Ernest Johnson Antiques
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~ Partial Inventory ~

Important Note – Please note some items are currently stored off-site

Artist Interpretations

The interpretations noted below are in accordance with the general accepted guidelines applicable to works of art.

A work offered with the name(s) or recognized designation of an artist, without qualification is considered to be a work by the artist, otherwise the following interpretations generally apply…

  • Attributed to - a work by the artist, in whole or in part.

  • Studio of - a work by an unknown hand in the studio of the artist which may or may not have been executed under the artist’s direction.

  • Circle of - a work by an unidentified (as yet) but distinct hand closely associated with the named artist, but not necessarily his pupil.

  • Style or Follower of - a work by a painter working in the artist’s style, contemporary or nearly contemporary, but not necessarily his pupil.

  • Manner of - a work executed in the artist’s style but of a later date

  • After - a copy (of any date) of a known work of the artist

A Finely Executed Carved Ivory Rendering of Christ and Saint Thomas, Continental Circa 1800
After the 15th Century Bronze by Andrea del Verrocchio (1435-1488)
Both figures showing traces of black polychrome paint, mounted atop a later olivewood base.
Minor losses noted. Height of Christ 8.5”, overall height 11”.


A Very Fine 19th Century Gilt Bronze Figural Double Salt Cellar, France Circa 1870
The finely cast & richly gilded figure of a young boy with crisply chiseled features shouldering twin baskets, standing overtop a starfish motif on a naturalistically modelled ground, raised upon a turned antica-verde marble base. Height, 8.25”
In excellent overall condition with no losses and with minimal surface wear, consistent with age & use.
This is a very noteworthy & refined example of 19th century French decorative art, which also serves as a most attractive & conversational piece of table décor.


A Very Fine 19th Century Gilt Bronze Table-Top Cigar Lighter, Continental Circa 1890
The finely cast & chiseled features of a gilt bronze satyr clenching a ‘cigar’ shaped wick holder in his mouth, the head fitted with a hinged skullcap opening to a reservoir. Raised upon a turned & ebonized wooden column. Height: 7.25”


A Finely Sculpted Alabaster Portrait Bust of a Young Woman, Continental Circa 1900
The bust of a beautiful young woman with very fine features, wearing a robe cradled at her shoulders - her head of ribboned hair turned subtly towards her left shoulder, her face with sculpted eyes exacting an expressive serene gaze. Dimensions, 13” high x 12” wide x 7” deep.
In very good condition overall with a few minor chips & abrasions consistent with age and materials.
The underside previously bored to receive a cylindrical mount, now filled.


‘Nude Torso’
George Foster, Canadian, SSC (Sculptors Society of Canada)

This finely proportioned bronze torso exhibits a mellow medium-brown patina overall and staged upon its base signed with the artist’s initials. This is one of only two castings of this model made by the artist and was purchased directly from him in the early 1980’s by the previous owner who was a prominent parliamentary figure.
(Provenance provided at point of sale)
Height - 32.5”

Mr. Foster’s bronzes are highly sought out by collectors worldwide. He has exhibited at several prestigious international venues including The Smithsonian in Washington DC, The Canadian National Museum in Ottawa and The Musee des beaux-arts in Montreal. Among his many commissions is the casting of the annual Actra Awards trophy.



A Miniature Bronze of a Dutch Youth, Continental Circa 1900
The figure of a young boy in 18th century costume standing atop a marble plinth.
Overall height, 7”


A 19th Century Neoclassical Marble Statuary Fragment of a Goddess, Probably Hebe (Goddess of Youth)
The Hellenic-inspired carved white marble head having once belonged to a full length garden element, showing finely chiseled facial features and hair held back in a diadem, exhibiting a weathered surface overall. Dimensions, 8.75” high x 7” wide x 9.5” long. Weight: 21.6 lbs.


