2014
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Thursday, October 16
6.00pm to 9.00pm
Friday, October 17
11.00am to 7.30pm
Saturday, October 18
11.00am to 7.30pm
Sunday, October 19
11.00am to 6.00pm
Monday, October 20
11.00am to 7.30pm
Tuesday, October 21
11.00am to 7.30pm
Wednesday, October 22
11.00am to 7.30pm
Thursday, October 23
11.00am to 6.00pm
The Park Avenue Armory Park Avenue at 67th Street New York, NY 10065
Friday October 17 through Thursday October 23, 2014
Preview Party benefiting The Society of Memorial Sloan-Kettering Cancer Center Thursday October 16, 2014
Organised By:-
The International Fine Art And Antiques Show Ltd Directors: Brian and Anna Haughton 15 Duke Street St James’s London SW1Y 6DB Telephone (London): 44 (0)20 7389 6555 (New York): 1 212 642 8572 Fax (London): 44 (0)20 7389 6556 www.haughton.com email: info@haughton.com SHOW OFFICE Telephone (New York): 1 646 619 6030 (October 17- 23) While The International Fine Art And Antiques Show Ltd, the organisers, the advisory and honorary vetting committees of The International Fine Art and Antiques Show cannot be held responsible for, or warrant, the genuineness or age of any article exhibited, visitors are requested to note that all articles have been submitted for inspection by a panel of advisors to ensure, as far as possible, that they conform to the regulations laid down, and that all articles are genuinely of the period they represent. The organisers and/or their agents cannot be held responsible for any items sold at the Show. This is the sole responsibility of the dealer/dealers selling the object/objects. Please also note that because of the early printing datelines for the catalogue, all illustrations were printed before vetting took place. Visitors are reminded that all exhibits are for sale. Acknowledgements:We would like to express our gratitude to the following for their help:The Park Avenue Armory John Hamilton of Select Inc. Citadel Security Agency Our staff: Paul Crane, Magda Grigorian (US Press Officer), Emma Jane Haughton, Giles Haughton, Mary Jones, Anthea Roberts, Richard Webster Catalogue Advertising: Helena Power Handbook design: Creative Wisdom Ltd All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means without the prior permission in writing of the publisher, nor be otherwise circulated in any form or by any means without the prior permission in writing of the publisher, nor be otherwise circulated in any form of binding or cover other than that in which it is published and without a similar condition including this condition being imposed on the subsequent purchaser. Š The International Fine Art And Antiques Show Ltd, 2014
Contents
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7 The Vetting of a Fine Art and Antiques Fair
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The National Antique and Art Dealers Association of America, Inc.
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Memorial Sloan-Kettering Cancer Center
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Organisers’ Welcome
French Empire Silver versus English Regency Silver by Dr Godfrey Evans
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Directory of Exhibitors
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Exhibitor Pages
110
Advertisers
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Index
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Floor Plan to the Show
Organisers’ Welcome We are delighted to welcome you to the 26th International Fine Art And Antiques Show. This is another exciting year for “The International Show” as it begins its next quarter century in New York. For the public and the art world alike, the fair has come to serve as an essential forum; an exciting blend of culture and commerce through which we hope to energize future generations of collectors and art lovers. Considered the top international fair in America, The International Fine Art And Antiques Show attracts a superlative roster of exhibitors, drawn from among the most prestigious and knowledgeable art and antique dealers in the United States and Europe. Over the last 25 years, The International Fine Art And Antiques Show has evolved into more than just a marketplace for high-end art and antiques. The show today is now an important part of the cultural, social and philanthropic landscape of New York and remains one of the world’s most prestigious and iconic art and antique events. We are delighted that it provides a valuable international meeting ground for a global community of collectors, museum curators, dealers and interior designers. One of the most gratifying aspects of the fair is its role as an important fundraising platform for The Society of Memorial Sloan-Kettering Cancer Center, raising over $20 million for the Hospital over the last 25 years. The monies raised for Sloan-Kettering have been crucial to the Hospital with 100% of the profits going to The Society’s patient care, research and education programs at MSKCC. For the public and the art world alike, it has come to serve as an essential forum; an exciting blend of culture and commerce through which we hope to energize future generations of collectors and art lovers. In 1989, The “International Show” introduced the European concept of “vetting” in America and also helped to establish New York as part of a larger international fair circuit. Every object exhibited at the Fair is rigorously examined and vetted for quality and authenticity by our honorary vetting committee so collectors can be assured they can buy with absolute confidence. The vetting committees are made up of museum curators and other distinguished specialists in their respective fields. We are extremely grateful to the committee members for giving so freely of their knowledge, expertise and time and in particular our Honorary Vetting Committee Chairman, Edward Munves. We are grateful to our Lead Sponsor, 1stdibs.com for their continued support. Brian and Anna Haughton Directors: The International Fine Art And Antiques Show Ltd
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The Vetting of a Fine Art and Antiques Fair What it is and why? It has long been standard practice at all major, international fine art and antiques fairs, for all exhibits to be examined before the opening of the fair by panels of advisers, to ensure that they are accurately described and of a quality to justify their exhibition at a prestige event. There are separate Honorary Vetting Committees for each category, such as furniture, clocks, silver, paintings, sculpture etc., and their membership is drawn from leading authorities in the field and includes many museum curators. There are two main reasons for vetting. Firstly, to reassure the public that everything submitted to the Honorary Vetting Committees conforms to the regulations laid down and that, as far as possible, all items are authentic and of the period stated. As potential purchasers may not have sufficient expertise themselves in a particular subject or category, this assurance of authenticity will we hope give them the confidence to buy. Secondly, vetting guarantees to all the exhibitors and to the public that standards are being maintained at a high level. It is crucial to the commercial and academic success of such an event that its reputation for only having the best in all categories is never compromised. The integrity of the fair and the reputation of the exhibitors are therefore assured. Our thanks to all the members of the Honorary Vetting Committees for their help and co-operation. Honorary Vetting Committee Chairman Edward Munves
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The National Art & Antique Dealers Association of America Inc. 220 East 57th Street, New York, NY 10022, USA Telephone 1 212 826 9707 Fax 1 212 832 9493 www.naada.org
The National Art & Antique Dealers Association of America (NAADAA) is a non-profit trade organization of the leading dealers in the United States, with specialists in virtually all the major collecting areas. Since our founding in 1954, the membership, which is by invitation, has mutually pledged to adhere to the highest standards of honorable and ethical business practice. All are recognized experts in their fields. NAADAA is a member of CINOA (La Confédération Internationale des Négociants en Oeuvres d’Art), an international confederation comprised of thirty-two leading associations of art and antiques dealers, from twenty-two nations. NAADAA has enjoyed a close association with the International Fine Art and Antiques Show, collaborating with Brian and Anna Haughton at the show’s inception in 1989. Members not only exhibit, but also lend their specialized expertise as vetters. This, New York’s first vetted show, revolutionized antiques fairs in America. It is considered to be among the greatest of fairs, here or abroad, and this year continues the tradition of showing world class art and antiques to collectors from all over the country and the world in vital, vibrant New York City. The show is always a highlight of the fall season here. NAADAA welcomes you to this wonderful show, and invites you to visit our member shops and galleries, easily identified by the red NAADAA logo. There you will find complimentary copies of our membership directory, or visit www.naadaa.org. We look forward to meeting you.
