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Art Nouveau table, ca.1880.Lacquered wood.Damage from use and age. Antique xylophages.Measurements: 83.5 x 76 x 50.5 cm.Modernist period side table, with four stylised legs which curve slightly towards the foot and shoulders. It consists of two tops, the upper one smaller. Both have the top decorated with vegetal lacquerwork based on floral bouquets and birds, which freely reinterpret oriental art to bring it into line with the reinvention of nature that characterised Art Nouveau.
19th century table clock.Bronze, ebonised wood and porcelain dial.Measurements: 66 x 34 cm.Table clock made for the Turkish market, with ebonised wood structure, applied bronze decorations and porcelain dial, with Turkish numerals for hours and minutes in black and openwork hands. The design is historicist in style, inspired by pieces from the Baroque period, hence the combination of an architectural structure of mixtilinear forms and emphatic volumes with the application of bronze. Also typical of the decorative arts of the Baroque period was a taste for contrasting qualities, colours and textures, hence the use of contrasting materials such as ebony, bronze, tortoiseshell and ivory. The clock stands on a stepped base, supported on cut-out legs (the bronze front legs) and decorated with classical relief mouldings in bronze and, on the front, with a chiselled, openwork and cut-out plaque with a composition of sinuous stems, leaves and bunches of grapes. The body of the clock rises above this base, open at the bottom to form a curved-sided recess, flanked by openwork bronze plaques similar to the base. The dial is set in a frame formed by sunbursts, directly inspired by French models from the time of Louis XIV, the Sun King. On both sides of the case are vertical bodies that stand out in plan and are decorated with openwork plaques, mouldings with reliefs, pinjantes, classical vase-shaped finials and openwork side rosettes as handles, all in bronze with Baroque vegetal motifs. Finally, the piece is crowned by a cup-shaped body also decorated with bronze appliqués, which stand out against the black background of the ebonised wood, and culminates in a large classical vase with relief decorations.
Salviati & Co. Murano, Venice, late 19th century.Cup. Blown glass and fine gold inclusions.Similar pieces published with photos in the book "L'Europe de L'Art Verrier" by Giuseppe Cappa, Editorial Mardaga. Pages 408 to 414.Measurements: 23 cm (height); 9.5 cm (largest diameter).The glass is made of blue blown glass, decorated with fine gold inclusions. The central part of the foot is formed by two circular rings, a flower in the central part and lateral glass cords. From its technical characteristics we can attribute it to a Murano master glassmaker of the period,Antonio Salviati (Vicenza, 1816-1890) was an Italian lawyer and businessman, founder of a top-class Venetian glass factory, responsible for the revival of the Venetian glass industry in the 19th century.A lawyer by profession, in 1866 they formed a partnership with Austen Henry Layard, the archaeologist who discovered Nineveh, with whom they formed the company Società Salviati e Compagni, based in Venice.The Salviati company won several important commissions, such as the mosaics for the back of the high altar in Westminster Abbey (1867), the ceiling of the Albert Memorial Chapel in Windsor Castle and the Palatine Chapel in Aachen (1870-1875). In 1876 he separated from his English partners and founded a new company which, in addition to mosaics, produced ornamental and table glass in a high quality Renaissance style. In the 1870s he also produced pieces in imitation of ancient Roman glass. His company took part in all the universal exhibitions at the end of the 19th century.
Salviati & Co. Murano, Venice, late 19th century, early 20th century.Cup. Blown glass and fine gold inclusions.Slight chipping on one side barely noticeable.Similar pieces published with photos in the book "L'Europe de L'Art Verrier" by Giuseppe Cappa, Editorial Mardaga. Pages 408 to 414.Measurements: 22 cm (height); 7.5 cm (largest diameter).The cup is made of transparent blue blown glass, decorated with fine gold inclusions. The central part of the foot is a mythological fish. From its technical characteristics we can attribute it to a master glassmaker such as Aristi Barovier or Fratelli Toso.Antonio Salviati (Vicenza, 1816-1890) was an Italian lawyer and businessman, founder of a top class Venetian glass factory, responsible for the revival of the Venetian glass industry in the 19th century.A lawyer by profession, in 1866 they formed a partnership with Austen Henry Layard, the archaeologist who discovered Nineveh, with whom they formed the company Società Salviati e Compagni, based in Venice.The Salviati company won several important commissions, such as the mosaics for the back of the high altar in Westminster Abbey (1867), the ceiling of the Albert Memorial Chapel in Windsor Castle and the Palatine Chapel in Aachen (1870-1875). In 1876 he separated from his English partners and founded a new company which, in addition to mosaics, produced ornamental and table glass in a high quality Renaissance style. In the 1870s he also produced pieces in imitation of ancient Roman glass. His company took part in all the universal exhibitions at the end of the 19th century.
