Premier Items

A collection of antique items of extraordinary quality, concept and style.

  • Stock: 16130

    Psyche Abandoned

    A rare Italian sculpture depicting Psyche, attributed to the Italian sculptor, Pietro Tenerani.

    Pietro Tenerani (1798-1869) was a sculptor perhaps best known for his neoclassical works of the early nineteenth-century. He trained under Lorenzo Bartolini at the Accademia di Belle Arti in Carrara and with his uncle Pietro Marchetti, where he learnt how to polish and finish marble. After his early training, he won a scholarship to Rome in 1815, where he entered the studio of Bertel Thorvaldsen, considered one of the great masters of the age. He worked together with Thorvaldsen on several illustrious commissions, and soon set up his own studio. Among Tenerani’s illustrious patrons were William Cavendish, 6th Duke of Devonshire, Crown Prince Ludwig of Bavaria, Queen Victoria, and Pope Pius IX.

    In 1816, Tenerani produced his first model of Psyche Abandoned under his own name, a beautifully finished work in plaster. This work transcended the more rigidly neoclassical style of the period, and instead bore the naturalism of an earlier age. It was soon acquired by the noblewoman and patron of the arts Marchesa Carlotta de’ Medici Lenzoni for her private collection. The sculpture was subsequently entered into an exhibition at the Palazzo Caffarelli in Rome, where many collectors admired and praised it for its naturalism and beauty. As a result of the exhibition, some admirers of this work requested copies to be made. It is likely that our own copy of this first work was made shortly after the exhibition; it wasn’t uncommon for a much-admired work to have copies made in both plaster and in marble. Many collectors even favoured the plaster originals, understanding that in many cases the marble versions were carved by workshop assistants rather than the master. It was Antonio Canova who popularised the practice of creating a finished work in plaster, giving the work of the marble carving to his assistants. Canova would then step in at the final stages of carving, to add his own hand to the finer details.

    Tenerani’s depiction of the young Psyche captured the imagination of Italian society, but the myth of the young princess and her lover had been enjoyed since antiquity. Their story is one of the interplay between the Soul and Desire. Psyche is the personification of the soul and conveys its vulnerability when met with the tempestuous and transient nature of desire, here embodied by the deity Cupid. If Psyche and Cupid’s story concerns the soul and desire, then their ultimate union should be considered one of fate. Their story is told by Apuleius in his Metamorphoses, written in the 2nd century AD and broadly follows this narrative: Cupid’s mother, the Goddess of love Aphrodite, was driven into a fury when she discovered that her worshippers were neglecting her and instead making offerings to a young and beautiful princess, Psyche. In her rage, Aphrodite demanded that her son Cupid make Psyche fall in love with an unworthy man as a punishment for her beauty. However, Cupid is scratched by his own arrow and falls in love with Psyche himself.

    They marry, yet Cupid tells his bride to never look at him, lest she be injured if she settled her gaze on a God. She complies until one evening she can no longer resist temptation, and she casts a light over her sleeping beloved with a lamp. He wakes, and in his fury at her betrayal, flees. Psyche is inconsolable and approaches the God’s mother Aphrodite and appeals to her to reunite them. She is set a series of impossible tasks by the Goddess, and when she fails the final task, at Cupid’s request the other Gods take mercy on her granting her immortality so the lovers can be reunited.

    Apuleius’ story is a lesson about finding balance between matters of the body and spirit, to live in harmony. Cupid and Psyche were represented not only in this tale, but in much earlier Hellenistic Art too, which makes Tenerani the perfect master for this work.

    His sculpture captures the moment in which Psyche’s beloved departs in a rage, leaving her alone. She sits on a rock, her youth emphasised in the modelling of her body and face. Her face in downcast, and her anguish is sensed not only in her expression but also in her posture. In this sculpture, Tenerani has captured the essence of the Hellenistic sculpture that he so revered at this stage of his career. Archaeological excavations in Rome had revealed ancient copies of sculptures from Greece and set the standard to which to aspire.

    The drapery over her legs is reminiscent of Hellenistic sculpture insofar as it has weight to it, a quality that the eighteenth-century scholar Johann Winckelmann described as a “wet look”. Carving and modelling of this quality is indicative of a master, and this detail allowed the Tenerani to showcase his skill as a sculpture independent from his master.

