Oil on arched panel; 10 by 8 in; 25.5 x 20 cm; held in an ebonised 17th century style frame
\nProvenance: Private Collection, England

This charming study of a young man depicted in the clothes of the mid 17th century displays the soft tones and brushwork which are key features of the work of Karl Jakob Seybold, an Austrian artist known for his religious compositions and portraits.

Little is actually known about Seybold other than he was active in Vienna from about 1805 to 1821 and seems to have made a satisfactory living from portraiture. Given that the sitter is depicted in 17th century attire it is possible that in this instance he was commissioned to paint this portrait for a family group that needed the inclusion of an earlier relation to make sense schematically. Whatever the reason, the artist has risen to the occasion and produced colourful, highly finished work that demonstrate his abilities as a painter and miniaturist.

","metaDescription","ref","0349","price","","inStock",false,"images",[91],"metadata",{"_86":-7,"_87":-7,"_88":-7,"_89":-7,"_90":-7},"categories",[78,79],"datePublished","2019-06-13T16:00:12","dateModified","2019-06-13T16:00:19",{"_49":83,"_53":84,"_51":85},{"_49":80,"_53":81,"_51":82},21,"Portraits","portraits",20,"Pictures","pictures","year","height","width","depth","diameter",{"_92":93,"_94":95,"_96":65,"_88":97,"_87":97},"src","https://cms.timothylangston.com/wp-content/uploads/2019/06/603057.jpg","srcSet","https://cms.timothylangston.com/wp-content/uploads/2019/06/603057.jpg 400w, https://cms.timothylangston.com/wp-content/uploads/2019/06/603057-253x316.jpg 253w, https://cms.timothylangston.com/wp-content/uploads/2019/06/603057-337x421.jpg 337w","alt",400,2264,"george-richmond-after-sir-anthony-van-dyck-lucas-van-uffel","George Richmond after Sir Anthony van Dyck, Lucas van Uffel","https://cms.timothylangston.com/shop/pictures/portraits/george-richmond-after-sir-anthony-van-dyck-lucas-van-uffel/","/shop/pictures/portraits/george-richmond-after-sir-anthony-van-dyck-lucas-van-uffel/","

Watercolour on paper; 19 by 15 in; 48 x 38 cm; held in a late 19th century Empire style frame by J. & W. Vokins
\nProvenance: Private Collection, England

Lucas van Uffel was a wealthy Flemish merchant and shipowner who lived in Venice and formed a major collection of Italian and Northern European paintings. His date of birth is unknown but his father had settled in Amsterdam by 1591 and Van Uffel was in Venice by 1616. Working with other members of his family, he rapidly became prosperous enough to attract the envy and extortion of the Venetian authorities and in the mid-1630s he moved to Amsterdam, taking with him his important art collection which included paintings by Raphael, Titian, Rubens and others. Van Dyck probably painted him in Venice around 1622, when he was eagerly searching the city for pictures by the Italian masters. The canvas was first recorded in the collection of the Landgraves of Hesse-Kassel in the 1730s and, importantly for the painting presented here, by 1836 was with George Granville Sutherland-Leveson-Gower, 2nd Duke of Sutherland.

Harriet, wife of the 2nd Duke of Sutherland sat for George Richmond in 1846, her portrait being listed in his account books for that year. At the same time as undertaking that commission it seems likely he executed this fine watercolour of van Dyck's painting which was hanging in the Duke's house at the time. Richmond is known to have made sketches and studies of old masters which he encountered, it being recorded in 1844 that he 'painted a copy of Gainsboro' and in December 1849 visited Petworth where he made sketches of the collection of old masters. A study of Queen Henrietta Maria copied from van Dyck emerged in more recent years and follows the portrait in the Royal Collection. (Agnew's, Missing Pages. George Richmond R.A.(1809-1896), London 2001, no. 58).

Richmond's record of Van Dyck's portrait is a magnificent study of a painting that had just been exhibited publicly in London for the first time, no doubt to great interest. (British Institution, June 1845, no. 13 as 'Portrait', lent by the Duke of Sutherland). The chance to produce a highly finished copy in watercolour, a medium in which he excelled, clearly proved too irresistible to the artist. In the compositon the sitter appears active and almost impatient, as if distracted from his learning and pursuit of the arts. The antique head, the drawing, the flute, and the bow of a viola da gamba indicate Van Uffel's interest in the fine arts and music; the celestial globe suggesting knowledge of astronomy and navigation; the dividers perhaps refering to geography as well as astronomy. Whilst capturing the grandeur and energy of van Dyck's original, Richmond has created a work of power and subtlety with unique effect which simultaneously pays homage to the master, yet manages to remain true to his own distinct methods of producing portraits in watercolour.

George Richmond studied at the Royal Academy Schools where he met and formed a lifelong friendship with Samuel Palmer. As a youth he became a disciple of William Blake who had a profound effect on his art, and with Palmer and Edward Calvert he formed 'The Ancients', painting visionary works in the manner of Blake. After his marriage in 1831, Richmond concentrated on portraiture, a field in which he excelled, becoming one of the most prolific portraitists of the Victorian period.

","

Watercolour on paper; 19 by 15 in; 48 x 38 cm; held in a late 19th century Empire style frame by J. & W. Vokins
\nProvenance: Private Collection, England

Harriet, wife of the 2nd Duke of Sutherland sat for George Richmond in 1846, her portrait being listed in his account books for that year. At the same time as undertaking that commission it seems likely he executed this fine watercolour of van Dyck’s painting which was hanging in the Duke’s house at the time. Richmond is known to have made sketches and studies of old masters which he encountered, it being recorded in 1844 that he ‘painted a copy of Gainsboro’ and in December 1849 visited Petworth where he made sketches of the collection of old masters. A study of Queen Henrietta Maria copied from van Dyck emerged in more recent years and follows the portrait in the Royal Collection. (Agnew’s, Missing Pages. George Richmond R.A.(1809-1896), London 2001, no. 58).

Richmond’s record of Van Dyck’s portrait is a magnificent study of a painting that had just been exhibited publicly in London for the first time, no doubt to great interest. (British Institution, June 1845, no. 13 as ‘Portrait’, lent by the Duke of Sutherland). The chance to produce a highly finished copy in watercolour, a medium in which he excelled, clearly proved too irresistible to the artist. In the compositon the sitter appears active and almost impatient, as if distracted from his learning and pursuit of the arts. The antique head, the drawing, the flute, and the bow of a viola da gamba indicate Van Uffel’s interest in the fine arts and music; the celestial globe suggesting knowledge of astronomy and navigation; the dividers perhaps refering to geography as well as astronomy. Whilst capturing the grandeur and energy of van Dyck’s original, Richmond has created a work of power and subtlety with unique effect which simultaneously pays homage to the master, yet manages to remain true to his own distinct methods of producing portraits in watercolour.

George Richmond studied at the Royal Academy Schools where he met and formed a lifelong friendship with Samuel Palmer. As a youth he became a disciple of William Blake who had a profound effect on his art, and with Palmer and Edward Calvert he formed ‘The Ancients’, painting visionary works in the manner of Blake. After his marriage in 1831, Richmond concentrated on portraiture, a field in which he excelled, becoming one of the most prolific portraitists of the Victorian period.

","0350",[112,113],{"_86":-7,"_87":-7,"_88":-7,"_89":-7,"_90":-7},[110,111],"2019-06-13T16:00:21",{"_49":83,"_53":84,"_51":85},{"_49":80,"_53":81,"_51":82},{"_92":117,"_94":118,"_96":65,"_88":119,"_87":119},{"_92":114,"_94":115,"_96":65,"_88":116,"_87":116},"https://cms.timothylangston.com/wp-content/uploads/2019/06/642394.jpg","https://cms.timothylangston.com/wp-content/uploads/2019/06/642394.jpg 1286w, https://cms.timothylangston.com/wp-content/uploads/2019/06/642394-271x316.jpg 271w, https://cms.timothylangston.com/wp-content/uploads/2019/06/642394-1000x1165.jpg 1000w, https://cms.timothylangston.com/wp-content/uploads/2019/06/642394-337x393.jpg 337w, https://cms.timothylangston.com/wp-content/uploads/2019/06/642394-1232x1435.jpg 1232w, https://cms.timothylangston.com/wp-content/uploads/2019/06/642394-879x1024.jpg 879w",1286,"https://cms.timothylangston.com/wp-content/uploads/2019/06/642393.jpg","https://cms.timothylangston.com/wp-content/uploads/2019/06/642393.jpg 1126w, https://cms.timothylangston.com/wp-content/uploads/2019/06/642393-253x316.jpg 253w, https://cms.timothylangston.com/wp-content/uploads/2019/06/642393-1000x1249.jpg 1000w, https://cms.timothylangston.com/wp-content/uploads/2019/06/642393-337x421.jpg 337w, https://cms.timothylangston.com/wp-content/uploads/2019/06/642393-820x1024.jpg 820w",1126,2265,"after-sir-thomas-lawrence-king-george-iv","After Sir Thomas Lawrence, King George IV","https://cms.timothylangston.com/shop/pictures/portraits/after-sir-thomas-lawrence-king-george-iv/","/shop/pictures/portraits/after-sir-thomas-lawrence-king-george-iv/","

Oil on canvas; 20 ½ by 16 ½ in; 52 x 42 cm; held in an empire style frame
\nProvenance: Private Collection, France

This 19th century copy of King George IV is a reduced version of the enormous state portrait by Sir Thomas Lawrence completed c.1820. Many versions and variants exist, some with Lawrence's involvement, others not. Such was the popularity of the portrait - being one of the most defining of his reign - a painter, probably after the King's death, has revisited the image and produced a faithful and interpretive study of this grand and imposing painting.

George, Prince of Wales was given no official duties by his father King George III. Jockeying for power, he sought to undermine the King by siding with the Whig opposition led by Charles James Fox. When the King went temporarily insane in 1788 William Pitt, the Tory Prime Minister, proposed a restricted Regency to protect the King's interests. The King's recovery three months later ended the 'Regency Crisis', but Pitt's Regency Bill was revived during the King's final illness. George was sworn Regent in 1811, crowned King in 1820 and ruled until 1830.

A child prodigy, the gifted Lawrence eventually succeeded Reynolds as Britain's greatest portrait painter. With the temperament and flair to capture the glamour of the age, Lawrence created the image of Regency high-society with dazzling brushwork and an innovative use of colour. His international reputation was ensured when the Prince Regent commissioned portraits of all the foreign leaders involved in the downfall of Napoleon. Lawrence was appointed President of the Royal Academy in 1820.

","

Oil on canvas; 20 ½ by 16 ½ in; 52 x 42 cm; held in an empire style frame
\nProvenance: Private Collection, France

This 19th century copy of King George IV is a reduced version of the enormous state portrait by Sir Thomas Lawrence completed c.1820. Many versions and variants exist, some with Lawrence’s involvement, others not. Such was the popularity of the portrait – being one of the most defining of his reign – a painter, probably after the King’s death, has revisited the image and produced a faithful and interpretive study of this grand and imposing painting.