Salviati & Co. Murano, Venice, late 19th century.Cup. Blown glass and fine gold inclusions.Similar pieces published with photos in the book "L'Europe de L'Art Verrier" by Giuseppe Cappa, Editorial Mardaga. Pages 408 to 414.Measurements: 18 cm (height); 8.5 cm (largest diameter).The goblet is made of Bordeaux-coloured blown glass, decorated with fine gold inclusions. The central part of the foot has a fish that with its tail surrounds the lower part of the goblet. Due to its technical characteristics we can attribute it to a Murano master glassmaker of the period, such as Francesco Ferro or someone in his circle.Antonio Salviati (Vicenza, 1816-1890) was an Italian lawyer and businessman, founder of a top class Venetian glass factory, responsible for the revival of the Venetian glass industry in the 19th century.A lawyer by profession, in 1866 they formed a partnership with Austen Henry Layard, the archaeologist who discovered Nineveh, with whom they formed the company Società Salviati e Compagni, based in Venice.The Salviati company won several important commissions, such as the mosaics for the back of the high altar in Westminster Abbey (1867), the ceiling of the Albert Memorial Chapel in Windsor Castle and the Palatine Chapel in Aachen (1870-1875). In 1876 he separated from his English partners and founded a new company which, in addition to mosaics, produced ornamental and table glass in a high quality Renaissance style. In the 1870s he also produced pieces in imitation of ancient Roman glass. His company took part in all the universal exhibitions at the end of the 19th century.
Salviati & Co. Murano, Venice, late 19th century.Cup. Blown glass and fine gold inclusions.Similar pieces published with photos in the book "L'Europe de L'Art Verrier" by Giuseppe Cappa, Editorial Mardaga. Pages 408 to 414.Measurements: 25 cm (height); 11 cm (largest diameter).The cup is made of cobalt blue blown glass, decorated with fine gold inclusions. The central part of the foot is a swan. From its technical characteristics we can attribute it to a master glassmaker of Francesco Ferri or Fratelli Toso.Antonio Salviati (Vicenza, 1816-1890) was an Italian lawyer and businessman, founder of a high-class Venetian glass factory, responsible for the revival of the Venetian glass industry in the 19th century.A lawyer by profession, in 1866 they formed a partnership with Austen Henry Layard, the archaeologist who discovered Nineveh, with whom they formed the company Società Salviati e Compagni, based in Venice.The Salviati company won several important commissions, such as the mosaics for the back of the high altar in Westminster Abbey (1867), the ceiling of the Albert Memorial Chapel in Windsor Castle and the Palatine Chapel in Aachen (1870-1875). In 1876 he separated from his English partners and founded a new company which, in addition to mosaics, produced ornamental and table glass in a high quality Renaissance style. In the 1870s he also produced pieces in imitation of ancient Roman glass. His company took part in all the universal exhibitions at the end of the 19th century.
Salviati & Co. Murano, Venice, late 19th century.Cup. Blown glass and fine gold inclusions.Similar pieces published with photos in the book "L'Europe de L'Art Verrier" by Giuseppe Cappa, Editorial Mardaga. Pages 408 to 414.Measurements: 23 cm (height); 14,5 cm (largest diameter).The goblet is made of Bordeaux-coloured blown glass, decorated with fine gold inclusions. The central part of the foot has a central baluster with lateral flowers. Due to its technical characteristics we can attribute it to a Murano master glassmaker of the period, such as Francesco Ferro or Fratelli Tosso.Antonio Salviati (Vicenza, 1816-1890) was an Italian lawyer and businessman, founder of a top class Venetian glass factory, responsible for the revival of the Venetian glass industry in the 19th century.A lawyer by profession, in 1866 they formed a partnership with Austen Henry Layard, the archaeologist who discovered Nineveh, with whom they formed the company Società Salviati e Compagni, based in Venice.The Salviati company won several important commissions, such as the mosaics for the back of the high altar in Westminster Abbey (1867), the ceiling of the Albert Memorial Chapel in Windsor Castle and the Palatine Chapel in Aachen (1870-1875). In 1876 he separated from his English partners and founded a new company which, in addition to mosaics, produced ornamental and table glass in a high quality Renaissance style. In the 1870s he also produced pieces in imitation of ancient Roman glass. His company took part in all the universal exhibitions at the end of the 19th century.