    In this version of the sculpture, Psyche is depicted without wings. It wasn’t unusual to find Psyche represented this way, as sculptures of this quality were commissioned by or intended for an audience who would find the subject immediately recognisable. Pietro Tenerani’s first sculpture of Psyche dated to 1817 does shows her with wings and is also modelled in plaster. Both sculptures are the same size and possess an almost identical finish, where the top layer of the plaster has been toned to give it a patina and both also display a very fine level of finish, so this work is to be regarded as a finished sculpture rather than mere modello. It is perhaps most interesting to consider how the composition developed over time in the hands of its master.

    Tenerani’s Psyche Abandoned is considered one of the most revered sculptures of the nineteenth-century, so we are honoured to have such a fine version in our collection.

    Width Height Depth
    21 14"
    54 cms
    44 78"
    114 cms
    20 12"
    52 cms
  • Stock: 16101

    A very fine early George III giltwood wall mirror in the manner of Thomas Chippendale, the frame with a finely carved scrolling acanthus crest and trailing foliage with the merest suggestion of the pagoda corners associated with Chippendale's designs. Original gilding.
    English, c.1760.

    View our collection of: Antique mirrors and console tables

    Width Height
    24"
    61 cms
    46 78"
    119 cms
  • Stock: 16125

    A rare American giltwood wall mirror by E. F. Caldwell & Co. This finely carved oval mirror embodies the Baroque Revival style, the winged ignudi and other details carved in high relief. This mirror was likely specially commissioned to accompany wall sconces of the same design made by the company, with the addition of three branches.
    Original mirror plate.

    United States, c.1900.

    Notes: See the E. F. Caldwell & Co. Collection, Smithsonian Institution, C012765 to see this model catalogued as three light wall appliques. Edward F. Caldwell & Co. were America’s preeminent lighting manufacturers of the late 19th to the mid-20th centuries, illuminating some of the most notable buildings in the United States. In addition to St. Patrick’s Cathedral in New York City and the White House in Washington, D.C., the company’s masterful light fixtures also adorn the homes of some historically prominent figures, such as J.P. Morgan and Phillip Lehman.
    The firm was founded in 1895 by American Edward F. Caldwell and Victor F. von Lossberg from Latvia.
    In 1901 Edward F. Caldwell & Co. opened a foundry and quickly rose to the top of the electric light manufacturing business with their shared vision, choosing to deliver quality elegant fixtures that frequently drew on historic European designs. The firm produced magnificent lighting pieces, as well as finely crafted decorative objects and mirrors. Their neoclassical designs borrowed heavily from Baroque and Rococo styles.

    View our collection of: Antique mirrors and console tables

    Width Height Depth
    30 14"
    77 cms
    44 78"
    114 cms
    2 38"
    6 cms

    Listed Price: £7,600 (+VAT where applicable)

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  • Stock: 15877

    A rare set of plaster intaglios by Nathaniel Marchant. Originally, this set of casts of Nathaniel's gems was sold by subscription with the accompanying catalogue, published in 1792. It is rare to have a collection of any great quantity, this set is complete, bar four intaglios which are not present. They are mounted within their original ebony strung, mahogany case, which is glazed and fashioned as a book, complete with remnants of marbling. When the spine is removed, the interior is revealed.
    Complete sets are exceptionally rare, and one set is held at the John Soane Museum, purchased by Soane in 1793.

    English, c.1792.

    Nathaniel Marchant (1739-1816) was arguably the most famous gem engraver of the 18th century, prolific in both Italy and England. He was gem sculptor to the Prince of Wales and engraver to The King.

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    Width Height Depth
    Closed 10"
    25.5 cms
    15 38"
    39 cms
    1 1316"
    4.6 cms
    Opened 19 38"
    49.4 cms
    15 38"
    39 cms
  • Stock: 15876

    A fine Louis XV Rococo chimneypiece carved from the beautifully veined breccia seravezza marble, which incorporates soft grey and khaki tones on a a creamy ground. The fireplaces' serpentine shelf sits above a low and wide frieze, which is panelled and centred by a finely carved rocaille motif over boldly carved jambs.
    The chimneypiece comes with its original cast iron insert, which is beautifully cast and decorated with putti and other Rococo motifs.
    French, late 19th century.
    Cast Iron Insert opening:
    Width: 25"
    Height: 23 1/2"

    View our collection of: Antique Rococo Chimneypieces inc Louis XV English Scottish Chippendale Rococo fireplace mantels.

    width height depth
    External 62 14"
    158.2 cms
    44 14"
    112.5 cms
    16 14"
    41.5 cms
    Internal 45 58"
    115.8 cms
    37"
    94 cms
  • Stock: 15907

    A large and grand Rococo white statuary marble fireplace, profusely carved in high relief to create a true statement piece. The moulded serpentine shelf sits an ornate frieze, carved with stylised acanthus leaves and flowers, centred by a beautifully carved scallop shell cartouche. This motif is echoed in the C scroll cartouche which sits above bold console jambs, also carved with flowers and curling acanthus leaves.

