SIR DAVID YOUNG CAMERON R.A. (BRITISH 1865-1945)
D. Y. CAMERON'S ETCHINGS With an Introductory Essay by Frank Rinder. Edinburgh: Otto Schulze and Company, 1908. First edition, deluxe issue, one of 150 copies printed on Japanese vellum and signed by the artist, 4to, original vellum, tipped-in plate (a few loose), bookplate (Frank Gordon Brown);Idem. Etchings of D. Y. Cameron [same work as the preceding, with variant title]. Edinburgh: Otto Schulze and Company, 1908. First edition, trade issue, 4to, original quarter vellum, etched bookplate of James Robertson Cameron tipped in;Idem. The Etchings of D. Y. Cameron by Arthur M. Hind. London: Halton and Truscott Smith, Ltd., 1924. 4to, original black pictorial cloth gilt;and 13 others, including: Book of Common Prayer, c.1930, with repoussé silver panel after Holman Hunt's Jesus Light of the World mounted to front cover; Katharine Cameron, The Flowers I Love, undated, original boards with Art Nouveau design gilt to front cover, tipped-in colour plates; Oscar Wilde, A House of Pomegranates, with Sixteen Illustrations by Jessie M. King, 1915; Harry Clarke, Tales of Mystery and Imagination by Edgar Allan Poe, undated, original cloth, colour plates; Clough Williams-Ellis and John Summerson, Architecture Here and Now, 1934, original cloth, dust jacket; Joseph Nicolson, The History and Antiquities of the Counties of Westmorland and Cumberland, 1777, volume 1 only, with Aubrey Beardsley-designed bookplate of one, Mr Pollitt; Maxfield Parrish, The Arabian Nights, New York, 1921, original black cloth, plates; idem, The Golden Age by Kenneth Grahame, 1899, original cloth; idem, Dream Days by Kenneth Grahame, c.1900, original cloth; J. C. Rogers, Modern English Furniture, c.1910, original cloth, photographic plates; and 3 similar works; the lot sold as seen, not subject to return(16)Provenance: Dominic Winter Book Auctions, Swindon, 17th May 1996, lot 341.
Chinese Famille Rose Porcelain Vase, 20th c., stylized handles, decorated with a peacock, ducks and other birds amid flowers and rocks, h. 16 3/4 in. Provenance: Estate of Highly Acclaimed New Orleans Artist, Furniture Maker, Designer, and Collector Mario Villa (1953-2021).
EARLY 20TH C. USA WROUGHT IRON & GLASS ELECTRIC LAMPNorth America, Southern United States, ca. early 1900s CE. This is a fantastical and massive iron floor lamp with floral shaped glass shade inserts, that fully functions with electrical wiring and a flip switch! This lamp was created during the height of the Arts and Crafts style in America, drawing heavily on past medieval styles and the use of floral shapes. This large lamp has a very robust base formed by openwork flower heads fused together, a thick post constructed of several flat iron panels welded into a cylinder, flaring outward at the top to create grooved arms for receiving the individual glass shades, which are fully removable. Around the neck are scrolling flourishes and hooks on the end of each arm that contain hanging iron tassel-like ornaments. The shades are each molded into petaloid shapes with raised flowers at the front, that lend a cheeriness and literal brightness to the imposing black iron. Size: 28" W x 82" H (71.1 cm x 208.3 cm)
From the later 1700s onward, western Europeans became fascinated by the medieval period - what seemed, to them, like a time of simplicity and chivalry, a respite from the incredible changes the Industrial Revolution was bringing to every aspect of life. Reviving the material culture of the so-called Middle Ages became a series of major artistic movements. The Arts and Crafts Movement emerged in approximately 1880 - arising as a response to the mass production of the industrialization era with its emphasis on hand-made craft and design. Architects, craftsmen, designers, and artists participated in this movement which infiltrated all aspects of design - wall coverings, furniture upholstery, ceramics, curtains, and more. This stylish lamp certainly would be at home in a medieval inspired castle- but if you are not as lucky to live in such an estate, this would certainly make a fine addition to an eclectic home style!
Provenance: private Lumberton, Texas, USA collection, acquired before 2010
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A Certificate of Authenticity will accompany all winning bids.
PLEASE NOTE: Due to recent increases of shipments being seized by Australian & German customs (even for items with pre-UNESCO provenance), we will no longer ship most antiquities and ancient Chinese art to Australia & Germany. For categories of items that are acceptable to ship to Australia or Germany, please contact us directly or work with your local customs brokerage firm.
Display stands not described as included/custom in the item description are for photography purposes only and will not be included with the item upon shipping.
#170098
Condition:
Chips and russet patina on a few areas of iron work, with age and use expected abrasions and indentations. Lamp functions with switch located under the lamp shades.
9063 - Japanese Gilt Bronze Flowers in Vase
Japanese gilt bronze flowers in vase, marked "Expressly made for Robert Ansteth, Ltd. Honolulu," approximately 22" h x 9 1/2" dia (vase). Note: Robert Ansteth was a well-known interior designer and furniture maker in Hawaii in the 1950s. Provenance: From the unreserved estate of Clara Netz of San Diego, CA.
Majolica and Enamelled Tiles - Mintons (Limited) China Works Minton Tiles. Selected patterns of enamelled tiles for walls, hearths, fire places, furniture, flower boxes &c. Stoke-upon-Trent, [c. 1890]. Folio, 8[p.], 31 plates (numbered 1-13, & 16-33), all but 3 chromolithographed, original cloth-backed boards, boards soiled, hinges broken; Campbell Tile Co. Designs of majolica & enamelled tiles suitable for flower boxes, fireplaces, chimney-pieces, pilasters, friezes, &c. [c,1885]. Folio, 71 plates, all but one chromolithographed, original cloth-backed boards, extremities rubbed, hinges weak; [Chair design] Illustrated catalogue of designs comprising chairs, sofas, couches. &c. Glasgow: William Gorman & Co., [c.1870]. 4to, 29 lithographed plates, original wrappers, lacks lower wrapper (3) Estimate £ 500-700. Sold for £1,375 (buyer's premium included)
An American Rococo Carved and Grained Rosewood Half-Tester Bed mid-19th c. New Orleans stepped and beaded serpentine tester containing a very fine ruche and pleated inset tapered posts paneled headboard centered by a flower filled urn cascading leaves and scrolls to the sides footboard with cabochons conforming low posts with adjustable poles for mosquito netting shaped rails height 122 in. length 78 1/2 in. width 70 in. Note: Monumental Rococo Revival beds such as the example here were made for the Southern market and proportioned for the grand rooms of houses in the Ohio and Mississippi River valleys. Perhaps taking inspiration from European "State Beds" these finely carved and ambitious American tester beds not only functioned with mosquito nets in summer and insulating drapes in winter but also conveyed the traditional oligarchic society where they were used. Contrasting with the "closet" scale furniture seen in New England bedrooms American Rococo tester beds were designed for a more public admiration. Many details on the bed offered here appear in other known beds including the prominent bed at Lansdowne Natchez; Gallier House New Orleans; and a bed from a White Castle Louisiana Plantation sold as lot 294 October 11 2008. Reference: The Lansdowne bed is illustrated in Otto American Furniture of the 19th Century pl. 289.
DECORATED BLANKET CHEST. Probably northern Indiana or southwestern Michigan, mid-late 19th century, pine. Turned feet, dovetailed case and interior till with lid. Original dark red paint with stenciled gold and silver starflowers, basket of melons and "JS". Minor edge damage. 25 1/2"h. 43 1/2"w. 19 1/2"d. Found in Illinois. The chests offerered as lots 118 and 119 are possibly from the same shop in northern Indiana or southwestern Michigan. Although their overall design scheme is quite different, several of the stenciled motifs appear to have been applied using the same stencils, including the heart-lyre and the starflower motifs, as well as the flower-scroll motif that appears on the sides of the fish-stenciled chest and on the lid of the melon-stenciled chest. These two chests illustrate an important connection between the stenciled furniture popular in the Somerset County, Pennsylvania, Mennonite community of Soap Hollow and the Mennonite communities in the Midwest. The heart-lyre and the star motifs appear on Soap Hollow furniture by several of the known makers. More importantly, however, the basket of melons on the front of lot 118 is very similar to the basket of melons seen on furniture by Jeremiah Stahl and is similar to the melon basket stencil that descended in the Sala family; see Muller, pp. 41 and 66-67. Muller's research illustrates that numerous members of the Soap Hollow community migrated to the Midwest. Among them were some of the craftsmen, including Peter K. Thomas, David K. Livingston, and Jeremiah Stahl, all of whom moved to Kent County, Michigan. It seems most probable, then, that these makers, particularly Jeremiah Stahl, were key players in the transmission of stencil decoration to the American Midwest during the second half of the 19th century.