James McConnaughy President
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Dear Friends: We are so pleased to celebrate 26 years of the Preview Party for the International Fine Art and Antiques Show. This event benefits the patient care, research and education initiatives of The Society of Memorial Sloan Kettering Cancer Center. We are honored to host this prestigious fund-raising event, set against the backdrop of extraordinary art and antiques. We are most grateful to Anna and Brian Haughton for our twenty-six year partnership in presenting this event. Their gracious generosity for so many years has helped us raise over 20 million dollars for The Society’s cancer research initiatives. Now in its 68th year, The Society is a volunteer organization dedicated to providing comfort and care to our patients and their families who come to the Center from all over the world to receive the very best treatment for cancer. We are proud to support leading edge research that puts Memorial Sloan Kettering at the forefront in the fight against cancer, and value our role in education initiatives around prevention and treatment of the disease. We extend our thanks to this year’s sponsors of the Preview Party: ELLE DECOR, Hartmann, Max Mara, and Warburg Realty. With your support, The Society will continue to promote hope and play a vital role in enabling Memorial Sloan Kettering to achieve its mission of providing the best cancer care anywhere to its patients. Thank you,
Martha Vietor Glass President
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The Society of Memorial Sloan Kettering Cancer Center Administrative Board 2014-2015 President Martha Vietor Glass
Treasurer Victoria Greenleaf Kempner
Secretary Mrs. Thomas M. Fitzgerald III
Vice Presidents Mrs. Thomas S. Glover Debra Pipines Lavinia Branca Snyder
Assistant Treasurer Mrs. James Halsey Bell
Assistant Secretary Leslie Heaney
Members-At-Large Muffie Potter Aston Mrs. Alan J. Blinken Tory Burch Mrs. Bryan J. Carey Mrs. Michael Carr Mrs. Kevin C. Coleman Mrs. Archibald Cox, Jr. Jennifer Creel Mrs. Michael J.A. Darling Mrs. Marvin H. Davidson Mrs. Hilary Dick Webb Egerton Mrs. Christopher Errico Ruth G. Fleischmann Mrs. Lars Forsberg Mrs. Christopher P. Fuller Mrs. Robert M. Gardiner Mrs. Mark V. Giordano Eugenie Niven Goodman Mrs. Peter S. Gregory Mrs. Roger P. Griswold, Jr. Alexia Hamm Ryan Grace W. Harvey Melanie Holland Mrs. Scott C. Johnston Robyn Lane Joseph Mrs. Michael Kennedy
Kamie Lightburn Stephanie Loeffler Mrs. Roman Martinez IV Mrs. S. Christopher Meigher III Mrs. Richard A. Miller Mrs. George F. Moss Joyce L. Moss Nancy Coffey Nagler Mrs. Timothy P. O’Hara Jennifer Gaffney Oken Mrs. Gunnar S Overstrom, III Mrs. Richard T. Perkin Mrs. Bambi Putnam Shafi Roepers Mrs. Louis Rose Mrs. Paul C. Schorr IV Mrs. Stephen C. Sherrill Mrs. Sean Smith Mrs. Paul Soros Amanda Anne Cox Taylor Mrs. Andrew S. Thomas Mrs. Jerome L. Villalba Victoria Vought Naomi Waletzky Alexis Robinson Waller Mrs. Martha Webster Mrs. Thomas E. Zacharias Mrs. Caryn Zucker
Sustaining Board Courtney Arnot Mrs. Andres Bausili Mrs. Andrew Blum Dianne G. Crary Mrs. James F. Curtis III Mrs. James H. Dean Deborah A. DeCotis Antonia Paepcke DuBrul Mrs. Thomas J. Fahey, Jr. Mrs. Roberto de Guardiola Mr. Kirk Henckels Mrs. Peter K. Hills Mrs. John S. Hilson Mrs. Ann F. Jeffery Suzie Kovner Mrs. Brian A. McCarthy Suzanne McDonnell Long Mrs. Minot K. Milliken Mrs. Charles H. Mott Mrs. Samuel F. Pryor IV Mrs. Benjamin M. Rosen Evelyn Angevine Silla Mrs. Richard J. Sterne Leith Rutherfurd Talamo Mrs. Michael L. Tarnopol Mrs. Douglas A. Warner III
Past President Mrs. Thomas V. Leeds
President’s Council Mrs. Rand V. Araskog Nina Garcia Conrod Mrs. Charles A. Dana, Jr. Mrs. Richard S. LeFrak Mrs. Donald B. Marron Mrs. Milton Petrie Linda Gosden Robinson Past Presidents Mrs. Coleman P. Burke Mrs. Edwin M. Burke Mrs. William M. Carson Mrs. Walter B. Delafield Mrs. Charles H. Dyson Mrs. Bruce A. Gimbel Mrs. William O. Harbach Alison Barr Howard Mrs. Peter D. Jones Mrs. Kerryn King Mrs. Arie L. Kopelman Mrs. Derek L. Limbocker Jean Remmel Little Mrs. M. Anthony May Mrs. Jay H. McDowell Mrs. Frank A. Metz, Jr. Dr. Annette U. Rickel Mrs. Bijan Safai Founder Mrs. Edward C. Delafield
Memorial Sloan Kettering Cancer Center Board of Overseers and Managers
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Honorary Chairman of the Board James D. Robinson III
Chairman of the Board Douglas A. Warner III
Vice Chairs of the Board Marie-Josée Kravis Scott M. Stuart
Frederick R. Adler Richard I. Beattie Mrs. Edwin M. Burke Mrs. John J. Byrne Mrs. Joseph A. Califano, Jr. Ian Cook Stanley F. Druckenmiller Anthony B. Evnin Roger W. Ferguson, Jr. Henry A. Fernandez Steve Forbes William E. Ford Richard N. Foster Stephen Friedman
Ellen V. Futter Philip H. Geier, Jr. Louis V. Gerstner, Jr. Martha Vietor Glass * Laurie H. Glimcher, M.D. Jonathan N. Grayer John R. Gunn Bette-Ann Gwathmey William B. Harrison, Jr. Jane D. Hartley Benjamin W. Heineman, Jr. David H. Koch Marie-Josée Kravis Paul A. Marks, M.D.
Donald B. Marron Jamie C. Nicholls James G. Niven Hutham S. Olayan Bruce C. Ratner Clifton S. Robbins Alexander T. Robertson James D. Robinson III Virginia M. Rometty Benjamin M. Rosen David M. Rubenstein Lewis A. Sanders Norman C. Selby Stephen C. Sherrill
Peter J. Solomon William C. Steere, Jr. John R. Strangfeld Scott M. Stuart Craig B. Thompson, M.D. Lucy R. Waletzky, M.D. Douglas A. Warner III Peter A. Weinberg Jon Winkelried Deborah C. Wright Jeff Zucker Mortimer B. Zuckerman *ex officio as President of The Society
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French Empire Silver versus English Regency Silver Dr Godfrey Evans Principal Curator of European Decorative Arts, National Museums Scotland, Edinburgh
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Figure 1. Martin-Guillaume Biennais, The travelling service of Princess Pauline Borghese, c.1803. Silver-gilt, gold, glass and other materials in a mahogany chest with inlaid brass decoration. National Museums Scotland, Edinburgh.
and numerous space-saving storage features. Some of the larger cases could even be screwed down to flooring, using internal, hidden rods, to reduce the risk of theft. Biennais imaginatively fitted out these cases with dozens of items in precious and base metals, glass, tortoiseshell and ivory for eating, drinking, washing, dressing, correspondence, maintenance and repairs. The selection was intended to make the owner virtually self-sufficient during his or her travels, and could even include multi-purpose tools and a tongue-scraper!
T
he early nineteenth century saw the production of enormous quantities of large, heavy silver items that were a visual expression of power, status and wealth and were intended to promote rulers, nations or individual aristocrats. Many pieces were coated with a thin layer of gold to give the impression that they were made of solid gold and were twenty times more valuable than was the case. Sadly, relatively little of the magnificent silver made for the Emperor Napoleon and his family survives today. A number of leading Parisian goldsmiths worked for the Emperor, but the most important was undoubtedly Martin-Guillaume Biennais (1764-1843), who had a truly astonishing career. Biennais rose from provincial obscurity to the position of Napoleon’s official goldsmith, and then went on to coordinate the activities of hundreds of craftsmen and the supply of tons of superb silver not only to the French court but right across Europe, from Spain to Russia.1 Biennais was born and raised in La Cochère, a small village about 115 miles west of Paris, and acquired a modest business in Paris in 1788 as a tabletier – a maker and seller of items made of wood, mother-of-pearl, ivory, horn and non-precious metals. He was not a trained goldsmith, but broke into the closed world of the goldsmiths after the French Revolution and the collapse of the Parisian guilds. His initial success was due to the very well-equipped travelling services he assembled and supplied to Napoleon and other generals for use on their campaigns during the 1790s.