    Scottish, mid-19th century.

    Provenance: From a private Belgian collection.

    Link to: Antique Rococo Chimneypieces inc Louis XV English Scottish Chippendale Rococo fireplace mantels.

    Width Height Depth
    External 66 78"
    169.8 cms
    43 14"
    110 cms
    14"
    35.6 cms
    Internal 41 1316"
    106.1 cms
    34 12"
    87.7 cms
  • Stock: 16013

    A fine pair of 19th century and later ormolu wall sconces, each modelled as an Atlas figure stood upon a curved bracket with acanthus support, supporting a plain globe mounted with three scrolling branches with beaded sockets above foliate drip pans.

    French, c.1890 with later modification to light fittings.

    View our collection of: Antique Wall Lights

    Width Height Depth
    13"
    33 cms
    24 38"
    62 cms
    9 18"
    23 cms
  • Stock: 15960

    A pair of Aesthetic Movement andirons attributed to Thomas Jekyll and possibly made by Barnard, Bishop and Barnards. Although unmarked, they possess the qualities of Jekyll's designs, with his signature use of Japanese mons within the decoration on the shafts. The rosettes symbolise night and day and with beautiful repoussé work a Kingfisher on a branch represents Day, or dawn, with the sun rising behind him, whilst the owl represents Night and is surrounded by stars.
    English, c.1875.

    Notes: Barnard, Bishop and Barnards were at the heart of Norwich's iron industry, and the company gained an international reputation after their collaboration with Thomas Jekyll.
    Jeckyll’s associations with a group of London artists – notably James Abbott McNeill Whistler – made him a key figure in the Anglo-Japanese Aesthetic Movement. Jeckyll used japonaise designs for Barnards’ fireplaces while his sunflower motif came to symbolise the Aesthetic Movement.

    Width Height Depth
    7"
    17.7 cms
    19 1116"
    50 cms
    9 18"
    23 cms
  • Stock: 15958

    A fine and grand neoclassical chimneypiece in statuary marble with Siena marble inlay. The boldly carved breakfront shelf sits above a high relief egg and dart undershelf and a finely fluted frieze inlaid with Siena marble. This is mounted with a beautifully carved tablet depicting putti feeding a goat within a pastoral landscape. This symbolises abundance. The solitary putto endblocks rest on three-quarter pilasters with inlaid Siena volutes over plain jambs.

    English, c.1760 with nineteenth-century restorations.

    View our section showing the full range of our neo-classical chimneypieces

    Width Height Depth
    72 12"
    184.2 cms
    61 58"
    156.5 cms
    11"
    28 cms
    43 1116"
    111 cms
    40 12"
    102.8 cms
  • Stock: 15912

    A large and very finely carved figure of Venus Sortant du Bain, or Venus emerging from her bath. This subject has been immensely popular since classical antiquity, and depicts the Goddess drying herself whilst resting her foot on a rock. This statue would look marvelous on a column or plinth.

    This sculpture is after the example made by the French sculptor Christophe-Gabriel Allegrain (French, 1710-1795) for Louis XV in 1755. It was later revered at the Salon of 1767 as a masterpiece. This is now at the Louvre.

    French, c.1850.

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    Width Height Depth
    10 58"
    27 cms
    34 58"
    88 cms
    14 58"
    37 cms
  • Stock: 15911

    A near life size carved marble figure of the Crouching Venus. This late 19th century copy of the iconic Hellenistic original bases its form on the crouching Venus on permanent display at the British Museum. It depicts the Goddess Venus at her bath, startled and shielding her nudity.
    Italian in origin, this statue would likely have been made for a wealthy buyer enjoying their Grand Tour in Italy.

    Italian, c.1890.

    Notes: The subject of the Crouching Venus was explored by various sculptors in the Roman period, based on the Hellenistic statue of the same subject attributed to Doidalsas (200-100 B.C.)

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    Width Height Depth
    18 18"
    46 cms
    35 38"
    90 cms
    18 18"
    46 cms

    Listed Price: £22,000 (+VAT where applicable)

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  • Stock: 15843

    A rare and majestic fire basket, depicting a phoenix rising from the flames. The phoenix fire back is mounted above a large four barred grate, which rests on brass andirons. The andirons are surmounted by eagles, and the sinuous feet form winged dragons.
    English. c.1870.

    View our collection of: Antique fire grates and log baskets.