The Phillips Family Needlework Picture, Sarah Phillips (b. Rowley, Massachusetts, 1656), Boston, Massachusetts, c. 1670, worked in red, blue, yellow, black, and white wool and silver and gold metallic threads on a blue/green linen ground, composed of two figures flanking the "Tree of Life" at center, the prodigal son at lower right, a brick building facade with mica "window" at right center, a cloud and partially obscured sun at upper left, and a rainbow at upper right, further stitched with a shepherd and his flock, leafy trees, flowers, a pomegranate, several birds, insects, and animals including a dog, a squirrel, a rabbit, a recumbent lion, a beaver, and a recumbent stag, under glass in a molded wood frame, (survives in a remarkable state of preservation, with minor losses, some discoloration), 17 1/4 x 24 1/4 in. Provenance: Preserved by the Phillips family for more than three centuries, the Sarah Phillips needlework picture has a long and well-documented provenance. Sarah Phillips (1656-1707) was a daughter of Reverend Samuel Phillips (1625-1696) who immigrated to America from Boxted, England in 1630 on the ship Arbella with his parents Reverend George and Elizabeth Phillips settling in Watertown, MA. Reverend George Phillips (c. 1593-1644) was the first minister of Watertown, MA. Reverend Samuel Phillips graduated from Harvard College in 1650 and settled in Rowley, MA in 1651. He married Sarah Appleton that same year and with her had eleven children including Sarah (1656-1707). Sarah was reportedly educated at a private school in Boston where she likely stitched her needlepoint picture in the late 1660s or early 1670s. Sarah Phillips married Stephen Mighill (1651-1687) in 1680 and had at least three children together. The needlepoint picture descended through their son, Nathaniel's (1684-1761) family passing to Nathaniel's son Nathaniel (1715-1788) then to his daughter Hannah Mighill Perley (1753-1812), then to her daughter Hannah Perley (1772-1858). Hannah Perley is documented as having owned Sarah Phillips' needlepoint picture in Thomas Gage's The History of Rowley published in 1840. On September 5, 1839, the town of Rowley celebrated its second centennial anniversary of its settlement. Much of the festivities occurred in a pavilion erected in the town to host a dinner and several orations on the historic occasion. In this pavilion were also displayed "relics" of Rowley's past including "A piece of embroidery of curious workmanship, wrought by Sarah Phillips, (daughter of the Rev. Samuel Phillips, the second minister of Rowley,) more than one hundred and sixty years ago, attracted much attention, and is now owned by Miss Hannah Perley, the said Sarah Phillips being grandmother to the said Hannah's grandfather…" It may have been the needlepoint's exhibition in Rowley that prompted the penning of its short history on the picture frame's wooden backing board reading "This picture was/wrought at a boarding/school in Boston by/Miss Sarah Phillips/ daughter of Rev. Sam./Phillips." Shortly after the celebration, it seems, the needlepoint picture was transferred to Hannah Perley's cousin Hannah Lancaster Sawyer (1754-1851), a great-granddaughter of Sarah Phillips. In December 1842 the picture was purchased from Hannah Lancaster Sawyer for thirty dollars by the Honorable Jonathan Phillips (1778-1860). Jonathan Phillips was a direct descendent of Sarah Phillips' brother Samuel (1658-1722) and a celebrated Boston philanthropist. There is no doubt that the needlework picture purchased by Jonathan Phillips in 1842 is the Sarah Phillips needlework. In a letter written to Jonathan Phillips on December 3 by Ann Tracy, a relative of Jonathan's facilitating the sale, Tracy describes the picture and ponders its symbolism and iconography: "With how lordly a bearing do those portly sheep trample mid-air as if they were walking on this terrible earth! And that powerful beast - placed in the region of the clouds, & of the rainbow - is the showing fight to his neighbors, or scampering away in fear, while he throws a look of fierce menace, if not of defiance, behind him? We are permitted, in common with yourself to gaze, awe-stricken upon our far-off ancestor with his Spanish cloak, & in his knightly attitude, rejecting, with the extended arm of eloquent rebuke the fruit which the Lady Eve is plucking for him, in her Parisian costume of the Old-Court style of elegance. Can you or Mrs. P. resolve the problem which troubles our doubts respecting the building? Is it, with its nice pediment & supporting pillars, intended to represent the "bower of bliss" provided for the first pair --- or, have the able-bodied birds surmounting it, made no mistake in taking it for a shelter for themselves? Certainly the most natural & affecting presentation is that of the poor Prodigal, still clad in his splendid garments, partaking of the husks which his valorous swine are devouring" Phillips family oral history states that upon Jonathan's death in 1860 the needlework picture was given to his only son William (1819-1873). Jonathan's will supports this noting that "All the remainder of my estate, real, personal, and mixed, I give and bequeath to my son William Phillips, to be at his free and absolute disposal forever." Phillips family history also states that upon William's death in 1873 that the picture was given to John Charles Phillips (1838-1885), a fact also supported by William Phillips' will noting "I give unto John Charles Phillips now of New York, merchant, son of Reverend John Charles Phillips, now of said Boston, all my plate, pictures, statuary, engravings, books, household furniture, watches, jewelry, wines and ornaments." After John Charles Phillips' death in 1885 the picture descended to his son the Honorable William Phillips (1878-1968) a distinguished career United States Diplomat. In 1939 William Phillips' wife, Caroline, lent the Sarah Phillips needlework picture to the Boston Museum of Fine Arts where it was photographed and documented, removed from its old frame and remounted by the museum's textiles department. It was subsequently exhibited at the museum during the winters of 1945 and 1946. The needlepoint picture has remained in the family of William Phillips to this day. Note: This is one of a very few pictorial 17th century American needleworks known, though of course it follows English design somewhat closely. In a letter to Mrs. William Phillips, dated January 19, 1945, Gertrude Townsend, Curator of Textiles at the Museum of Fine Arts, remarks on "the use of the bluish wool ground, instead of white satin, and wool instead of silk, for the stitchery, is a deviation from the English custom. The result is delightful." The letter goes on to include Ms. Townsend's hope that the Museum be granted "the privilege of exhibiting this embroidered picture with our other New England embroideries," and finishes the letter referring to Sarah Phillips's work as "one of the few important surviving examples of seventeenth century work which can be attributed to New England." Prior to publishing her exhaustive work Girlhood Embroidery: American Samplers and Pictorial Needlework 1650-1850 (Knopf, New York, 1993), Betty Ring also examined Sarah's work. She writes in Volume I, "Pictorial embroideries, like samplers, were surely made by seventeenth-century colonial schoolgirls, but only two authentic examples are known" (p. 30). In a footnote on the same page, Ring refers to the present lot specifically: "Unpublished is a pictorial embroidery of wool, silk, metal, and mica on a greenish-blue wool... It features a couple in seventeenth-century dress beside the Tree of Life and a rendition of the prodigal son amid many birds, beasts, and flowers. Inscribed on the reverse: 'This picture was wrought at a boarding school in Boston by Miss Sarah Phillips daughter of Rev. Sam. Phillips.' This fully documented and wonderfully colorful piece was loaned to the MFA [Museum of Fine Arts, Boston] in 1946." On page 31, a needlework, probably made in Boston, by Rebeckah Wheeler of Concord, is pictured (fig. 30). Like Sarah Phillips's needlework, Rebeckah Wheeler's consists of little raised work, and is stitched in wool threads which, Ring tells us, like Gertrude Townsend reported in 1945, is different from similar English work of the time, which was most often in silk. In Jonathan Fairbanks and Robert Trent's work New England Begins, Linda Wesselman discusses Rebeckah Wheeler's sampler as entry number 318 (Vol. 2, pp. 311-12). She mentions the lack of raised work also, as being in distinct contrast to English needleworks of the period. More, Wesselman describes the "personal translations of pictorial sources" -animals, insects, etc.- apparent in Rebeckah's work, citing two European pattern books from the early 17th century to which Rebeckah had access as source material, and to which Sarah Phillips, at her school, likely had access as well. From a purely compositional standpoint, Rebeckah's needlework follows the English model - fully worked, with vertical figures overlapping horizontals creating the sense of a three-dimensional space, and the result is more restrained and less imaginative. Sarah's sampler shows no such restraint, and profound imagination. Her figures, while carefully arranged to create an overall balance to the work, float freely and give the picture a sense of whimsy. Estimate $800,000-1,200,000 losses mostly to black threads, especially in male figure's footwear, to black sheep in shepherd's flock, and central segment of butterfly; minor loss to linen ground at corners; visible selvage to upper and lower edges. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging. Condition requests can be obtained via email (lot inquiry button) or by telephone to the appropriate gallery location (Boston/617.350.5400 or Marlborough/508.970.3000). Any condition statement given, as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Skinner Inc. shall have no responsibility for any error or omission.
An Important American Rococo Carved and Laminated Rosewood Center Table, c. 1850-60, attributed to John Henry Belter, New York, circular white marble top, serpentine apron with grapes, flowers and shells, reticulated cabriole legs with clusters of fruit at knees, stretchers centering a large basket of fruit, casters, height 28 1/4 in., diameter 26 1/2 in. $20000/30000
Provenance: "The Service Collection", Estate of Grant A. Oakes, Warren, OH.
Illustrated: Dubrow, Eileen and Richard. American Furniture of the 19th Century, 1840-1880. Atglen, PA: Schiffer, 2000, p. 128.
Note: An observation of the table here, and additionally the next lot, a nearly identical table, is that both tables are defined by a white marble top of perfectly circular form and supported by tightly proportioned cabriole legs. The fine design is completed by a vertical basket.
John Henry Belter is often discussed as the outstanding figure of 19th c. American furniture and in the period of his short career described as genius, innovator and master of Rococo Revival. The two tables illustrated here are a reminder that Belter's sense of late 18th c. and early 19th c. styles is always present and singularly distinctive.
TEN BOOKS ON ARCHITECTURE AND INTERIOR DESIGN Collection of ten hardcover books on architecture and interior design comprising: "At Home With Carolyne Roehm", Melissa Davis, "Interiors", Min Hogg and others, "At Home With Art: How Art Lovers Live With And Care For Their Treasures", Estelle Ellis and others, The Houses Of McKim, Mead and White", Samuel G. White, "Newport Houses", Jane Mulvagh and Mark A. Weber, "At Home With Books: How Booklovers Live With And Care For Their Libraries", Estelle Ellis and others, "The Divine Home: Living With Spiritual Objects", Peter Vitale, "Colfax And Fowler: Interior Inspirations", Roger Banks-Pye, "Horst: Interiors", Barbara Plumb, and "Flowers And Furniture In America's Historic Homes", Elfreda Finch. Approx. of the largest, h. 12.25", w. 9.5", d. 1.25".
RJ HORNER LOUIS XV STYLE BUREAU PLATRJ Horner Louis XV style bureau plat. American/French, Late 19th/Early 20th Century. Walnut, inlaid marquetry flowers and foliate designs, raised on cabriole legs terminating in foliate bronze mounts. Bronze leg mounts and gallery. Remants of furniture label on bottom of drawer reads "IMPORTED FROM PARIS BY RJ HORNER." Loss to veneer on drawer front, cracquelure on top of piece. Top leg mounts are slightly loose.
30" H x 45" L x 28" W
RJ Horner Louis XV style bureau plat. American/French, Late 19th/Early 20th Century. Walnut, inlaid marquetry flowers and foliate designs, raised on cabriole legs terminating in foliate bronze mounts. Bronze leg mounts and gallery. Remants of furniture label on bottom of drawer reads "IMPORTED FROM PARIS BY RJ HORNER." Loss to veneer on drawer front, cracquelure on top of piece. Top leg mounts are slightly loose.
30" H x 45" L x 28" W
GEORGE WALTON
BREAKFRONT LIBRARY BOOKCASE, CIRCA 1900
oak with stained and leaded glass panels inset with copper and brass, the serpentine ledge back above an overhanging shelf with curved brackets to the sides, over six doors, each with stained, opalescent and leaded glass panels depicting stylised plant forms and embellished with copper and brass, enclosing adjustable shelves, the whole raised on square tapering legs with spade feet, bears makers circular ivorine label to the rear inscribed 'George Walton & Co Ltd/ Designers, Manufacturers and Decorators/ 150 & 152 Wellington St, Glasgow/ Also at London and York/ Design no.'