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In essence, Biennais was a brilliant manager and organiser. He used his expertise and experience as a tabletier to develop wooden cases incorporating writing slopes and slides, secret money trays,
In these early days, Biennais obtained the silver and gold items from independent goldsmiths, notably hollow-ware from MarieJoseph-Gabriel Genu (master 1788, d.1810) and forks and spoons from the specialist flatware maker Pierre-Benoît Lorillon. Many pieces were made smaller than their normal equivalents. Some had handles or parts that unscrewed, like the handles on chocolate pots or the stems and bases of chamber candlesticks.Teapots were made with pull-off lids that enabled tea caddies to be placed inside them, while glass tumblers were stored inside cylindrical silver-gilt containers that had many potential uses. The travelling service of Napoleon’s favourite sister, Princess Pauline Borghese (Fig. 1), is directly related to Pauline’s marriage to the Italian Prince Camillo Borghese in 1803 and clearly reflects both Biennais’s mastery in assembling a complex de-luxe travelling service and his close involvement with Napoleon during the Consulate. After Napoleon became Emperor in 1804, Biennais was able to make use of the talents of Napoleon’s architects and designers Charles Percier and Pierre-François-Léonard Fontaine, whose Recueil de Décorations Intérieures (Collection of Interior Designs), published between 1801 and 1812, is rightly regarded as the main visual manifesto of the French Empire style. The high point of this collaboration was the use of Percier’s specially commissioned designs for the main pieces in the spectacular silver-gilt ‘tea service’ which was ordered for Napoleon in connection with his marriage to the Archduchess Marie-Louise of Austria in April 1810, at a cost of 40,000 francs (Fig. 2).2 This extremely impressive service could not be more imperial. It is decorated with Imperial eagles, Napoleonic bees, Napoleon’s arms, the Emperor’s portrait in profile, and a plethora of classical gods and other classical references. Appropriately, the theme of love also runs through the service, with small statuettes of Venus, goddess of love, surmounting the double-salts, the mythological lovers Cupid and Psyche on the sugar bowl, and a relief copy of the Roman wall painting of the Aldobrandini Wedding on the tea caddy.
One could devote the rest of this article to the 1810 service, but two main points must suffice here. First, Biennais did not slavishly
Figure 2. Martin-Guillaume Biennais, Part of the tea service of the Emperor Napoleon, 1810. Silver-gilt, glass and other materials stored in two leather chests. Musée du Louvre, Paris, and National Museums Scotland, Edinburgh.
follow Percier’s designs. On the sugar bowl, for instance, he simplified Percier’s design, omitting the bees on the cover and the leaves on the underside of the bowl. He also added the crowned ‘N’ for Napoleon and a band of foliate motifs to the cover and replaced the scrolling foliage on the sides of the bowl with four reliefs of Cupid and Psyche. The second point is that, although Biennais now had his own workshop, he was still willing to involve other goldsmiths. The huge hot water urn is by Antoine Boullier, who was probably co-opted because he had worked on an even larger, one-metre-high urn that had been awarded a medal in 1806. Biennais’s silver is characterized by relatively simple elegant shapes, plain areas of brilliant, burnished silver enriched with precisely represented and rendered relief decoration of classically-inspired subject matter, and a contrast between polished areas and matt decoration. His great ability and achievement was to produce huge quantities of extremely refined silver of the highest quality without
reworkings of the 1810 pieces with more detailed decoration and more tooling of the surfaces. Many Parisian goldsmiths imitated Biennais’s classic Napoleonic court style. A very telling illustration of the predominance of the ‘Biennais style’ are the dessert dishes by Biennais’s chief rival, Jean-Baptiste-Claude Odiot (1763-1850), which could easily be mistaken as part of the output of the official goldsmith’s own workshop (Fig. 3).This is particularly interesting because Odiot was the proud successor of a prominent dynasty of Parisian goldsmiths active from the early eighteenth century.4 He had become a master goldsmith in 1785 and took over his father’s business around the time of his death in 1788. One might have expected Odiot to have ‘bucked the trend’ and to have come up with a very different style, but that did not happen.
a hitch or a drop in standards. That said, there is very little stylistic development in Biennais’s later work. This is clearly evident in the examples from the huge coffee and tea service commissioned between 1815 and 1817 by the Grand Duke Nicholas Pavlovich (later Tsar Nicholas I) now in the Rijksmuseum, Amsterdam, and the Gulbenkian Museum, Lisbon.3 These are basically larger
This was not due to a lack of alternative designs. The dessert dishes were designed by the painter-architect Jean-Charles-Alexandre Moreau and the painter-theatrical designer Auguste Garneray. A few years later, Odiot benefited greatly from acquiring the models and designs of the great French goldsmith Henri Auguste
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(1759-1816), the only son of the royal goldsmith Robert-Joseph Auguste. Henri Auguste had become bankrupt in 1806 and was caught trying to flee to England in 1809 and declared a fraudulent bankrupt. One of his drawings was subsequently used for the basic design of the two-handled cup presented to Sir David Dundas, 1st Baronet of Richmond, the surgeon and physician to George III and the British royal household, by eleven French aristocrats in recognition of his help and hospitality during their exile in England after the French Revolution (Fig. 4). On this cup, Odiot also made use of another design by the painter Pierre-Paul Prud’hon, who was intermittently employed by Napoleon, and the architect and designer Adrien-Louis-Marie Cavelier (1785-1867).5 Like Biennais, Odiot received important orders from Russia after the fall of Napoleon. These included two services made for the Count and Countess Branicki (a niece of Prince Potemkin, Catherine the Great’s principal lover and the creator of the new Russian empire around the Black Sea) and the immensely wealthy industrialist Nikolai Demidov.6 Both services were designed by Cavelier, who created his own original designs but also worked up or reworked those of others. The individual items were even larger and more ‘imperial’ than those in many Napoleonic services, and – not surprisingly – both services were shown at the major exhibition of the products of French industry held at the Louvre in 1819. What emerges from this brief review of French Empire silver is the predominance of Biennais-style silver, the conservatism of later Parisian silver (coupled with the importance of the later Russian Figure 3. Jean-Baptiste-Claude Odiot, Dessert dishes, c.1806-9. Silver-gilt, later engraved with the arms of Archibald, 12th Earl of Cassillis. National Museums Scotland, Edinburgh.