    Width Height Depth
    45 1116"
    116 cms
    38 38"
    97.5 cms
    22 316"
    56.5 cms

    Listed Price: £12,500 (+VAT where applicable)

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  • Stock: 15903

    A rare 19th century marble statue of the muse Terpsichore, after Antonio Canova. Terpsichore was the muse of creative inspiration, and here she is identified by the lyre on which she leans.

    Canova was commissioned by Napoleon Bonaparte's brother to create this idealised portrait of his wife Alexandrine de Bleschamp as Terpsichore. The commission was then acquired by Giovanni Battista Sommariva, a politician and notable patron of the arts. Under his patronage, the sculpture was no longer required to resemble Alexandrine and so the sensual sculpture took on the deified form of the muse. He collected three marble sculptures by Canova for his villa and also acquired the plaster model for Terpsichore so it could not be reproduced whilst under his ownership. Sommariva sent the sculpture to Paris in 1813, where is was exhibited at the Salon to great acclaim.
    Copies of this statue are very rare.

    French, late 19th century. Carved from pure white statuary marble.

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    Width Height Depth
    14 1316"
    37.5 cms
    33 12"
    85 cms
    9 1316"
    25 cms

    Listed Price: £18,000 (+VAT where applicable)

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  • Stock: 15778

    A large Italian school carrara marble sculpture depicting a sleeping nymph. The finely carved sculpture is reminiscent of a depiction of Sleeping Ariadne, popularised by the Roman copy of the Hellenistic original, the former being housed at the Vatican. Reclining on rocks, the sleeping nymph is shown draped only below the waist, and her finely modelled form is exemplified by the delicacy of her fingers.
    Italian, early 19th century.

    Before restoration.

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    Width Height Depth
    28 1116"
    73 cms
    14 58"
    37 cms
    11 1316"
    30 cms

    Listed Price: £7,500 (+VAT where applicable)

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  • Stock: 15775

    A large eighteenth century English neoclassical chimneypiece of exceptional quality. The moulded reverse breakfront shelf sits above a frieze inlaid with volutes of sarrancolin marble. The central tablet has been deftly carved with a neoclassical urn hanging with bellflowers.The delicately carved endblocks are supported by jambs also inlaid with volutes of soft amber coloured sarrancolin marble. Remarkably, this fireplace has had very few repairs over the centuries, and remains in beautiful, original condition.
    English, c.1780.

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    Width Height Depth
    External 69 1116"
    177.1 cms
    58 78"
    149.6 cms
    7 12"
    19 cms
    Internal 44 14"
    112.4 cms
    46 18"
    117 cms
  • Stock: 15768

    A very fine pair of bronze vases, taking the form of the Townley Vase. The vases are modelled on a krater, a Greek vessel used for mixing water and wine. Each vase has elegantly scrolling bifurcated gilt handles, and the body of the vases are cast in high relief and depict a bacchanalian procession, featuring Bacchus on Ariadne. The vases are mounted on Belgian black marble pedestal bases, on which are mounted lion masks with rings in their mouths. The interior of the vases are beautifully gilded.
    English, c.1860.

    Notes: The Townley Vase is a large Roman marble vase after a Greek original. The vase, dating from the 2nd century, was discovered in 1773 by Gavin Hamilton, a Scottish Antiquarian. Its name comes from the English collector Charles Townley, who purchased the vase after its discovery. After his death, the vase was brought to its final home, the British Museum.

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    Width Height Depth
    5 78"
    15 cms
    15 1116"
    39.9 cms
    5 78"
    15 cms

    Listed Price: £3,200 (+VAT where applicable)

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  • Stock: 15572

    A fine and large nineteenth-century Gothic Revival oak bracket clock, with a silvered dial.

    The clock has an eight day, triple fusee, four pillar movement with anchor escapement and chimes the quarters on either eight or four bells, "Westminster chimes" and strikes the hours on a single gong.
    The finely engraved silvered arched top brass dial with Roman numerals has three subsidiary dials, namely; strike or silent, slow or fast, Westminster chime, or chime on 8 bells. Engraved spandrels frame the chapter ring. The case is the perfect incarnation of the Gothic Revival, the cathedral case topped with spires and finials which are supported by cluster pilasters whilst the dial is framed with a foliate ogee window.
    English, circa 1850.

