Gallery
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S-75
Pair of English 17th Century Period Oak Hall Chairs
Pair of English 17th century period oak hall chairs. England: circa 1680
- width
- 20.75 in (52.71 cm)
- height
- 43.25 in (109.86 cm)
- depth
- 15 in (38.1 cm)
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S-73
Pair of Stainless Steel and Leather Armchairs in the Manner of Mario Botta
Pair of Stainless Steel and Leather Armchairs in the Manner of Mario Botta Italy: circa 1980
- width
- 20 in (50.8 cm)
- height
- 31 in (78.74 cm)
- depth
- 19 in (48.26 cm)
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B-05
on hold
Rare "Patch Work" Copper Credenza by Paul Evans
Rare "Patch Work" credenza by Paul Evans, the six patinated acid copper doors over a typical copper/peweter patchwork structural base, walnut cabinetry work, the top inset with three black granit tops. United States: circa 1970
- width
- 80 in (203.2 cm)
- height
- 34 in (86.36 cm)
- depth
- 18.75 in (47.63 cm)
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S-55
Charles II Period Oak Long Bench
A Charles II oak long bench resting on four splayed block & turned supports braced by bar stretchers. England: circa 1760
- width
- 69 in (175.26 cm)
- height
- 19.5 in (49.53 cm)
- depth
- 10.5 in (26.67 cm)
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T-143
Napoleon III Louis XVI Style Mahogany Side Table
Napoleon III Louis XVI style mahogany side table inset with rouge Languedoc marble top and decorated with brass railing. France: circa 1890
- width
- 20 in (50.8 cm)
- height
- 30 in (76.2 cm)
- depth
- 12.75 in (32.39 cm)
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BC-06
George III Period Mahogany Breakfront
George III Period mahogany breakfront interior fitted with desk pigeonholes, silk lining and fitted lighting. England: circa 1800.
- width
- 88.5 in.
- height
- 80.5 in.
- depth
- 21.75 in.
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P-26
Pair of Dutch Couple Nobility Painting
Pair of Painting of Dutch Noble Couple oil on Canvas Netherlands: circa 1677
- width
- 33.5 in.
- height
- 39.5 in.
- depth
- 1 in.
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D-07
Sycomore two-drawer writing desk attributed to Jean Michel Frank
Sycomore two-drawer writing desk attributed to Jean Michel Frank France: circa 1940
- width
- 47.25
- height
- 29.5 in.
- depth
- 23.75
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T-141
Italian Walnut Tuscan Baroque Console Table
Italian walnut tuscan Baroque console table. Italy: circa 1750
- width
- 46.5 in (118.11 cm)
- height
- 32 in (81.28 cm)
- depth
- 22 in (55.88 cm)
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CH-06
17th Century Oak Dutch Court Cupboard
17th Century Oak Dutch Court Cupboard Netherlands : 1657
- width
- 52 in (132.08 cm)
- height
- 65 in (165.1 cm)
- depth
- 22.5 in (57.15 cm)
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S-46
Pair of Wrought Iron and Leather Curule Stools by Morgan Colt
Pair of Wrought Iron and Leather Curule Stools by Morgan Colt. United States: circa 1900
- width
- 25 in (63.5 cm)
- height
- 17.5 in (44.45 cm)
- depth
- 18 in (45.72 cm)
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NW-51
Silver-Mounted Porcelain Grey Ribbed Matte Vase by Bulgari
Silver-Mounted Porcelain Grey Ribbed Matte Vase by Bulgari with terling silver rim and foot, Bvlgari touch marks to underside and rim Italy: circa 1950
- height
- 5 in.
- diameter
- 4 in.