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orders), and the reliance of Biennais and Odiot on architects, designers and painters, rather than sculptors and modellers, for their designs. Generally speaking, modellers such as Henri-Victor Roguier, Denis-Antoine Chaudet and Jacques-Edmé Dumont seem to have realized the designs of others, rather than decided the basic idea or composition and then freely developed it themselves. As we shall see, English Regency silver would evolve in a different way, but before we move on we should notice one interesting technical feature of Odiot’s work. The Biennais style required very high-quality soldering of the cast parts to the main shapes, which necessitated considerable skill and entailed a good deal of expense. Odiot attached some of the decoration on some of his later items using threaded rods and nuts. For instance, over four dozen nuts were used to secure the decoration on the Dundas Cup (Fig. 5). It was a sensible course of action, based on the existing practice of attaching ormolu mounts to furniture, but soldering continued to be preferred and there was a remarkable reluctance to follow Odiot’s lead. We turn now to Britain and the royal goldsmiths Rundell, Bridge and Rundell, who dominated the world of English Regency silver. We are extremely fortunate in having the printed forty-two-page Memoirs of the late Philip Rundell, Esq., published shortly after Rundell’s death in 1827; a shorter and more gossipy version by W. Doran; and a fifty-sheet manuscript history of the firm written by George Fox directly after the dissolution of the business in 1843. All three are informed accounts. The writer of the first Memoirs is stated to have been ‘a gentleman many years connected with the firm’, while Doran’s Memoirs are alleged to be by someone ‘sixteen years confidentially employed by the deceased’. For his part, Fox worked
in Rundell’s famous shop on Ludgate Hill for thirty-seven years, from 1806 to 1843, and was actually bequeathed one hundred pounds by Rundell. All three writers were absolutely clear about the scale of the achievements of Philip Rundell (1746-1827) and his main partner, John Bridge (1755-1834). On the covers of both Memoirs, it is stated that Rundell had ‘accumulated the immense’ ‘Fortune’ or ‘Property’ ‘of One Million and a Half ’ pounds, and Doran credits him with ‘establish[ing] a concern that has been truly called the Wonder of the World’. It is interesting to see that – like Biennais – Rundell and Bridge were neither trained goldsmiths nor from leading families of craftsmen or merchants in the metropolis. They had grown up in Somerset and Dorset and begun their careers in the provinces. Both had been apprenticed to the Bath jeweller William Rogers and they came to London as ambitious outsiders. Rundell arrived in the capital around 1767 and worked for William Pickett in Ludgate Hill. He took over the business in 1786, and Bridge joined him as a partner, in Rundell and Bridge, the following year. Along with the writers of the Memoirs, Fox draws attention to the primal importance of jewellery to the partners in their early years, and he notes the large quantities sold to Catherine the Great of Russia between 1786 and the empress’s death a decade later: [M]any splendid Articles of Diamond work such as Necklaces, Earrings, Ornaments for the head, Lockets, Broaches &c were purchased by her [Catherine the Great] for her own use, or for the purpose of being used as Diplomatic Presents and for this latter purpose very many splendid Snuff Boxes enriched with Brilliants & having her Miniature were constantly required as were also Rings of different values. These were generally not with Brilliants and having small miniatures of Catherine covered over with thin flat diamonds commonly called Picture diamonds and for these Diamonds large sums were obtained and consequently great profits made by them as Rundell, Bridge and Rundell were the only purchasers, because they only had a Market for them.7
Figure 4. Jean-Baptiste-Claude Odiot, The Dundas Cup, c.1820. Silver-gilt. National Museums Scotland, Edinburgh.
The profits from these and other sales of jewellery enabled Rundell and Bridge to expand into selling important silver services and other significant pieces and to set up or control two major silver-making operations. The goldsmiths Figure 5. The interior of the Dundas Cup.
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Figure 6. Silver-gilt items by Paul Storr owned by the Ferguson of Pitfour family, Aberdeenshire. The pieces include four triton saltcellars, 1813-14; a reduced copy of the Warwick Vase, 1821-22; and a pair of wine coolers decorated with Ariadne and Dionysus in a quadriga and Ceres in a chariot drawn by a serpent, 1831-33, mounted on later plinths by Hunt and Roskell. National Museums Scotland, Edinburgh.
Digby Scott (c.1763-1816) and Benjamin Smith (1764-1823) opened a workshop for Rundell’s in Lime Kiln Lane, Greenwich, around 1801-2, while Paul Storr (1771-1844) was established in large premises in Dean Street, Soho, in 1807. Whilst the writers of the Memoirs quickly sketch out the ways in which Rundell and Bridge complemented one another, Fox provides a more detailed and highly revealing account. It is somewhat exaggerated, but nevertheless deserves to be quoted at length – especially as the unpublished manuscript is at Harvard University and not easily accessible. ‘It has often been remarked’, writes Fox, by those persons who were best acquainted with them, that Nature evidently formed both with an express intention that they should be united in business together for the purpose of supplying each other’s lack of moral qualifications, and of correcting each other’s weak or evil intentions. No two men could have been more opposite in temper & disposition than were Mr Rundell & Mr Bridge, indeed so opposite were they that many designated them by the names 22
of Oil and Vinegar.
Mr Rundell was naturally of a violent disposition, very sly, and cunning & suspicious in the extreme and Avarice, Covetousness and mean[n]ess were so deeply rooted in him that it affected every feature of his face and entered into every action of his life! not but that he would often perform deeds which would have entitled any other Man to the Character of a generous person but when performed by him they seemed to lose all their value in the manner they were performed […] In his shop he was ever the petty despotic King, not only over his Servants, but also over his Partners, and all the Trades people he employed, and swearing, scolding & noise were the order of the day, and of every day. He was a perfect Actor, on his own Stage; and it is thought that had he been brought up for the public Stage he would have rivalled if not completely excelled all his contemporaries for he could Rave, Swear, Scold, Stamp & Cry in the most violent manner to carry his point; and in [an] instant, he could lay aside all his violence, turn round with an apparent placid face, and with a graceful bow, salute his fair Customer, with a good morning My Lady; I hope your Ladyship is quite well. Or if need be he could with the same ease join in a hearty laugh, and when this was finished and the party gone, he could as quickly return to the repetition of his former passions & violence. All this he did systematically and generally turned it well to his own Interest […]8
Moving on to the other partner, Fox claimed to find almost the exact opposite: Mr Bridge was […] quite a different man. He was naturally of a timid quiet disposition and he had Philosophically learnt to keep down a violent temper he might have had and he would bear any insult or brook any imposition rather than he would contend against his more violent Partner and this he did not more from the love of peace and quietness than from a strong desire to carry on the business in such a manner as eventually to produce for him the large Fortune which he in process of time obtained. He too could perform well on his own Stage or amongst his Customers out of doors for although he possessed as much Pride as any Person need have yet to any one and to every one by whom he expected to gain any thing he was apparently the most humble and obedient Person that could well be imagined. His back was exceedingly flexible and no Man in London could bow lower or oftener than could Mr Bridge. In fact he was a complete Courtier and was highly respected both in the Palaces of Princes, and the Halls of Servants, for his deep humility […] He well knew it was of great importance to him to stand well with all the Servants in a great House and he had learnt (as he often expressed it) that the nearest way to My Lady’s Boudoir was down the Area Steps through the Servants Hall and from thence to the Housekeeper’s Room and so up stairs to My Lady!9 According to Fox, Rundell was a very demanding man, compelling staff to work until about 2 o’clock on Sunday afternoons. His ruthless requirements resulted in the production of huge amounts of splendid silver, with Storr supplying 10,000 ounces of finished work a month at one stage. Unfortunately, Rundell’s demands ultimately alienated his manufacturing goldsmiths. Benjamin Smith broke away between 1812 and 1814 and Paul Storr followed suit in 1818-19. This was the ‘bad side’ of Rundell’s character and organisation, but there was also a very positive side. Rundell recruited a cluster of highly talented designers and modellers,beginning with the immigrant French designer Jean-Jacques Boileau (active in England 1787-1851) and the painter and sculptor William Theed (1764-1817), who became the firm’s chief modeller and was responsible for the well-known triton saltcellars (Fig. 6). Rundell further improved the quality of his goods and the strength of the business by commissioning drawings from the leading Neoclassical sculptor and brilliant draughtsman John Flaxman (1755-1826), who had worked for Josiah Wedgwood at the start of his career, and the painter Thomas Stothard (1755-1834), who was also a prolific designer and illustrator. Both were highly regarded Royal Academicians: Flaxman became the Academy’s Professor of Sculpture in 1810, while Stothard was appointed its Librarian in 1812.
Figure 7. Paul Storr, Candelabrum-centrepiece presented to Dr Charles Longley, Headmaster of Harrow, on his leaving in 1836 to take up the Bishopric of Ripon. Longley went on to become Archbishop of York and later of Canterbury. National Museums Scotland, Edinburgh.