    View our collection of: Antique clocks and clock garniture

    Width Height Depth
    16 12"
    42 cms
    26"
    66 cms
    9 38"
    24 cms

    Listed Price: £5,400 (+VAT where applicable)

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  • Stock: 15643

    A Reflection of American History -

    An ornate convex mirror of grand proportions topped with an eagle on a rocky summit.
    Interestingly the mirror, thought to be of American origins, is decorated with 24 spheres around the frame, whilst another sphere hangs on a chain suspended from the mouth of the eagle. This possibly symbolises the 24 established states of the USA, with the state of Arkansas represented by a ball hanging from the mouth of the eagle, the country's emblem. This shows that Arkansas joining the USA is quite literally hanging in the balance.
    With this information, we can date the mirror to 1835-1836.

    American, 1836. Awaiting restoration, included in the price.

    View our collection of: Antique mirrors and console tables

    Width Height
    23 58"
    60 cms
    42 78"
    109 cms
  • Stock: 15724

    A large and finely carved 19th century Italian marble lidded urn, decorated with trailing grape vines and and dramatic handles, modelled as grinning and horned satyrs. The body of the urn is carved with two cartouches, one depicting a nymph bathing in a pool whilst a satyr observes, hidden by bullrushes. The other depicts an a satyr and a goat in an amorous and playful embrace. After the antique.

    Italian, c.1850.

    Could be situated in a sheltered spot in a garden or courtyard, but equally suited to an interior setting.

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    Width Height Depth
    28"
    71 cms
    40"
    101.5 cms
    19 1116"
    50 cms
  • Stock: 15626

    A magnificent Aesthetic Movement mantel clock, with an ebonised mahogany case and an exquisitely painted dial. The case embodies the style of the Aesthetic Movement , with an arched and turned gallery, surmounted by two turned ball finials, with a dentil moulding below. Supporting the finials are two turned spindle pilasters framing the dial.
    The blue and white hand-painted and glazed porcelain dial depicts allegories of night and day within a floral and foliate design, Night appearing as a women in sleep with a bat flying above her, and Day, gazing up at a swift as it swoops past. The chapter ring takes the form of a sunflower, each petal frames a number. The simple brass hands are fixed within the centre of another sunflower. The movement is a twin-train eight day movement, strikes on the hour and half hour and runs well.

    Attributed to Lewis Foreman Day for the retailers, Howell, James & Co of Regent Street, London.

    Width Height Depth
    10 38"
    26.5 cms
    19 18"
    48.5 cms
    7 14"
    18.5 cms

    Listed Price: £3,800 (+VAT where applicable)

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  • Stock: 15588

    A pair of small antique giltwood wall brackets in the Rococo taste, with a serpentine shelf resting on scrolling acanthus leaves. Perfect as a candle bracket or for small ornaments. Italian, c.1890.

    View our collection of: decorative antiques and furnishings

    Width Height Depth
    External 5 1116"
    14.5 cms
    6 18"
    15.5 cms
    3 14"
    8.5 cms
  •  Exceptionally Rare Scottish Chimneypiece Reserved

    Stock: 15547

    A rare Scottish pine and composition chimneypiece by Richard Foster of Edinburgh.

    The chimneypiece was designed with the coastal landscape of the East Coast of Scotland in mind and is profusely decorated in exquisite detail whilst maintaining the elegant restraint of a neoclassical chimneypiece.

    The breakfront shelf rests above an undershelf studded with acorns and mushrooms which in turn is supported by two eagles on the endblocks. The eagles are modelled after a Roman Imperial Eagle in Horace Walpole’s collection, found in the gardens of Boccapadugli and displayed by Walpole at his Strawberry Hill Home. These details frame the remarkable frieze which is a celebration of the Scottish coast; profusely decorated with seaweed, shells, sea cucumber and crabs, all in high relief.

    Most remarkable of all is the exquisite central tablet, which depicts Lady Emma Hamilton leaning on a ship’s anchor whilst gazing out to sea at the distant HMS Victory, the ship on which he would meet his heroic end. This scene is surrounded by a profusion of seashells and seaweed.

    The underfrieze makes a departure from the coastal theme, and instead entwines thorny roses with the Scottish emblem of the thistle.

    The jambs return to a more restrained neoclassicism, with engaged slender pilasters resting on plain footblocks. The original Kilkenny fossil marble slips are still present, which is a lovely feature.

    Scottish, c.1805.

    Provenance: Removed from an elegant Georgian house on the East Coast of Scotland, near Edinburgh.