Salviati & Co. Murano, Venice, late 19th century.Art Nouveau glass. Blown glass and fine gold inclusions.Similar pieces published with photos in the book "L'Europe de L'Art Verrier" by Giuseppe Cappa, Editorial Mardaga. Pages 408 to 414.Measurements: 23 cm (height); 19 cm (largest diameter).The goblet is made of transparent blown glass in a whitish tone, decorated with fine gold inclusions in the central part of the foot, which is a dolphin. From its technical characteristics we can attribute it to a master glassmaker such as Barovier or Fratelli Toso.Antonio Salviati (Vicenza, 1816-1890) was an Italian lawyer and businessman, founder of a high-class Venetian glass factory, responsible for the revival of the Venetian glass industry in the 19th century.A lawyer by profession, in 1866 they formed a partnership with Austen Henry Layard, the archaeologist who discovered Nineveh, with whom they formed the company Società Salviati e Compagni, based in Venice.The Salviati company won several important commissions, such as the mosaics for the back of the high altar in Westminster Abbey (1867), the ceiling of the Albert Memorial Chapel in Windsor Castle and the Palatine Chapel in Aachen (1870-1875). In 1876 he separated from his English partners and founded a new company which, in addition to mosaics, produced ornamental and table glass in a high quality Renaissance style. In the 1870s he also produced pieces in imitation of ancient Roman glass. His company took part in all the universal exhibitions at the end of the 19th century.
Salviati & Co. Murano, Venice, 19th century.Cup "The Rape of Europa".Blown glass and enamel.Measurements: 35,5 cm (height); 16 cm (largest diameter).It is made of cobalt blue blown glass and the author decorates the central front frieze with the scene of "The Rape of Europa" by Paolo Veronese, according to the inscription on the back, with enamels in different colours, with great realism and detail. It is decorated with geometric and vegetal ornamentation and gilded borders in the manner of a grotesque. From its technical characteristics we can attribute it to the Venice and Murano Company of Antonio Salviati.Antonio Salviati (Vicenza, 1816-1890) was an Italian lawyer and businessman, founder of a high-class Venetian glass factory, responsible for the revival of the Venetian glass industry in the 19th century.A lawyer by profession, in 1866 they formed a partnership with Austen Henry Layard, the archaeologist who discovered Nineveh, with whom they formed the company Società Salviati e Compagni, based in Venice.The Salviati company won several important commissions, such as the mosaics for the back of the high altar in Westminster Abbey (1867), the ceiling of the Albert Memorial Chapel in Windsor Castle and the Palatine Chapel in Aachen (1870-1875).In 1876 he separated from his English partners and founded a new company which, in addition to mosaics, produced ornamental and table glass in a high quality Renaissance style. In the 1870s he also produced pieces in imitation of ancient Roman glass. His company took part in all the universal exhibitions at the end of the 19th century.
Louis XVI side table. France, ca.1780.Walnut.In need of restoration. With faults in the checkered marquetry.Measurements: 74,5 x 49 x 33,5 cm.Louis XVI style side table with chess work on the top. It rests on slender fluted legs, in stipes. The grooves of the legs are prolonged at the waist, in whose design the drawer that houses the rectangular top is concealed.
Louis XVI style dining table, late 19th century.Walnut wood and walnut veneer. Gilt bronze ornaments.Needs refinishing.Measurements: 80 cm (height); 115 cm (diameter).The Louis XVI style contrasts with the Louis XV style by its simplicity, lightness of form and restraint. It returns to the rigour of geometric and rectilinear shapes taken from classical architecture: the rectangle, the square, the circle and the oval, mainly. As can be seen in the round table shown here, the decorative elements are also austere. The shapes of the decorations are symmetrical and the inspiration is to be found in nature and ancient themes. The rocaille disappears and in its place are inserted ornamental details based on classical motifs such as garlands, palms, roses, flaming torches, laurel wreaths, spheres, etc., but always in moderation, without exaggeration, generally in the upper part of the piece of furniture. These pieces of furniture are also smaller than those in the Louis XV style, and many are portable.
Table; Italy, late 18th century.Walnut wood. Ebonised wood, boxwood marquetry, and caywood appliqué.Presents adaptation of the legs from a later period.Measurements: 70 x 82 x 52,5 cm.Italian lyre-leg table from the 18th century, made of walnut, with a single-piece top, legs trimmed and decorated with simple carved details on the fronts and curved iron fasteners. The lyre-leg table originated in Italy in the 16th century as a table, often for representation rather than use. Inspired by the tables of classical antiquity (made of marble and with cross supports), they have two lateral supports which can be removed for transporting the piece of furniture, and which may have a lyre or vase profile. In some cases, these cross supports are decorated with classical Renaissance motifs. In the centre of these supports is an 'H' shaped foot.