George, Prince of Wales was given no official duties by his father King George III. Jockeying for power, he sought to undermine the King by siding with the Whig opposition led by Charles James Fox. When the King went temporarily insane in 1788 William Pitt, the Tory Prime Minister, proposed a restricted Regency to protect the King’s interests. The King’s recovery three months later ended the ‘Regency Crisis’, but Pitt’s Regency Bill was revived during the King’s final illness. George was sworn Regent in 1811, crowned King in 1820 and ruled until 1830.

A child prodigy, the gifted Lawrence eventually succeeded Reynolds as Britain’s greatest portrait painter. With the temperament and flair to capture the glamour of the age, Lawrence created the image of Regency high-society with dazzling brushwork and an innovative use of colour. His international reputation was ensured when the Prince Regent commissioned portraits of all the foreign leaders involved in the downfall of Napoleon. Lawrence was appointed President of the Royal Academy in 1820.

","0345",[134,135],{"_86":-7,"_87":-7,"_88":-7,"_89":-7,"_90":-7},[132,133],"2019-06-13T16:00:24",{"_49":83,"_53":84,"_51":85},{"_49":80,"_53":81,"_51":82},{"_92":139,"_94":140,"_96":65,"_88":141,"_87":141},{"_92":136,"_94":137,"_96":65,"_88":138,"_87":138},"https://cms.timothylangston.com/wp-content/uploads/2019/06/642212.jpg","https://cms.timothylangston.com/wp-content/uploads/2019/06/642212.jpg 1371w, https://cms.timothylangston.com/wp-content/uploads/2019/06/642212-250x316.jpg 250w, https://cms.timothylangston.com/wp-content/uploads/2019/06/642212-1000x1266.jpg 1000w, https://cms.timothylangston.com/wp-content/uploads/2019/06/642212-337x427.jpg 337w, https://cms.timothylangston.com/wp-content/uploads/2019/06/642212-1232x1560.jpg 1232w, https://cms.timothylangston.com/wp-content/uploads/2019/06/642212-809x1024.jpg 809w",1371,"https://cms.timothylangston.com/wp-content/uploads/2019/06/642210.jpg","https://cms.timothylangston.com/wp-content/uploads/2019/06/642210.jpg 967w, https://cms.timothylangston.com/wp-content/uploads/2019/06/642210-229x316.jpg 229w, https://cms.timothylangston.com/wp-content/uploads/2019/06/642210-337x466.jpg 337w, https://cms.timothylangston.com/wp-content/uploads/2019/06/642210-741x1024.jpg 741w",967,2267,"german-school-portrait-of-a-gentleman","German School, Portrait of a Gentleman","https://cms.timothylangston.com/shop/pictures/portraits/german-school-portrait-of-a-gentleman/","/shop/pictures/portraits/german-school-portrait-of-a-gentleman/","

Pastel on paper; 10.5 by 9 ins; 27 x 22.5 cm; held in a period fruitwood frame
\nProvenance: English Collection

Whilst the art of pastel portraiture in Britain fell into relative decline by the second quarter of the 19th century in other European countries artists embraced the medium with gusto. Germany and France produced many talented, yet to us now, unknown portraitists in the medium. This particular portrait is deftly drawn and subtly observed, depicting a young man fashionably attired with frock coat, high waistcoat with black silk cravat. His engaging countenance is enhanced by the Romantic styled, unruly, swept hair and, unusually, an earring clearly visible on his right.

","0347",[155],{"_86":-7,"_87":-7,"_88":-7,"_89":-7,"_90":-7},[153,154],"2019-06-13T16:00:27",{"_49":83,"_53":84,"_51":85},{"_49":80,"_53":81,"_51":82},{"_92":156,"_94":157,"_96":65,"_88":158,"_87":158},"https://cms.timothylangston.com/wp-content/uploads/2019/06/603183.jpg","https://cms.timothylangston.com/wp-content/uploads/2019/06/603183.jpg 401w, https://cms.timothylangston.com/wp-content/uploads/2019/06/603183-253x316.jpg 253w, https://cms.timothylangston.com/wp-content/uploads/2019/06/603183-337x420.jpg 337w",401,2268,"english-school-mr-stratton","English School, Mr. Stratton","https://cms.timothylangston.com/shop/pictures/portraits/english-school-mr-stratton/","/shop/pictures/portraits/english-school-mr-stratton/","

Watercolour on paper; 14 ½ by 10 ½ ins; 37 x 27 cm; inscribed on reverse; held in a 19th century gilded wood frame

Depicted in hunting attire Mr. Stratton is shown nonchalantly awaiting the arrival of his horse from the pier-gated stable entrance. Elegantly leaning against a fence, he holds his black top hat in one hand and his riding crop in the other.

The present portrait betrays the hand of a skilled miniature painter principally in the fine handling of the tones and the blended, almost imperceptible, brushstrokes in the face. By contrast the overall background demonstrates a skilled understanding of the art of watercolour painting displaying much precision and expressiveness of approach. Thus combined, these qualities bring a freshness and brilliance of style that highlights the abilities of this, as yet, unknown artist.

It is recorded that a certain Mr. Stratton was an active member of the Grafton Hunt by the 1840s and therefore this fine portrait could possibly be a depiction of this gentleman finished sometime around the early 1830s.

'In the spring of 1847 Lord Southampton bought a pack of hounds from Lord Shannon...by this time I had made the acquaintance of many good sportsmen, and Grafton Fridays were very popular with the Bicester men...There were some good men of our own in those days : Lord Charles FitzRoy, Mr. Rainald Knightley, the present Lord Harrington, Mr.Stratton, and Mr. Fred Yilliers'. (J.M.K. Elliott, 'Fifty Years' Fox-Hunting with the Grafton and Other Packs of Hounds', 1900, p.27)

In 1842, after being ninth Master of the Quorn Hunt from 1827 to 1831, Charles FitzRoy, 3rd Baron Southampton (1804-1872) took over the Mastership of the Grafton Hunt from George FitzRoy, fourth Duke of Grafton, his father's cousin. He remained its Master until 1862.

","

Watercolour on paper; 14 ½ by 10 ½ ins; 37 x 27 cm; inscribed on reverse; held in a 19th century gilded wood frame

‘In the spring of 1847 Lord Southampton bought a pack of hounds from Lord Shannon…by this time I had made the acquaintance of many good sportsmen, and Grafton Fridays were very popular with the Bicester men…There were some good men of our own in those days : Lord Charles FitzRoy, Mr. Rainald Knightley, the present Lord Harrington, Mr.Stratton, and Mr. Fred Yilliers’. (J.M.K. Elliott, ‘Fifty Years’ Fox-Hunting with the Grafton and Other Packs of Hounds’, 1900, p.27)

","0348",[173],{"_86":-7,"_87":-7,"_88":-7,"_89":-7,"_90":-7},[171,172],"2019-06-13T16:00:28",{"_49":83,"_53":84,"_51":85},{"_49":80,"_53":81,"_51":82},{"_92":174,"_94":175,"_96":65,"_88":176,"_87":176},"https://cms.timothylangston.com/wp-content/uploads/2019/06/643238.jpg","https://cms.timothylangston.com/wp-content/uploads/2019/06/643238.jpg 963w, https://cms.timothylangston.com/wp-content/uploads/2019/06/643238-230x316.jpg 230w, https://cms.timothylangston.com/wp-content/uploads/2019/06/643238-337x462.jpg 337w, https://cms.timothylangston.com/wp-content/uploads/2019/06/643238-746x1024.jpg 746w",963,2269,"william-traies-1789-1872-a-rest-by-the-river","William Traies (1789-1872) - A Rest by the River","https://cms.timothylangston.com/shop/pictures/landscapes-and-seascapes/william-traies-1789-1872-a-rest-by-the-river/","/shop/pictures/landscapes-and-seascapes/william-traies-1789-1872-a-rest-by-the-river/","

William Traies was born in Crediton, Devon. He started out being in the postal service but while at Exeter he was encouraged by J. Farington RA and became a landscape painter.

Traies was utterly devoted to art and painting the views of his home county, soon achieving such skill and reputation therein as to earn the sobriquet, ‘The Devonshire Claude’. He captured the lovely dells and rivers of Devon and there is a sensitiveness of the pellucid beauty of fine weather, fine skies, of noble foliage and of untroubled humanity in his paintings. There was also a technical method almost perfect to the requirements of such scenes and to the painter’s intention.

Traies was a wonderful craftsman; his thin but creamy impasto and fine handling of varied greens, his limpid touch on running water and the lucid cobalt of his summer skies will delight all who take pleasure in the mechanism of art.

His finest works largely remain in the manor houses, for which they were painted, retaining still most of the output of William Traies work, and he would have wished no better.

Traies exhibited very little, only 4 paintings at the Royal Academy in London. He died on 28 April 1872 in Exeter.

Works in collections: Chequers Buckinghamshire; Exeter City Council; Inland Revenue; Victoria & Albert Museum; Plymouth City Museum & Art Gallery; Sheffield City Art Galleries; Torre Abbey, Devon; Watford Museum, Hertfordshire.

Bibliography:
\nDictionary of British Landscape Painters – M.H. Grant
\nVictorian Painters – Christopher Wood

Provenance: Cooling Galleries, London

Signed/Inscribed: signed and dated 1856

","

William Traies was born in Crediton, Devon. He started out being in the postal service but while at Exeter he was encouraged by J. Farington RA and became a landscape painter.

His finest works largely remain in the manor houses, for which they were painted, retaining still most of the output of William Traies work, and he would have wished no better.

Traies exhibited very little, only 4 paintings at the Royal Academy in London. He died on 28 April 1872 in Exeter.

Bibliography:
\nDictionary of British Landscape Painters – M.H. Grant
\nVictorian Painters – Christopher Wood

Provenance: Cooling Galleries, London

","0351",[194],{"_86":-7,"_87":-7,"_88":-7,"_89":-7,"_90":-7},[189,190],"2019-06-13T16:00:30",{"_49":83,"_53":84,"_51":85},{"_49":191,"_53":192,"_51":193},35,"Landscapes and Seascapes","landscapes-and-seascapes",{"_92":195,"_94":196,"_96":65,"_88":197,"_87":197},"https://cms.timothylangston.com/wp-content/uploads/2019/06/608090.jpg","https://cms.timothylangston.com/wp-content/uploads/2019/06/608090.jpg 2500w, https://cms.timothylangston.com/wp-content/uploads/2019/06/608090-316x241.jpg 316w, https://cms.timothylangston.com/wp-content/uploads/2019/06/608090-1000x762.jpg 1000w, https://cms.timothylangston.com/wp-content/uploads/2019/06/608090-337x257.jpg 337w, https://cms.timothylangston.com/wp-content/uploads/2019/06/608090-1232x939.jpg 1232w, https://cms.timothylangston.com/wp-content/uploads/2019/06/608090-1024x781.jpg 1024w",2500,2270,"attributed-to-pierre-antoine-lemoyne-1605-1665-still-life-of-vines","Attributed to Pierre Antoine Lemoyne (1605-1665) - Still Life of Vines","https://cms.timothylangston.com/shop/pictures/still-life/attributed-to-pierre-antoine-lemoyne-1605-1665-still-life-of-vines/","/shop/pictures/still-life/attributed-to-pierre-antoine-lemoyne-1605-1665-still-life-of-vines/","

Pierre Lemoyne was born in Paris in 1605. Little has been known of this artist and his body of work until
\nquite recently.

