art; Montclair, New Jersey, Montclair Art Museum; New London, Connecticut, Lyman Allyn Museum; Manchester, New Hampshire, The Currier Gallery of Art; Providence, Rhode Island, Rhode Island School of Design; Youngstown, Ohio, The Butler Institute of American Art, American Drawings (Benjamin West to the present) from the Paul Magriel Collection, June 1961 - December 1962. Portland, Oregon, Portland Art Museum, April 14 - May 15, 1963. Boston International Fine Art Show at the Cyclorama, Lincoln Glenn, October 19 - 23, 2022. In the 1850s through 1860, John Frederick Kensett, painted a series of at least five landscapes of the "Shrewsbury River" (now the Navesink River) along the New Jersey shore. Art historians have described Kensett’s paintings of the river as having evolved from a trip in the fall of 1853 at the invitation of Kensett's friend, author and lecturer George Curtis. However, letters viewable at the Smithsonian Archives of American Art website make it clear that Kensett had become acquainted with the area over a year earlier, most likely in connection with fellow artist and friend Thomas Prichard Rossiter. Kensett and Rossiter had been friends since at least the 1830s. As aspiring artists, they had traveled to Europe together in the 1840s. In 1851 Rossiter married Anna Ehrick Parmly, then in her early 20s, and Kensett attended the wedding. Anna was one of four daughters of Eleazer and Anna Maria Parmly. Eleazer, one of the major figures in American dentistry history, was a wealthy and accomplished member of New York society. When not in the city, the Parmly family gathered at Bingham Place, a sprawling estate on 275 pastoral acres spanning the peninsula between the Shrewsbury and Navesink Rivers along the New Jersey shore. The Bingham Place estate encompassed much of what is now Rumson, then known as Oceanic, N.J. It was a wide-open landscape of ocean views, orchards, lawns, and cattle-dotted pastures. There the Parmlys opened their doors to family, friends, and the summer breeze. Rossiter, newly-married into the Parmly family, was likely the reason that Kensett paid a social visit to Bingham Place in the summer of 1852. On July 11, 1852, having reluctantly departed, Kensett wrote Rossiter who was still at Bingham Place: New York to me now is that of a deserted place…marking a dismal contrast to the green lawns at Bingham Place. I saw the receding shores of Shrewsbury & the line of dust which marked your homeward course & finally the last glimpse of the Locust trees that shade the pleasant mansion & happy inmates at Bingham with any thing but a joyous spirit. A major figure in the American luminist tradition and one of the most renowned painters of the Civil War era, John Frederick Kensett was born in Cheshire, Connecticut, in 1816. He was the son of Thomas Kensett, a British immigrant engraver, and it was in his father's New Haven firm that Kensett first learned to draw. After mastering the rudiments of the graphic arts, he worked as an engraver in print shops in New Haven, Albany, and New York throughout the 1830's. During this period, he began to paint on his own, encouraged by a friend and fellow artist, John W. Casilear. In 1838, he made his first submission, a landscape, to the annual exhibitions of the National Academy of Design. Desirous of continuing his training, Kensett traveled to Europe in 1840. For the next seven years, often in the company of artists such as Casilear and Asher B...

Antique American school realist fruit still life oil painting. Oil on board. Unsigned. Framed. Image size, 16L x 16H.

Meissen Porcelain Germany JJ Kaendler Origin Germany Circa 1850 Design by J.J. Kaendler Porcelain material. hand made and painted rococo style Very good conditions. Natural wear due to the passage of time. Meissen porcelain (in German Meißner Porzellan...

Original watercolor of a hunter and his dog taking a late afternoon stroll in the countryside. Signed middle bottom and dated 1852 or 1853 J. Hamilto...

A fine and impressive round extendable museum quality conference or dining table, circa 1850s. Made from solid walnut with 3 stage extendable brass banded top Features acanthus scrol...

A pair of English Staffordshire seated greyhounds, England Circa 1850's 6.25 inches tall.

Elegant pair of molded and frosted glass fruit risers with central rod in gilded bronze, beautiful Italian manufacture from the first half of the 19th century. Measures: Height 53 cm...

Authentic 1850's antique Victorian 15k yellow gold (tested) and turquoise brooch and earrings set. Exceptional handmade set Etruscan Revival style, brooch measures 3 1/8 inches long ...

Baccarat crystal and gilt bronze figurine Figure in french gold bronze with baccarat sculpted glass base. The quality of the bronze is exquisite and ...

A fine and rare Anglo-Indian padouk wood cabinet on chest, the upper section with paneled doors opening to reveal 11 shelves lined in Fortuny style fabric over a central pull out she...

Hieroglyphics Alphabets is an Etching realized by Domenico Klemi Bonatti in the 1850s. Signed on the plate. Good condition with folding and foxing on margins. Domenico Klemi Bonat...

Set of 6 original handpainted Hitchcock chairs. The price is for the the set.

This is a stunning and long Chinese altar table that measures a full 10 ft. in length with carved end pedestals featuring high relief buddhist...

19th Century French Charles X Mahogany Sofa is the sublime expression of understated elegance! The style was born during a period of austerity when the court wished to downplay the ...

Elegant dressing table with table mirror 19th century Very pretty jewelry box and lady's vanity in gold bronze and onyx from the 19th century. The bronze is sculpted with deometric ...

Ant. Victorian Burr Walnut Sewing Box on Carved Legs, Table, Scotland 1850, H688 Scotland 1850 Solid Walnut + Veneers Original Finish Beautiful vene...

The Gentleman is an original lithograph by J.J. Grandville from "Scènes de la vie privée et publique des animaux, 1852. Published by Manesq & Harvard, Paris. Good Conditions but ag...

Antique gold Mirror, Italy 1850s. A rare 19th century gold leaf rectangular mirror with classy refined frame. The mirror is made of a soli...

This is a pictorial lettersheet view of the city and harbor of San Francisco. This lithograph was printed on grey wove paper, across a double sheet, by famed lithographers Britton & ...

Beautiful Tekke/Turkmen cuff/armlet armlet, known as bilezik, is decorated with four rows of table-cut semi-precious Carnelians. The cuff is for a small boned person (internal diamet...

Original 1850 Italian armchair in solid walnut with new upholstery. The article used to be in a bedroom. Later it was placed at the entrance of an important house in a waiting ar...

Mr.Monkey Painter Set Off is an original lithograph on ivory-colored paper realized by J.J. Grandville from Scènes de la vie privée et publique des animaux, 1852. Published by Manesq...

Antique 20ct Gold Pendant Fringe mechanism Genuine Pearl surrounded by a navy blue enamel star Circa 180os Weight 4.26 grammes Height 2.25" High x 0.5...

Ocelot is an original lithograph on ivory-colored paper, realized by Paul Gervais (1816-1879). The artwork is from The Series of "Les Trois Règnes de la Nature", and was published in...

Up for sale here is a really impressive mid 19th century painting. Very fine quality and great color! Unsigned. Framed. Image size, 13 by 17.