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GL-47
Blue and Yellow Sommerso "Pinnacolo" Vase by Luciano Gaspari for Salviati
Blue and Yellow Sommerso "Pinnacolo" Vase by Luciano Gaspari for Salviati with spiral threads. Italy: circa 1960 Luciano Gaspari, born in Venice on March 22 1913 in a family of decorators. After attending the Institute of Art in 1931, he made his debut at the collective exhibition of the Opera Bevilacqua La Masa. 1932. He receives the prize for the younger painter at the XVII Venice Biennale. 1933. Student of Virgilio Guidi at the Academy of Fine Arts. 1935. He follows Guidi in Bologna. Here he attends the course of engraving techniques held by Giorgio Morandi, with whom he will remain in correspondence for a long time. 1936. Participates in the Rome Quadriennale and the Venice Biennale. 1937. After completing his studies in Bologna, he returns to Venice. 1938. Participates in the Venice Biennale. 1940. Participates in the Venice Biennale; becomes assistant to Giuseppe Cesetti, professor of figure at the Academy of Fine Arts in Venice, who takes over holding the chair until 1983. 1943. marries the painter Bruna Gasparini. He held his first private exhibition at the Galleria del Milione in Milan with Armando Pizzinato. 1944. He exhibits thirteen works in a solo show in Venice, at the Galleria del Cavallino by Carlo Cardazzo, a reference point for Venetian Spatialism, whose - although not adhering to the movement - is close to his inspiration. 1947. Participates in the Rome Quadrennial. He began working as a designer with the Salviati Murano glassworks. 1948. Participates in the 24th Biennale with three paintings: Dormiente, purchased by the Gallery of Modern Art of Ca ’Pesaro, Figure and Composition. Take part in the Palazzo Re Enzo in Bologna at the first national contemporary art exhibition promoted by the Alliance for the Defense of Culture, (over forty appearances, including, in addition to him, Afro, Cagli, Consagra, Guttuso, Leoncillo, Mafai, Turcato, ...), who claims the necessity of artistic confrontation with avant-garde European experiences.
- width
- 11 in.
- height
- 11 in.
- depth
- 5 in.
- condition
- Good, scattered light scratches
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S-24
sold
Oak and Leather Upholstered Bridge Chair by André Sornay
Oak laminate and leather upholstered bridge chair by André Sornay, inlayed with typical metal dots. Branded manufacturer's mark to underside ‘Breveté France Sornay Etranger’. France: circa 1935. provenance: New York private collection, Hostler Burrows New York literature: André Sornay, Roche, ppg. 30, 73, 108, 120, 155 André SORNAY mainly exhibited his work at the Lyon autumn fairs. He, nevertheless, took part in two Parisian exhibitions. In 1925, at the Exposition Internationale des Arts Décoratifs Industriels et Modernes (International Exhibition of Industrial and Modern Decorative Arts), his work did not seem yet to be fully undestood. His contemporaries were still drawn to artists such as RUHLMANN, JALLOT, SÛE and MARE. Twelve years later in 1937, he was awarded the bronze medal for the display of his own personal study at the Exposition Internationale des Arts et Techniques dans la Vie Moderne (International Exhibition of Arts and Techniques in Modern Life )
- width
- 20.25
- height
- 36
- depth
- 18
- condition
- Good original condition some small missing edge veneer replaced, refinished
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P-13
Jean Dupas Advertising Lithograph in Colours Poster for Arnold Constable
Jean Dupas advertising lithograph in colours for Arnold Constable. France 1928. Signed: "Jean Dupas Paris 1928" and marked "Made in France Tolmer Paris". In the sophisticated Art Deco style that was a hallmark of Dupas work, the fashion poster was commissioned by the Arnold Constable department storeand depicting three women, dressed in the fashions of the past, present, and future, amid lush, slightly surrealistic scenery. Arnold Constable & Company was a department store chain in the New York City metropolitan area. At one point it was the oldest department store in America, operating for over 150 years from its founding in 1825 to its closing in 1975 Jean Dupas intervenes, like many artists of the time, in the most varied fields. In 1923 and 1924, he worked on orders from the Manufacture nationale de Sèvres, as well as on cartons for the Manufacture des Gobelins. He designs for major fashion magazines like Vogue and Harper's Bazaar. In 1925, he sent an oil on canvas, Les Perruches, to the Exhibition of Decorative Arts where it was very noticed8. In 1927, he designed the Max fur catalog for the Draeger printer. He was a member of the Sacred Art Workshops, after 1919, in the wake of Maurice Denis and George Desvallières, and participated in the revival of frescoes. In this capacity, he worked on the decoration of the Church of the Holy Spirit in Paris10, collaborating, among others, with the Lyon painter Louis Bouquet, organizer of the Salon de l'Afrique at the Palais des Colonies in Paris. He also creates posters for the Grands Magasins Dufayel. At that time he lived at 19, boulevard de Port-Royal in Paris.
- width
- 30 in.
- height
- 47 in.