    Notes:

    Chimneypieces of this manufacture were a speciality of Richard Foster of Edinburgh and his son and examples survive not only in Scotland but also in the United States and Canada, where he seemed to create a strong market for them in the late 18th century.
    Richard Foster was born in Canonbie, the Scottish Borders, in 1755. At the age of fourteen, he was recorded as having a bank account in London, presumably as he was serving as an apprentice there, perhaps to the Adam Brothers as they too were in London at this time. In 1785 he returned to Edinburgh, working as a "joiner" and married to the daughter of a wealthy leather merchant. His chimneypieces were sold not only in Scotland, but in the USA, a bold move only a few years after American Independence was declared! This is perhaps why he avoided becoming a prominent figure in Scottish social and intellectual circles, as selling to Britain's former colonies would have been regarded as treachery in many cases.
    The pine and composition chimneypiece he perfected made the rational principles and beauty of classicism affordable to the growing mercantile and professional class emerging in the 18th century. These clients wished to express their cultural understanding through objects that conveyed the principles they admired, the chimneypiece was one such highly prized object.
    The Adam brothers (Robert and James) were well known for promoting their designs to the masses, and it is the pine and composition chimneypiece they made for the emerging middle class in Edinburgh that have become synonymous with the "Adam Style". However, Foster was a true master of the technique, and his designs are some of the most delicate and finely manufactured ever made.
    In the 1770s, the technique of applying a cast composition onto pine really took off in Scotland, especially with the construction of many new houses, such as those in Edinburgh's New Town. The process of cast composition can be described as essentially a thermo plastic mix of chalk, glue size, and other additives heated up to a precise temperature then pressed into wood or brimstone moulds. These could then be applied to a simple pine surround and painted if desired. Foster was commissioned to make designs unique to clients, so there may only be a single example of a particular design, but these usually incorporate existing decorative motifs.

    View our section showing full range of neo-classical chimneypieces

    Width Height Depth
    External 78 1316"
    200.1 cms
    62 58"
    159 cms
    7 78"
    20.1 cms
    Internal 52"
    132 cms
    45 14"
    115 cms
  • Stock: 15558

    An exceptionally finely carved and very large alabaster group of the Judgement of Paris, depicting Paris seated and wearing his Phrygian cap, offering the Hesperidean apple to a lightly draped Venus, whilst the jealous figures of Hera and Athena consol each other. The scene is mounted on a rectangular plinth. Italian, mid 19th century.

    Photograph before restoration.

    Provenance: A collection within a fine Wiltshire Townhouse.

    Width Height Depth
    15 38"
    39 cms
    21 1116"
    55 cms
    6 1116"
    17 cms
  • Stock: 15615

    A fine George III chimneypiece in Statuary and Siena marble. The inverted breakfront shelf sits above a boldly carved egg and dart undershelf, resting over the faux fluted frieze inlaid with fine Siena Marble and studded with two oval paterae.
    The central rectangular tablet depicts three putti, one possibly Cupid as he holds a bow, the others grapple with a quiver of arrows. This scene is situated within ribbon tied drapery. The endblocks are also carved with putti, one holding a set of cymbal like instruments aloft and the other holding an unfurling scroll.
    Supporting the endblocks are the three-quarter columns also inlaid with Siena marble and topped by elegant composite ionic capitals and resting on socle and block plinth bases.

    English, c.1770. With restorations.

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    Width Height Depth
    External 74"
    188 cms
    62 58"
    159 cms
    13"
    33 cms
    Internal 46 78"
    119 cms
    39"
    99 cms
  • Stock: 15551

    A very large 19th century twin handled maiolica vase in the form of a wine krater. The exquisite hand painted decoration includes two central cartouches, one depicting Bacchus and Ariadne reclining within an allegorical scene. Bacchus loosely hold his thyrsus, a wand of giant fennel whilst Ariadne embraces him.

    On the verso is a depiction of a Bacchic procession, Bacchus holds grapes aloft whilst he rides in a chariot drawn by a lion and a goat, as maenads dance around in ecstasy. These scenes are framed by winged grotesque handles and the entirety of these vase is decorated profusely, including the socle, where a putto is depicted inscribing a tablet.

    Italian, c.1890. Possibly Neapolitan. .

    View our collection of: decorative antiques and furnishings

    Width Height
    17 14"
    44 cms
    22 38"
    57 cms

    Listed Price: £4,800 (+VAT where applicable)

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  • Stock: 15433

    A superb Victorian walnut and solid ebony Gothic library table. This outstanding table is made especially rare by having solid ebony legs, stretcher and finials. The beautifully carved Solomonic legs and stretcher support a fine burr walnut top.

    This table is incredibly diverse, and can be used as a centre table, or even a desk.
    English, circa 1860.