Lemoyne went was to become a painter of flowers, fruit and historical painting, entering the Academy on 1 August 1654.
\nIn 1657 he received a commission to paint a series of decorative pictures for the house of Chancellor Pierre Seguier.

Works by Lemoyne (about four paintings signed to date) all display a consistent mastery of realism in painting fruit and a keen sense of observation, showing voluptuous fruit textures throughout.

Bibl: Benezit

Provenance: Sothebys Sale, Parke Bernet, Monaco 26 June 1983

","0352",[214],{"_86":-7,"_87":-7,"_88":-7,"_89":-7,"_90":-7},[209,210],"2019-06-13T16:00:33",{"_49":83,"_53":84,"_51":85},{"_49":211,"_53":212,"_51":213},37,"Still Life","still-life",{"_92":215,"_94":216,"_96":65,"_88":217,"_87":217},"https://cms.timothylangston.com/wp-content/uploads/2019/06/608091.jpg","https://cms.timothylangston.com/wp-content/uploads/2019/06/608091.jpg 2068w, https://cms.timothylangston.com/wp-content/uploads/2019/06/608091-261x316.jpg 261w, https://cms.timothylangston.com/wp-content/uploads/2019/06/608091-1000x1209.jpg 1000w, https://cms.timothylangston.com/wp-content/uploads/2019/06/608091-337x407.jpg 337w, https://cms.timothylangston.com/wp-content/uploads/2019/06/608091-1232x1489.jpg 1232w, https://cms.timothylangston.com/wp-content/uploads/2019/06/608091-847x1024.jpg 847w",2068,2271,"circle-of-blas-de-ledesma-1546-circa-1600-oil-on-canvas","Circle of Blas de Ledesma (1546 - circa 1600) - Oil on Canvas","https://cms.timothylangston.com/shop/pictures/still-life/circle-of-blas-de-ledesma-1546-circa-1600-oil-on-canvas/","/shop/pictures/still-life/circle-of-blas-de-ledesma-1546-circa-1600-oil-on-canvas/","

It appears that there are quite a number of Bodegon still lifes that carry a period signature of Blas de Ledesma, making the expertise for authenticity very difficult. There are very few works that can be fully authenticated to Ledesma and we are grateful to Dr Peter Cherry who has given his opinion that this is not a work by this artist but a close follower. It is probable that this and other very similar works are from a workshop in Spain operating in the early 17th Century.

These Bodegon paintings have an extraordinary graphic and naturalistic style but few exist on this scale. They create a highly decorative and striking image that has been emulated by a number of later workshops.

Signed/Inscribed: BLAS DE LEDESMA

","

","0353",[232],{"_86":-7,"_87":-7,"_88":-7,"_89":-7,"_90":-7},[230,231],"2019-06-13T16:00:36",{"_49":83,"_53":84,"_51":85},{"_49":211,"_53":212,"_51":213},{"_92":233,"_94":234,"_96":220,"_88":197,"_87":197},"https://cms.timothylangston.com/wp-content/uploads/2019/06/608092.jpg","https://cms.timothylangston.com/wp-content/uploads/2019/06/608092.jpg 2500w, https://cms.timothylangston.com/wp-content/uploads/2019/06/608092-316x211.jpg 316w, https://cms.timothylangston.com/wp-content/uploads/2019/06/608092-1000x669.jpg 1000w, https://cms.timothylangston.com/wp-content/uploads/2019/06/608092-337x226.jpg 337w, https://cms.timothylangston.com/wp-content/uploads/2019/06/608092-1232x824.jpg 1232w, https://cms.timothylangston.com/wp-content/uploads/2019/06/608092-1024x685.jpg 1024w",2272,"pair-of-views-of-venice-saint-marks-square","Pair of Views of Venice - Saint Mark's Square","https://cms.timothylangston.com/shop/pictures/landscapes-and-seascapes/pair-of-views-of-venice-saint-marks-square/","/shop/pictures/landscapes-and-seascapes/pair-of-views-of-venice-saint-marks-square/","

This pair of finely painted works evokes the spirit of the grand Venetian subjects in the mid-18th Century.
\nSuch was the popularity of these subjects by Canaletto, Guardi and others, that other studios sprang up in Italy and Britain, painting pictures in the same style.

It is interesting to note that a number of eminent 19th Century British painters are recorded as having started their careers by making Canaletto style Venetian paintings.

These two paintings date from the turn of the 19th Century and are attributed to Giovanni Migliara.

Santa Maria Della Salute, commonly known simply as the Salute, is an important Roman Catholic Church and minor basilica located in the Dorsoduro sestiere of the Italian City of Venice.

Piazza San Marco, known in English as the St Mark's Square, is the principal public square of Venice, where it is generally known just as 'the Piazza'.

","

It is interesting to note that a number of eminent 19th Century British painters are recorded as having started their careers by making Canaletto style Venetian paintings.

These two paintings date from the turn of the 19th Century and are attributed to Giovanni Migliara.

Santa Maria Della Salute, commonly known simply as the Salute, is an important Roman Catholic Church and minor basilica located in the Dorsoduro sestiere of the Italian City of Venice.

Piazza San Marco, known in English as the St Mark’s Square, is the principal public square of Venice, where it is generally known just as ‘the Piazza’.

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Santa Maria Della Salute","https://cms.timothylangston.com/shop/pictures/landscapes-and-seascapes/pair-of-views-of-venice-santa-maria-della-salute/","/shop/pictures/landscapes-and-seascapes/pair-of-views-of-venice-santa-maria-della-salute/","0355",[273,274,275,276],{"_86":65,"_87":65,"_88":65,"_89":65,"_90":65},[271,272],"2021-07-15T13:51:58",{"_49":83,"_53":84,"_51":85},{"_49":191,"_53":192,"_51":193},{"_92":283,"_94":284,"_96":65,"_88":197,"_87":197},{"_92":281,"_94":282,"_96":65,"_88":197,"_87":197},{"_92":279,"_94":280,"_96":65,"_88":197,"_87":197},{"_92":277,"_94":278,"_96":65,"_88":197,"_87":197},"https://cms.timothylangston.com/wp-content/uploads/2019/06/608101.jpg","https://cms.timothylangston.com/wp-content/uploads/2019/06/608101.jpg 2500w, https://cms.timothylangston.com/wp-content/uploads/2019/06/608101-316x196.jpg 316w, https://cms.timothylangston.com/wp-content/uploads/2019/06/608101-1000x620.jpg 1000w, https://cms.timothylangston.com/wp-content/uploads/2019/06/608101-337x209.jpg 337w, https://cms.timothylangston.com/wp-content/uploads/2019/06/608101-1232x764.jpg 1232w, https://cms.timothylangston.com/wp-content/uploads/2019/06/608101-1024x635.jpg 1024w","https://cms.timothylangston.com/wp-content/uploads/2019/06/608103.jpg","https://cms.timothylangston.com/wp-content/uploads/2019/06/608103.jpg 2500w, https://cms.timothylangston.com/wp-content/uploads/2019/06/608103-316x210.jpg 316w, https://cms.timothylangston.com/wp-content/uploads/2019/06/608103-1000x666.jpg 1000w, https://cms.timothylangston.com/wp-content/uploads/2019/06/608103-337x224.jpg 337w, https://cms.timothylangston.com/wp-content/uploads/2019/06/608103-1232x821.jpg 1232w, https://cms.timothylangston.com/wp-content/uploads/2019/06/608103-1024x682.jpg 1024w","https://cms.timothylangston.com/wp-content/uploads/2019/06/608102.jpg","https://cms.timothylangston.com/wp-content/uploads/2019/06/608102.jpg 2500w, https://cms.timothylangston.com/wp-content/uploads/2019/06/608102-316x196.jpg 316w, https://cms.timothylangston.com/wp-content/uploads/2019/06/608102-1000x620.jpg 1000w, https://cms.timothylangston.com/wp-content/uploads/2019/06/608102-337x209.jpg 337w, https://cms.timothylangston.com/wp-content/uploads/2019/06/608102-1232x763.jpg 1232w, https://cms.timothylangston.com/wp-content/uploads/2019/06/608102-1024x634.jpg 1024w","https://cms.timothylangston.com/wp-content/uploads/2019/06/608104.jpg","https://cms.timothylangston.com/wp-content/uploads/2019/06/608104.jpg 2500w, https://cms.timothylangston.com/wp-content/uploads/2019/06/608104-316x210.jpg 316w, https://cms.timothylangston.com/wp-content/uploads/2019/06/608104-1000x666.jpg 1000w, https://cms.timothylangston.com/wp-content/uploads/2019/06/608104-337x224.jpg 337w, https://cms.timothylangston.com/wp-content/uploads/2019/06/608104-1232x820.jpg 1232w, https://cms.timothylangston.com/wp-content/uploads/2019/06/608104-1024x682.jpg 1024w",2274,"a-canton-enamel-picnic-set","A Canton Enamel Picnic Set","https://cms.timothylangston.com/shop/objects/miscellaneous/a-canton-enamel-picnic-set/","/shop/objects/miscellaneous/a-canton-enamel-picnic-set/","

A Canton Enamel Picnic Set

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A rare and charming pair of reverse glass paintings each featuring the head and shoulders of a Bernese Mountain Dog.

The Bernese mountain dog, in German, the 'Berner Sennenhund', is a large breed of dog, one of the four Sennenhund-type dogs from the Swiss Alps. Berner (or Bernese in English) refers to the area of the breed’s origin, the canton of Bern in Switzerland. Slightly longer than tall, It is a sturdy, large, hardy dog capable of both draft and droving work. This requires a combination of strength, speed and agility. His thick coat is moderately long, and slightly wavy, its expression is gentle, and its colouring striking.

The Bernese mountain dog is a very calm family companion. It is sensitive, perceptive, loyal and extremely devoted. It is gentle with children and generally gets along well with other dogs and other animals.

This pair of reverse glass paintings is rare for its subject matter as much as for its survival. Typically, eighteenth and nineteenth century reverse glass paintings were figurative; but these are more unusually animal portraiture.

","

A rare and charming pair of reverse glass paintings each featuring the head and shoulders of a Bernese Mountain Dog.

The Bernese mountain dog, in German, the ‘Berner Sennenhund’, is a large breed of dog, one of the four Sennenhund-type dogs from the Swiss Alps. Berner (or Bernese in English) refers to the area of the breed’s origin, the canton of Bern in Switzerland. Slightly longer than tall, It is a sturdy, large, hardy dog capable of both draft and droving work. This requires a combination of strength, speed and agility. His thick coat is moderately long, and slightly wavy, its expression is gentle, and its colouring striking.

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A good late eighteenth century blue and white porcelain plate, decorated with a mountainous landscape surrounded by a geometric and floral border.

Qianlong 1736 - 1795

Condition: two minor rim frits, otherwise perfect

","

A good late eighteenth century blue and white porcelain plate, decorated with a mountainous landscape surrounded by a geometric and floral border.