A 19th Century ‘Grand Tour’ Desk-Top Bronze of Hermes / Mercury, Continental Circa 1890
The helmeted figure shown cradling a Caduceus in one hand, the other stretched towards the heavens while being carried aloft by wind rising from the mouth of Aeolus, Ruler of the Four Winds. Raised overall upon a turned antica verde marble socle. Height ; 13.25”. Condition noted, loss of one wing to helmet.



A Very Good 19th Century ‘Grand Tour’ Desk-Top Bronze of the Farnese Hercules, Continental Circa 1890
This finely executed bronze of the famous Farnese Hercules accurately modelled as resting upon his club with the skin of the Nemean Lion draped over it while he clutches the Apples of Hesperides in his right hand held behind him. Cast in two sections and exhibiting a fine mellow patina overall, this handsome bronze demonstrates excellent perspective, proportion and attention to muscular detail. Height - 6.5”
(19th century bronzes of the Farnese Hercules and of this high quality of casting are relatively scarce)

The original in marble dates from the 3rd century AD and had once belonged to Cardinal Alessandro Farnese, Grandson of Pope Paul III. In the late 18th century it was moved to the Museo Archeological Nazionale in Naples where it now stands on permanent display.


A Very Good Pair of ‘Grand Tour’ Classical Inspired Miniature Bronze Busts, Continental Circa 1900           
Both raised on alabaster columns decorated with gilt metal rings, atop red marble plinths decorated with wrythen gilt metal beading. Height of each, 8”.

Unsigned but likely cast at the Gladenbeck und Sohn Foundry, Germany.



A Finely Cast 19th Century Hellenistic Style Bronze Portrait Bust of Chrysippus, After Mathurin Moreau (1822-1912)
Chrysippus was a Greek philosopher and 2nd founder of the School of Stoicism.
Signed on reverse in script Mat. Moreau, together with impressed modelling number 1709.
Height: 13.5”. Minor rubbing.




A 19th Century Full Length Bronze Figure of William Shakespeare, English Circa 1890
The full-length standing figure of Shakespeare shown in period attire and wearing a billowing cloak, a scrolled manuscript in one hand and a laurel wreath atop another scrolled manuscript at his feet. Raised overall upon a cavetto moulded rectangular plinth base bearing impressed model numbers and exhibiting a mellow brown patina overall. Height -13"



‘Striding Tiger’ (Tigre qui Marche) A Very Fine 19th Century Barbedienne Edition Bronze Study by Antoine Louis Barye (1796-1875), Last Quarter 19th Century

This finely cast and iconic bronze by Antoine Louis Barye bears the impressed signatures Barye and F. Barbedienne, Fondeur (for Ferdinand Barbedienne, foundry) and exhibits a fine black/green patina overall, the underside bearing inscribed numbers in ink 2918 and incised numbers 44. Dimensions: Height - 8.3" Length - 16.5" Provenance provided at point of sale
Currently Offsite

Bio: Antoine Louis Barye is perhaps the most celebrated and acclaimed artist of the ‘Animaliers School’ and was the recipient of several royal & state commissions and the patronage of a great many noble French families. He was appointed Director of Casts and Models at the Louvre in 1848, and in 1858 he was made Professor of Drawings at the Museum of Natural History at the Jardin de Plantes. He was awarded the Grand Medal at the 1867 Exposition Universelle in Paris, and became the 1st President of the Central Union of Beaux Arts as well as being made a member of the Institute of France. After his death in 1875 the majority of his master casts and models were purchased by the famous foundry of Ferdinand Barbedienne (1810-1898) and these posthumous edition castings were executed with the highest attention to scale, definition and patina and bear the signatures Barye and F. Barbedienne, Fondeur


‘Portrait Bust of a Woman’
Pedro O’Cerans Pruna (1904-1977) Spanish
Limited Edition Bronze #3 of 8

A very fine limited edition bronze with black patina overall, bearing impressed signature, edition numbers and Bechini foundry marks, raised upon an antica-verde marble base.
Height, 8.75” (including 1” base)

Currently Offsite

Pedro O’Cerans Pruna was a protégé of Pablo Picasso and a member of the Catalan Royal Academy of Fine Art.