218cm wide, 154.5cm high, 38.5cm deep
Literature; Karen Moon 'George Walton: Designer and Architect', Oxford 1993, P. 82, pl. 106
Note: This fine oak cabinet with its distinctive stained glass doors was designed by the architect and designer George Walton in 1900. Walton was born in Glasgow on 3 June 1867, the youngest of twelve children. The painter Edward Arthur Walton, born in 1860, was his elder brother and the flower painter Constance Walton his sister. His father died in 1873 leaving the family in reduced circumstances and Walton had to leave school aged thirteen to become a clerk with the British Linen Bank, but while working there he also studied at Glasgow School of Art (as the School of Design had become in 1869).
In 1888 Miss Catherine Cranston commissioned Walton to re-design the interiors of the tea rooms at 114 Argyle Street, Glasgow. Walton gave up banking and opened showrooms entitled George Walton & Co, Ecclesiastical and House Decorators, at 152 Wellington Street. The Walton firm quickly expanded into woodwork, furniture making and stained glass. In 1896 Walton received a further commission from Miss Cranston, to decorate the Buchanan Street premises. His collaborator was C. R. Mackintosh, for whom Walton made some early pieces of furniture. In 1897 Walton moved to London and, as well as retaining his Glasgow showroom, opened a branch in York. The catalyst appears to have been the commission to design the Photographic Salon in the Dudley Gallery which came to him through his friendship with the Glasgow photographer James Craig Annan. It led to a further commission from George Davison for the Eastman Exhibition in the New Gallery in Regent Street in the same year, and in turn to a series of Eastman Kodak showrooms in London, Glasgow, Brussels, Milan, Vienna and Moscow which brought him international fame.
The bookcase offered here comes from this period and may have been made for a Kodak showroom. A contemporary photograph from 1900 shows a very similar bookcase in the interior of the Kodak showroom at 72-74 Buchanan Street Glasgow. From the opening of the first showroom in Clerkenwell Road London in 1898 the success of Walton's designs meant that showrooms began to open at the rate of two a year. By the time the Buchanan Street branch had opened circa 1900 his showroom designs were following a familiar pattern. Delicate stencilled friezes in the 'Glasgow Style' ran around the rooms above the picture rail and below were specially fitted cabinets in mahogany or oak. The cabinets had stained glass detailing derived from plant forms, with copper and brass detailing, relating to designs being produced by Charles Rennie Mackintosh at the same time (although without the carved details). It may be that the present cabinet was infact a domestic piece produced around the same time although it is compelling to imagine that it may have formed part of the interiors of this remarkable series of shops. The extraordinary innovation which Walton brought to retailing was the domestic nature of his designs which created a relaxed and unthreatening atmosphere in which to shop and which was to be much copied.
A Very Fine American Rococo Carved and Laminated Rosewood Bed, c. 1850-1860, bearing the patent stamp of John Henry Belter, New York, serpentine headboard with scrolled crest centered by a basket of flowers with garlands, the serpentine sides with foliate scrolls and blossoms, padded serpentine rails, the low foot board with scrolled molding and anthemion cartouche, scrolled bracket feet, height 64 in., length 78 in., width 52 in. $30000/50000 Note: The bed offered here is a rare and superb document of John Henry Belter's 1856 patent for a four-section bedstead. Demonstrating a more restrained design than the well-known bed from the Manney collection (illustrated in Schwartz, Stanek and True, The Furniture of John Henry Belter and the Rococo Revival, p. 82.), the ornament on this bedstead fully enhances rather than overwhelms the remarkable serpentine lines of the rails. The massive serpentine form of the bed, constructed of more than sixteen laminated layers, not only is a technical marvel, but also boasts three practical virtues cited by Belter in his patent application of 1856. The first was ease of installation as the four panels can be assembled without tools. The second was hygienic, Belter noting that his bed lacked, "…the ordinary bedstead contains deep and intricate recesses about the joints and fastenings which are difficult to access and notorious hiding places for bugs." The third was an economy of space, by avoiding the use of posts that Belter declared "intrude on what would otherwise be valuable space." Reference: Schwartz, Stanek and True, The Furniture of John Henry Belter and the Rococo Revival, p. 22.
John Widdicomb reverse painted folding vanity mirror. Overall antiqued finish with a wall cabinet design and two doors opening up to reveal a mirror with colorful reverse painted glass friezes and gilt borders. Each door is hand painted on the inside with scenes featuring flowers and birds. Metal tag on reverse reads ''John Widdicomb Co. Makers of Fine Furniture Grand Rapids''. Condition: generally good very minor wear to corners see images. Measures 30'' tall x 17.5'' wide (closed) and 35.56'' wide when open. Shipping weight 20 lbs.
Mario Villa (Nicaraguan/New Orleans, 1953-2021), "Bouquet of Flowers", 2003, monotype, pencil-signed, dated and "Atelier Frances Swigart, Inc." blind stamp lower right, unframed. Provenance: Estate of Highly Acclaimed New Orleans Artist, Furniture Maker, Designer, and Collector Mario Villa (1953-2021). Condition: Overall good condition.
GLASGOW AND CHARLES RENNIE MACKINTOSH
COLLECTION OF TEXT BOOKS, PAMPHLETS AND CATALOGUES (Pamela Robertson ed.), The Chronycle, The letters of Charles Rennie Mackintosh to Margaret Macdonald Mackintosh, Hunterian Art Gallery 2001Raymond O’Donnell, James Salmon, Rutland Press 2003Patrick Nuttgens, Mackintosh and his Contemporaries, John Murray 1988(Pamela Robertson ed.), Doves and Dreams, Lund Humphries 2006Pamela Roberton and Philip Long, Charles Rennie Mackintosh in France, NGS 2005Perilla Kinchin, Miss Cranston, NMS 199Perilla Kinchin, Taking Tea with Mackintosh, Pomegranate 1998Elaine Grogan, Beginnings: Charles Rennie Mackintosh’s Early Sketches, National Library of Ireland 2002(Pamela Robertson ed.), Charles Rennie Mackintosh: Architectural Sketches, Hunterian Art Gallery 1999George Rawson, Fra H. Newberry, Foulis Press 1996(Pamela Robertson ed.), Charles Rennie Mackintosh: The Architectural Papers, Cockade 1990Pamela Robertson, Charles Rennie Mackintosh: Art is the Flower, Pavilion 1995David Stark, Charles Rennie Mackintosh & Co., Stenlake 2004Richard Scott, The Walberswick Enigma, Ipswich Borough Council 1994Roger Billcliffe, Visiting Charles Rennie Mackintosh, Frances Lincoln 2012Charles Rennie Mackintosh Scotland Street School, Glasgow Print Studio 1980Charles Rennie Mackintosh Furniture, Glasgow School of Art 1968Charles Rennie Mackintosh Ironwork and Metalwork, Glasgow School of Art 1968Charles Rennie Mackintosh and the Glasgow School of Art, Glasgow School of Art 1961R. Mackintosh: The Chelsea Years, (Exhibition catalogue, Hunterian Art Gallery, 1994)David Brett, R. Mackintosh: The Poetics of Workmanship, Reaktion 1992Charles Rennie Mackintosh 1868-1928, (Exhibition Catalogue, Scottish Arts Council, 1968)Gerald and Celia Larner, The Glasgow Style, Astragal Books 1980Ray McKenzie, Sculpture in Glasgow, Foulis Archive Press 1999Perilla and Juliet Kinchin, Glasgow’s Great Exhibitions, White CockadeCharles Rennie Mackintosh, (Exhibition catalogue, Hida Takayama Museum of Art, 1998)(William Buchanan ed.),Mackintosh’s Masterwork: The Glasgow School of Art, Chambers 1998Roger Billcliffe, Charles Rennie Mackintosh: The Complete Furniture Drawings Etc., Lutterworth Press 1980Alan Crawford, Charles Rennie Mackintosh, Thames & Hudson 1995William Buchanan, The Art of the Photographer, J. Craig Annan, NGS 1992(William Buchanan ed.),Mackintosh’s Masterwork: The Glasgow School of Art, A & C Black 2004(Jude Burkhauser ed.), Glasgow Girls, Canongate 1990Harry Taggin et al, Glasgow Revealed, Heritage Books 1998Andor Gomme & David Walker, Architecture of Glasgow, Lund Humphries 1987Janice Helland, The Studios of Frances and Margaret Macdonald, Manchester University Press 1996Robert Macleod, Charles Rennie Mackintosh, Country Life Books 1968Timothy Neat, Part Seen, Part Imagined, Canongate 1994Alistair Moffat, RememberingCharles Rennie Mackintosh, Colin Baxter 1989A. Oakley, The Second City, Blackie & Sons 1967Wendy Kaplan, Charles Rennie Mackintosh, Glasgow Museums 1996The Doctor Thomas Howarth Collection, Christie’s catalogue, 1994Timothy Neat & Gillian McDermott, Closing the Circle, Iynx Publishing 2002Roger Billcliffe, Mackintosh Furniture, Lutterworth Press 1984Thomas Howarth, Charles Rennie Mackintosh and the Modern Movement, Routledge & Keegan Hall Ltd. 1952Charles Rennie Mackintosh Making the Glasgow Style, Glasgow Museums catalogue 2018William Eadie, Movements of Modernity, Routledge 1990Robin Crichton, Monsieur Mackintosh, Luath Press 2006John Nisbet, A Sketch Book, Adam & Charles Black 1913Irene Maver, Glasgow, Edinburgh University Press 2000Roger Billcliffe, Mackintosh Watercolours, Carter Nash Cameron 1978Roger Billcliffe, Charles Rennie Mackintosh Textile Designs, Pomegranate 1993Roger Billcliffe, Architectural Sketches and Flower Drawings byCharles Rennie Mackintosh, Academy Editions 1977(Jackie Cooper ed.), Mackintosh Architecture, Academy Editions 1984Pamela Robertson, The Mackintosh House, Hunterian Art GalleryTalwin Morris designer The Book of the Home, 6 Volumes, Gresham Publishing Co. 1900and a quantity of pamphlets to include:Mackintosh Watercolours RSA exhibition catalogue 1986; The Private Library: Talwin Morris, Blackie and the Glasgow Style; 78 Derngate Guide Book; C.R. Mackintosh Architectural Drawings, Hunterian exhibition catalogue, 1990; Architectural Jottings, edited by Andrew Young; Charles Rennie Mackintosh Scottish Art Review 1968; The Glasgow Style Glasgow Museums exhibition catalogue 1984; The 1933 memorial Exhibition: A reconstruction, The Fine Art Society catalogue 1983; Charles Rennie Mackintosh at the Hunterian Art Gallery 1991; Glasgow Society of Lady Artists in 1882, exhibition catalogue 1982; Helensburgh and the Glasgow School, exhibition catalogue 1972; Mackintosh Flower Drawings, Hunterian Gallery exhibition catalogue 1993; The Hill HouseSold as seen, not subject to returnProvenance: The Estate of the late Dr James Macaulay
Habersham Plantation Country Style Pine Bench: Offered for auction is this lovely country style carved pine bench, made by Habersham Plantation Corporation. The Habersham Plantation Corporation, established 1972, creates sustainable, high-quality furniture exuding Southern country charm. The backrest features curved lines, a recessed carved border framing a carved five-petal flower, accented with a carved wheat motif. The bench is 14" deep; it has arms and is accented below with a curved front with carved scroll accents. The front legs are straight and feature a carved, banded design. On the bottom of the right front leg is carved "HP / RW" This bench is is solidly built and is in very good, used condition. It measures 47" long x 17. 5" deep x 36" tall. Condition For a complete representation of condition and for additional images please call 800-686-4216. It is the buyer‰Ûªs responsibility to view each image and preview the item to determine condition.