Qianlong 1736 – 1795

Condition: two minor rim frits, otherwise perfect

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A good sized iron red and gilded rouleau vase, decorated with figures, flowers and foliage.

Condition: Perfect

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A Kangxi Period blue and white glazed Chinese Export plate, the central cartouche decorated with antique motifs; the border of flowers and foliage

","0366",[409,410,411],{"_86":-7,"_87":-7,"_88":-7,"_89":-7,"_90":-7},[407,408],"2019-06-13T16:01:09",{"_49":352,"_53":353,"_51":354},{"_49":298,"_53":299,"_51":300},{"_92":417,"_94":418,"_96":65,"_88":419,"_87":419},{"_92":415,"_94":416,"_96":65,"_88":387,"_87":387},{"_92":412,"_94":413,"_96":65,"_88":414,"_87":414},"https://cms.timothylangston.com/wp-content/uploads/2019/06/625871.jpg","https://cms.timothylangston.com/wp-content/uploads/2019/06/625871.jpg 1024w, https://cms.timothylangston.com/wp-content/uploads/2019/06/625871-316x181.jpg 316w, https://cms.timothylangston.com/wp-content/uploads/2019/06/625871-1000x573.jpg 1000w, https://cms.timothylangston.com/wp-content/uploads/2019/06/625871-337x193.jpg 337w",1024,"https://cms.timothylangston.com/wp-content/uploads/2019/06/625873.jpg","https://cms.timothylangston.com/wp-content/uploads/2019/06/625873.jpg 768w, https://cms.timothylangston.com/wp-content/uploads/2019/06/625873-316x316.jpg 316w, https://cms.timothylangston.com/wp-content/uploads/2019/06/625873-190x190.jpg 190w, https://cms.timothylangston.com/wp-content/uploads/2019/06/625873-337x337.jpg 337w, https://cms.timothylangston.com/wp-content/uploads/2019/06/625873-100x100.jpg 100w","https://cms.timothylangston.com/wp-content/uploads/2019/06/625872.jpg","https://cms.timothylangston.com/wp-content/uploads/2019/06/625872.jpg 2114w, https://cms.timothylangston.com/wp-content/uploads/2019/06/625872-316x316.jpg 316w, https://cms.timothylangston.com/wp-content/uploads/2019/06/625872-190x190.jpg 190w, https://cms.timothylangston.com/wp-content/uploads/2019/06/625872-1024x1024.jpg 1024w, https://cms.timothylangston.com/wp-content/uploads/2019/06/625872-1000x1000.jpg 1000w, https://cms.timothylangston.com/wp-content/uploads/2019/06/625872-337x337.jpg 337w, https://cms.timothylangston.com/wp-content/uploads/2019/06/625872-1232x1232.jpg 1232w, https://cms.timothylangston.com/wp-content/uploads/2019/06/625872-100x100.jpg 100w",2114,2296,"a-canton-famille-rose-vase-and-cover","A Canton Famille Rose Vase and Cover","https://cms.timothylangston.com/shop/objects/ceramics/a-canton-famille-rose-vase-and-cover/","/shop/objects/ceramics/a-canton-famille-rose-vase-and-cover/","

A mid-nineteenth century famille rose vase and cover, richly decorated throughout with panels depicting court life and exotic birds.

","0367",[434,435,436,437],{"_86":-7,"_87":-7,"_88":-7,"_89":-7,"_90":-7},[431,432,433],"2019-06-13T16:01:13",{"_49":352,"_53":353,"_51":354},{"_49":298,"_53":299,"_51":300},{"_49":378,"_53":379,"_51":380},{"_92":444,"_94":445,"_96":65,"_88":197,"_87":197},{"_92":442,"_94":443,"_96":65,"_88":387,"_87":387},{"_92":440,"_94":441,"_96":65,"_88":387,"_87":387},{"_92":438,"_94":439,"_96":65,"_88":387,"_87":387},"https://cms.timothylangston.com/wp-content/uploads/2019/06/625893.jpg","https://cms.timothylangston.com/wp-content/uploads/2019/06/625893.jpg 768w, https://cms.timothylangston.com/wp-content/uploads/2019/06/625893-316x316.jpg 316w, https://cms.timothylangston.com/wp-content/uploads/2019/06/625893-190x190.jpg 190w, https://cms.timothylangston.com/wp-content/uploads/2019/06/625893-337x337.jpg 337w, https://cms.timothylangston.com/wp-content/uploads/2019/06/625893-100x100.jpg 100w","https://cms.timothylangston.com/wp-content/uploads/2019/06/625890.jpg","https://cms.timothylangston.com/wp-content/uploads/2019/06/625890.jpg 768w, https://cms.timothylangston.com/wp-content/uploads/2019/06/625890-316x316.jpg 316w, https://cms.timothylangston.com/wp-content/uploads/2019/06/625890-190x190.jpg 190w, https://cms.timothylangston.com/wp-content/uploads/2019/06/625890-337x337.jpg 337w, https://cms.timothylangston.com/wp-content/uploads/2019/06/625890-100x100.jpg 100w","https://cms.timothylangston.com/wp-content/uploads/2019/06/625892.jpg","https://cms.timothylangston.com/wp-content/uploads/2019/06/625892.jpg 768w, https://cms.timothylangston.com/wp-content/uploads/2019/06/625892-316x316.jpg 316w, https://cms.timothylangston.com/wp-content/uploads/2019/06/625892-190x190.jpg 190w, https://cms.timothylangston.com/wp-content/uploads/2019/06/625892-337x337.jpg 337w, https://cms.timothylangston.com/wp-content/uploads/2019/06/625892-100x100.jpg 100w","https://cms.timothylangston.com/wp-content/uploads/2019/06/625891.jpg","https://cms.timothylangston.com/wp-content/uploads/2019/06/625891.jpg 2500w, https://cms.timothylangston.com/wp-content/uploads/2019/06/625891-316x316.jpg 316w, https://cms.timothylangston.com/wp-content/uploads/2019/06/625891-190x190.jpg 190w, https://cms.timothylangston.com/wp-content/uploads/2019/06/625891-1024x1024.jpg 1024w, https://cms.timothylangston.com/wp-content/uploads/2019/06/625891-1000x1000.jpg 1000w, https://cms.timothylangston.com/wp-content/uploads/2019/06/625891-337x337.jpg 337w, https://cms.timothylangston.com/wp-content/uploads/2019/06/625891-1232x1232.jpg 1232w, https://cms.timothylangston.com/wp-content/uploads/2019/06/625891-100x100.jpg 100w",2297,"a-pietra-dura-derbyshire-table","A Pietra Dura Derbyshire Table","https://cms.timothylangston.com/shop/furniture/tables-desks/a-pietra-dura-derbyshire-table/","/shop/furniture/tables-desks/a-pietra-dura-derbyshire-table/","

A Pietra Dura Derbyshire table, the octagonal top inlaid with specimen marbles and stones in a segmental configuration around a central circular floral plaque and raised on a turned tapering column terminating in a concave triform plinth with bun feet.

Pietra Dura is a process used in the manufacturing of inlaid marble table tops, decorative vases and boxes. It is a technique in which highly intricate decoration is composed by small precious hard stones. Its main traces are in ancient Italian art: the name Pietra Dura means “hard stones”. The process employs a highly delicate technique to integrate small coloured stones such as agates, alabaster, amethyst, jade, lapis lazuli, malachite and topazto, to form intricate sculptures.

DERBYSHIRE MARBLE

Derbyshire black marble items with delicate inlaid scenes and objects of this type are rare and early, and often appear described incorrectly as Italian pietra dura. Italian pietra dura is inlaid in actual marble, which is very different from Ashford Black Marble - a polished limestone that starts out a bluish-grey colour and is unique to Derbyshire. Continental black marble has a harder shine and a more intense black ground, whereas the Derbyshire version has a softer sheen, even when highly polished.

According to William Adams’ 'Gem of the Peak', first published in 1838, Ashford Black Marble was first worked into ornaments by the important Derby spar manufacturers Brown & Mawe of King Street. This firm was a late partnership between spar turner Richard Brown (1736-1816) and geological pioneer John Mawe (1766-1829), at the important purpose-built works at the corner of St Helens Street - recently demolished.

Adam claimed Brown and Mawe began using Ashford Black Marble around 1804 to make obelisks, vases, chimneypieces and especially tables, the latter based on drawings by the celebrated John Flaxman who contributed to the design of Josiah Wegwoods basalt wares. The stone was in demand especially for the embellishment of chimneypieces in grander Elizabethan houses - Hardwick Hall being an excellent example.

From the outset, inlays were added for embellishment, described by Adam as 'mosaic work'. This began with simple geometrical shapes such as lozenges and rectangles, especially chess boards for table tops; but later, Mawe, who set up on his own at Matlock Bath in 1812, began inlaying specimen Derbyshire polished limestones, also intermixing them with chips of European marbles, imported especially for the purpose - as with this example. Later Mawe, who also had a showroom in Cheltenham, began to make what he termed 'Florence Work', in close imitation of Italian pietra dura decoration.

The present table is a classic example of Florence Work (specifically for the charming central cartouche of floral sprigs) with radiating panels of specimen marbles set about it. The technique originally consisted of shaping coloured stones, and then adding them to decorative objects and sculptures made out of marble, wood or bone. During the Renaissance this art was resurrected by Italian craftsmen and the first hard-stone workshop was established by the Medici family in Florence in 1588.

The county of Derbyshire in England has a rich mining history and this table is a good example of Pietra Dura work from this region.

","

DERBYSHIRE MARBLE

Derbyshire black marble items with delicate inlaid scenes and objects of this type are rare and early, and often appear described incorrectly as Italian pietra dura. Italian pietra dura is inlaid in actual marble, which is very different from Ashford Black Marble – a polished limestone that starts out a bluish-grey colour and is unique to Derbyshire. Continental black marble has a harder shine and a more intense black ground, whereas the Derbyshire version has a softer sheen, even when highly polished.

According to William Adams’ ‘Gem of the Peak’, first published in 1838, Ashford Black Marble was first worked into ornaments by the important Derby spar manufacturers Brown & Mawe of King Street. This firm was a late partnership between spar turner Richard Brown (1736-1816) and geological pioneer John Mawe (1766-1829), at the important purpose-built works at the corner of St Helens Street – recently demolished.

From the outset, inlays were added for embellishment, described by Adam as ‘mosaic work’. This began with simple geometrical shapes such as lozenges and rectangles, especially chess boards for table tops; but later, Mawe, who set up on his own at Matlock Bath in 1812, began inlaying specimen Derbyshire polished limestones, also intermixing them with chips of European marbles, imported especially for the purpose – as with this example. Later Mawe, who also had a showroom in Cheltenham, began to make what he termed ‘Florence Work’, in close imitation of Italian pietra dura decoration.

The county of Derbyshire in England has a rich mining history and this table is a good example of Pietra Dura work from this region.

