247 results for ""prince albert""

In centuries past, lucky artists were ennobled after mastering their craft and achieving renown, but Baron Marochetti had been born into the noblility before he proved his mettle as ...

This exceptional and one-of-a-kind wooden mallet commemorates the marriage of Queen Victoria and Prince Albert, which occurred on February 10, 1840. Exqu...

This refined vintage brooch features a finely carved hardstone cameo of Prince Albert, consort to Queen Victoria, depicted in noble profile. Set in a classic gold plated frame, the p...

A charming antique Victorian Staffordshire pottery flatback figure depicting Queen Victoria and Prince Albert, commemorating their royal wedding. The couple stand arm in arm in tradi...

English Bronze 'His Royal Highness Prince Albert' Commemorative Desk Clip England, early 20th century A distinguished English bronze 'His Royal Highness Prince Albert' Commemorative...

Prince Albert Landing at Dover – Royal Maritime Engraving, c. 1840 Original antique 19th-century steel engraving depicting the dramatic arrival of Prince Albert at Dover, England, after a painting by the British marine artist William Adolphus Knell. Title: Dover – The Landing of Prince Albert Artist: William Adolphus Knell (1802–1875), after Engraver: William Miller (1796–1882) Date: Circa 1840–1850 Place of Origin: United Kingdom Technique: Steel engraving on paper Subject: Prince Albert Dover, Kent, England British Royal Family Maritime and naval history Description: A dramatic large-format Victorian maritime engraving depicting the arrival of Prince Albert at Dover on the English coast. Prince Albert arrived in England in February 1840 shortly before his marriage to Queen Victoria. The scene captures his arrival as a major public and royal event, transforming the historical episode into an impressive Romantic maritime composition. At the center, a steam-powered vessel battles through a turbulent sea beneath an immense and dramatically illuminated sky. Sailing vessels appear around it, while Dover's famous white cliffs and castle can be seen in the distance to the left. On the right, a large crowd has gathered along the waterfront to witness the royal arrival, with figures waving and watching the approaching vessel. The contrast between the powerful sea, dark clouds and energetic crowd gives the composition a strong sense of movement and drama characteristic of British Romantic marine painting. The engraving is based on a painting by William Adolphus Knell, whose name appears beneath the image at lower left as “W. A. Knell Pinxt.” Knell was a noted British marine painter particularly admired for his atmospheric depictions of ships, storms and coastal scenes. The plate was engraved by William Miller, identified at lower right as “W. Miller Sculpt.” Miller was an important Scottish engraver particularly associated with landscape and marine subjects and is also known for his work after J. M. W. Turner. Printed beneath the main title is the inscription: “From the Picture in the Royal Collection.” The combination of British royal history, early steam navigation and dramatic maritime imagery makes this an especially decorative historical print. Condition: Good antique condition consistent with its age. General light toning with occasional minor spotting and age-related marks, primarily within the margins. Some light discoloration and wear toward the sheet edges. The engraved image remains strong, detailed and well defined. Please study the photographs carefully as they form an important part of the condition description. Style / Period: Victorian Romantic Mid-19th Century Of the Period This is an original antique engraving from the 19th century, not a modern reproduction. Sold unframed. Any framed or interior images shown are for presentation and inspiration only. Keywords: Prince Albert, Queen Victoria, Prince Albert Dover, landing of Prince Albert, Dover England, Dover Castle, White Cliffs of Dover, British royal family, Victorian royal history, William Adolphus Knell, William Miller engraver, antique maritime engraving, Victorian maritime art, Royal Collection, antique royal print, British monarchy, paddle steamer, steamship engraving, maritime history, English marine art, Romantic maritime art, Victorian engraving, antique ship print...

A Royal bronze portrait bust of Prince Albert, the Prince Consort, after the marble sculpture of 1859 by William Theed the Younger (1804-1891) Marks and inscriptions: W.THEED. SC. ...

Antique Prince Albert Edward Prattware Creamer Fox Hunting Scene Terracotta Pottery. Circa Early 20th Century. Measurements: 4" H x 4" W x 3.25" D.

This statue is of Prince Albert Edward, eldest son of Queen Victoria, Prince of Wales, future King Edward VII (1841-1910) dressed in a sailor suit. After a very popular painting of the young prince done in 1846 by Franz Xaver Winterhalter (1805-73) that is in the collection of the British Royal Family.