Stothard and Flaxman both contributed to Rundell’s success and prestige, but Flaxman made the greatest impact. Flaxman is believed to have designed the ‘Trafalgar Vases’ presented by Lloyd’s Patriotic Fund to naval and military officers, and he definitely went on to design the two colossal centrepieces celebrating the Duke of Wellington’s Peninsular campaigns (now at Apsley House) and the pair of candelabra representing Mercury presenting the infant Bacchus to the Nymphs and the Garden of the Hesperides that were made for the Prince Regent (now in the Royal Collection).10 Rundell built on these high-profile pieces. He decided that he needed a very intellectual and technically difficult large item that would demonstrate and trumpet the pre-eminence of the royal goldsmiths, and he commissioned Flaxman to design and model the ‘Shield of Achilles’ – a recreation of the shield made for the hero
23
Achilles by the god Hephaestus, as described by Homer in the Iliad.11 This was a huge project, spread over at least eleven years. The payments to Flaxman alone came to over £725, and Rundell showed exceptional and uncharacteristic patience. According to the writer of the main Memoirs, he ‘surprized all those persons who were acquainted with him’ by listening patiently, night after night, to Flaxman reading out long extracts from the Iliad, ‘adding his comments, and entering into disquisitions, that, if not unintelligible, were at all events tedious to his auditor’ (i.e. to Rundell).12 Over the years, Flaxman was also responsible for the designs for the ‘Theocritus Cup’, the ‘National Cup’ (in the Royal Collection), and various other pieces. However, his contribution to the royal goldsmiths and to British silver extended beyond the supply of good drawings and models. Flaxman’s involvement with Rundell’s led directly to the engagement of his pupil and assistant, the sculptor Figure 8. Illustration of the 45-inch-high candelabrum-centrepiece, weighing 1,191 ounces, presented to the 10th Duke of Hamilton by the tenantry on his Scottish estates in 1849. Published in the Illustrated London News, 14 July 1849.
Edward Hodges Baily (1788-1867), as the firm’s chief modeller and designer. Baily was an important sculptor in his own right, who went on to produce the statue of Nelson in Trafalgar Square, and his activities at Rundell’s and later at Storr and Mortimer (later Hunt and Roskell) reinforced the sculptural slant of top-quality London silver (Fig. 7). The work of Flaxman and Baily encouraged Hunt and Roskell, Garrard’s, Barnard and Sons and other major London goldsmiths to employ another generation of modellers and sculptors – including Baily’s pupil and son-in-law, the sculptor Edgar George Papworth – and to design and make hundreds of massive figural centrepieces, candelabra and sporting trophies between 1830 and 1890 (Fig. 8). If English Regency silver is more sculptural than French Empire silver, it is also visually heavier and more ponderous. It is also much more overtly classical than French Empire silver. It does not wear its learning lightly and is often the result of dedicated study and almost seriously educational in appearance. An excellent example is the wine cooler by Paul Storr which is in the form of a Greek krater and decorated with a Bacchic triumphal procession based on a 2nd-century AD Roman relief. One could expand on this, but it is more interesting to consider the significance or prominence of the dining service in the activities and prosperity of Rundell’s and other London firms. The dining service was obviously very important in terms of manufacturing large quantities of items and cash flow, but, in Britain, it involved state and personal patronage, individual choice, and the introduction of new styles and variants. It is tempting to say that Biennais and Odiot were able to flood Europe with basically the same type of services, whereas in Britain one sees much greater differentiation and development. Many Britons wanted magnificent silver dinner services. Needless to say, the Prince of Wales, later George IV – Rundell’s ‘greatest patron & best friend’ in the partners’ own words – reflected this desire and was the most profligate. His ‘Grand Service’ of 1811 comprised 4,000 pieces and cost a staggering £61,340. The expense for lesser mortals could be devastating. One Highland laird, Lord Clanranald, foolishly acquired a large service from Rundell’s around 1809. It apparently cost at least £13,856 and three years later, in December 1812, Rundell’s were seeking payment of £15,252, including ‘two years Interest after giving a year[’]s Credit’ of £1,395 12s 2d.13 As a result, Lord Clanranald totally lost control of his affairs to others.
24
George Fox says that it was not unusual for work on fifteen or sixteen services, costing five to thirty thousand pounds each, to be going on at any one time. Some of these services were obviously straightforward private commissions, but there were also many orders for ambassadorial services – services for the
use of British ambassadors overseas. In the early nineteenth century, British ambassadors generally received a standard quantity of 5,893 or 5,895 ounces of white silver and 1,066 ounces of silver-gilt, which they were normally allowed to keep as partial recompense for all the expenditure incurred during the course of their service to the Crown and Government. The price of these ambassadorial services varied: the official 1803 Madrid service cost the Government £3,137 16s 9d, while the Marquis of Douglas’s official 1806 St Petersburg service came to £3,575 9s 1d. The total cost of all these services has still to be worked out, but between 1798 and 1812 the Lord Chamberlain’s Office paid Rundell’s over £54,000 for ambassadorial services and other items. An ambassador could, of course, simply use and keep his ambassadorial service, but it seems likely that many ambassadors and former ambassadors added to them and transformed them into much grander assemblages. The Marquis of Douglas, later 10th Duke of Hamilton (1767-1852), supplemented his official service with additional pieces by Paul Storr, ordered in 1806. Writing to Lord Archibald Hamilton about his brother’s debts in January 1808, Alexander Young, Douglas’s main Edinburgh lawyer, refers to the ‘large sum’ for a ‘Service of Plate’ as being ‘almost the only proper and legitimate article of that ruinous Expence’ connected with ‘that Embassy’. In a later letter to Douglas sent in December 1808, Young notes ‘a Balance of rather more than £5000. due to Rundell & Bridge’. Thus, Douglas could conceivably have doubled the size of the official service with his supplementary order.
Figure 9. Paul Storr, Tureen from the official ambassadorial service of the Marquis of Douglas on a stand privately ordered by Douglas, both hallmarked 1806-7. National Museums Scotland, Edinburgh.
A close study of the bill for the official service16 reveals that Douglas definitely added stands to the pair of tureens to make them more imposing (Fig. 9). Among other items privately ordered in 1806 were the four-frame cruet service now in the Gans Collection, Virginia Museum of Fine Arts;17 the entrée dishes now in the Huntington Collection, San Marino, California;18 and the pair of triangular covered dishes sold at Christie’s New York in December 2005.19 Further items were added a few weeks after Douglas’s return from Russia and in the run-up to his marriage to William Beckford’s daughter, Susan, in April 1810. Rundell’s bills in the Hamilton archive record the purchase of twelve triangular, octagonal and oblong salts costing over £120 in November 1808, and of three pairs of candlesticks, weighing 1,138 ounces and amounting to £998 10s 4d, in December 1809.20
Figure 10. Tea caddy by Michael Plummer, 1796-97, engraved with cinquefoils, crosses and martlets (birds) from William Beckford’s coat of arms. Part of a silver-gilt tea service made up from an old caddy and teapot and a new sugar bowl and milk jug by Rundell’s which were decorated with Beckford’s heraldic motifs around 1819-20. National Museums Scotland, Edinburgh.
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Even for the Marquis of Douglas, as Commissioner of the ‘retired’ 9th Duke of Hamilton’s Scottish estates and the next premier peer of Scotland, all this extra expenditure was dangerous, especially when large sums were also being spent on very expensive jewellery from Rundell’s and on other improvements to Hamilton Palace and the Hamilton estates. Despite gaining money from Susan and from Beckford as part of the marriage settlement, Douglas was obliged to return a later order of a fourth pair of candelabra and some other items, and begin to retrench.21 Four payments totalling £3,500 were sent to Rundell’s between September 1812 and Junes 1815, and there is a fascinating exchange of letters in the Hamilton archive between Rundell’s and Douglas’s representatives, leading to a series of seven more payments amounting to over £5,720 between March 1818 and March 1821, which would have finally cleared the 1808-10 account.
Figure 11. Paul Storr, Teapot and stand made for William Beckford, 1812-14. This remarkable melon-shaped teapot derives its shape and decoration from Chinese ceramics and Indian hardstone. National Museums Scotland, Edinburgh.
As he got into his stride as a triple Duke and premier peer of Scotland, the 10th Duke continued to add to the ambassadorial service. An early 1830s inventory of the silver in Hamilton Palace records additions of white silver in 1832 and 1833, including pieces from Birmingham and Glasgow. The silver-gilt, dessert side of the service was neatly augmented by buying Napoleon’s stupendous 1810 ‘tea service’ (Fig. 2) in 1830, for less than half the 40,000 francs it had cost the Emperor. The end result was the largest dinner service in Scotland.