Kip (Johannes) Nouveau Theatre de le Grande Bretagne..., 3 vol. and Atlas together in 4 vol. (without Supplement of 1728), titles in red & black with engraved royal arms, 271 engraved plates on 254 sheets by Johannes Kip after Kip, Leonard Knyff and others (mostly as listed, see below), most double-page and/or folding, and 40 engraved maps, all text & plates mounted on stubs, vol.1 part 1 generally clean but the rest with some light soiling or browning, a few large folding plates frayed at edges, some tears and repairs, mostly marginal but occasionally extending into plate, c.75 plates and 25 maps laid down or trimmed close and mounted on later sheets (mostly in vol.2 & 3), handsome panelled mottled calf with gilt-roll borders and corner-pieces, rebacked with gilt spines and red roan labels, rubbed, corners bumped, spine ends a little worn, a few splits to joints, [Berlin Kat. 2328], folio, David Mortier, 1715-16-14-15-14.⁂ Splendid work depicting England's great country houses and estates, as well as views of naval towns, royal palaces, panoramas etc.; including prospects of London, Cambridge, Oxford, Westminster, St.Paul's and Edinburgh, and large folding plates of the royal hospitals of Chelsea & Greenwich, and St.James's, Kensington, Windsor & Hampton Court palaces, the Eddystone lighthouse and extensive royal genealogical table, as well as Kip's magnificent bird's eye views of country houses. This set also includes the atlas of English counties, often missing.Vol.1 ...Description exacte des Palais du Roy, et des Maisons les plus considerables des Seigneurs & des Gentilshommes..., 2 parts in 2 vol., 1715-16, Part 1 with 79 engraved plates, no plate 7 of Windsor Castle as listed but including folding plate 24* of Hatfield House and with plate 12 depicting Broadgate, Leics., rather than Badminton; title creased; Part 2 with 64 engraved plates; plate 2 Alderly from another copy/work (trimmed close and mounted on later sheet), title creasedVol.2 ...Description exacte des Villes, Eglises, Cathedrales, Hopitaux, Ports de Mer..., 1714, 67 engraved plates on 58 sheets including several large folding views and genealogical table; some large folding plates with hole to central fold Vol.3 ...Description exacte des Villes, Eglises, Cathedrales, Hopitaux, Ports de Mer..., 1715, 61 engraved plates on 53 sheets, lacking one plate of Blenheim but with additional plate of the Place of Linlithgow, title browned; Atlas Anglois, ou Description Generale de l'Angleterre, contenant une Description Geographique..., 1714, 40 engraved maps
Becichemus (Marinus) Opera, collation: A-C6 a-c8 d-n6 o8 p-z6 A8 B6, Roman type, initial spaces with guide-letters, z6 blank, occasional contemporary ink marginalia, some mostly unobtrusive wormholes in text and margins, mostly towards end (especially table), a few marginal repairs, mostly marginal water-staining, occasional spotting, lightly browned, late 19th / early 20th century vellum, yapp edges, g.e, earlier red morocco label to spine, lacking ties, little marked, [HC 2729; GW III Sp.587b; Sandal Brescia 35; EDIT 16 CNCE 65173], folio (310 x 215mm.), [Brescia], [Angelus Britannicus], [1504].⁂ A wide-margined copy of this rare work. Becichemus (c.1468-1526) was an Albanian humanist scholar and orator, who held professorships at the Universities of Brescia and Padua.
Wijnblad (Carl) Ritningar På Fyratio Wåningshus..., first edition, engraved frontispiece, folding letterpress table, 25 double-page engraved plates mounted on stubs, contemporary ink inscription of G.Wrangell to title and foot of frontispiece, worming to frontispiece, title and first couple of leaves, plates with light browning to central folds and a few small ink stains, original wrappers, titled in ink on upper cover, rubbed and stained, spine defective, 4to, Stockholm, 1755.⁂ Plans and elevations for Swedish mansions; a second part was published the following year.
De l'Orme (Philibert) Le Premier Tome de l'Architecture, first edition, second issue, Roman type, title with woodcut architectural border, woodcut head-pieces and ornamental initials, 205 woodcut illustrations and diagrams, many full-page, 7 folding or double-page, with blank leaf e6 at end of Table of contents, privilege leaf at end, title lightly soiled and frayed at edges, staining to first few leaves (mostly marginal and to preliminaries), small ink stain to G1 and lower edge of H gathering, some light marginal soiling but generally a good clean copy, later morocco-backed boards, rubbed, rebacked preserving old spine, new morocco label, [Millard French 105; cf.Berlin Kat. 2362 & Fowler 99, first issue of 1567, same collation], folio (c.385 X 250mm.), Paris, Federic Morel, 1568.⁂ The only part published of a projected encyclopaedia of architecture by "the most important architectural theorist of northern Europe in the sixteenth century". (Millard). "Of the three leading early French architectural writers, De Lorme is the most interesting and original, but is less distinguished as an artist than Jean Bullant...and is less versatile as a draughtsman than Du Cerceau...[He] has been called the first modern architect because of his original contributions to construction and his skill as an organizer". (Fowler).
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1181627 item(s)/page