","0368",[466,467],{"_86":-7,"_87":-7,"_88":-7,"_89":-7,"_90":-7},[458,459],"2019-06-13T16:01:15",{"_49":463,"_53":464,"_51":465},{"_49":460,"_53":461,"_51":462},27,"Tables & Desks","tables-desks",22,"Furniture","furniture",{"_92":470,"_94":471,"_96":65,"_88":307,"_87":307},{"_92":468,"_94":469,"_96":65,"_88":307,"_87":307},"https://cms.timothylangston.com/wp-content/uploads/2019/06/629469.jpg","https://cms.timothylangston.com/wp-content/uploads/2019/06/629469.jpg 1000w, https://cms.timothylangston.com/wp-content/uploads/2019/06/629469-316x316.jpg 316w, https://cms.timothylangston.com/wp-content/uploads/2019/06/629469-190x190.jpg 190w, https://cms.timothylangston.com/wp-content/uploads/2019/06/629469-337x337.jpg 337w, https://cms.timothylangston.com/wp-content/uploads/2019/06/629469-100x100.jpg 100w","https://cms.timothylangston.com/wp-content/uploads/2019/06/629468.jpg","https://cms.timothylangston.com/wp-content/uploads/2019/06/629468.jpg 1000w, https://cms.timothylangston.com/wp-content/uploads/2019/06/629468-316x316.jpg 316w, https://cms.timothylangston.com/wp-content/uploads/2019/06/629468-190x190.jpg 190w, https://cms.timothylangston.com/wp-content/uploads/2019/06/629468-337x337.jpg 337w, https://cms.timothylangston.com/wp-content/uploads/2019/06/629468-100x100.jpg 100w",2298,"a-charles-x-period-mahogany-gueridon","A Charles X Period Mahogany Gueridon","https://cms.timothylangston.com/shop/furniture/tables-desks/a-charles-x-period-mahogany-gueridon/","/shop/furniture/tables-desks/a-charles-x-period-mahogany-gueridon/","

A Charles X Period mahogany gueridon, having a circular grey marble top, set upon veneered frieze above a faceted baluster stem, terminating in a triform plinth base with scrolling supports and carved lions paw feet.

Charles X, the Count d’Artois and Louis XVI’s younger brother, was born in 1757 at the Palace of Versailles. At the age of sixteen he married Marie Therese of Savoy. The couple, unlike Louis XVI and Marie Antoinette, gave birth to a boy almost immediately.

After the death of Louis XVIII in 1824, Charles succeeded him as King of France. Having been a patron of the arts during the Ancient Régime, during his reign, furnishings were adapted to the tastes and needs of the new Bourgeois society. Balzac in his novels describes comfortable apartments adapted to the new focus on family life.

Regency style furniture was imported from England and the main furniture and cabinet makers of the time were the sons of Georges Jacob, Baudry, Jeanselme, and Werner.

While mahogany remained the favoured timber of the day, light coloured woods such as lemon tree, maple and the delicate elm were very fashionable too and there was a great fashion for inlay work. The marquetry was minimal: inlays of amaranth, or rosewood, dark woods that contrast with the lighter hues. Stylised clasps and palmette motives were also inlaid and fine lines underlined the structure. Table legs often rested on carved, stylised animal paw feet. The marbles used were whites, light or dark greys and black while gilding and ormolu were reduced to the minimum.

The style favoured naturalistic motifs such as foliage, palmettes and roses. Charles X furniture is also influenced by the Troubadour or “cathédrale” aesthetic which resurrects the Middle-Ages and even the Renaissance period.

The reign of Charles X, lasted six years and ended with the July Revolution and the setting up of the July Monarchy.

This table would have belonged to the wealthy Bourgeois class. Its veneer work and carving is of the highest standard and it would have been made for a grand salon, most probably in a city house.

","0369",[485],{"_86":-7,"_87":-7,"_88":-7,"_89":-7,"_90":-7},[483,484],"2019-06-13T16:01:16",{"_49":463,"_53":464,"_51":465},{"_49":460,"_53":461,"_51":462},{"_92":486,"_94":487,"_96":65,"_88":307,"_87":307},"https://cms.timothylangston.com/wp-content/uploads/2019/06/629485.jpg","https://cms.timothylangston.com/wp-content/uploads/2019/06/629485.jpg 1000w, https://cms.timothylangston.com/wp-content/uploads/2019/06/629485-316x316.jpg 316w, https://cms.timothylangston.com/wp-content/uploads/2019/06/629485-190x190.jpg 190w, https://cms.timothylangston.com/wp-content/uploads/2019/06/629485-337x337.jpg 337w, https://cms.timothylangston.com/wp-content/uploads/2019/06/629485-100x100.jpg 100w",2299,"a-pair-of-aster-pattern-blue-and-white-porcelain-dishes","A Pair of Aster Pattern Blue and White Porcelain Dishes","https://cms.timothylangston.com/shop/objects/ceramics/a-pair-of-aster-pattern-blue-and-white-porcelain-dishes/","/shop/objects/ceramics/a-pair-of-aster-pattern-blue-and-white-porcelain-dishes/","

A pair of aster pattern blue and white glazed dishes.

Kangxi Period

","0370",[501],{"_86":-7,"_87":-7,"_88":-7,"_89":-7,"_90":-7},[499,500],"2019-06-13T16:01:20",{"_49":352,"_53":353,"_51":354},{"_49":298,"_53":299,"_51":300},{"_92":502,"_94":503,"_96":65,"_88":197,"_87":197},"https://cms.timothylangston.com/wp-content/uploads/2019/06/629532.jpg","https://cms.timothylangston.com/wp-content/uploads/2019/06/629532.jpg 2500w, https://cms.timothylangston.com/wp-content/uploads/2019/06/629532-316x316.jpg 316w, https://cms.timothylangston.com/wp-content/uploads/2019/06/629532-190x190.jpg 190w, https://cms.timothylangston.com/wp-content/uploads/2019/06/629532-1024x1024.jpg 1024w, https://cms.timothylangston.com/wp-content/uploads/2019/06/629532-1000x1000.jpg 1000w, https://cms.timothylangston.com/wp-content/uploads/2019/06/629532-337x337.jpg 337w, https://cms.timothylangston.com/wp-content/uploads/2019/06/629532-1232x1232.jpg 1232w, https://cms.timothylangston.com/wp-content/uploads/2019/06/629532-100x100.jpg 100w",2300,"a-george-i-walnut-fretwork-mirror","A George I Walnut Fretwork Mirror","https://cms.timothylangston.com/shop/furniture/mirrors/a-george-i-walnut-fretwork-mirror/","/shop/furniture/mirrors/a-george-i-walnut-fretwork-mirror/","

An early 18th century George I Period walnut mirror with fretwork cresting, veneer moulded frame and the original beveled plate.

","0371",[520],{"_86":-7,"_87":-7,"_88":-7,"_89":-7,"_90":-7},[515,516],"2019-06-13T16:01:23",{"_49":463,"_53":464,"_51":465},{"_49":517,"_53":518,"_51":519},23,"Antique Mirrors","mirrors",{"_92":521,"_94":522,"_96":506,"_88":197,"_87":197},"https://cms.timothylangston.com/wp-content/uploads/2019/06/629536.jpg","https://cms.timothylangston.com/wp-content/uploads/2019/06/629536.jpg 2500w, https://cms.timothylangston.com/wp-content/uploads/2019/06/629536-316x316.jpg 316w, https://cms.timothylangston.com/wp-content/uploads/2019/06/629536-190x190.jpg 190w, https://cms.timothylangston.com/wp-content/uploads/2019/06/629536-1024x1024.jpg 1024w, https://cms.timothylangston.com/wp-content/uploads/2019/06/629536-1000x1000.jpg 1000w, https://cms.timothylangston.com/wp-content/uploads/2019/06/629536-337x337.jpg 337w, https://cms.timothylangston.com/wp-content/uploads/2019/06/629536-1232x1232.jpg 1232w, https://cms.timothylangston.com/wp-content/uploads/2019/06/629536-100x100.jpg 100w",2301,"a-20th-century-adam-style-console-table","A 20th Century Adam Style Console Table","https://cms.timothylangston.com/shop/furniture/painted-furniture/a-20th-century-adam-style-console-table/","/shop/furniture/painted-furniture/a-20th-century-adam-style-console-table/","

A mid-20th century carved and painted console table in the Adam taste, having a polished granite top above a guilloche frieze and raised upon fluted tapering legs headed by paterae and terminating in palmette feet

","0372",[540],{"_86":-7,"_87":-7,"_88":-7,"_89":-7,"_90":-7},[534,535,536],"2019-06-13T16:01:25",{"_49":463,"_53":464,"_51":465},{"_49":537,"_53":538,"_51":539},{"_49":460,"_53":461,"_51":462},40,"Painted Furniture","painted-furniture",{"_92":541,"_94":542,"_96":65,"_88":197,"_87":197},"https://cms.timothylangston.com/wp-content/uploads/2019/06/629538.jpg","https://cms.timothylangston.com/wp-content/uploads/2019/06/629538.jpg 2500w, https://cms.timothylangston.com/wp-content/uploads/2019/06/629538-316x316.jpg 316w, https://cms.timothylangston.com/wp-content/uploads/2019/06/629538-190x190.jpg 190w, https://cms.timothylangston.com/wp-content/uploads/2019/06/629538-1024x1024.jpg 1024w, https://cms.timothylangston.com/wp-content/uploads/2019/06/629538-1000x1000.jpg 1000w, https://cms.timothylangston.com/wp-content/uploads/2019/06/629538-337x337.jpg 337w, https://cms.timothylangston.com/wp-content/uploads/2019/06/629538-1232x1232.jpg 1232w, https://cms.timothylangston.com/wp-content/uploads/2019/06/629538-100x100.jpg 100w",2316,"a-pair-of-18th-century-sheffield-plate-candelabra","A Pair of 18th Century Sheffield Plate Candelabra","https://cms.timothylangston.com/shop/lighting/chandeliers-and-candlesticks/a-pair-of-18th-century-sheffield-plate-candelabra/","/shop/lighting/chandeliers-and-candlesticks/a-pair-of-18th-century-sheffield-plate-candelabra/","

A fine late 18th century pair of Sheffield Plate candelabra in the Adam taste, each candelabrum having a central stem supporting three candle socles with looped branches and set upon oval bases.

In the 18th century, due to an increasing prosperity, the search for a substitute for silver for the middle classes led to the invention of Sheffield Plate by Thomas Boulsover.

The new material was made by fusing a sheet of sterling silver to a copper ingot in a furnace. Following that, the resulting material was hammered or rolled into a sheet and made up into both practical and decorative objects. It was used for pieces such as bowls and mugs.
\nFrom the end of the 18th century, the shapes of Sheffield Plate pieces became increasingly ornamental. The decoration of Sheffield Plate is always flat-chased. Engraving is not a feature of Sheffield Plate, except where coats of arms are concerned. Much Sheffield Plate is unmarked, although some makers preferred to use a symbol.

Today, these early works of silver plate often have higher value than their sterling silver counterparts. The reason is simple: collectors recognise the significance and beauty of early Sheffield Plate, especially pieces by a great Sheffield makers such as Matthew Boulton.

This pair of candelabra in Old Sheffield plate, each with three lights in a simple classical style and removable sconces has a purity of form typical of designs form the last quarter of the eighteenth century in England. There is very little rubbing to the silver plate and the candle arms retain all the original socles.