French Renaissance Style Walnut and Penwork Cupboard 19th Century and earlier In two parts, the upper section with a leaf tip carved molded cornice, above a frieze with mask and flower swags, the architectural doors centered by arches decorated with armored soldiers, and set between three applied caryatid figures, the center figure a turbaned male, the two side female figures with entwined snakes, the lower section with two frieze drawers with swags of fruit and flowers, over a pair of doors in relief with pairs of chimeras flanking oval cartouches with bearded masks, the stiles with central female, grotesque mask and two armored male figures and military trophies, the side panels with strapwork and geometric ornament in low relief, raised on a molded plinth ending in bun feet. Height 6 feet (1.83 m), width 59 inches (1.50 m), depth 20 3/4 inches (52.7 cm). This French Renaissance style walnut, oak and penwork cabinet is after designs by the architect and woodcaver Hugues Sambin of Dijon (1520-1601), whose book On the Diversity of Terms Used in Architecture, 1572, was extremely influential for furniture makers in the late 16th century; cf. the main door of the Parliament of Burgundy (currently the law courts) in Dijon, carved by Hugues Sambin, 1580, for a related design of a term figure with military trophies below. See also the designs of Jacques I Androuet du Cerceau (1510-1584), a contemporary of Sambin and another important designer of architecture, ornament, furniture and decorative motifs who designed similar cabinets; see his Les plus excellents bastiments [sic] de France, 1576-79, for views of 16th century buildings with Northern Mannerist stylistic elements. Related examples are seen in various collections, including the Wallace Collection, see F.J.B. Watson, Wallace Collection: Catalogue of Furniture, 1956, p. 5, pl. 70. As with the present cabinet, the upper section has two doors with architectural framed decorative elements separated by three applied caryatid figures, although the present doors with arches of penwork depictions of ancient warriors, the Wallace Collection cabinet with figures of Abundance. The lower section also has frieze drawers above cupboard doors with chimeras, although the present cabinet again has penwork decoration with ovals depicting bearded deities rather than carved grotesque masks. As Watson notes, ibid., there is a related cabinet in the Frick Collection, New York, also with caryatids, formerly in the Charbriere-Arles Collection, Lyon and Paris and bought by Henry Clay Frick from Duveen in 1916, and bequeathed by Childs Frick in 1965, acc. no. 1965.5.150; see Furniture in the Frick Collection: Italian and French Renaissance, French 18th and 19th Centuries, (Part I), vol. V, New York: The Frick Collection, 1992. Another cabinet in the Musee Nissim de Camondo, Paris, with related decoration is illustrated, Le Mobilier Classe par Styles, 1re Serie Gothique - Renaissance Francais, Paris: Editions d'Art Charles Moreau, n.d., pl. 29. A Burgundian armoire a deux corps, in the Philadelphia Museum of Art, Helena Hayward, ed. World furniture, 1990. New York: Crescent Books, P. 48, col. pl. has identical arched convex panels to the upper doors. See also a cabinet in the Getty Center, Los Angeles, obj. no. 71.DA.89, acquired by J. Paul Getty in 1971, possibly made by Sambin and based on engravings by du Cerceau, which shares similar decoration, paintings and hardware as one made in Besancon, dated 1581 and made for the governor, Jean Gauthiot d'Ancier. C
An American Art Nouveau Carved Mahogany Bergère, c. 1900, probably New York, rectangular back, foliate finials surmounting stiles, downswept molded arms with leaf carved terminals, vine carved tapered legs, foliate feet, casters, upholstered in a William Morris fabric. $1200/1800
Note: The Art Nouveau style, which originated in France, was used on a limited basis in American furniture at the turn of the twentieth century. While most furniture manufacturers in the United States tended to simplify the style, several produced florid designs that closely emulated French prototypes. One such maker was the New York City firm of George C. Flint and Company. Flint's furniture adapted the designs of French designer Louis Majorelle, exhibiting supple curvilinear forms and flowing decoration of abstracted leaves, vines and flowers. The sophisticated handling of the French Art Nouveau style and exquisite craftsmanship evidenced by the bergère in the current lot suggest a New York origin, which is supported by the secondary woods in the frame, including ash and poplar. Like the Art Nouveau-style furniture manufactured by Flint, the bergère offered here reflects the influence of the designs of Majorelle. An elegant American Art Nouveau carved mahogany table with very similar legs decorated with writhing abstracted vines is in the collection of the High Museum of Art in Atlanta, Georgia.
References: Elizabeth Bidwell Bates and Jonathan L. Fairbanks, American Furniture, 1620 to the Present (New York, 1981), p. 478; Donald C. Peirce, Art & Enterprise: American Decorative Art, 1825-1917 (New York, 1999), p. 306.
CHARLES RENNIE MACKINTOSH (1868-1928)
DESIGN FOR STENCIL DECORATION FOR 14 KINGSBOROUGH GARDENS, 1901 pencil and watercolour on paper, pencil annotations, later framedsheet size 21.9cm x 29.8cm (frame 40.3cm x 47.5cm)Provenance: Acquired by William Meldrum, after the Memorial Exhibition 1933and by descent to his son, James MeldrumGiven to The Glasgow Art Club by Eva Meldrum, widow of James Meldrum, 1984Literature:Billcliffe, R., Charles Rennie Mackintosh: The Complete Furniture, Furniture Drawings & Interior Designs, Cameron & Hollis 2009, pp.132-133,1901.67 illus.Note: This delicate design for a wall frieze is a study for 14 Kingsborough Gardens in Glasgow, the property of Fra Newbery’s mother-in-law Mrs Rowat. Dating to circa 1901, Billcliffe states that the design of Kingsborough Gardens was notably feminine, with detailed stencilled motifs of stylized flowers decorating the walls.This sketch, and the other works by Mackintosh in this sale, belonged to James Meldrum, having come from the collection of his father William Meldrum, Mackintosh’s friend and fellow student at the Glasgow School of Art in the 1880s. James Meldrum notably staged the 1933 Memorial Exhibition of Mackintosh’s work in the MacLellan Galleries on Glasgow’s Sauchiehall Street, along with his friend William Davidson. After James’ death, his widow Eva gifted the vast body of the William Meldrum Collection to the Mitchell Library, Glasgow. The series of works offered here were gifted to the Glasgow Art Club in the 1980s and now appear on the open market for the first time.
EMILE GALLE (1846-1904) ART NOUVEAU VASEFeatured in this lot is this Art Nouveau vase after Emile Galle born in 1846 and died in 1904. The vase features a wonderfully and professionally crafted glass construction. The vase is decorated with leafs and flowers with bulbs about to flower with orange glass with dark green coloration to the floral decorations. Emile Galle (8 May 1846 in Nancy - 23 September 1904 in Nancy) was a French artist and designer who worked in glass, and is considered to be one of the major innovators in the French Art Nouveau movement. He was noted for his designs of Art Nouveau glass art and Art Nouveau furniture, and was a founder of the École de Nancy or Nancy School, a movement of design in the city of Nancy, France. The condition of this this bulbous vase is good with no obvious signs of damage and shows good overall condition. The measurements of this bulbous vase is 5 1/4" x 5" x 5". The collective weight of this vase is 1lb 6oz.
COLLECTION OF 16 CHINESE SNUFF BOTTLESCOLLECTION OF 16 CHINESE SNUFF BOTTLES, including a shadow agate snuff bottle with the skin carved as a man in a boat with a large carp; an amber bottle carved in a 'rice pattern' design; a porcelain bottle, Jiaqing iron-red seal mark, with figures within underglaze blue scrolling design to edges; a Beijing glass bottle of reddish-brown tone carved with yellow calligraphic and still life decoration; a flattened jade bottle carved to one side; an underglaze blue and red porcelain bottle, with Yongzhong six-character mark in underglaze blue, with a continuous scene of boat in mountainous landscape; a small flattened jadeite bottle with carving to one side; a small uncarved white jade bottle; a square-form jadeite bottle; small square porcelain bottle with a figure to each side and furniture; a pale iron-red seal mark under base; a white agate spade shaped bottle with gilt metal lattice overlay; a burnished silver metal bottle; a Beijing glass and snowflake bottle with red overlay carved as a group of censers; a spade-form agate bottle; a small coral bottle carved with flowers; and a molded porcelain bottle with raised censers and floral vases (16)
An American Aesthetic Ebonized Marble and Inlaid Bedroom Suite c. 1880 Herter Bros. New York marquetry inlaid panels incised reeded and Japonesque carved decoration throughout; comprising a bedstead nightstand tall chest (stamped Herter Bros.) and a princess dresser all pulls original bedstead height 62 in. length 80 1/2 in. width 60 in.; night stand height 30 in. width 18 in. depth 18 in.; chest height 41 3/4 in. width 28 in. depth 18 1/2 in.; princess dresser height 86 in. width 61 in. depth 17 3/4 in. Note: The inscriptions found under the marble in this suite "N305 Herriman[sic]" and "N306 Herriman[sic] " are likely notations for furnishing the New York City home of financier and railroad executive E. H. Harriman (1848-1909) on the occasion of his marriage to Mary Williamson Averell (1851-1932) on August 10 1879. The "princess" dresser in this suite is a form intended for use by ladies so the suite would have furnished Mrs. Harriman's bedroom. A circa 1880 cabinet stamped by Herter Brothers and inscribed "N908 Harriman Esq" is conserved by the Museum of Fine Arts Boston (acc. 2000.3). Furnishings from the Herter firm were popular among American railroad magnates including Frederick Vanderbilt and LeGrand Lockwood; the Harrimans likely saw Herter commissions in the homes of their contemporaries. This suite exhibits the spare linear Anglo-Japanese forms adopted by the Herter firm in the late 1870's a tour-de-force in aesthetic design. Other bedroom furniture related this suite includes a well-known bedroom suite made for William Carter now at the Philadelphia Museum of Art (acc. 1928-121-1a-f) an armoire at the Metropolitan Museum of Art (acc. 69.140) and a bedstead made for Arabella Worsham Huntington at the St. Louis Art Museum (acc. 183.1977.1). The inlay here consists of flowering branches arranged to mirror or "grow" away from each other and is related to that on a c. 1878-1880 desk from the Mark Hopkins residence now at the Virginia Museum of Fine Arts Richmond (acc. 90.30). The brass pulls found on this suite are also seen on other noted Herter examples including the armoire at the Met mentioned above a desk for the Jay Gould residence also at the Met (acc. 69.146.3) and a desk from the James Goodwin residence now at the Cleveland Museum of Art (acc. 87.53). Reference: Boston cabinet: https://www.mfa.org/collections/; Lindsey. Philadelphia Museum of Art: Handbook of the Collections p. 288; Howe et. al. Herter Brothers Furniture and Interiors for a Gilded Age pp. 194-195 fig 34; pp. 184-185 fig. 28; pp. 196-197 fig. 35; pp. 172-173 fig. 22.