26
Looking back, perhaps the other main difference between French and British silver of this period is the close participation of a number of individuals with particular or unusual tastes, who commissioned atypical silver. The foremost figures are William Beckford (1760-1844) and Frederick, Duke of York (1763-1827). Just to concentrate on the former, ‘England’s wealthiest son’ used some of the enormous income from his Jamaican sugar estates to commission silver made to his own designs and those of his Portuguese friend and assistant Gregorio Franchi. This very carefully conceived silver was often elaborately decorated with Beckford’s armorial devices (Fig. 10), while some forms were inspired by Beckford’s extensive collection of Chinese and other Asian ceramics (Fig.11). Other items were based on German sixteenth-century prints and French treen of the seventeenth century.22
Figure 12. The Hamilton-Rothschild Tazza. Byzantine sardonyx bowl mounted on a mid-16th-century enamelled gold foot purchased from Rundell, Bridge and Rundell by the 10th Duke of Hamilton in 1812. National Museums Scotland, Edinburgh.
Beckford’s esoteric, refined silver and the extraordinary, dynamic, historicist candelabra made by Edward Farrell for the Duke of York around 182423 give an amazing range to British Regency silver which is much greater than that found in contemporary French silver. In Paris, Biennais’s successor, Jean-Charles Cahier, and the Odiot workshop continued to produce silver based on models of the first decade of the nineteenth century. Sadly, the political conservatism of Louis XVIII and Charles X was matched by huge quantities of conservative silver!
1. For more on Biennais see Anne Dion-Tenenbaum, L’orfèvre de Napoléon: MartinGuillaume Biennais, Paris, 2003.
It is also worth noting that George IV and some other British patrons and collectors were much more appreciative of old silver than their French counterparts, and that Rundell’s benefited quite considerably from the sale of antique silver. Many examples can be cited. One that has recently come to light is Rundell’s purchase, in 1811, of a solid gold, mid-sixteenth-century monstrance that had been looted from the royal monastery of the Escorial, outside Madrid, during the Peninsular War. The following year, Rundell’s sold the enamelled gold foot, weighing over 38 ounces, to the 10th Duke of Hamilton, for the princely sum of £241 18s 6d. Whilst in St Petersburg, the Duke had acquired a very large Byzantine sardonyx bowl which he believed to be the holy water stoup of the Emperor Charlemagne, and he mounted this potent (alleged) relic of the first Holy Roman Emperor on the gold foot commissioned by the Emperor Philip II of Spain for use as the Hamilton family’s baptismal bowl (Fig.12).
7. Harvard Business School, Baker Library Historical Collections, Business Manuscripts Mss 597 1843, column 26. I have slightly edited Fox’s quickly written text in this and the following two passages.
There seem to be few comparable French parallels, and the diversity of taste, production and selling in Britain becomes all the more pronounced. Nevertheless, we should not get bogged down in analysis. If we have discovered or learnt anything, it is that some of the finest silver ever made was produced in Paris and London in the early nineteenth century, and that French Empire and English Regency silver merit much more serious attention and appreciation.
2. For further information and illustrations, including some of Percier’s drawings, see Julia E. Poole, ‘A Napoleonic silver-gilt Service by Martin-Guillaume Biennais’, Burlington Magazine, Vol. 119, June 1977, pp.388-96. 3. The examples in the Rijksmuseum are published in Reiner Baarsen, Paris 1650-1900: Decorative Arts in the Rijksmuseum, New Haven and London, 2013, pp.474-79. 4. For more on Odiot see Jean-Marie Pinçon and Olivier Gaube du Gers, Odiot l’Orfèvre, Paris, 1990. 5. Both drawings are illustrated in Christie’s New York, The C. Ruxton and Audrey B. Love Collection, 19 October 2004, p.64 (lot 157). 6. The examples from the Branicki service in the Rijksmuseum are discussed and illustrated by Baarsen (see note 3), pp.480-87.
8. Ibid., columns 9 and 10. 9. Ibid., columns 10 and 11. 10. For good illustrations of both candelabra see Jane Roberts (ed.), Royal Treasures: A Golden Jubilee Celebration, London, 2002, p.261. 11. For a good colour illustration of The Shield of Achilles see ibid., p.266. 12. Memoirs of the Late Philip Rundell, Esq., London, 1827, p.22. 13. Hamilton archive, bundle 1585. 14. Hamilton archive, bundle 603, Alexander Young to Lord Archibald Hamilton, 15 January 1808. 15. Hamilton archive, bundle 603, Alexander Young to the Marquis of Douglas, 5 December 1808. 16. National Archives, Kew, LC 9/350, ff.148 verso and 149 recto. 17. See Christopher Hartop, A Noble Feast. English Silver from the Jerome and Rita Gans Collection at the Virginia Museum of Fine Arts, Richmond, Virginia, and Cambridge, England, 2007, p.54. 18. See Robert R. Wark, British Silver in the Huntington Collection, San Marino, 1978, p.124. 19. See Christie’s New York, The John W. Kluge Morven Collection, 16 December 2005, lot 75. 20. Hamilton archive, M12/5/18, p.1. 21. Ibid., pp.1-3. 22. For more on Beckford’s silver see Michael Snodin and Malcolm Baker, ‘William Beckford’s Silver’, Burlington Magazine, Vol. 122, 1980, pp.735-48 and 820-34. 23. For illustrations of key pieces see Anthony Phillips and Jeanne Sloane, Antiquity Revisited: English and French Silver-gilt from the Collection of Audrey Love, London, 1997, pp.62-71. 24. Hamilton archive, M12/5/19, p.2.