","0373",[562,563],{"_86":-7,"_87":-7,"_88":-7,"_89":-7,"_90":-7},[554,555],"2019-06-13T16:01:30",{"_49":559,"_53":560,"_51":561},{"_49":556,"_53":557,"_51":558},24,"Lighting","lighting",25,"Chandeliers and Candlesticks","chandeliers-and-candlesticks",{"_92":566,"_94":567,"_96":65,"_88":197,"_87":197},{"_92":564,"_94":565,"_96":65,"_88":197,"_87":197},"https://cms.timothylangston.com/wp-content/uploads/2019/06/629550.jpg","https://cms.timothylangston.com/wp-content/uploads/2019/06/629550.jpg 2500w, https://cms.timothylangston.com/wp-content/uploads/2019/06/629550-316x316.jpg 316w, https://cms.timothylangston.com/wp-content/uploads/2019/06/629550-190x190.jpg 190w, https://cms.timothylangston.com/wp-content/uploads/2019/06/629550-1024x1024.jpg 1024w, https://cms.timothylangston.com/wp-content/uploads/2019/06/629550-1000x1000.jpg 1000w, https://cms.timothylangston.com/wp-content/uploads/2019/06/629550-337x337.jpg 337w, https://cms.timothylangston.com/wp-content/uploads/2019/06/629550-1232x1232.jpg 1232w, https://cms.timothylangston.com/wp-content/uploads/2019/06/629550-100x100.jpg 100w","https://cms.timothylangston.com/wp-content/uploads/2019/06/631370.jpg","https://cms.timothylangston.com/wp-content/uploads/2019/06/631370.jpg 2500w, https://cms.timothylangston.com/wp-content/uploads/2019/06/631370-316x316.jpg 316w, https://cms.timothylangston.com/wp-content/uploads/2019/06/631370-190x190.jpg 190w, https://cms.timothylangston.com/wp-content/uploads/2019/06/631370-1024x1024.jpg 1024w, https://cms.timothylangston.com/wp-content/uploads/2019/06/631370-1000x1000.jpg 1000w, https://cms.timothylangston.com/wp-content/uploads/2019/06/631370-337x337.jpg 337w, https://cms.timothylangston.com/wp-content/uploads/2019/06/631370-1232x1232.jpg 1232w, https://cms.timothylangston.com/wp-content/uploads/2019/06/631370-100x100.jpg 100w",2317,"a-regency-period-mahogany-breakfast-table","A Regency Period Mahogany Breakfast Table","https://cms.timothylangston.com/shop/furniture/tables-desks/a-regency-period-mahogany-breakfast-table/","/shop/furniture/tables-desks/a-regency-period-mahogany-breakfast-table/","

An early 19th century Regency Period mahogany breakfast table, the rectangular crossbanded top with shaped corners and set upon a turned stem with four reeded splayed legs with the original brass castors.

","0374",[581,582,583],{"_86":-7,"_87":-7,"_88":-7,"_89":-7,"_90":-7},[579,580],"2019-06-13T16:01:38",{"_49":463,"_53":464,"_51":465},{"_49":460,"_53":461,"_51":462},{"_92":588,"_94":589,"_96":65,"_88":197,"_87":197},{"_92":586,"_94":587,"_96":65,"_88":197,"_87":197},{"_92":584,"_94":585,"_96":65,"_88":197,"_87":197},"https://cms.timothylangston.com/wp-content/uploads/2019/06/629563.jpg","https://cms.timothylangston.com/wp-content/uploads/2019/06/629563.jpg 2500w, https://cms.timothylangston.com/wp-content/uploads/2019/06/629563-316x316.jpg 316w, https://cms.timothylangston.com/wp-content/uploads/2019/06/629563-190x190.jpg 190w, https://cms.timothylangston.com/wp-content/uploads/2019/06/629563-1024x1024.jpg 1024w, https://cms.timothylangston.com/wp-content/uploads/2019/06/629563-1000x1000.jpg 1000w, https://cms.timothylangston.com/wp-content/uploads/2019/06/629563-337x337.jpg 337w, https://cms.timothylangston.com/wp-content/uploads/2019/06/629563-1232x1232.jpg 1232w, https://cms.timothylangston.com/wp-content/uploads/2019/06/629563-100x100.jpg 100w","https://cms.timothylangston.com/wp-content/uploads/2019/06/629565.jpg","https://cms.timothylangston.com/wp-content/uploads/2019/06/629565.jpg 2500w, https://cms.timothylangston.com/wp-content/uploads/2019/06/629565-316x316.jpg 316w, https://cms.timothylangston.com/wp-content/uploads/2019/06/629565-190x190.jpg 190w, https://cms.timothylangston.com/wp-content/uploads/2019/06/629565-1024x1024.jpg 1024w, https://cms.timothylangston.com/wp-content/uploads/2019/06/629565-1000x1000.jpg 1000w, https://cms.timothylangston.com/wp-content/uploads/2019/06/629565-337x337.jpg 337w, https://cms.timothylangston.com/wp-content/uploads/2019/06/629565-1232x1232.jpg 1232w, https://cms.timothylangston.com/wp-content/uploads/2019/06/629565-100x100.jpg 100w","https://cms.timothylangston.com/wp-content/uploads/2019/06/629564.jpg","https://cms.timothylangston.com/wp-content/uploads/2019/06/629564.jpg 2500w, https://cms.timothylangston.com/wp-content/uploads/2019/06/629564-316x316.jpg 316w, https://cms.timothylangston.com/wp-content/uploads/2019/06/629564-190x190.jpg 190w, https://cms.timothylangston.com/wp-content/uploads/2019/06/629564-1024x1024.jpg 1024w, https://cms.timothylangston.com/wp-content/uploads/2019/06/629564-1000x1000.jpg 1000w, https://cms.timothylangston.com/wp-content/uploads/2019/06/629564-337x337.jpg 337w, https://cms.timothylangston.com/wp-content/uploads/2019/06/629564-1232x1232.jpg 1232w, https://cms.timothylangston.com/wp-content/uploads/2019/06/629564-100x100.jpg 100w",2318,"a-pair-of-late-ming-dynasty-blue-and-white-plates","A Pair of Late Ming Dynasty Blue and White Plates","https://cms.timothylangston.com/shop/objects/ceramics/a-pair-of-late-ming-dynasty-blue-and-white-plates/","/shop/objects/ceramics/a-pair-of-late-ming-dynasty-blue-and-white-plates/","

A pair of late Ming Dynasty blue and white porcelain plates

","0375",[603],{"_86":-7,"_87":-7,"_88":-7,"_89":-7,"_90":-7},[601,602],"2019-06-13T16:01:41",{"_49":352,"_53":353,"_51":354},{"_49":298,"_53":299,"_51":300},{"_92":604,"_94":605,"_96":65,"_88":197,"_87":197},"https://cms.timothylangston.com/wp-content/uploads/2019/06/629588.jpg","https://cms.timothylangston.com/wp-content/uploads/2019/06/629588.jpg 2500w, https://cms.timothylangston.com/wp-content/uploads/2019/06/629588-316x316.jpg 316w, https://cms.timothylangston.com/wp-content/uploads/2019/06/629588-190x190.jpg 190w, https://cms.timothylangston.com/wp-content/uploads/2019/06/629588-1024x1024.jpg 1024w, https://cms.timothylangston.com/wp-content/uploads/2019/06/629588-1000x1000.jpg 1000w, https://cms.timothylangston.com/wp-content/uploads/2019/06/629588-337x337.jpg 337w, https://cms.timothylangston.com/wp-content/uploads/2019/06/629588-1232x1232.jpg 1232w, https://cms.timothylangston.com/wp-content/uploads/2019/06/629588-100x100.jpg 100w",2319,"a-fine-18th-century-inlaid-demi-lune-mahogany-tea-table","A Fine 18th Century Inlaid Demi-lune Mahogany Tea Table","https://cms.timothylangston.com/shop/furniture/tables-desks/a-fine-18th-century-inlaid-demi-lune-mahogany-tea-table/","/shop/furniture/tables-desks/a-fine-18th-century-inlaid-demi-lune-mahogany-tea-table/","

A fine late 18th Century inlaid mahogany tea table in the manner of William Moore of Dublin, the frieze with central drawer and gilt metal handle, having parquetry inlaid borders set around fiddleback mahogany panels, the square tapering legs with stylised husks and raised on the original brass castors.

William Moore was working in the late 18th Century and had a residence and workshop on Inns Quay and Charles Street Dublin. After some years in Dublin, he travelled to London where he entered the workshop of Mayhew & Ince, the most famous cabinet makers in England at that time. Moore trained in London with Mayhew & Ince and his marquetry is similar in its drawing to that on pieces from their workshop (such as the Duchess of Manchester's cabinet also in the V&A's collection, W.43-1949).

Mayhew & Ince and the architect Robert Adam - Moore’s previous mentor, had worked on several prestigious houses together such as Adelphi, Croome Court, Derby House and their notable list of clients included the Prince of Wales, Duke of Beaufort and the Duke of Devonshire. After this exposure to the grandest projects of his age, in 1777 Moore returned to Dublin where he was encouraged to start his own business as a cabinet-maker in the capital city.

The history of this tea table is unknown, but its deep frieze and marquetry relate closely to recorded examples by William Moore: Moore supplied a commode of similar colour and form to the Duke of Portland in 1782.

","

William Moore was working in the late 18th Century and had a residence and workshop on Inns Quay and Charles Street Dublin. After some years in Dublin, he travelled to London where he entered the workshop of Mayhew & Ince, the most famous cabinet makers in England at that time. Moore trained in London with Mayhew & Ince and his marquetry is similar in its drawing to that on pieces from their workshop (such as the Duchess of Manchester’s cabinet also in the V&A’s collection, W.43-1949).

Mayhew & Ince and the architect Robert Adam – Moore’s previous mentor, had worked on several prestigious houses together such as Adelphi, Croome Court, Derby House and their notable list of clients included the Prince of Wales, Duke of Beaufort and the Duke of Devonshire. After this exposure to the grandest projects of his age, in 1777 Moore returned to Dublin where he was encouraged to start his own business as a cabinet-maker in the capital city.