8 PIECE FRENCH STYLE INLAID BEDROOM SUITE BY ROCKFORD FURNITURE CO.: Stunning marquetry inlaid suite by Rockford Furniture from the 1925-1930 era comprising, 1-5 Drawer Gentleman's Dresser, ovoid in shape and inlays of vines and flowers to each of the drawer fronts, curved sides and top. Center panel with applied carving in a scrolling vine motif design. The Chest, Dresser and Bed with accentuated curved carved aprons. 1-Full size bed with ornately carved and curved headboard and carved footboard (inside measurements are 54'' w x 66'' l or 66.5'' l with curve. 1 Bombay shaped Nightstand with overall marquetry inlay, 1-Ladies Vanity with inlaid turret shaped cabinets to each end and full carved aprons all around, 1-Curved Ladies Bureau with matching marquetry inlays of satinwood, kingwood and Avodire wood construction, 2-Caved Oval Accent Mirrors. From the Lake Hollingsworth Mansion Estate.CONDITION: Note the curved headboard which will require a custom mattress. Some lifting veneers to top of ladies dresser and vanity.
Mario Villa (Nicaraguan/New Orleans, 1953-2021) Glazed Pottery Figural Candle Holder, modeled as a nude female carrying an open flower on her back, signed and illegibly dated, possibly "80", h. 6 3/4 in. Provenance: Estate of Highly Acclaimed New Orleans Artist, Furniture Maker, Designer, and Collector Mario Villa (1953-2021).
MAHAL CARPETearly 20th century, field with a tree of life design with diamond shaped medallions with floral centers, geometric design borders with trailing flowering vines, 13 ft. 6 in. x 10 ft. 7 in.
Provenance: Property from an Important Charleston Collection
Condition:
wear to pile with exposed foundation, misshapen, loss to ends with overcasting, wear to selvage, staining, area of rust staining from furniture legs
Lot. 1930's Painted wooden furniture. (7) Pcs. Yellow bedroom furniture with green detail. (1) Plant stand (damaged). (5) Pcs. aqua bedroom furniture with floral design. (2) Drawers missing. Also, lot of flowers in vases, pots.
CHELSEA ENAMELED PORCELAIN THREE PIECE GARNITUREBritish, circa 1850, two bottle shaped vases; one bowl on stand with wavy edge, each with gilt and enamel design of birds and flowers, vases marked "6.", 13-1/8 x 5-1/8 in. to 12-7/8 x 8-1/2 in.
Provenance: Green and Hatfield Antiques and Period Furniture, England (accompanied by original receipt dated 12 September 1956); Estate of Patricia Ramsey, Asheville, North Carolina
Condition:
loss to gilt and enamel, anomalies, scratching
THREE CUT GLASS VASES, A TRIFLE BOWL AND A FOOTED BOWL two vases engraved with stylized flowers, the third intaglio cut with fuchsia, h: (of tallest vase) 11.75 in.; the trifle bowl cut with a geometric design raised on a knopped pedestal; the footed bowl having paneled sides raised on a low pedestal base with cut circular base, dia: 9.75 in. (5) Provenance: Estate of E. Charles Beyer, Head of English and French Furniture, Christie's New York
Mother Of Pearl Bethlehem Church of Nativity: LARGE Mother Of Pearl Bethlehem Church of nativity interior Sculpture. Pearl Diorama Or Model Indian And Islamic Antique Statue Holy Land Sculpture of Church. VERY FINE Detail. Famous Family Musallam See Photos of family holding an example. . Measures 39 3/4 inches high x 24 inches wide x 14 1/2 inches deep. Approx. Made By Judeh H Musallam Family A Magnificent Large Carved and Engraved Mother of Pearl Diorama or Model depicting the Last Supper attributed to the Master Bichara AL-Zogbi E Hijos Workshop, Probably Made By Yusef Zogbi, Bethlehem, circa 1900 Pilgrims and Visitors of the main three faiths of the world (Jewish, Christian and Muslim) who visited the holy lands often brought back home some souvenirs and gifts to loved ones that represented the holy lands. Some of these objects were made in Jerusalem, Bethlehem and some other places and sold to Locals, Pilgrims and Visitors from all over the world that can be found on the temple square and the streets of Jerusalem and Bethlehem particularly during major Christian religious occasions and church holidays such as Easter etc. When Jerusalem was filled with thousands of pilgrims, in 1912 alone some thirty thousand Russian pilgrims had registered with both the Russian Spiritual Mission in Jerusalem and the Imperial Palestinian Society. For that reason there was a huge demand on traditional objects and souvenirs that represents the Holy Lands, the majority of those objects were made out of Mother of Pearl, Olive Wood Carvings and Furniture, other popular objects were like Metal Work such as Crosses and Ethnic Jewelry, Dead Sea Stone Carvings, Palestinian fine embroiders, Candles making, Lithographs and Engravings, Staged Photographs, Holy Land Photo Albums associated with fine Dried and Pressed Flowers Arrangements, and at a later date Armenian made Jerusalem Pottery. The attraction of the Mother of Pearl lies in its smooth, durable and relatively easy to work with, translucent effect, the nice contrasts with darker furniture and different shiny colours that reflect the lights. The Art of carving and engraving mother of pearl has a long history and been used in the near east and other parts of the world, for it has been used for inlay and the decoration of furniture, architectural details and Jewellery. Also some historical documents and surviving artifacts reveal that the main centres for the production of Mother of Pearl were Bethlehem and Jerusalem, Olivewood carvings were generally executed in Jerusalem. Mother of pearl as a raw material was brought from The Red Sea, as its rich marine life, has always provided a rich source of shells and mother of pearl. In fact until today, one major source of shells for the mother of pearl industry in Bethlehem is the Red Sea coast of Sinai. And on later periods to meet the mounting high demand, Mother of Pearl and shells were imported as far as the South China Sea, South East Asia, Australia, New Zealand, Mexico and Brazil. . The entire shells or mother of pearl production process is based on: artistically outlining or designing, cutting and polishing into pieces of exact dimensions and shapes in order to form mosaic images, the pieces were affixed together on olive wood panels or boards, for supporting purposes by using natural adhesive materials to eventually become a diorama or a model. Other techniques were also used that involves the carving and engraving of a complete polished shell to achieve an icon that is made out of one shell. Different sizes of shells were carved and engraved as religious Christian Icons, and were made by masters achieving high artistic craftsmanship that reflects the long standing tradition of Christian art which constantly developed from the fourth century. The value of these shells differs, fine and large carved shells were usually scarce and more expensive. Generally dioramas and icons were inscribed and bear the place where they were made, either Jerusalem or Bethlehem. The majority of carved shells were depicting gospel subjects such as the Nativity of Christ, the last supper and the Ascension. Large and smaller dioramas were occasionally inscribed at the front with Latin alphabet or other languages such as Greek, English, Italian, French, Armenian etc. , defining the subject of the icon or diorama, the place where it was made, the year and the maker’s name and occasionally to whom it was made or gifted. On some occasions some Arabic inscription can be found on the back of the mother of pearl shell or wooden plates, also defining the place, year and the maker name, this inscription support the claim that mother of pearl icons were usually made by Arabic Masters. Historically and traditionally and since the 12th. century, the industry of mother of pearl was carried out in local workshops mostly at the Bethlehem area. Dedicated Palestinians mastered this art and passed it on from one generation to the next. During the golden age of the industry that was in the middle of the 19th century, until the first quarter of the twentieth century and due to the relative stability and increasing good relations with the western world, when mother of pearl carvings of this area had become very popular and sought after, for it started competing with other Christian ivory carvings, and was also used as wonderful bright alternative to ivory, for some how the talent of mother of pearl carving and engraving had matched if not surpassed them, pieces were not only considered as souvenirs from the Holy Lands anymore but also as masterpieces. Bethlehem has witnessed major development in the industry of mother of pearl, encouraged by the presence of pilgrims, religious individuals, the influence of missionaries and also The role of craftsmen arriving from Genoa and Damascus was well recognized historically. The legacy of the mother of pearl craft in the Bethlehem area has maintained the artistic vision and tradition of the Palestinian community and provided some economic stability and independence. High quality works of art were given as presents to high-ranking Foreign and Royal Christian pilgrims as they once stood in the chapels of the Holy Sepulcher at Jerusalem and the church of the Nativity at Bethlehem. Some historical documents at the hermitage Museum provide important information on who presented those high quality objects, this suggests that they were donated by patriarchs, high clergymen or aristocrats. The higher caliber craftsmen focused on large pieces mostly decorated with Christian themes. The other development was the exceptional work of large Dioramas or models. These were usually done on Demand by Governments and were given as Gifts to Royalty, Rulers and High-Ranking Religious Individuals. Some exquisite Mother-of-pearl works of art that was made by Palestinians in the Holy Land during the past three centuries such as Dioramas, Crucifixes, Boxes, Shell Icons, Rosaries, and cabinets can be found today at the vaults of the Vatican, the British Museum in London, the Hermitage Museum in Saint Petersburg, , Il Museo Della Grazie in Rimini, and Topkapi Palace Museum in Istanbul, in addition to other pieces in Churches, Cathedrals, Religious Missions, and Private Collections The main well known artists in the field: Elias S. Dabdoub, Suleiman Dabdoub, whose work of the Dome of the Rock exists in the Top Kapi museum in Istanbul, Suleiman Roc (1831-1906), Hanna S. Roc (1863-1941), Yousef Jidi (1864-1934), Mikhael Lama, Butros Lama, Hanna Tabash, Elias Giacaman, Jamil Musallam, Saleh Abu Ayash, and others from the Salameh, Freij, Izmeri, Handal, Hazboun, Ballut, Shehadeh and Asfura families. ?The Zougbi family was well known for its skill in working on large models. Issa Mikhael Zougbi was a senior member of the community in Bethlehem; his sons, mainly Bishara (1863-1934) and Yousef (1878-1964) were the main artists in this field of mother of pearl Their workshops of mother of pearl and olive-wood carving was officially established in 1876, the Zougbi workshop was maintained by his son Gregory (1908-1994), One of his other sons moved