Kunst und Wissenschaft (Art & Knowledge)
An Early 20th Century Allegorical Secessionist Bronze Plaque, Circa 1900 (Probably Vienna)

The rectangular plaque showing three classical figures representing Past, Present & Future set in low relief against a background of ancient architectural structures. The central figure (The Present) shown holding a scientific instrument in one hand while removing a blindfold from an old man (The Past) thereby allowing the old man to look to the future - the youthful figure far right (The Future) shown kneeling atop an Ionic capital while holding a stylus & tablet as he scripts out what is yet to come.
Mounted within an ebonized frame bordered by a gilt fillet.
Dimensions - 7.5” high x 11.5” wide (plaque) 11.5” x 15” (framed)

Currently Offsite


A Signed Pair of 19th Century Electrotype Copper Profile Portrait Bust Reliefs, English Circa 1840
Each oval plaque showing a finely detailed, high relief portrait bust of a gentleman in profile, the identity of the sitter on the left is most likely that of Arthur Wellesley, 1st Duke of Wellington (1769-1852), the identity of the sitter on the right is pending further research. Both bearing an impressed signature, N. Palmer S.C., probably for Nathaniel Palmer (active 1829-1846).
Each exhibits a fine patina overall, one measuring 12.5” x 11”, the other 12” x 10.5”, unframed.

A profile portrait relief in wax, titled ‘Unknown Man’ signed N. Palmer is in the collection of the Victoria & Albert Museum with an attribution to Nathaniel Palmer, working 1829-1846.




A Very Fine Set of Six Early 19th Century Hand-Coloured Copper Engravings of London Landmarks, Circa 1800
Each measuring 8.5” x 14” (sight), mounted under archival acid-free mats with gilt fillets, all bearing their respective titles & print-maker data on the reverse, set in in gilt & ebonized frames measuring 14.5" x 20.5".
Published by Laurie & Whittle of Fleet Street and Bowles & Carver of St. Paul’s Church Yard, London

Their respective titles as shown are from left to right … ‘Customs House’, ‘Monument to the Great Fire of London’, ‘ View of New Bridge Street, Blackfriars with the Albion Fire Office’, ‘Northumberland House’, ‘St. Paul's Cathedral’, ‘Westminster Abbey’


The Temple of Vespasian
A finely sculpted architectural model of the Temple of Vespasian. The alabaster structure showing a trio of reeded columns with Corinthian capitals supporting an entablature with a carved frieze illustrating various symbols relating to the priestly collegia of Rome.
Italian, Circa 1900. Height - 17.25”



An Early 20th Century Onyx & Cold-Painted Bronze Vide Poche or Cendrier, Austria Circa 1920  
The variegated green onyx base fitted with a cold-painted half-bust bronze figure of Mephistopheles. Apparently unsigned, but likely from the workshop of A. Titze
Height - 3.25”, Diameter - 5.25”


Three Etchings by John Nathaniel Fenton (1929-1977) American

John Nathaniel Fenton studied at the Art Student’s League and at the world famous Atelier 17 in Paris, as well as having trained with Samuel Adler and Federico Castellon. In 1958 Fenton won awards from the National Academy of Design and the American Academy of Arts & Letters. Among his other honours are a Purchase prize from the New School Graphics Annual and an Edition Purchase from The Pratt Institute. He exhibited works at The Museum of Modern Art, The Chicago Art Institute Annual, The Butler Art Institute Annual, The National Academy of Design, Audubon Artists, The Corcoran Biennial and The Pennsylvania Academy. He also had solo exhibitions at The Babcock from 1958-64, The Silvermine Guild in Connecticut, The Miami Museum of Modern Art and The Panamanian Institute of Art. His work is in the permanent collection of The Pennsylvania State University Museum, the Suffolk Museum and the Corcoran Gallery of Art. In 1958 he won the Joseph S. Isidor Gold Medal at the 133rd Annual Awards at the National Academy for his canvas titled ‘Laundresses’
Onsite at Furniture Showroom


Artists Proof

Titled bottom left, signed bottom right.