- condition
- Good overall condition
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GL-46
Rare Polychrome Murano Glass "Pezzato" Vase by Fulvio Bianconi for Venini
Rare polychrome Murano glass "Pezzato" vase by Fulvio Bianconi for Venini, signed on the underside of the base: "Bianconi Venini" Italy: circa 1950. Bianconi’s real contribution to the world of art and design, however, finds its inception in 1947 when the Milanese Paulo Venini commissioned a series of perfume bottles from the illustrator, beginning the artist’s career as a freelance glasswork designer (Ricke 22). Unimpeded by the restrictions of the glass artisan’s principles of design and financially independent due to his work as a graphic designer, Bianconi was free to experiment with the formal qualities and potentials of glass as a fluid and organic medium. His earliest freelance work for Venini, which he not only designed but also cut and ground himself in order to become familiar with the medium, engages in a spontaneous aesthetic that intentionally and ironically protests against traditional values of perfect craftsmanship (Ricke 23). Throughout the late 1940’s and 1950’s, Bianconi brought a theatrical and humorous sensibility to his glasswork design that was born both from his personal roots in cartooning and caricature as well as a more general atmosphere of creative experimentation enjoyed by a post-Fascist Italy
- height
- 11.75
- condition
- Good overall condition
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GL-45
Yellow and Green Glass Bottle by Fulvio Bianconi for Venini
Yellow and Green Glass Bottle by Fulvio Bianconi for Venini. Signed on the underside of the base: Bianconi Venini. Italy: circa 1950 Bianconi’s real contribution to the world of art and design, however, finds its inception in 1947 when the Milanese Paulo Venini commissioned a series of perfume bottles from the illustrator, beginning the artist’s career as a freelance glasswork designer (Ricke 22). Unimpeded by the restrictions of the glass artisan’s principles of design and financially independent due to his work as a graphic designer, Bianconi was free to experiment with the formal qualities and potentials of glass as a fluid and organic medium. His earliest freelance work for Venini, which he not only designed but also cut and ground himself in order to become familiar with the medium, engages in a spontaneous aesthetic that intentionally and ironically protests against traditional values of perfect craftsmanship (Ricke 23). Throughout the late 1940’s and 1950’s, Bianconi brought a theatrical and humorous sensibility to his glasswork design that was born both from his personal roots in cartooning and caricature as well as a more general atmosphere of creative experimentation enjoyed by a post-Fascist Italy
- height
- 15.75 in.
- condition
- Good overall condition
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GL-44
Green and Purple Stemed Bowl by Luciano Gaspari for Salviati
Green and Purple Glass Stemed Bowl by Luciano Gaspari for Salviati the stem bearing an etched signature on the underside: "Salviati Venezia" Italy : circa 1960 1913. Born in Venice on March 22 in a family of decorators. 1931. After attending the Institute of Art, he made his debut at the collective exhibition of the Opera Bevilacqua La Masa. 1932. He receives the prize for the younger painter at the XVII Venice Biennale. 1933. Student of Virgilio Guidi at the Academy of Fine Arts. 1935. He follows Guidi in Bologna. Here he attends the course of engraving techniques held by Giorgio Morandi, with whom he will remain in correspondence for a long time. 1936. Participates in the Rome Quadriennale and the Venice Biennale. 1937. After completing his studies in Bologna, he returns to Venice. 1938. Participates in the Venice Biennale. 1940. Participates in the Venice Biennale; becomes assistant to Giuseppe Cesetti, professor of figure at the Academy of Fine Arts in Venice, who takes over holding the chair until 1983. 1943. marries the painter Bruna Gasparini. He held his first private exhibition at the Galleria del Milione in Milan with Armando Pizzinato. 1944. He exhibits thirteen works in a solo show in Venice, at the Galleria del Cavallino by Carlo Cardazzo, a reference point for Venetian Spatialism, whose - although not adhering to the movement - is close to his inspiration. 1947. Participates in the Rome Quadrennial. He began working as a designer with the Salviati Murano glassworks. 1948. Participates in the 24th Biennale with three paintings: Dormiente, purchased by the Gallery of Modern Art of Ca ’Pesaro, Figure and Composition. Take part in the Palazzo Re Enzo in Bologna at the first national contemporary art exhibition promoted by the Alliance for the Defense of Culture, (over forty appearances, including, in addition to him, Afro, Cagli, Consagra, Guttuso, Leoncillo, Mafai, Turcato, ...), who claims the necessity of artistic confrontation with avant-garde European experiences.
- height
- 7.75 in.
- diameter
- 8.5 in.