to Barranquilla Colombia, Latin America, and had established a mother of pearl workshop and its been running now under the family descendent Mr Enrique Jidi The workshop of Gregory Zougbi was officially closed down in the early 1970s. Our current outstanding Diorama or Model of the Last Supper depicting Jesus with his original twelve Disciples is based on Leonardo’s da Vinci’s painting in Milan, Italy. The decoration is exceptionally fine and exquisite, the carving of the mother of pearl is carefully, patiently and passionately executed to achieve the three dimensions effect. The fine details to all cotenant of the scene including the Room’s Walls, Ceiling, Furniture, Chandelier, Textiles including the Clothings, Table Sheet and the Curtains, the Dove that represents the Holly Sprit and also the superb frame Borderline carvings and the complex open work technique that had been executed on the mother of pearl, makes it evident as a suburb example that shows the level of excellence that these masters had reached on producing exceptionally high quality carvings on mother of pearl material, for the figures that represent Jesus Christ and the Original twelve Disciples is clearly noticeable through out their facial expressions and one can clearly see their emotions and feelings also through their body language, positions and their physical gestures, all that was done to achieve high impact on viewers. The lace effect carvings to the frame borders of our current lot is almost identical to the Diaorama that was awarded to the Hermitage Museum in 1991 by the Russian Customs, that bears Greek inscription and was originally brought to Russia in 1910 and was gifted from the Patriarch Damiaanos of Jerusalem at the time, to the son of the Russian Emperor Tsarevich Alexis, For a similar example please see, El Arte Palestino De Tallar El Nacar, by Enrique Jidi Daccarett, Karen David Dacccarett & Martha Lizcano Angarita (The Palestinian Art of Mother-of-Pearl Carving) Lot 36 & 69 Pages 52 & 71 For another almost identical Diorama please see From Jerusalem with love, art Photos and souveniers, 1799-1948, Highlights from the Willy Lindwer Collection, uitgeverij wanders, Bijbels Museum, Amsterdam 2010, Lot 202 page169 For another example please see Pilgrim Treasures (Byzantium Jerusalem) from The Hermitage, Hermitage-Amsterdam Exhibition, lot No. 166 pages, 18-19 & 118 Source https://www. aljantiques. com/archives/a-magnificent-large-carved-and-engraved-mother-of-pearl-diorama-or-model-depicting-the-last-supper-attributed-to-the-master-bichara-al-zogbi-e-hijos-workshop-probably-made-by-yusef-zogbi-bethlehem. html
A GEORGE III (1738-1820) NEOCLASSICAL PAINTED ELM AND B...A GEORGE III (1738-1820) NEOCLASSICAL PAINTED ELM AND BEECH ARMCHAIR, after designs by THOMAS SHERATON (1751-1806), the oval back centering a hand painted paterae issuing a blue ground band with pink and blue flower blooms and delicate buds on leafy tendrils, and a laurel leaf and berry garland hung within a dado joint constructed web or wheel form back, each spoke painted with a carrot spear pointing to an oval medallion with a figure of Ceres, crowned with flowers in sparse landscape, the contoured seat covered in yellow ground floral upholstery within bowed arms painted with grape leaf and berry vines, on restrained swan neck form supports with whimsical stylized strawberry plants, raised on square, tapered legs with repeating blue ground flower bloom tendril bands, ending on spade feet, joined by a rose bloom tendril painted flat front rail. Note: In Ralph Edwards' Sheraton Furniture Designs, from the Cabinet-Maker's and Upholsterer's Drawing-Book 1791-94, printed by The Compton Printing Works Ltd., London, 1946, he reproduces illustrations from the posthumous printings of Thomas Sheraton's designs. The present chair crest rail is painted with a paterae design that evokes the central detail of a chair rail design on page 43. On pages 18-19 Cornices with Ornamented Friezes, detail a vertical ornament with entwining serrated leaf and berry tendril, which when compared to the fruiting tendrils painted on the present chair arms, a remarkable likeness is evident. The back construction is something only a seasoned carpenter could execute, the mark of quality is subtle but quite apparent. Tracery examples on pages 7-9 likely gave the carpenter a variety of sinuous forms from which to work from while executing the chair back. Finally on page 68 a selection of vegetal flourishes ends with a rose bud dotted spray, which when compared to the front seat rail and back supports, are simply intentionally modeled after Thomas Sheraton's brilliant designs. The cabinetry publications produced in the 18th/19th centuries by designers and carpenters such as the Adams Brothers, Thomas Sheraton, and George Hepplewhite persist in informing cabinetmakers on unsurpassed woodworking trends. The simplicity of Sheraton's design, well suited for hand painted details, appealed to the economic sensibility and tastes of the burgeoning merchant class. The joyous theme of abundance, beauty, and spring is clearly conveyed here. Height: 37 3/4" Width: 24" Depth: 20"
Condition:
Apparent repairs, glue residue, some losses of original supports, later upholstery, evidence of second paint decoration which has now deteriorated to reveal original paint decoration, expected losses of paint throughout, rubbing, but overall in very good condition, wear commensurate with age and use. Simpson Galleries strongly encourages in-person inspection of items by the bidder. Statements by Simpson Galleries regarding the condition of objects are for guidance only and should not be relied upon as statements of fact and do not constitute a representation, warranty, or assumption of liability by Simpson Galleries. All lots offered are sold "AS IS."
CHARLES FRANCIS ANNESLEY VOYSEY (1857-1941)
TABLE SECRETAIRE, CIRCA 1900
oak and inlaid macassar ebony, the projecting moulded cornice above a tapered carcass with rectangular fall, with applied heart-shaped escutcheon, inlaid with three macassar panels, further inlaid in ivorine, stained gesso and mother of pearl and depicting birds and flowers, opening to reveal an interior fitted with pigeonholes and supported by brass stays with heart-shaped brackets, above an open shelf; cabinet comes with original key, the terminal worked as entwined hearts
45.5cm wide, 50cm high, 30.5cm deep
Literature: John Brandon-Jones ''C.F.A. Voysey: architect and designer 1857-1941)'', page 135, ref E5, E12, pages 67-74
Note: As a designer Voysey paid meticulous attention to detail, designing every aspect of a project whether architectural or in the design of a piece of furniture as with the current lot. His characteristic heart shaped motifs can be seen in the escutcheon, the brackets of the beautifully shaped stays on the fall and in the key which is wrought with four entwined hearts. The escutcheon was probably made by Thomas Elsley & Co of the Portland Metalworks whilst the key was likely to have been supplied by W. Bainbridge Reynolds.
The simple, clean lines of the carcass are typical and hold true to his design ideals. In 1909 he stated 'Simplicity in decoration is one of the most essential qualities without which no true richness is possible. To know where to stop and what not to do is a long way on the road to being a great decorator.' More unusual perhaps are the macassar ebony panels which are inlaid with a depiction of his characteristic bird and flower motif and which lend to the piece a more luxurious quality
(3) BACCARAT PEARL & STEUBEN LEAF VASES(lot of 3) Crystal and glass flower vases, including: (1) Baccarat "Pearl" vase, acid-etched mark underfoot, approx 10.5"h, 3.75"w, 3.5"d, (1) George Thompson (American, 1913-1981) for Steuben leaf vase, engraved signature underfoot, approx 8"h, 5.25"diam, (1) vase, frosted petal design, approx 10"h, 5.5"diam, 10lbs total **Provenance: The estate of a true Texas ambassador, Kevin Williamson (Austin, TX 1962-2021) was a charismatic chef and founder of Austin’s iconic restaurant Ranch 616 and the creator of the modern cocktail Ranch Water. Renowned for his eclectic, visionary nature towards art, furniture and jewelry**
8 PIECE FRENCH STYLE INLAID BEDROOM SUITE BY ROCKFORD FURNITURE CO.: Stunning marquetry inlaid suite by Rockford Furniture from the 1925-1930 era comprising, 1-5 Drawer Gentleman's Dresser, ovoid in shape and inlays of vines and flowers to each of the drawer fronts, curved sides and top. Center panel with applied carving in a scrolling vine motif design. The Chest, Dresser and Bed with accentuated curved carved aprons. 1-Full size bed with ornately carved and curved headboard and carved footboard (inside measurements are 54'' w x 66'' l or 66.5'' l with curve. 1 Bombay shaped Nightstand with overall marquetry inlay, 1-Ladies Vanity with inlaid turret shaped cabinets to each end and full carved aprons all around, 1-Curved Ladies Bureau with matching marquetry inlays of satinwood, kingwood and Avodire wood construction, 2-Caved Oval Accent Mirrors. From the Lake Hollingsworth Mansion Estate.
CONDITION: Note the curved headboard which will require a custom mattress. Some lifting veneers to top of ladies dresser and vanity.
17PC CHINESE M.O.P. BOX CRAFT FURNITURE INLAY SETS ChinaEarly 20th CenturyCarved mother of pearl designs depicting birds, flowers, medallions and landscapes used for furniture inlays.
Mario Villa (Nicaraguan/New Orleans, 1953-2021), "Three Flowers", 2004, oil on canvas, signed and dated lower left, 19 3/4 in. x 15 3/4 in., unframed. Provenance: Estate of Highly Acclaimed New Orleans Artist, Furniture Maker, Designer, and Collector Mario Villa (1953-2021). Condition: Overall good condition.
Extraordinary Georgian carved mixed wood fireplace surround, style of Grinling Gibbons 18th/19th century
stepped and dentil-molded mantel above breastplate with profuse limewood carvings of shell issuing scrolling lion's heads and acanthus adorned by flowerheads, with cascades of fruit, leaves, flowers and berries, on plinth.
H59" W72 1/2" D10 3/4"
Provenance: Atlanta, Georgia private collection.
Acquired in the 1960s from noted Atlanta designer Ed Kirby, who purchased it in England.
Other Notes: Biography: Grinling Gibbons, the most famous English woodcarver of all time was born, oddly enough, not in England at all but in Rotterdam, in what is now Holland, in 1648. He did not set foot in the British Isles until sometime around 1670 or 1671. In those days a craftsman needed to be recognized and promoted by patrons to make his work widely known.
Gibbons was fortunate in that he was blessed with extraordinary talent in woodworking, and that this was recognized and promoted by a succession of patrons until he eventually came to the notice of Charles II. Charles gave Gibbons commissions, as did William III and George I. Gibbons was also a favorite of the premier architect of the age, Christopher Wren. Wren called upon Gibbon to supply decorative carving for many of his country house commissions.