Measuring 8.5” x 10.25” (sight)

Mounted with an archival mat, set within a polished chrome frame
‘The Sheet’

Limited Edition 3/50

Titled bottom left, signed bottom right.

Measuring 8.5” x 10.25” (sight)

Mounted with an archival mat, set within a polished chrome frame
‘Ancestral Theme’

Artists Proof

Titled bottom left, signed bottom right.

Measuring 9.75” x 12.25” (sight)

Mounted with an archival mat, set within a polished chrome frame

Terracotta Bust of a Young Boy, Continental 19th Century

The finely proportioned, matt glazed bust illustrating highly-detailed sculpted facial features & costume elements, raised atop a ‘rouge royal’ marble socle. Height 13.5”


A Fine 20th Century Gilt Bronze Figure, Stamped Tiffany & Company, Circa 1900

The finely sculpted figure of an Elizabethan artisan shown seated at his workbench holding a hammer in one hand, a richly embossed shield leaning next to him and an amphora shaped vessel at his feet. Raised upon a conforming plinth base, stamped Tiffany & Co. Height 17.25”.


‘Barbadian Man’
Harold Sampson Pfeiffer SSC (1908-1997) Canadian

Terracotta bust, raised atop a wooden plinth base. Impressed signature on reverse, titled on underside. Height, 11.25”

Harold Sampson Pfeiffer’s works are in several public collections including Alberta House, London England - Canadian Museum of Civilization, Hull Quebec – Sculptor’s Society of Canada, Toronto Ontario – City Hall, Ottawa – Glenbow Museum, Calgary Alberta.
Ref: ‘The Man Who Makes Heads with His Hands’, by John A. Stevens & Harold Pfeiffer

Provenance: Purchased directly from the artist’s estate by Ernest Johnson Antiques

“…Pfeiffer is the only artist in the world who diligently and artistically recorded likenesses of native people, a heritage for all time…Pfeiffer’s collection is a national heritage and it should upon no account be separated…it’s a national treasure”
(Dr. James Cruise, former Director of the Royal Ontario Museum)

“…the documentary characteristic of his art sets him apart.”
(Charlie Hill, former curator of Canadian Art, National Gallery of Canada)



A Finely Carved 19th Century White Marble Bust of a Young Augustus Caesar, Continental Circa 1890
The rotating bust raised upon a white marble socle. Height, 15.75”



‘Bahamian Man’ Harold Sampson Pfeiffer SSC, (1908-1997) Canadian
A finely cast limited-edition miniature bronze bust, showing a fine brown/green patina overall, raised upon a striated green marble base. Signed on reverse & numbered 3/6
Overall height, 5.75”

Harold Sampson Pfeiffer’s works are in several public collections including Alberta House, London England - Canadian Museum of Civilization, Hull Quebec – Sculptor’s Society of Canada, Toronto Ontario – City Hall, Ottawa – Glenbow Museum, Calgary Alberta.
Ref: ‘The Man Who Makes Heads wit

Provenance: Purchased directly from the artist’s estate by Ernest Johnson Antiques

“…Pfeiffer is the only artist in the world who diligently and artistically recorded likenesses of native people, a heritage for all time…Pfeiffer’s collection is a national heritage and it should upon no account be separated…it’s a national treasure”
(Dr. James Cruise, former Director of the Royal Ontario Museum)

“…the documentary characteristic of his art sets him apart.”
(Charlie Hill, former curator of Canadian Art, National Gallery of Canada)



‘Venus de Milo’
A Fine 19th Century Grand Tour, Full Length Bronze Figure of Venus de Milo, Continental Circa 1880