    Link to: Antique furniture

    Width Height Depth
    54 14"
    138 cms
    29 12"
    75 cms
    33 12"
    85 cms
  • Stock: 14738

    A rare and monumental cast iron Coalbrookdale antique fire grate identical to fire grate SNo 14374. The elaborately scrolled backplate featues a Bagot Goat jumping a fence. The substantial basket, with a strapwork apron centred by a lion mask, is supported by a pair of large and powerful panther head standards.

    Provenance: The registration mark 65 The Coalbrookdale Company registered September 6th 1841 number 814 can clearly be seen on the back.
    English, early to mid 19th century.

    Notes: The Bagot goat is believed to be Britain's oldest breed of goat and has lived semi-wild at Blithfield Hall in Staffordshire for over six hundred years.The Coalbrookdale Company, a foundry in Shropshire established in 1709, is probably most famous for building the world's first cast iron bridge erected and opened at Ironbridge in 1780, but it was also noted for its decorative ironwork an example of which is a set of gates opening into London's Hyde Park. The blast furnaces were closed down around 1820 but the foundries remained in use.

    Please note that the back plate was once broken the damage can be seen under the goat. It has been strapped on the back, so the grate is still functional.

    Link to: Antique fire grates and log baskets.

    width height depth
    34 58"
    88 cms
    29 14"
    74.5 cms
    16 18"
    41 cms
  • Stock: 15456

    A very fine mahogany longcase clock, with an eight day movement by John Wyld of Nottingham. The fine silver dial is centred by a painted scene of a wooded landscape and this frames a date aperture. The lunette above is adorned with not only a painted moondial, but with opposing hemispheres. The dial is framed by very fine brass cherub spandrels, and mounted with three pierced hands.
    The hood of the clock has a swan necked pediment with trompe l'oeil marquetry and a brass finial, which is echoes in the pair of fluted corinthian columns with brass capitals.

    Inside the figured case is a four pillar movement which will be fully serviced on purchase.

    Notes on the maker: John Wyld was an important and very competent maker who was born in Codnor, Derbyshire in 1710, son of another John Wyld (1678-1760) by Rebecca, sister of the notable Codnor clockmaker James Woolley (1695-1785), to whom Wyld was apprenticed. He set up at Codnor around 1732 and also rented a workshop in Chapel Bar in Nottingham from a Mr. Lupton shortly afterwards. He married in 1740 and died in 1773 leaving John, his successor at Nottingham, Joseph and three daughters.

    Link to: Antique clocks and clock garniture

    width height depth
    21 1116"
    55 cms
    96 78"
    246 cms
    10 58"
    27 cms
  • Stock: 15438

    A late 18th century Statuary and Brocatelle marble chimneypiece, inlaid with a Greek key design on the frieze. The finely carved tablet depicts a goddess, perhaps Persephone, holding a cornucopia brimming with fruit, including a pineapple; something of a luxury in 18th century Britain. Beside her, a putto holds aloft an ear of wheat as he rides a lion pulling the goddess' chariot. In the distance, a small temple sits atop a hill, very much like the temple follies seen in 18th century parkland. Flanking the frieze are two elegantly carved endblocks, depicting a putto holding torches - another symbol of Persephone. These are supported by gently tapered jambs, inlaid with flutes of brocatelle marble and terminating in plain footblocks.
    English, Circa 1790 with restorations.

    View our section showing full range of neo-classical chimneypieces

    Width Height Depth
    External 74 1316"
    190 cms
    60 1316"
    154.5 cms
    8 78"
    22.5 cms
    Internal 48 38"
    123 cms
    47"
    119.5 cms
  • Stock: 15436

    A very fine and rare George III bronze register grate finely engraved with neoclassical motifs. Beneath the three barred serpentine grate is an elegant engraved apron of the same serpentine form.
    Irish, circa 1780.

    Link to: Antique Fire grates and Register grates.

    Width Height Depth
    Front 42 12"
    108 cms
    42 18"
    107 cms
    13 316"
    33.5 cms
    Back 35 1316"
    91 cms
    39 316"
    99.5 cms

    Listed Price: £12,500 (+VAT where applicable)

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  • Stock: 14971

    A large grand gilt bronze clock garniture in the Louis XVI style. The clock, with an 8 day striking movement that strikes on the half and the full hour and with it's original pendulum and key, is set in an ornate gilt bronze case mounted on its original giltwood base, which is a rare survival. The convex porcelain dial with cobalt blue Roman hours and black Arabic minutes, fine gilt hands, ringed lion masks and a bevelled convex glass door is topped by an ornate lidded urn with an acorn finial. The pair of tall five branch candelabra with further ringed lion masks also retain their original giltwood bases.
    French, mid 19th century.