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Exhibitors
28
Directory of Exhibitors
AANW, Inc. D8 • page 34 5875 Collins Avenue Suite 805, Miami Beach, FL 33140, USA Telephone 1 212 737 3766 Cell 1 917 584 0189 email: pcart@aanwinc.com Personnel: Claudia Giangola, John Menser Important Pre-Columbian Works of Art. A La Vieille Russie, Inc. F1 • page 35 781 Fifth Avenue, New York, NY 10022, USA Telephone 1 212 752 1727 www.alvr.com email: alvr@alvr.com European and American antique jewelry, Fabergé, gold snuffboxes and objets de vertu, Russian decorative and fine arts, including porcelain, glass, furniture, silver, paintings and icons. Daphne Alazraki Fine Art 424 Madison Avenue, 16th Floor, New York, NY 10017 Telephone 1 212 734 8658 Cell 1 917 699 7226 Fax 1 212 717 2344 www.alazraki.com email: fineart@alazraki.com Personnel: Daphne Alazraki
D6 • page 36
Michael Altman Fine Art & Advisory Services, LLC E14 • page 37 38E 70th Street, New York, NY 10021, USA Telephone 1 212 879 0002 Fax 1 212 879 0011 www.mnafineart.com email: info@mnafineart.com Personnel: Michael Altman, Robyn Borgelt, Gina Ciralli, Jonathan Link, Maria Nikitin 18th, 19th and early 20th century fine art Apter-Fredericks Ltd D11• page 38 265-267 Fulham Road, London SW3 6HY, UK Telephone 44 (0)20 7352 2188 USA Cell 1 917 696 4063 www.apter-fredericks.com email: antiques@apter-fredericks.com Personnel: Harry Apter, Guy Apter 18th and 19th century English furniture 18th and 19th century English Clocks & Works of Art Ariadne Galleries D12 • page 39 11 East 76th Street, New York, NY 10021, USA Telephone 1 212 772 3388 Fax 1 212 517 7562 www.ariadnegalleries.com email: info@ariadnegalleries.com Personnel: Torkom Demirjian, James Demirjian, Gregory Demirjian, Saranna Biel-Cohen Greek, Roman, Near Eastern, and Asian antiquities Veronique Bamps G7 • page 40 41 Avenue Hector Otto, Monaco MC 98000, Monaco Telephone 377 9797 3757 Cell 33 641 937465 Fax 377 9797 3757 www.veroniquebamps.com email: info@veroniquebamps.com Personnel: Veronique Bamps, Thierry Bamps, Michel Osipenco Antique and estate jewellery, European and American, from 1800 until the 1960’s Joanna Booth G6 • page 41 PO Box 50886, London SW3 5YH, UK Telephone 44 (0)20 7352 8998 Cell 44(0)7711 047640 www.joannabooth.co.uk email: Joanna@joannabooth.co.uk Personnel: Victor Hutchins, Joanna Booth, Ian White Early sculpture, tapestries and textiles. Old master drawings
J.H. Bourdon-Smith B6 • page 42 24 Mason’s Yard, Duke Street St. James’s, London SW1Y 6BU, UK Telephone 44(0)20 7839 4714 Cell 44 (0)7769 974366 Fax 44 (0)20 7839 3951 www.bourdonsmith.co.uk email: enquiries@bourdonsmith.co.uk Personnel: Julia Bourdon-Smith, Edward Bourdon-Smith, John Bourdon-Smith Silver from the 16th century to the present day, specialising in early spoons, collectables and period pieces from the Georgian and Victorian eras with an emphasis on English, Scottish and Irish silver W. M. Brady & Co. D4 • page 43 22 East 80th Street, New York, NY 10075, USA Telephone 1 212 249 7212 Cell 1 917 744 9095 Fax 1 212 628 6587 email: mark@wmbrady.com laura@wmbrady.com Personnel: Mark Brady, Laura Bennett Old Master and 19th century paintings, drawings and sculpture Thomas Colville Fine Art, LLC B1 • page 44 111 Old Quarry Road, Guilford CT 06437, USA Telephone 1 203 453 2449 Fax 1 203 453 6983 www.thomascolville.com email: tlc@thomascolville.com Personnel: Thomas Colville, Kirstin Auer, Allison Schaefer, Colleen Niarchos, Jay Qin 19th and early 20th century European and American paintings, watercolors and drawings Sandra Cronan Ltd B2 • page 45 First Floor, 16 Albemarle Street, London W1S 4HW, UK Telephone 44 (0)20 7491 4851 www.sandracronan.com email: enquiries@sandracronan.com Personnel: Sandra Cronan, Catherine Taylor, Catherine Edwards Fine antique and period jewellery Dai Ichi Arts 249 East 48th Street, New York, NY 10017, USA Telephone 212 212 230 1680. Fax 212 230 1618 www.daiichiarts.com email: info@daiichiarts.com Personnel: Beatrice Chang Contemporary Chinese & Japanese Ceramics
C4
Douglas Dawson Gallery A5 • page 46 224 South Michigan Ave, Suite 266, Chicago IL 60604, USA Telephone 1 312 226 7975 Cell 1 312 953 9839 Fax 1 312 226 7974 www.douglasdawson.com email: info@douglasdawson.com Personnel: Douglas Dawson, Wallace Bowling, Armando España Pre-Columbian art, Meso and South America - Historic American art, textiles, ceramics and sculpture Camilla Dietz Bergeron Ltd 818 Madison Avenue, 4th Floor, New York, NY 10065, USA Telephone 212 794 9100 Fax 212 794 7012 www.cdbltd.com email: info@cdbltd.com Specializing in Fine Antique, Period, and Estate Jewelry
C3
29
Directory of Exhibitors
Dillon Galleries Inc C7 555 West 25th St., New York, NY10001, USA Telephone 1 212 727 8585, Fax 1 212 727 8705 Personnel: Valerie Ruddell Devoted to the representation of international contemporary artists in a variety of mediums, Dillon Gallery exhibits established, mid career, and young emerging artists whose works convey our approach to visual content Drucker Antiques F8 • page 47 487 East Main Street, Suite 197, Mount Kisco, New York NY10549, USA Telephone 1 914 923 4560 / 1 212 794 8536 Cell 1 914 4192295 Fax 1 914 206 9623 www.druckerantiques.com email: bill@druckerantiques.com Personnel: William Drucker, Janet Drucker America’s leading specialists in Georg Jensen holloware, flatware and jewelry. We also feature studio and artistic jewelry of the 20th century Martin Du Louvre E7 • page 48 69 rue du Faubourg Saint Honoré, 75008 Paris, France Telephone 33 (0) 1 40170689 Cell: 33 (0) 68017 5101 www.martindulouvre.com email: 69faubourg@gmail.com Personnel: David Le Louarn Modern and contemporary sculpture, paintings, drawings, photography and design Epoque Fine Jewels A14 • page 49 Overbekeplein 34, Kortrijk 8500, Belgium Telephone +32 475 616 831 Fax +32 56 22 9340 www.epoquefinejewels.com email: info@epoquefinejewels.com Personnel: Patricia De Wit, Bars Peers, Nicole Verschuere High quality period and antique jewellery, signed 19th & 20th century jewellery with emphasis on Art Nouveau, Art Deco and retro European Decorative Arts Company E3 • page 50 85 Birch Drive, Roslyn, New York, NY11576, USA Telephone 1 212 758 3023 Cell 1 516 643 1538 www.eurodecart.net email: eurodecart@gmail.com Personnel: Scott Defrin, Larry Defrin, Arlene Defrin, Marla Defrin European works of art and sculpture; carriage clocks; objects du vertu Finch & Co. A2 • page 51 Suite 744, 2 Old Brompton Road, London SW7 3DQ, UK Telephone 44 (0)20 7413 9937 Cell 44 (0)7768 236921 / 7836 684133 Fax 44 (0)20 7581 4445 www.finch-and-co.co.uk email: enquiries@finch-and-co.co.uk Personnel: Craig Finch, Mrs Jan Finch, Peter Hess Specialising in European works of art, natural history, tribal art, antiquities, curiosities Peter Finer D1 • page 52 38-39 Duke Street St James’s, London SW1Y 6DF, UK Telephone 44 (0)20 7839 5666 Cell: 44 7775 561 3208 Fax 44 (0)20 7839 5777 www.peterfiner.com email: gallery@peterfiner.com Personnel: Peter Finer, Redmond Finer, Roland Finer Arms and armour and works of art