Pair of mid-19th century folk art carved and polychrome painted wood figures of Queen Victoria and Prince Albert on horseback with origin...

Jodi Miller captivates with her atmospheric landscapes, inspired by the vast skies of her prairie upbringing and her global travels in the Royal Canadian Air Force. Influenced by the...

Beautiful large scale antique Art Nouveau period double serpent diamond and 14K yellow gold ring. Late 19th Century The two snakes artfully, intricately coiled to form a striking d...

Jodi Miller captivates with her atmospheric landscapes, inspired by the vast skies of her prairie upbringing and her global travels in the Royal Canadian Air Force. Influenced by the...

Antique Victorian dome shaped tortoiseshell brooch inlaid with gold and silver piqué work. Diameter 3.1 cm / 1.2 inches. This beautiful fine quality brooch ...

We love this unusual and extremely rare 18ct gold Victorian snake ring with a cushion cut diamond head and studded with pave turquoise. It was made during the Darwin years when nature was a often source for fashion. Since ancient times snakes have been seen as a symbol for “Eternal love” and "Eternal life" so they were and still are often used as wedding rings, commitment rings...

Jodi Miller captivates with her atmospheric landscapes, inspired by the vast skies of her prairie upbringing and her global travels in the Royal Canadian Air Force. Influenced by the...

Rare antique Edwardian period fine natural pearl, diamond and 18K yellow gold snake ring Early 20th Century Featuring a dramatic lustrous n...

This painting titled "Portrait of a Girl" by the Danish realist painter Peder Mørk Mønsted captures an enigmatic young woman whose identity remains unknown. The girl, elegantly posed...

Stylish and skilfully made, these Victorian Whitby Jet earrings are a timeless design. Condition Report: Excellent - The shaping of the hoop and link at the top of one earring is s...

Jodi Miller captivates with her atmospheric landscapes, inspired by the vast skies of her prairie upbringing and her global travels in the Royal Canadian Air Force. Influenced by the...

We are delighted to offer this fabulous Victorian 18ct gold reticulating snake necklace made c.1860. Captivating, stylish and a marvel of fine jewellery making, Victorian snake neck...

Jodi Miller captivates with her atmospheric landscapes, inspired by the vast skies of her prairie upbringing and her global travels in the Royal Canadian Air Force. Influenced by the...

This Victorian heart pendant was created out of a black pressed wood composite in the 1880's. The design shows an inner heart and a palm leaf surrounded by an outer heart decorated with impressed circles. the heart is decorated with stylized rays on the outer edge. Black jewellery...

A remarkable Mid-Victorian snake bangle, masterfully modelled as a coiling serpent and pavé-set throughout with rose-cut diamonds. The flexible articulated body is formed from a ser...

Sidney Richard Percy British, (1821-1886) Glen Falloch Oil on canvas, signed & dated (18)69 Image size: 23.5 inches x 37.5 inches Size including frame: 29.5 inches x 43.5 inches Provenance: MacConnal-Mason & Son Ltd A superb Scottish landscape painting of Glen Falloch by Sidney Richard Percy. The work is typical of his oeuvre and includes seated figures, a fisherman, cattle and sheep. Glen Falloch is a valley in the Argyll and Bute area of Scotland. It lies between Crianlarich and Loch Lomand. The river Falloch, which is featured in the painting, flows through it before entering Loch Lomand. Sidney Richard Percy was born Sidney Richard Williams, on the 22 March, 1822 the fifth son of the artist Edward Williams Snr (1781–1855) and Ann Hildebrandt. His brothers Edward Charles (1807–1881), Henry John Boddington (1811–1865), George Augustus (1814–1901), Arthur Gilbert (1819–1895) and Alfred Walter Williams...

Sidney Richard Percy British, (1821-1886) Near Bontddu, North Wales Oil on canvas, signed & dated 1878 Image size: 23.5 inches x 37.5 inches Size including frame: 30.5 inches x 44.5...

Victorian English Antique 9ct Rose Gold Double Albert Watch Chain – 42 Grams – Fully Hallmarked – Edward W. Smith & Sydenham Brothers Collaboration, Birmingham – c.1890–1900 Own a s...