- condition
- Good overall condition
-
GL-43
Large Black and Smoked Glass Vase by Per Lutken for Holmegaard
Important black and smoked glass vase by Per Lutken for Holmegaard retaining it's original makers label, the underside etched signature Holmegaard 1732 P61 Denmark : circa 1961 Lütken worked for 56 years with Holmegaard Glass Factory, creating over 3000 glassworks and earning the title of 'master of Danish Glass Design'. His vases, dishes and glasses are harmoniously simple in form and colour. Lütken has been a member of the Triennale di Milano since 1951. His work was included in the 1954—57 USA 'Design in Scandinavia’ travelling exhibition, 1956—59 Germany ‘Neue Form aus Danemark’ travelling exhibition, 1958 ‘Formes Scandinaves’ exhibition at the Paris Musée des Arts Décoratifs, 1960—61 USA ‘The Arts of Denmark’ travelling exhibition, 1962 ‘Creative Craft in Denmark Today’ in New York, 1980 ‘Scandinavian Modern Design 1880—1980 exhibition at the Cooper-Hewitt Museum, New York, and 1983—84′ Design Since 1945’ exhibition at the Philadelphia Museum of Art
- height
- 16.75
- condition
- Good overall condition
-
SC-03
Bronze Patinated Abstract Sculpture by Bruno Romeda
Cast bronze and patinated abstract Sculpture by Bruno Romeda, "Colonne" . Romeda's works appear in numerous private , corporate and museum collections, including the permanent collection of the Metropolitan Museum of art in New York Signed: "B. Romeda 1/8" Italy : circa 2000 Bruno Romeda was born in 1933 in Brescia, (Italy) and died in 2017. He lived in France, New York and Brescia. The work of Romeda has been exhibited in numerous cities; his first personal exhibition took place in Brussels in 1962, followed by solo shows in Paris, New York, Barcelona, San Francisco, Monte Carlo, Baltimore, berlin, Erbusco (Italy), Venice or Tokyo. A significant number of museums own pieces of the artist such as the Metropolitan Museum of New York, the Kasama Nichido Museum of Art in Japan, the Contemporary Art Museum of Nice, or the Robert College of Istanbul. His pieces of art are also part of important and esteemed private collections around the world. provenance: Barry Friedman Ltd., New York, private collection
- width
- 9.5 in.
- height
- 80
- depth
- 9.5 in.
- condition
- Good overall general condition
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T-66
Rare Acid Etched Patinated Brass and Pewter "Eternal Forest Coffee Table" by Philip & Kelvin Laverne
Rare engraved and acid-etched, patinated and polychromed bronze, pewter and enamel "Eternal Forest" Coffee table by Philip & Kelvin Laverne . The beautiful decorated and patinated top is resting on a four sided concave patinated brass plinth base. Etched signature to top "Philip + Kelvin Laverne". USA : circa 1960 Philip (1907-1987) and Kelvin (b. 1937) LaVerne were a New York-based father and son collaborative duo best known for their use of innovative metalworking techniques to produce custom-made, limited editioned furniture which integrated art and design. Born in New York City, Philip LaVerne studied under Ashcan School painter John Sloan at the Arts Students League of New York. Kelvin LaVerne, also born in New York, pursued metal sculpting and furniture design at the Parsons School of Design and, like his father, studied at the Arts Students League as well. In the late fifties, the two began collaborating, eventually opening a showroom on East 57th Street in Manhattan. Working primarily in pewter and bronze, Philip’s role concentrated on the materials and decorative elements, while Kelvin focused on the overall form and functionality. Combining modern and traditional designs, their subjects centered mostly around historical civilizations, mythology, and chinoiserie, later gravitating towards more abstracted works. Patterns range from the figural, like “Chan”, “Ming” and “Festival” to the abstract, such as “Eternal Forest”, “Viola” and “Etruscan”. Since Philip’s death in 1987, Kelvin has ceased production of their famed Historical Series, however, he still creates pieces under both their names to this day.
- height
- 17
- diameter
- 41.25
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M-10
Unique Colourful Lacquered Fabric Mirror by Karl Springer
Unique colourful lacquered fabric mirror by Karl Springer Provenance: Property from the personal collection of Jeff Schuerholz of Fat Chance, the iconic Los Angeles store for the Hollywood elite. USA : circa 1970
- width
- 24.5 in.
- height
- 53 in.
- depth
- 8 in.
-
T-43
Patchwork Copper Dining Table by Paul Evans
Patchwork Copper Dining Table by Paul Evans USA : circa 1970
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NW-50
Gio Ponti for Richard Ginori, "Quattro Stagione", Four Seasons Vases
Porcelain footed vases designed by Gio Ponti for Richard Ginori, series "Quattro Stagione" each depicting one of the four seasons, These are the reissues from the 1980s. Italy: circa 1987.
- height
- 7.5 in (19.05 cm)
- diameter
- 6 in (15.24 cm)