The genius of Gibbons is not simply that he had a remarkable ability to mold and shape wood, but that he evolved a distinct style that was all his own. Working mostly in limewood, Gibbons' trademark was the cascade of fruit, leaves, flowers, foliage, fish, and birds. Such cascades could be applied to paneling, furniture, walls, or even chimneys. Perhaps to prove that he was not limited in his ability to the cascades, Gibbons produced a cravat made of limewood in a perfect imitation of Venetian needlepoint. The "cravat" was so lifelike that a foreign visitor was fooled into thinking it the standard dress of the English country gentleman! Horace Walpole, who is known to have later worn the cravat on at least one occasion, remarked in 1763, "There is no instance of man before Gibbons who gave to wood the loose and airy lightness of flowers". The cravat is now on display in the Chapel at Chatsworth, Derbyshire.
Much of Gibbons' work survives in isolated country houses, but Hampton Court Palace near London is blessed with an abundance of fine carvings by the Dutch-born master. William III commissioned Gibbons to redecorate his State Apartments, and was so impressed by the result that in 1693 he gave Gibbons permission to use the title "Master Carver". Such carvings as the ones at Hampton Court are filled with symbolism which would have been apparent to an educated observer of the day, but which would escape most modern observers. Very often each object in the carving would have a particular meaning or reference to a classical Greek or Roman ideal or story.
Grinling Gibbons had an enormous influence on interior design and decor during the Golden Age of the English country house. Later craftsmen such as Thomas Chippendale are known to have been heavily influenced by his work. Gibbons died in 1720.
Condition: Mantel board replaced, very minor losses to carving.
Mario Villa (Nicaraguan/New Orleans, 1953-2021), "Flowers", 2004, oil on canvas board, signed and dated lower right, 17 7/8 in. x 13 3/4 in., unframed. Provenance: Estate of Highly Acclaimed New Orleans Artist, Furniture Maker, Designer, and Collector Mario Villa (1953-2021). Condition: Overall fair condition.
SIR ROBERT LORIMER (1864-1929) IMPORTANT PAIR OF CREWELWORK BED HANGINGS, DATED 1893 each worked with allover sprays of flowers with insects within a meandering border of flowers and birds, russet silk embroidery on a natural linen ground, with later linen backing, each bears hand-written label WORKED BY MISS C. CHAPLIN 1893 and WORKED BY MRS BURNS-MACDONALD. 1893 (2) 233 x 97cm Estimate £ 10,000-15,000 Provenance: Earlshall Castle, Fife, Scotland Note: In 1890 Sir Robert Lorimer was commissioned by R.W.R. Mackenzie to restore and enhance his sixteenth century tower house, Earlshall, near Leuchars in Fife, Scotland. Lorimer designed several pieces of furniture for the house, including the settle now in LACMA and the buffet which Walter Shaw Sparrow illustrated in his The British Home of To-Day (1904). The work included embroideries to complete the decorative scheme. Walter Shaw Sparrow illustrated the bedcover from this set (now with The National Museums of Scotland) in The Modern Home (published in 1908). These embroideries were worked by Mackenzie's wife Jessie and her friends in 1893 and remained at Earlshall until the contents were sold in 1983. Sir William Bruce built the castle in 1546. He had fought at, and unusually, survived the Battle of Flodden in 1513. Mary, Queen of Scots, visited in 1561. One of the family was killed at the Battle of Worcester in 1651, fighting for Charles II; and another Sir Andrew is known as "Bloody Bruce". He and his men killed Richard Cameron, a noted Covenanter, at Airds Moss. Bruce then hacked off Cameron's head and hands and took them back to Edinburgh. The castle was abandoned and ruinous before being restored for R.W.R. Mackenzie by Sir Robert Lorimer in 1892. The gardens were re-laid and the formal garden replanted. . Sold for £11,250 (buyer's premium included)
Federal Mahogany Carved and Inlaid Lady's Secretary-bookcase, attributed to Thomas Seymour, Boston, c. 1807-12, the decorative eglomise painting attributed to John Ritto Penniman, the turnings possibly by Henry and/or Thomas Ayling. some brasses replaced, (minor imperfections), ht. 76 3/4, wd. 37 1/2, dp. 19 3/4 in. Provenance: John Bryant III (1780-1865), a Boston China Trade Merchant, and his wife Mary Cleveland (Smith) Bryant (1784-1860). Presumably to their son John Bryant IV (1811-1847) and his second wife Mary Ann (Lee) Bryant. To their daughter Julia Bryant (1847-1901), who married Brigadier General Charles Jackson Paine (1833-1916), a railroad magnate and yachtsman, of 87 Mount Vernon Street, on March 26, 1867. To their daughter Georgia Paine Fisher Howland. To her son Charles Paine Fisher. Estate of Charles P. Fisher. Note: The lady's secretary and bookcase was a cultural badge signifying a Boston lady of refinement and education during the Federal period. Mary Cleveland (Smith) Bryant (1784-1860) was such a lady. She had been well-educated as daughter of Rev. John Smith, a professor of Ancient and Middle Eastern Languages at Dartmouth College, and was widely read. It was probably purchased around the time of, or a few years after, her marriage in late 1807 to John Bryant III (1780-1865). He was the son of John Bryant II, the Deputy Commissary of Military Stores at the Federal Armory in Springfield. The elegant bookcase provided space for the increasingly affordable books then available to educated Bostonians. It was also designed to provide everything needed for letter writing to her increasingly dispersed family. The year after the couple's marriage on November 25, 1807, Bryant evidently furnished their Boston house, listing twenty-seven payments in his financial Waste Book under the category "House Furniture". These included one for a "Bedstead" on July 5, 1808 to Boston's premier cabinetmaker, Thomas Seymour. Under financial pressure in 1808, Bryant shipped out on an adventure in the brig Mandarin for Canton, his first to China. Bryant's voyage and trading proved extremely profitable. After his return in 1809, he formed a partnership with William Sturgis dba Bryant and Sturgis, which eventually became one of Boston's most successful China trade firms. The couple lived initially in a fashionable home in Tremont Place, later on Beacon Street near Charles Street. After his return, Bryant made numerous additional purchases of house furnishings in 1810, including another from Thomas Seymour for $39.00 for unspecified furniture which he recorded on Dec. 27. This payment may have been for the present secretary and bookcase. However, Bryant's several voyages in this period are reflected in sporadic and incomplete entries for household expenses. Other purchases from Seymour and other craftsmen probably went unrecorded. Surviving Bryant family and business records do not include actual bills and receipts. The secretary is one of at least four which employ églomisé (reverse glass) painting in two shades of green with repeating Gothic arches and centering stylized leafage. Details are picked out in fine black lines. This "fancy painted" work can be firmly attributed to John Ritto Penniman based on the very high quality of work, and on at least two of his characteristic techniques - faux-shadowing below and to the right of both leaves and arches which simulate light cast from the upper left; and detailed modeling formed by two or more layers of fine black lines applied at right angles to each other, also simulating depth and shadows. Penniman was a tenant in Thomas Seymour's Boston Furniture Warehouse from at least 1808-1810. The two collaborated numerous times, most commonly for decoratively painted panels featuring flowers, leafage, or sea-shells on work boxes and quartetto, work and card tables. Every aspect of the Bryant family secretary reflects Seymour's habitual attention to detail and precise execution. Mahogany veneers are carefully selected of four different grain characters. Spandrels between gothic arches at the tops of the doors are beautifully faced with book-matched curly satinwood and outlined with his typical very fine-gauge black and white stringing lines. Large drawer fronts are framed with curly maple crossbanding, each accented by sand-scorching one long edge to provide greater depth and modeling. Keyholes on doors and drawers are lined or faced with bone shaped to three different patterns. Precisely executed small-scale bead moldings are employed on lower case edges, the frieze, as an astragal molding on the glazed doors, on pilaster columns separating door panels and on the cornice. Molding miter joints are perfect. Drawer construction follows Seymour's typical habits, with fine-gauge dovetails and bottoms beveled on the edges to fit into grooves in drawer sides and fronts. Glue blocking on drawer bottoms along front edges is of even size and evenly spaced. Glue blocks along the drawer sides are cut into short, regular segments from one continuous strip of pine, then butted, glued and cut off at an angle at the rear edge. Small interior and mid-case drawers require no glue blocking. The design of the cornice is particularly refined, with its central oval inlaid with curly satinwood and black stringing surround set into a stripe-figured mahogany ground, its upper molded frame in the form of a semi-oval, and elegantly shaped and molded finial support block above. The small turned roundels applied at terminations of the half -oval molding and on the leg blocks were employed frequently by Seymour in this period. They reflect English Regency designs he began employing at about this period, and which increasingly dominated his work from about 1808 to 1817. Seymour's use of lion-pattern hardware for the interior drawer pulls also follows Regency period preference. An interesting and perhaps unique feature is the hinged lid which slants downward when opened to enable easier writing. This is supported at both ends by lopers which also slant down and slide in slanted housings in the case. Seymour's penchant for constant experimentation resulted in enormous variation in his work. Except for sets and pairs, no two pieces it seems are alike. The Bryant secretary is no exception. Robert D. Mussey, Jr. Milton, Mass. Note: Please note that a copy of Robert Mussey's Furniture Examination Report is available for this piece, with endnotes. We would like to thank Mr. Mussey for his assistance in cataloguing this lot. Estimate $100,000-150,000 The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging. Condition requests can be obtained via email (lot inquiry button) or by telephone to the appropriate gallery location (Boston/617.350.5400 or Marlborough/508.970.3000). Any condition statement given, as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Skinner Inc. shall have no responsibility for any error or omission.
Grace Barnsley Davies (British 1896-1975)Two Arts & Crafts Wedgwood pots and covers each hand painted with flowering foliage each with artist's monogram and numbered 291 and 228 respectively impressed Wedgwood marks 4 1/2" high and 4 1/4" high (2).Emily Grace Davies (nee Barnsley) was daughter of the architect and Cotswold School furniture designer Sidney Barnsley. She attended the Birmingham School of Art before becoming a freelance painter for Wedgwood.