This sculptural 18K yellow gold serpent bracelet coils gracefully around the wrist, culminating in a finely chased head set with sparkling white diamond eyes and crowned by a 1.00-ca...

Made famous by Prince Albert of England in the late 20th century, the Albert chains are one of the most versatile and loved pieces of jewellery. This particular model is a very rare...

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...

An important Mid-19th century English specimen marble Table, having moulded edge top with 110 varying panels centred by Fossil marble panel.. Manufactured by The Woodley family at th...

A Victorian gold and turquoise serpent necklace, the flexible tapering yellow gold body formed of three rows of scale-like collets each set with a ro...

Antique Scottish jewelry is known for its exceptional quality, distinctive design and patronage by Queen Victoria and Prince Albert. The best pieces were crafted in 14K and 15K gold ...

Sidney Richard Percy British, (1821-1886) Grizedale, Westmorland Oil on canvas, signed & dated 1883 Image size: 12 inches x 19 inches Size including frame: 21.25 inches x 28.25 inches A wonderful atmospheric painting of Grizedale Pike in the Lake District by Sidney Richard Percy. Cattle are shown moving along the path in the foreground as sheep roam the hillsides. In the mid distance a figure can be seen walking across a stone bridge whilst another has paused to rest behind them. Sidney Richard Percy was born Sidney Richard Williams, on the 22 March, 1822 the fifth son of the artist Edward Williams Snr (1781–1855) and Ann Hildebrandt. His brothers Edward Charles (1807–1881), Henry John Boddington (1811–1865), George Augustus (1814–1901), Arthur Gilbert (1819–1895) and Alfred Walter Williams...

A Victorian emerald and gold snake necklace, the realistically formed serpent with graduated snake scale-link body, the head finely engraved with scrolling decoration, claw-set with ...

A fine signed platinum ring. By Chanel. In the Matelasse Quilt pattern. Designed by Lorenz Bäumer. Bäumer began designing jewelry for Chanel in 1992. He would go on to design je...

BRITISH UNION FLAG OF THE EARLY 20TH CENTURY, WITH BRILLIANT AND UNUSUAL, COBALT BLUE COLORATION, AND A SIMPLIFIED, FOLK STYLE, WITH INCORRECT PROPORTIONS IN THE CROSSES OF ST. ANDRE...

Few motifs in Victorian jewellery are as symbolic as the snake. Popularised after Prince Albert gave Queen Victoria a serpent engagement ring in 1839, the snake became a symbol of et...

A pair of Victorian diamond earrings made of 14k yellow gold and silver settings. The earrings feature two Old European cut diamonds weighing approximately 1.64-carat and 1.68-carat....

This antique double snake ring with a ruby and a garnet is truly wonderful The intricate design of the two intertwined snakes represents eternal love and was commonly used as a symbo...

Jodi Miller captivates with her atmospheric landscapes, inspired by the vast skies of her prairie upbringing and her global travels in the Royal Canadian Air Force. Influenced by the...

“The Allegory of Civilization: A Historical Collage of Progress and Virtue” This monumental and highly unusual large-scale decoupage tableau—measuring 44.25 inches wide by 35 inches high—is an extraordinary and densely composed visual compendium of 18th- and 19th-century figures of global significance. Executed in a monochrome palette with light hand-tinting, the work comprises hundreds of individual portrait engravings and narrative vignettes intricately collaged together to form a panoramic composition of historical, cultural, scientific, literary, and military figures, interspersed with allegorical and architectural elements. This form of assemblage is rooted in the 19th-century practice of *papiers collés* and popular scrapbooking traditions, but this work surpasses decorative craft in both ambition and intellectual scope, bordering on the encyclopedic. The hand-cut images appear to have been culled from period illustrated books and engraved portrait sources—most notably from publications such as *The Illustrated London News*, *Harper’s Weekly*, and *The Eclectic Magazine*—as well as engraved frontispieces and serialized pictorial histories. The result is a vast visual lexicon of Enlightenment and Romantic thought, likely intended as a celebration of moral, intellectual, and national achievement. At the composition’s apex, presiding over the assembled figures, is a classically draped winged allegory—possibly *Fame* or *Liberty*—holding a trumpet and laurel branch. The mountainous background, waterfalls, architectural ruins, and pastoral settings lend the piece a theatrical and didactic ambiance, evoking 19th-century didascalic panoramas. A partial identification of historical figures visible in the composition includes: * **George Washington** – Posed centrally, gesturing outward with one hand; he appears multiple times in the scene and is shown in both military uniform and formal dress. * **Napoleon Bonaparte** – Recognizable by his uniform, bicorne hat, and stern gaze; appears in profile and frontal portraits. * **Benjamin Franklin** – Seen holding a scroll; a common figure in Enlightenment iconography. * **William Shakespeare** – Near the lower central register; recognizable from the famous Chandos portrait derivative. * **Johann Wolfgang von Goethe** and **Friedrich Schiller** – Likely placed in the literary cluster with other Germanic figures. * **Florence Nightingale** – Shown in nurse’s cap and shawl, likely near a grouping of women in medical service. * **Queen Victoria** and **Prince Albert** – Appearing in regalia, along with a number of courtly figures. * **Ludwig van Beethoven**, **Franz Liszt**, and **Niccolò...