    View our collection of: Antique clocks and clock garniture

    Width Height Depth
    15 58"
    39.5 cms
    27"
    68.5 cms
    9 38"
    24 cms

    Listed Price: £12,500 (+VAT where applicable)

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  • Stock: 15429

    A large and imposing Statuary and Connemara marble Neoclassical style chimneypiece made in the Palladian manner. The wide stepped shelf rests above a band of substantial dentil carving, beneath which lies a Connemara marble frieze centred with a large Statuary tablet depicting playful cherubs riding an eagle, the tablet is flanked by bold Statuary carvings of mythical dragons. The paterae endblocks sit above plain, tapering Connemara columns on the jambs.
    English, circa 1890.

    Shown here with firebasket SNo 14151 not yet on the web.

    The Palladian style was named after the Venetian Renaissance architect Andrea Palladio (1508-1580) whose work and ideas were based on the symmetry and perspective of the formal classical temple architecture of the Ancient Greeks and Romans. His work hugely influenced European architecture from the early 17th century to the present day.

    View our section showing full range of similar/related neo-classical chimneypieces

    Width Height Depth
    External 73 12"
    186.6 cms
    58 14"
    148 cms
    12"
    30.5 cms
    Internal 43 18"
    109.5 cms
    41 1116"
    106 cms
  • Stock: 10719

    A Renaissance stone door casement, carved in dark grey Pietra Serena stone. The elegant overdoor takes the form of a concave scallop shell, a motif derived from Roman sarcophagi, which later became a Christian symbol of rebirth, resurrection and pilgrimage. This suggests that the doorway was perhaps an entrance to a place of worship. Beneath this, stylised dolphins are carved nose to tail, undulating across the now weathered surface, worn after centuries of exposure to the elements. Supporting this are carved capitals and jambs decorated with urns and foliate details.

    Northern/Central Italian, possibly Florentine. A very similar door is on display in the Victorian and Albert Museum's Renaissance Gallery.

    Restoration not possible.

    Link to: Antique Doors and Windows.

    width height depth
    73 58"
    187 cms
    150 1316"
    383 cms
    13 1316"
    35 cms
    41 1116"
    106 cms
    86 1316"
    220.5 cms

    Listed Price: £10,500 restoration not possible.(+VAT where applicable)

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  • Stock: 6593

    The Dalquharran Castle Chimneypiece.

    A very rare, early Georgian, gently concave Portland Stone fireplace designed by Robert Adam and carved by the renowned Dutch stonemason Pieter Mathias van Gelder.

    A moulded shelf rests above a simple frieze centred by a panel carved in relief with a floor standing globe flanked by opposing sphinxes. The endblocks, with carved lyres and husk swags, sit above fern frond corbels terminating in festooned bucrane on fielded panel jambs raised on stepped footblocks.
    English, circa 1790.

    Dalquharran Castle in Ayrshire, Scotland, is regarded as one of the finest examples of Robert Adam’s Castle Style. His castles were unique in the respect that whilst the outside embodied the robustness associated with a castle, the inside was the embodiment of his restrained and delicate classical style. Dalquharran Castle was created for Thomas Kennedy of Dunure but is sadly now a ruin after the roof was removed in 1967 to avoid paying rates.

    The chimneypiece was originally installed in the round tower library of the Castle and epitomised Adam's classical elegance. The last image below shows it in situ in the ruins of the library. It is exceptionally rare to find such a piece and made even more remarkable as it survived virtually undamaged. There is a similarly fine chimneypiece at Seton Castle, Adam’s final project in Scotland.

    Link to a section showing full range of similar/related neo-classical chimneypieces

    Width Height Depth
    External 78"
    198.2 cms
    58 1316"
    149.3 cms
    12 58"
    32 cms
    Internal 47 1316"
    121.5 cms
    42 12"
    108 cms
  • Stock: 11376

    A fine, late 18th century antique fireplace surround in Statuary marble with Spanish Brocatelle marble fluting and ingrounds. The breakfront shelf rests on a frieze with inlaid Brocatelle marble fluting, which is interspersed by delicately carved rosette paterae. The frieze is flanked by endblocks carved with pillar vases and trailing leaves above tapering fluted jambs raised on stepped footblocks.
    English circa 1780.

    Known provenance.

    Link to a section showing full range of similar/related neo-classical chimneypieces

    Width Height Depth
    External 69 14"
    176 cms
    58 1116"
    149 cms
    6"
    15.3 cms
    Internal 41 14"
    104.8 cms
    42 18"
    107 cms
91 items