SET OF NINE ROSEWOOD MOTHER-OF-PEARL INSET CHAIRS AND TABLES. China. The furniture set includes four long seats, two chairs, two stands, and one table. The single piece wood table surface inset with mother-of-pearls, depicting butterflies and swallows flying near a large tree next to blossoming flowers, within a rectangular pattern, the apron pierce carved in ruyi cloud, bats, and coin shapes, another supporting board below, attached to four feet, with additional carved aprons at the corners, all stands on tapered in beast legs. The stand exhibits similar design and motif as the table, but without the supporting wooden board. The long seats and chairs have slightly differing design, the front with stylistically carved and embellished back rest depicting either cranes flying past lotus flowers and bamboo trees, between five pierce carved bats and floral patterns, the apron carved with bats and ruyi clouds, attached to beast legs. SIZE: Various PROVENANCE: Estate Collection from a renowned Taiwanese Diplomatic Family - Cai Wanjun (? - 2011), Xu Shaochang (1913-1999), and Ye Gongchao (1904 - 1981). CONDITION: Very good with minor age cracks and some losses to inlays. 50654-6
Mario Villa (Nicaraguan/New Orleans, 1953-2021), "Tropical Red Flower", 2004, oil on canvas board, signed and dated lower right, 16 in. x 12 in., unframed. Provenance: Estate of Highly Acclaimed New Orleans Artist, Furniture Maker, Designer, and Collector Mario Villa (1953-2021). Condition: Overall fair condition.
MOREL LADEUIL, ELKINGTON, POMPEIIAN TOILETTE, 1876 Elkington silverplated electrotype bas relief rondel after the model by L?onard Morel-Ladeuil (French, 1820-1888), "Toilette de Venus", silver-plated electrotype plate, signed "Elkington C" lower right and signed and dated "L. Morel-Ladeuil / inv. et fec. / 1876" in a white lacquered octagonal frame. Rondel: 13" diameter Frame: 21" H x 21" W x 2" D Literature: See page 142 of "The Masterpieces of the Centennial international exhibition of 1876 .." (1876) Note: This work is mentioned in the catalogue of the Philadelphia exhibition: "Our engraving on page 125 ... is the latest work of the celebrated artist M. Morel Ladeuil, and in the opinion of competent judges, as a specimen of artistic metal-work of the highest class, it has never been surpassed either in conception of design or in delicacy of manipulation.... "The Pompeian Toilette" ? as the Plaque is called ? is some twenty inches. ... Looking at the engraved picture, one would say it was after some fine painting ? say by Alma Tadema ? and was the labor of the brush and pencil rather than the mallet and chisel. An inspection of the piece itself rather increases than diminishes the wonder. The texture of the fiesh, the drapery, the plants, the effect of distance, each and all are expressed with truly marvelous fidelity to nature; in brief, the tecnique is perfect. Looked at as an artistic conception, the work is not less remarkable. Here is a Pompeian lady, fresh from the bath, attended by her female slaves. The toilet is nearly completed; the necklace and armlets have been adjusted; one maiden is fastening the sandals to the anklets ; another stands holding the robe shortly to be donned, and a third finishes the adornment of the hair while her mistress contemplates the effect in a mirror. The pose and expression of each one of these figures are a study, but the central figure is a marvel of grace and loveliness. Accessory to this group are the room, the furniture, the ornaments, the flowers, and the recess beyond. All these details it will be observed have been carefully studied and combined to give a most harmonious whole. Except in the other works exhibited by the Messrs. Elkington, there is no metal-work of a like description in the Exhibition comparable with this fine plaque." Provenance: Property from an Upper East Side townhouse.
A FEDERAL MAHOGANY CORNER WASH STAND, LATE 18TH/EARLY 1...A FEDERAL MAHOGANY CORNER WASH STAND, LATE 18TH/EARLY 19TH CENTURY, the undulating triangular corner backsplash with a small quarter round shelf above a conforming shelf centering a circular aperture for a porcelain washbasin, over a cyma carved apron and a third shelf with central recessed panel short drawer enclosing a pressed brass floret pull flanked by two matching sham drawers, raised on rectangular legs ending as gently splayed feet and joined by a stylized shelf stretcher. Height: 42 3/4" Width: 30 1/2" Depth: 19" Note: This corner washstand closely follows one originally designed by Thomas Sheraton with few differences other than the backsplash on this one is a bit more elegant than the one in Sheraton's book and he has two more small apertures on the basin shelf. The brass pulls on this lot are probably later (circa 1840) as he shows ring pulls, but handles, pulls, and the such wear from use, so replacing them is expected. While a corner washstand might not be a necessity in today's modern living one could see it as a perfect spot for a flower filled pot or even a plant. To see Sheraton's original please check his, "THE CABINET - MAKER AND UPHOLSTERER'S DRAWING - BOOK, IN FOUR PARTS, THIRD EDITION, REVISED, LONDON, 1802," No. 26, pl. 1, Plate 42, "Corner Bason Stands."
Condition:
Good restored condition and composed of mahogany with another stained wood possibly maple as well as pine and cedar, uneven patina, age shrinkage cracks, expected marks, some scratches, and normal wear for furniture of this age, use, and materials. Simpson Galleries strongly encourages in-person inspection of items by the bidder. Statements by Simpson Galleries regarding the condition of objects are for guidance only and should not be relied upon as statements of fact and do not constitute a representation, warranty, or assumption of liability by Simpson Galleries. All lots offered are sold "AS IS."
ALPHONSE MUCHA (1860-1939) [FEMME À LA MARGUERITE.] Satin panel. Circa 1898. 20 3/4x39 3/4 inches, 52 3/4x78 cm. Condition A-: creases and minor staining in image. Framed. Unexamined out of frame. It is uncertain if these pieces, printed on fabric, were intended as decorative panels or textile samples for furniture or interior decoration. We can ascertain their date from examples accessioned by various prominent European museums, such as the Museum of Stuttgart, who acquired their sample in 1898. In 1899, a British firm, Forrer, offered the designs as covers for small pillows. When that firm's archive was later auctioned, two small watercolor designs for the images were discovered. At least two variations exist, each depicting a different woman amidst similar swirls of flowers, varying occasionally in color and fabric including satin, velour, velvet and velveteen. This is the red, satin version. rare. We have found only three copies at auction since 1985. Lendl p. 221 (var), Rennert / Weill A11-1 (var), Mucha Grand Palais 69 (var), Darmstadt 106, Mucha / Bridges 39 (var).- 3,000
George III Style Painted and Parcel Gilt Sideboard Table In the style of Thomas Chippendale The veneered marble top above an anthemion carved frieze, raised on tapering legs with rams' heads and pendent husks and ending in fluted tapering feet. Height 35 inches (88.9 cm), width 6 feet 2 1/2 inches (1.89m), depth 26 1/2 inches (67.3 cm). Cf. A drawing for 'Sideboard Tables' by Thomas Chippendale, Chippendale Drawings, circa 1753-4, vol. II, The Metropolitan Museum of Art, acc. no. 20.40.2 (40), showing a similar design for a table with two tapering channeled square legs to each side of the front frieze, carved with pendent husks. One of a pair of pier tables at Harewood House made for the music room, circa 1771 is illustrated, Christopher Gilbert, The Life and Work of Thomas Chippendale, 1978, vol. II, p. 260, figs. 474-475; also illustrated, Macquoid and Edwards, The Dictionary of English Furniture, vol. III, rev. ed., 1983, p. 295, fig. 60. Of the same form as Chippendale's design and the present table, it shares a similar frieze, carved with leaf tips above beading and an anthemion of alternating palmettes and lotus flowers. The present table was possibly made in the late 19th/early 20th century by the firm of Lenygon and Morant, London. C Estate of Mary Gayle Kalt
TEN BOOKS ON ARCHITECTURE AND INTERIOR DESIGN Collection of ten hardcover books on architecture and interior design comprising: "At Home With Carolyne Roehm", Melissa Davis, "Interiors", Min Hogg and others, "At Home With Art: How Art Lovers Live With And Care For Their Treasures", Estelle Ellis and others, The Houses Of McKim, Mead and White", Samuel G. White, "Newport Houses", Jane Mulvagh and Mark A. Weber, "At Home With Books: How Booklovers Live With And Care For Their Libraries", Estelle Ellis and others, "The Divine Home: Living With Spiritual Objects", Peter Vitale, "Colfax And Fowler: Interior Inspirations", Roger Banks-Pye, "Horst: Interiors", Barbara Plumb, and "Flowers And Furniture In America's Historic Homes", Elfreda Finch. Dimensions: Approx. of the largest, h. 12.25", w. 9.5", d. 1.25".
RARE GEORGE III GILT-BRONZE-MOUNTED TULIPWOOD, SYCAMORE AND HAREWOOD MARQUETRY WRITING TABLE, IN THE FRENCH TASTE, POSSIBLY BY PIERRE LANGLOIS With paper label 'Violet Vicountess Melville'; the rectangular serpentine top with eared corners centrally inlaid with a marquetry panel depicting a woven basket filled with summer flowers with a bee and butterfly; above the writing slide lined with peach silk velvet, above one side drawer inalid with a foliate spray with a similarly inlaid apron, raised on slender cabriole legs with gilt-bronze foliate corner mounts, lacking sabots. 28 x 27 1/4 x 20 1/4 in. Provenance: P.W. French & Co.; Violet Viscountess Melville, probably Cotterstock Hall. Note: Violet Marie Louise Cochrane-Wishart Baillie (1892-1943), daughter of 1st Lord Lamington, was the wife of Henry Dundas, 5th Viscount Melville (1835-1904). They lived in Cotterstock Hall, Northamtonshire built in 1658 which now serves as a hotel. The Family seat is Melville Castle between Dalkeith and Lasswade near Edinburgh. The gothic castellated mansion was designed in 1786-91 by James Playfair for Henry Dundas, 1st Viscount Melville. Pierre Langlois was an 18th Century French cabinet-maker who spent part of his career in London. He was trained in Paris and obtained his maître menuisier in 1774. It has been speculated that he trained in the workshop of the notable Parisian cabinet-maker Jean-Francois Oeben due to the similarities in their floral marquetry designs, veneer chosen and techniques. We can only speculate that this offered lot was created by Langlois, since it is not stamped. The table displays both English (marquetry inlaid on a "sycamore" ground) and French techniques (mahogany drawer linings and rococo shape). Pierre Langlois established his business in London in 1759 on 39 Tottenham Court Road. Langlois' trade card advertises the fact that he specialized in furniture with inlay "inscrutez des fleurs en Bois". According to Peter Thornton, "Langlois introduced the French picturesque fashion to the court of George III". He found wealthy patrons who appreciated his taste in Horace Walpole, the 4th Duke of Bedford, the Earl of Coventry and Sir Lawrence Dundas. The later owned a pair of George III marquetry commodes by Langlois for the Tapestry Gallery, Moor Park, Hertfordshire which sold for over $1 million at Christie's, London, July 3, 1997, lot 102. Sir Lawrence decorated his London townhouse and country house with furniture by Thomas Chippendale, Wiliam Vile, John Cobb with designed rooms by Robert Adam, Gobelins tapestries by Boucher. We can only speculate that this table made its way through the Dundas clan at Cotterstock Hall. Property from the Estate of Helga Marston, NY Estimate $ 2,000-3,000