BEN MORE FROM AUCHLYNE ROAD oil, by Frederick Richard Lee & Thomas Sidney Cooper A beautiful 19th century landscape painting of the Scottish mountain (Munro) by the renowned artists Frederick Lee & Thomas Sidney Cooper The painting is an oil on board, signed by both artists and dated 1854.Housed in a gilt frame. The image size is 47cm x 62cm, whilst overall the size is 69cm x 85 cm The painting is in very good condition, having had a light clean. There is some slight crazing to the sky section as to be expected with age, ( see photo close ups with flash) the frame is also in very good condition. There is a handwritten label verso which reads Note: According to Cooper, it was during a visit to Lee in Devon that a mutual decision was made to '...paint some pictures conjointly'. Lee was to paint the landscape first and Cooper to introduce the animals - and, at Lee's insistence, to handle the financial arrangements. In the late 1840s both artists were at the height of their popularity and their exhibited collaborations in the Dutch tradition created a 'great sensation' at the Royal Academy when they first appeared. Prince Albert commented that they had '...caused a new want among patrons' and pronounced them 'the Beaumont and Fletcher...

On offer is “Knight of the Field” aka “A Man in Armour,” a painting by Edgar Allan Ward (1862–1947). The portrait is of an unknown gentleman in full plate armor, complete with a swor...

A Victorian-era engagement ring featuring a remarkable 1.75-carat old mine cut diamond. The cushion-shaped gemstone displays the distinctive charm of antique cutting styles, with sof...

Sidney Richard Percy British, (1821-1886) Moel Siabod, North Wales Oil on canvas, signed & dated 1875 Image size: 23.5 inches x 37.5 inches Size including frame: 30.5 inches x 44.5 ...

Jodi Miller captivates with her atmospheric landscapes, inspired by the vast skies of her prairie upbringing and her global travels in the Royal Canadian Air Force. Influenced by the...

French Etruscan revival suite Beautiful three-dimensional pieces, created in Paris France during the Victorian era (1837-1901) back in the 1880, This very versatile suite has been c...

Jodi Miller captivates with her atmospheric landscapes, inspired by the vast skies of her prairie upbringing and her global travels in the Royal Canadian Air Force. Influenced by the...

A fine mid-19th century portrait depicting Mayor John Neve (1796-1856) of Wolverhampton, whose tenure spanned 1853 to 1854. The artist has portrayed the figure in a sweeping Romantic...

An impressive early Victorian blue enamel, diamond and gold snake bracelet, the realistically carved head with open mouth, the eyebrows and top o...