Showing a fine dark brown patina overall. Height - 10.25”


A Fine 19th Century Bronze Figural Group of Putti Musicians, after Clodion

All three finely cast figures exhibiting a mellow brown patina overall, affixed to a circular ‘verde-antico’ marble base. Height: 7.75”
French, Circa 1870. Provenance given at point of sale 


A Fine 19th Century Gilt Bronze Figure of Mercury, Continental Circa 1870

The classical figure showing standing atop a gilt bronze orb affixed to a black slate base, holding a caduceus in none hand – the other arm outstretched towards the heavens. Height - 20”



An Early 19th Century Anatomical Lithograph of a Skull
Titled ‘Malattie delle Articolazioni’ drawn by Antonio Muzzi (1815-1894), printed by Batelli, dated 1839.
This large plate originates from an ambitious 1839 treatise published in Bologna which dealt extensively with known examples of diseases and malformations of bone structures.
Printed on early 19th century woven paper with full margins and fronted by an acid free mat set within an ebonized frame. Dimensions, 16.5” x 10.5” (sight).


A Finely Modelled Terracotta Bust of Alexandre Brongniart (1770-1847), after Jean-Antoine Houdon (1741-1828)

Raised atop a mottled marble socle, signed in script on back of shoulder. Height - 14”
French, Circa 1900

Alexandre Brongniart was the son of famed architect Alexandre Théodore Brongniart (1739-1813), who designed the Paris Bourse (old Stock Exchange). His son, Alexandre became a specialist in firing techniques of porcelain and was made Director of the Sèvres Porcelain Factory in 1800.
He also became a noted naturalist and geologist, holding a professorship at the Sorbonne and the Museum of Natural History and it is while teaching there that he is noted for having created the term “Jurasic”.

Jean-Antoine Houdon, (1741-1828) studied sculpture in Paris under such illustrious names as Jean-Baptiste Lemoyne and Jean-Baptiste Pigalle. In 1771 Houdon became a member of the Académie Royale and was made a professor in 1778. Soon after he was commissioned to create terracotta busts of the Brongniart children, one of Alexandre and the other of his sister Louise, both of which were then presented at the 1777 Salon. The original busts then remained in the Brongniart family until they were purchased by the Louvre in the late 19th century. The busts were so admired that versions in terracotta, marble and bronze were skillfully reproduced, both prior-to and shortly after their acquisition by the Louvre.



An Early 20th Century Cold-Painted Vienna Bronze Pheasant by Franz Xavier Bergmann (1861-1936)
Bearing impressed foundry marks on underside, with original paint and in good condition overall.
Dimensions, Height - 6” Length -18.25

From 1918 to 1930 Franz Xavier Bergmann was the chief designer for the Bergmann Foundry and was responsible for many of the highly prized sculptures bearing the signature Bergman, Nam-Greb, Thuss or as in this case the initial B within an urn-shaped vessel.


A Most Impressive and Decorative Pair of 19th Century Orientalist Spelter Figures. Both in Middle Eastern attire and shown seated in naturalistic poses atop rocky mounds on squared plinth bases, she holding an amphora shaped vessel, he clutching a branch in one hand, the other resting on a scabbard and gun. In untouched condition and with much of the original cold painted decoration intact. Each base signed in script, J.Guillot, for Anatole J. Guillot (1865-1911). Height 31.5" For a similar comparison Ref: Sotheby's Nineteenth Century Decorative Arts, London, March 1987, Lot #287 .


'Bacchante Courant avec deux Thyrse'.

A Very Fine19th Century Bronze after Clodion’s Original Work Executed in 1804.   

Height: 14.5”



A Fine 19th Century Bronze by Adrien-Etienne Gaudez (1842-1902). The full-length

figure shown standing, sling in hand, atop a naturalistic mound of rockwork, raised upon a revolving base. Signature inscribed on mound. Height: 32"