","0376",[620,621],{"_86":-7,"_87":-7,"_88":-7,"_89":-7,"_90":-7},[618,619],"2019-06-13T16:01:46",{"_49":463,"_53":464,"_51":465},{"_49":460,"_53":461,"_51":462},{"_92":624,"_94":625,"_96":65,"_88":197,"_87":197},{"_92":622,"_94":623,"_96":65,"_88":197,"_87":197},"https://cms.timothylangston.com/wp-content/uploads/2019/06/629605.jpg","https://cms.timothylangston.com/wp-content/uploads/2019/06/629605.jpg 2500w, https://cms.timothylangston.com/wp-content/uploads/2019/06/629605-316x316.jpg 316w, https://cms.timothylangston.com/wp-content/uploads/2019/06/629605-190x190.jpg 190w, https://cms.timothylangston.com/wp-content/uploads/2019/06/629605-1024x1024.jpg 1024w, https://cms.timothylangston.com/wp-content/uploads/2019/06/629605-1000x1000.jpg 1000w, https://cms.timothylangston.com/wp-content/uploads/2019/06/629605-337x337.jpg 337w, https://cms.timothylangston.com/wp-content/uploads/2019/06/629605-1232x1232.jpg 1232w, https://cms.timothylangston.com/wp-content/uploads/2019/06/629605-100x100.jpg 100w","https://cms.timothylangston.com/wp-content/uploads/2019/06/629604.jpg","https://cms.timothylangston.com/wp-content/uploads/2019/06/629604.jpg 2500w, https://cms.timothylangston.com/wp-content/uploads/2019/06/629604-316x316.jpg 316w, https://cms.timothylangston.com/wp-content/uploads/2019/06/629604-190x190.jpg 190w, https://cms.timothylangston.com/wp-content/uploads/2019/06/629604-1024x1024.jpg 1024w, https://cms.timothylangston.com/wp-content/uploads/2019/06/629604-1000x1000.jpg 1000w, https://cms.timothylangston.com/wp-content/uploads/2019/06/629604-337x337.jpg 337w, https://cms.timothylangston.com/wp-content/uploads/2019/06/629604-1232x1232.jpg 1232w, https://cms.timothylangston.com/wp-content/uploads/2019/06/629604-100x100.jpg 100w",2320,"a-kraakware-charger","A Kraakware Charger","https://cms.timothylangston.com/shop/objects/ceramics/a-kraakware-charger/","/shop/objects/ceramics/a-kraakware-charger/","

An early 17th Century blue and white porcelain Kraakware charger.

(Hairline crack to one side)

Using a technique perfected during the Ming dynasty, Kraak porcelain was often painted using a glazed cobalt blue. Underglazing is a method of applying the pigment to the ceramic surface before it is completely enamelled thus making the decoration completely durable.

Divided into compartments or panels, each decorated with a distinct image, kraak porcelain’s surface was generally painted with various traditional Chinese motives, such as peonies and chrysanthemums, and classic Buddhist emblems.

There are a few hypothesis concerning the etymology of the name “kraak,” with common notion holding that it ties to the Carracks, the Portuguese ships originally used for transporting this fragile cargo.

","0377",[639],{"_86":-7,"_87":-7,"_88":-7,"_89":-7,"_90":-7},[637,638],"2019-06-13T16:01:49",{"_49":352,"_53":353,"_51":354},{"_49":298,"_53":299,"_51":300},{"_92":640,"_94":641,"_96":65,"_88":197,"_87":197},"https://cms.timothylangston.com/wp-content/uploads/2019/06/629613.jpg","https://cms.timothylangston.com/wp-content/uploads/2019/06/629613.jpg 2500w, https://cms.timothylangston.com/wp-content/uploads/2019/06/629613-316x316.jpg 316w, https://cms.timothylangston.com/wp-content/uploads/2019/06/629613-190x190.jpg 190w, https://cms.timothylangston.com/wp-content/uploads/2019/06/629613-1024x1024.jpg 1024w, https://cms.timothylangston.com/wp-content/uploads/2019/06/629613-1000x1000.jpg 1000w, https://cms.timothylangston.com/wp-content/uploads/2019/06/629613-337x337.jpg 337w, https://cms.timothylangston.com/wp-content/uploads/2019/06/629613-1232x1232.jpg 1232w, https://cms.timothylangston.com/wp-content/uploads/2019/06/629613-100x100.jpg 100w",2321,"an-early-19th-century-empire-period-console-table","An Early 19th Century Empire Period Console Table","https://cms.timothylangston.com/shop/furniture/tables-desks/an-early-19th-century-empire-period-console-table/","/shop/furniture/tables-desks/an-early-19th-century-empire-period-console-table/","

An early 19th century finely figured mahogany Empire Period console table, the original Gris St Anne marble top resting upon a single drawer with central brass lock escutcheon, supported by scrolling legs and terminating in a book-matched veneered plinth.

This console table is ideal for use in a hallway, dining room or drawing room, where it has the benefit of a marble top. Unusually, this table has a drawer in the frieze with original lock and iron faceted cut key .

","0378",[655,656,657,658],{"_86":-7,"_87":-7,"_88":-7,"_89":-7,"_90":-7},[653,654],"2019-06-13T16:01:54",{"_49":463,"_53":464,"_51":465},{"_49":460,"_53":461,"_51":462},{"_92":665,"_94":666,"_96":65,"_88":197,"_87":197},{"_92":663,"_94":664,"_96":65,"_88":307,"_87":307},{"_92":661,"_94":662,"_96":65,"_88":307,"_87":307},{"_92":659,"_94":660,"_96":65,"_88":307,"_87":307},"https://cms.timothylangston.com/wp-content/uploads/2019/06/632764.jpg","https://cms.timothylangston.com/wp-content/uploads/2019/06/632764.jpg 1000w, https://cms.timothylangston.com/wp-content/uploads/2019/06/632764-316x316.jpg 316w, https://cms.timothylangston.com/wp-content/uploads/2019/06/632764-190x190.jpg 190w, https://cms.timothylangston.com/wp-content/uploads/2019/06/632764-337x337.jpg 337w, https://cms.timothylangston.com/wp-content/uploads/2019/06/632764-100x100.jpg 100w","https://cms.timothylangston.com/wp-content/uploads/2019/06/632766.jpg","https://cms.timothylangston.com/wp-content/uploads/2019/06/632766.jpg 1000w, https://cms.timothylangston.com/wp-content/uploads/2019/06/632766-316x316.jpg 316w, https://cms.timothylangston.com/wp-content/uploads/2019/06/632766-190x190.jpg 190w, https://cms.timothylangston.com/wp-content/uploads/2019/06/632766-337x337.jpg 337w, https://cms.timothylangston.com/wp-content/uploads/2019/06/632766-100x100.jpg 100w","https://cms.timothylangston.com/wp-content/uploads/2019/06/632765.jpg","https://cms.timothylangston.com/wp-content/uploads/2019/06/632765.jpg 1000w, https://cms.timothylangston.com/wp-content/uploads/2019/06/632765-316x316.jpg 316w, https://cms.timothylangston.com/wp-content/uploads/2019/06/632765-190x190.jpg 190w, https://cms.timothylangston.com/wp-content/uploads/2019/06/632765-337x337.jpg 337w, https://cms.timothylangston.com/wp-content/uploads/2019/06/632765-100x100.jpg 100w","https://cms.timothylangston.com/wp-content/uploads/2019/06/629641.jpg","https://cms.timothylangston.com/wp-content/uploads/2019/06/629641.jpg 2500w, https://cms.timothylangston.com/wp-content/uploads/2019/06/629641-316x316.jpg 316w, https://cms.timothylangston.com/wp-content/uploads/2019/06/629641-190x190.jpg 190w, https://cms.timothylangston.com/wp-content/uploads/2019/06/629641-1024x1024.jpg 1024w, https://cms.timothylangston.com/wp-content/uploads/2019/06/629641-1000x1000.jpg 1000w, https://cms.timothylangston.com/wp-content/uploads/2019/06/629641-337x337.jpg 337w, https://cms.timothylangston.com/wp-content/uploads/2019/06/629641-1232x1232.jpg 1232w, https://cms.timothylangston.com/wp-content/uploads/2019/06/629641-100x100.jpg 100w",2338,"an-early-18th-century-kangxi-plate-with-european-silver-handle","An Early 18th Century Kangxi Plate with European Silver Handle","https://cms.timothylangston.com/shop/objects/ceramics/an-early-18th-century-kangxi-plate-with-european-silver-handle/","/shop/objects/ceramics/an-early-18th-century-kangxi-plate-with-european-silver-handle/","

A Kangxi Period blue and white plate with ribbed body, decorated with blue and white glazes and having a Dutch silver carrying handle.

The Kangxi Emperor assumed his throne as a child and was in charge of the vast majority of affairs at the age of 15. His knowledge of Chinese history and culture was outstanding and with a natural curiosity he welcomed foreign ideas. However, the literary scholar’s influence on manufacturing art, machinery and objects of everyday life was not only limited to theory. He set up workshops close to his own living quarters to experience first hand how and what his people manufactured. With him started a new era of high-end porcelain, an area which was neglected for decades before he came to power. At this, the idea was to produce traditional pieces of high quality rather than developing new production processes.

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A finely figured Chippendale Period tripod table of exceptional colour, the pie crust top set upon a turned stamp with carved cabriole legs terminating in claw and ball feet

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A 17th century kraakware charger of medium scale with blue and white glazes throughout.

The history of Kraak porcelain begins during the Emperor Wanli’s reign (1563-1620) in the Ming dynasty. In the XVI century, the Dutch followed the Portuguese into trading Chinese antiques and after a short period of time, this particular style of blue-and-white porcelain gained huge popularity in the Netherlands.

There are a a number of hypothesis concerning the etymology of the name “kraak,” but the commonly held belief ties the name to the Carracks - the Portuguese ships originally used for transporting this fragile cargo back to Europe.

This plate dates to the turn of the seventeenth century and is a remarkable survival from this time.

","

A 17th century kraakware charger of medium scale with blue and white glazes throughout.

There are a a number of hypothesis concerning the etymology of the name “kraak,” but the commonly held belief ties the name to the Carracks – the Portuguese ships originally used for transporting this fragile cargo back to Europe.

This plate dates to the turn of the seventeenth century and is a remarkable survival from this time.

","0381",[717],{"_86":65,"_87":65,"_88":65,"_89":65,"_90":65},[715,716],"2019-12-05T00:07:14",{"_49":352,"_53":353,"_51":354},{"_49":298,"_53":299,"_51":300},{"_92":718,"_94":719,"_96":65,"_88":197,"_87":197},"https://cms.timothylangston.com/wp-content/uploads/2019/06/629695.jpg","https://cms.timothylangston.com/wp-content/uploads/2019/06/629695.jpg 2500w, https://cms.timothylangston.com/wp-content/uploads/2019/06/629695-316x316.jpg 316w, https://cms.timothylangston.com/wp-content/uploads/2019/06/629695-190x190.jpg 190w, https://cms.timothylangston.com/wp-content/uploads/2019/06/629695-1024x1024.jpg 1024w, https://cms.timothylangston.com/wp-content/uploads/2019/06/629695-1000x1000.jpg 1000w, https://cms.timothylangston.com/wp-content/uploads/2019/06/629695-337x337.jpg 337w, https://cms.timothylangston.com/wp-content/uploads/2019/06/629695-1232x1232.jpg 1232w, https://cms.timothylangston.com/wp-content/uploads/2019/06/629695-100x100.jpg 100w",2341,"a-19th-century-regency-period-convex-mirror","A 19th Century Regency Period Convex Mirror","https://cms.timothylangston.com/shop/furniture/mirrors/a-19th-century-regency-period-convex-mirror/","/shop/furniture/mirrors/a-19th-century-regency-period-convex-mirror/","

A fine regency Period convex mirror, the circular plate set within a reeded slip, the giltwood frame encrusted with ebonised balls and surmounted with an ebonised eagle clutching balls and chains from its beak, the whole terminating in carved stylised acanthus scrolls.