A masterpiece of both cabinetmaking and mechanical engineering, this one-of-a-kind expanding table was crafted by the renowned cabinetmaker Samuel Hawkins of London for the Great Exhibition of 1851. Diminutive in size, the fascinating table was designed as a model to demonstrate Hawkins’ innovative patent screw movement to visitors of the Exhibition – six million people in total over five months. It was exhibited again a century later at the Victoria & Albert Museum during the Festival of Britain, an event intended “to symbolise two main qualities of the national character: realism and strength on the one hand, and, on the other, independence and imagination” (Catalogue of the Exhibition, 1951, p.117). To this day, the miniature masterpiece demonstrates the quest of English furniture makers to combine technical innovation with superb craftsmanship. Displaying exceptional ingenuity, Hawkins’ wind-out screw mechanism allowed one to extend the table’s base to accommodate concentric leaves with the simple crank of a handle. It is based on the inventive expanding table originally designed by Robert Jupe in 1835, which used a swivel mechanism to separate sections of the tabletop and allow for segmented leaves to be inserted. Hawkins’ tabletop, on the other hand, extends outwards directly from the center in order to accommodate additional leaves around its diameter. This unique design allowed the mechanism to also smoothly operate on rectangular tables, which could be wound out from the middle to allow for more table space. Hawkins was not alone in his endeavor to combine the technical merits of engineering and mechanics with the most artful pursuit of cabinetmaking. The first half of the 19th century saw a prolific increase in the popularity of applying new ideas to traditional furniture principles, which allowed furniture to serve many purposes. The resulting “patent” furniture was practical and refined, though few were as innovative as Hawkins’ prodigious design. Carved with the year of the Exhibition on the beautifully designed pedestal base, the table is a testament to the significance of this innovation. The model is mentioned in detail in the catalog of the Great Exhibition of 1851, the first international exhibition of industry, manufacturing, and science. Held at London’s dazzling Crystal Palace, its visitors were treated to exhibits from around the globe, including feats of engineering, innovations in industry, and marvels of design. Queen Victoria herself was a frequent visitor, along with her husband, Prince Albert, and others including Charlotte...

Our 18K gold Hallmarked LONDON 1919 snake ring has 5 graduated diamonds and a sweet derpy face. Since ancient times snakes have been seen as a symbol for “Eternal love” and "Eterna...

John Gould, 'Leucippus Fallax' (Buffy Hummingbird), original lithograph with hand-coloring (not a reproduction), c. 1850. Signed in typeset 'J. Gould and H. C. Richter, del et lith.'...

A poignant and beautifully crafted example of Victorian mourning jewellery, this antique brooch dates to around 1880. The piece features an intricately carved floral design, formed f...

Artwork # 1 on 5 sold in limited edition in perfect condition This is a Minimalist framing & presentation of the artwork : The Fine Art print on Baryta paper is mounted on a 2mm dib...

Victorian festoon necklace with amethysts and pearls. This is a beautiful antique festoon necklace created in England during the middle of th...

Jodi Miller captivates with her atmospheric landscapes, inspired by the vast skies of her prairie upbringing and her global travels in the Royal Canadian Air Force. Influenced by the...

19th century Gothic oak bookcase designed by Augustus Welby Northmore Pugin, the rectangular crenellated top with octofoil panels filled with carved roses, fleur de lis, and a portcullis on a Tudor rose back panel above a cavetto frieze mounted with carved oak leaves above two doors, each with two Gothic arched apertures filled with unique metal grilles, enclosing three adjustable shelves to each side, the base section with two blind arcaded doors enclosing an adjustable shelf, on a double plinth base, the lower plinth later, the interior stamped twice 'CLAREMONT', the reverse inscribed in ink 'Mr Young 18.5'. Provenance: Supplied for the Palace of Westminster and designed by AWN Pugin in conjunction with Charles Barry (who was largely credited for Pugin's designs) as part of the refurbishment of the Houses of Parliament after the fire of 1832, later removed and by 1866 recorded at Claremont House, Esher. This robust Gothic bookcase, enriched with Elizabethan cusped tracery and heraldically-charged castellations, is conceived in the William IV romantic English manner introduced as the ‘New Palace of Westminster’ style, with the collaboration in the mid-1830s of the architects Charles Barry (d. 1860) and A.W.N. Pugin (d. 1852). Westminster Palace’s ‘fort portcullis’ badge is displayed in cusped tablets within embattled parapets, which are flowered with the English cinquefoile rose. This bookcase appears to be a precursor for the more florid bookcases designed for the New Palace by Pugin in the mid-1840s. It may possibly have been intended for the King’s Tower (now called the Victoria Tower). Pugin established a furniture manufactory in Convent...

Antique Map of India – Post Roads and Dak Stations by James Wyld, c.1855 This impressive antique map titled "India Shewing the Post Roads and Dak Stations" was engraved and publishe...