Convex mirrors can be traced back to the 10th century and have fascinated mankind ever since. Their popularity (once again) peaked during the French Empire and the English Regency periods where they became staple items of many households. Adorning the walls of dining rooms, they allowed waiters to keep a watchful eye on the progress of the dinner. Whilst the convex mirror shows a warped view of reality, it also magnifies light, which provides interiors with additional illumination.

","0382",[733],{"_86":-7,"_87":-7,"_88":-7,"_89":-7,"_90":-7},[731,732],"2019-11-11T15:56:02",{"_49":517,"_53":518,"_51":519},{"_49":463,"_53":464,"_51":465},{"_92":734,"_94":735,"_96":65,"_88":197,"_87":197},"https://cms.timothylangston.com/wp-content/uploads/2019/06/629704.jpg","https://cms.timothylangston.com/wp-content/uploads/2019/06/629704.jpg 2500w, https://cms.timothylangston.com/wp-content/uploads/2019/06/629704-316x316.jpg 316w, https://cms.timothylangston.com/wp-content/uploads/2019/06/629704-190x190.jpg 190w, https://cms.timothylangston.com/wp-content/uploads/2019/06/629704-1024x1024.jpg 1024w, https://cms.timothylangston.com/wp-content/uploads/2019/06/629704-1000x1000.jpg 1000w, https://cms.timothylangston.com/wp-content/uploads/2019/06/629704-337x337.jpg 337w, https://cms.timothylangston.com/wp-content/uploads/2019/06/629704-1232x1232.jpg 1232w, https://cms.timothylangston.com/wp-content/uploads/2019/06/629704-100x100.jpg 100w",2342,"an-early-19th-century-tole-peat-basket","An Early 19th Century Tole Peat Basket","https://cms.timothylangston.com/shop/objects/metal-ware/an-early-19th-century-tole-peat-basket/","/shop/objects/metal-ware/an-early-19th-century-tole-peat-basket/","

A rare Recency Period red painted tole peat or coal basket, the lid with finally cast brass handle and anthemion mounts, the tapering body with brass carrying handles, mythological beasts and raised upon leopard feet.

This classically inspired work is both decorative and useful. Whilst it was originally used for peat or coal, its function can easily be altered to suit more modern needs.

","0383",[753],{"_86":-7,"_87":-7,"_88":-7,"_89":-7,"_90":-7},[747,748,749],"2019-06-13T16:02:11",{"_49":463,"_53":464,"_51":465},{"_49":298,"_53":299,"_51":300},{"_49":750,"_53":751,"_51":752},36,"Metalware","metal-ware",{"_92":754,"_94":755,"_96":65,"_88":197,"_87":197},"https://cms.timothylangston.com/wp-content/uploads/2019/06/629740.jpg","https://cms.timothylangston.com/wp-content/uploads/2019/06/629740.jpg 2500w, https://cms.timothylangston.com/wp-content/uploads/2019/06/629740-316x316.jpg 316w, https://cms.timothylangston.com/wp-content/uploads/2019/06/629740-190x190.jpg 190w, https://cms.timothylangston.com/wp-content/uploads/2019/06/629740-1024x1024.jpg 1024w, https://cms.timothylangston.com/wp-content/uploads/2019/06/629740-1000x1000.jpg 1000w, https://cms.timothylangston.com/wp-content/uploads/2019/06/629740-337x337.jpg 337w, https://cms.timothylangston.com/wp-content/uploads/2019/06/629740-1232x1232.jpg 1232w, https://cms.timothylangston.com/wp-content/uploads/2019/06/629740-100x100.jpg 100w",2343,"a-19th-century-louis-xv-style-painted-centre-table","A 19th Century Louis XV Style Painted Centre Table","https://cms.timothylangston.com/shop/furniture/painted-furniture/a-19th-century-louis-xv-style-painted-centre-table/","/shop/furniture/painted-furniture/a-19th-century-louis-xv-style-painted-centre-table/","

A 19th century carved and painted centre table in the Rococo manner, the sides of serpentine form and raised on cabriole legs. The table retains its original breche violette marble top.

Extracted from the town of Serravezza, near to Carrara, Italy, breche violette is a very heterogeneous marble: a compound of hues going from white to dark violet passing through shades of pink and green.

Applied in some of the most impressive buildings in the world, such as Versailles, Le Musée du Louvre and many important churches in Italy, breche violette marble was regularly incorporated in the most monumental architectural schemes of the seventeenth and eighteenth centuries.

In this example, the purple veining of the breche violette top contrasts perfectly with the white painted rocaille table base. It has been perfectly cut into a serpentine form with a moulded edge.

","0384",[770,771],{"_86":-7,"_87":-7,"_88":-7,"_89":-7,"_90":-7},[767,768,769],"2019-06-13T16:02:15",{"_49":463,"_53":464,"_51":465},{"_49":537,"_53":538,"_51":539},{"_49":460,"_53":461,"_51":462},{"_92":774,"_94":775,"_96":65,"_88":197,"_87":197},{"_92":772,"_94":773,"_96":65,"_88":307,"_87":307},"https://cms.timothylangston.com/wp-content/uploads/2019/06/632772.jpg","https://cms.timothylangston.com/wp-content/uploads/2019/06/632772.jpg 1000w, https://cms.timothylangston.com/wp-content/uploads/2019/06/632772-316x316.jpg 316w, https://cms.timothylangston.com/wp-content/uploads/2019/06/632772-190x190.jpg 190w, https://cms.timothylangston.com/wp-content/uploads/2019/06/632772-337x337.jpg 337w, https://cms.timothylangston.com/wp-content/uploads/2019/06/632772-100x100.jpg 100w","https://cms.timothylangston.com/wp-content/uploads/2019/06/629772.jpg","https://cms.timothylangston.com/wp-content/uploads/2019/06/629772.jpg 2500w, https://cms.timothylangston.com/wp-content/uploads/2019/06/629772-316x316.jpg 316w, https://cms.timothylangston.com/wp-content/uploads/2019/06/629772-190x190.jpg 190w, https://cms.timothylangston.com/wp-content/uploads/2019/06/629772-1024x1024.jpg 1024w, https://cms.timothylangston.com/wp-content/uploads/2019/06/629772-1000x1000.jpg 1000w, https://cms.timothylangston.com/wp-content/uploads/2019/06/629772-337x337.jpg 337w, https://cms.timothylangston.com/wp-content/uploads/2019/06/629772-1232x1232.jpg 1232w, https://cms.timothylangston.com/wp-content/uploads/2019/06/629772-100x100.jpg 100w",2352,"a-19th-century-lacquer-casket","A 19th Century Lacquer Casket","https://cms.timothylangston.com/shop/objects/miscellaneous/a-19th-century-lacquer-casket/","/shop/objects/miscellaneous/a-19th-century-lacquer-casket/","

An early 19th century Chinese Export lacquer casket of rectangular form, profusely decorated with pagodas, flowers, birds and trees in a mountainous landscape having chamfered corners and the original brass carrying handles.

Lacquer is made from the sap of the Rhus Verniciflua tree, a close relative of poison ivy. Raw lacquer is resistant to water and can be applied to nearly any surface. Whilst lacquer can be found in Chinese artefacts dating as far back as the Neolithic times (10200 BC - 2000 BC), carved and painted lacquer works first appeared during the Warring States period (475 BC - 221 BC). Today, they continue to be sought after items in which both collectors and interior designers share an interest.

","

Lacquer is made from the sap of the Rhus Verniciflua tree, a close relative of poison ivy. Raw lacquer is resistant to water and can be applied to nearly any surface. Whilst lacquer can be found in Chinese artefacts dating as far back as the Neolithic times (10200 BC – 2000 BC), carved and painted lacquer works first appeared during the Warring States period (475 BC – 221 BC). Today, they continue to be sought after items in which both collectors and interior designers share an interest.

","0385",[794],{"_86":790,"_87":791,"_88":792,"_89":793,"_90":-7},[788,789],"2023-04-04T13:03:53",{"_49":301,"_53":302,"_51":303},{"_49":298,"_53":299,"_51":300},"Circa 1820 China","10 1/2 inches (26.67 cm)","17 1/2 inches (44.45 cm)","12 inches (30.48 cm)",{"_92":795,"_94":796,"_96":65,"_88":197,"_87":197},"https://cms.timothylangston.com/wp-content/uploads/2019/06/629827.jpg","https://cms.timothylangston.com/wp-content/uploads/2019/06/629827.jpg 2500w, https://cms.timothylangston.com/wp-content/uploads/2019/06/629827-316x316.jpg 316w, https://cms.timothylangston.com/wp-content/uploads/2019/06/629827-190x190.jpg 190w, https://cms.timothylangston.com/wp-content/uploads/2019/06/629827-1024x1024.jpg 1024w, https://cms.timothylangston.com/wp-content/uploads/2019/06/629827-1000x1000.jpg 1000w, https://cms.timothylangston.com/wp-content/uploads/2019/06/629827-337x337.jpg 337w, https://cms.timothylangston.com/wp-content/uploads/2019/06/629827-1232x1232.jpg 1232w, https://cms.timothylangston.com/wp-content/uploads/2019/06/629827-100x100.jpg 100w",2353,"a-pair-of-painted-cast-iron-occasional-tables","A Pair of Painted Cast Iron Occasional Tables","https://cms.timothylangston.com/shop/furniture/painted-furniture/a-pair-of-painted-cast-iron-occasional-tables/","/shop/furniture/painted-furniture/a-pair-of-painted-cast-iron-occasional-tables/","

A pair of painted cast iron occasional tables of scrolling form, each with a white veined black circular marble top.

These tables complete the picture of the French Riviera of the 1960s with memories of Brigitte Bardot and Jean-Paul Belmondo. Their design is lush, ornate and elaborate, the iron work busy and pronounced and the marble tops lively and distinctive. This pair will lend a mid-century character to any room or garden setting.

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A pair of gilt metal chimney piece ornaments taking the form of classical vases with ramshead supports upon fluted columns.

","0387",[827],{"_86":-7,"_87":-7,"_88":-7,"_89":-7,"_90":-7},[825,826],"2019-06-13T16:02:23",{"_49":298,"_53":299,"_51":300},{"_49":750,"_53":751,"_51":752},{"_92":828,"_94":829,"_96":65,"_88":197,"_87":197},"https://cms.timothylangston.com/wp-content/uploads/2019/06/629857.jpg","https://cms.timothylangston.com/wp-content/uploads/2019/06/629857.jpg 2500w, https://cms.timothylangston.com/wp-content/uploads/2019/06/629857-316x316.jpg 316w, https://cms.timothylangston.com/wp-content/uploads/2019/06/629857-190x190.jpg 190w, https://cms.timothylangston.com/wp-content/uploads/2019/06/629857-1024x1024.jpg 1024w, https://cms.timothylangston.com/wp-content/uploads/2019/06/629857-1000x1000.jpg 1000w, https://cms.timothylangston.com/wp-content/uploads/2019/06/629857-337x337.jpg 337w, https://cms.timothylangston.com/wp-content/uploads/2019/06/629857-1232x1232.jpg 1232w, https://cms.timothylangston.com/wp-content/uploads/2019/06/629857-100x100.jpg 100w"]