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N & I Franklin C2 • page 53 11 Bury Street, St James’s, London SW1Y 6AB, UK Tel: 44 (0)207 839 3131 Cell USA: 1 646 852 8034 www.franklinsilver.com email: katiealice@franklinsilver.com Personnel: Neil Franklin, Ian Franklin Specialising in 16th – 19th century English silver Gander & White Shipping Ltd Unit 1, St Martin’s Way, Wimbledon, London SW17 OJH, UK Telephone 44 (0)20 8971 7160 Fax 44 (0)20 8946 8062 www.ganderandwhite.com email: oliver.howell@ganderandwhite.com and in New York 21-44 44th Road, Long Island City, NY 11101, USA Telephone 1 718 784 8444 Fax 1 718 784 9337 Bernd Goeckler Antiques, Inc. D9 • page 54 30 East 10th Street, New York, NY 10003, USA Telephone 1 212 777 8209 Cell (Bernd Goeckler) 1 646 8249644 Fax 1 212 777 8302 www.BGoecklerAntiques.com email: bgantiques@mac.com Personnel: Bernd Goeckler, Margaret Kim, Dane Charles Pressner Featuring a large and diverse selection of fine furniture, lighting, ceramics and accessories from the 18th and 20th centuries. We are proud to be the exclusive US representatives of renowned Italian glass artists Franco Deboni and Simone Crestani, while also offering vintage pieces by Gabriella Crespi amongst many others. Michael Goedhuis D3 • page 56 61 Cadogan Square, London SW1X 0HZ, UK Telephone 44 (0)20 7823 1395 USA Cell 1 917 4551035 UK Cell 44 (0)7760 625 375 www.michaelgoedhuis.com email: london@michaelgoedhuis.com Personnel: Michael Goedhuis, Sophie Kempson, Hettie Reatchlous, Judy Govindsamy Chinese contemporary ink painting, Chinese contemporary sculpture, Chinese archaïc bronzes, later Chinese and Japanese bronzes Bernard Goldberg Fine Arts, LLC E11 • page 57 New York, USA Telephone 1 212 813 9797 Fax: 1 212 813 9876 www.bgfa.com email: info@bgfa.com Personnel: Bernard Goldberg, Ken Sims Early American modernism: Paintings, sculpture, works on paper and decorative arts Hancocks A1 • page 62 52 & 53 Burlington Arcade, London W1J OHH, UK Telephone 44 (0)20 7493 8904 Fax 44 (0)20 7493 8905 www.hancocks-london.com email: info@hancocks-london.com Personnel: Stephen Burton Dealers in rare and collectable jewels since 1849 Brian Haughton Gallery E1 • page 58 15 Duke Street St James’s, London SW1Y 6DB, UK Telephone 44 (0)20 7389 6550 Fax 44 (0)20 7389 6556 www.haughton.com email: gallery@haughton.com Personnel: Brian Haughton, Paul Crane Fine 18th and 19th English and Continental porcelain and ceramics
Galerie Marc Heiremans F5 • page 63 Rue Joseph Stevens 25, Brussels, Belgium 1000 Telephone 32 2 512 80 58 Cell 32 478 28 03 08 www.marc-heiremans.com email: info@marcheiremans.com Personnel: Bertrand Schwartz Jeffrey Beal Henkel 82 Poor Farm Road, Pennington, NJ 08534, USA Telephone/Cell 1 609 306 4996 Fax 1 609 537 1287 email: henkel.jeffrey@gmail.com Personnel: Jeffrey Beal Henkel Garden objects and statuary
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John Howard F4 • page 64 Heritage, 6 Market Place, Woodstock, Oxfordshire OX20 1TA, UK Telephone 44 (0)1993 812580 Cell 44 (0)7831 850544 Fax 44 (0)1993 812580 www.johnhoward.co.uk email:john@johnhoward.co.uk Personnel: John Howard, Myrna Sohkolne, Linda Howard 18th – 19th Century British Pottery Hyde Park Antiques, Ltd F3 • page 65 836 Broadway, New York, NY 10028, USA Telephone 1 212 477 0033 Fax 1 212 477 1781 www.hydeparkantiques.com email: info@hydeparkantiques.com 18th and early 19th century British furniture, clocks, mirrors and 19th century English ceramics; sporting art. Imperial Fine Books A11 • page 66 790 Madison Avenue, New York, NY 10065 Telephone 001 212 861 6620 Cell 001 201294 3874 www.imperialfinebooks.com email: info@imperialfinebooks.com Personnel: Bibi Mohamed, Selina Mohamed Leading specialist in leatherbound sets and fine bindings in all fields: literature, history, poetry, children’s, illustrated, Americana, sporting, first and rare editions. Also included in our inventory are Exhibition Bindings, Cosways and Jeweled Bindings Gallery Japonesque E9 • page 67 824 Montgomery Street, San Francisco, CA 94133, USA Telephone 1 415 391 8860 Cell 1 415 533 5151 Fax 1 415 391 3530 www.galleryjaponesque.com email: koichihara@earthlink.net Personnel: Koichi Hara Japanese and International works of art, antiques and design Kentshire A4 • page 70 700 Madison Avenue, New York, NY 10065, USA Telephone 1 212 421 1100 Cell 1 646 704 3224 Fax 1 212 421 1180 www.kentshire.com email: info@kentshire.com Personnel: Marcie Imberman, Ellen Israel, Carrie Imberman, Matthew Imberman Fine period jewelry and object d’art
Keshishian A15 • page 71 73 Pimlico Road, London SW1W 8NE, UK Telephone 44 (0)20 7730 8810 Fax 44 (0)20 7730 8803 and By appointment in New York Telephone 1 212 956 1586 www.keshishiancarpets.com email: info@keshishiancarpets.com Personnel: Arto Keshishian, Eddy Keshishian Keshishian Carpets of London and New York are specialist dealers of antique carpets and tapestries of outstanding quality and design merit. Arto and Eddy Keshishian’s passion for the art of rare carpets lead the brothers to search the globe for unique pieces. Their impressive collection includes antique European and Oriental carpets with selected Arts & Crafts and Art-Deco examples by renowned designers from the 20th century. The European tapestries cover the Gothic period to the Op-Art era. Koopman Rare Art D10 • page 72 The London Silver Vaults, 53-64 Chancery Lane, London WC2A 1QS, UK Telephone 44 (0)20 7242 7624 USA Cell 1 646 5544416 www.koopmanrareart.com email: enquiries@koopmanrareart.com Personnel: Lewis Smith, Timo Koopman Fine antique silver, gold boxes, objects vertu Galerie Lefebvre B11 • page 73 5 Quai Voltaire, Paris 75007, France Telephone 33 (0)1 4548 1813 www.gallerylefebvre.com email: gallerylefebvre@gmail.com Personnel: Romain Lefebvre, Yana Mihailuka French Art Déco Lost City Arts A8/9 • page 74 18 Cooper Square, New York, NY 10003, USA Telephone 1 212 375 0500 Cell 1 917 860 0930 Fax 1 212 375 9342 www.lostcityarts.com email: info@lostcityarts.com Personnel: James Elkind Mid century furniture and accessories with an emphasis on fine art and design from the post-war modern era H.M. Luther G1 • page 75 The Carlyle, 35 East 76th Street, New York, NY 10021, USA Telephone 1 212 439 7919 and Greenwich Village, 61 East 11th Street, New York, NY 10003, USA Telephone 1 212 505 1485 www.hmluther.com email: info@hmluther.com Personnel: Daniel Harrison, Scott VanderHamm, James Harrison, Jean Tucker Founded in 1947, H.M. Luther is a favorite of knowledgeable interior designers and discerning collectors. The experts at H.M. Luther curate a diverse and unexpected collection that celebrates fine craftsmanship and sophisticated design. H.M. Luther offers rare and unique works from the 18th through 20th centuries with a strong focus on lighting and furniture from Scandinavia, Continental Europe and Japan. This is H.M. Luther’s twenty-fourth year at the International Fine Art and Antiques Show. With an inviting gallery at the renowned Carlyle Hotel and a loft-style space in Greenwich Village, H.M. Luther also exquisitely presents its stunning collection on a newly designed, captivating and easy to use website: www.hmluther.com
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Directory of Exhibitors
MacConnal-Mason Gallery G5 • page 78 14 & 17 Duke Street St James’s, London SW1Y 6DB, UK Telephone 44 (0)20 7839 7693 Fax 44 (0)20 7839 6797 www.macconnal-mason.com email: fineart@macconnal-mason.com Personnel: David L. Mason OBE, David M. Mason, Marcus Halliwell, Michael Grist, Simon Carter 20th century / post-War British, post-Impressionist, 19th Century British and European paintings and sculpture Maison Gerard G2 • page 80 43 & 53 East 10th Street, New York, NY 10003, USA Telephone 1 212 674 7611 Cell (Benoist Drut) 1 917 6866782 Fax 1 212 475 6314 www.maisongerard.com email: home@maisongerard.com Personnel: Gerardus Widdershoven, Benoist Drut, Julia Hartshorn, Dorothée Mathieux, Harrison Jackson, Winter Mendelson, Lucy Wertheim, Jérôme Soulé, Diego Heredia, Vivian Lee We will be presenting a range of 20th century design as well as new contemporary pieces many of which were specially commissioned for the fair Mallett E12 • page 79 929 Madison Avenue, New York, NY10021, USA Telephone 1 212 249 8783 www.mallettantiques.com email: rcave@mallettantiques.com Personnel: Henry Neville, Felicity Jarrett, Justin Evershed-Martin Specialising in English Furniture, 20th Century Design, Sculpture John Mitchell Fine Paintings A12 • page 82 44 Old Bond Street, London W1S 4GB, UK Telephone: 44 (0)20 7493 7567 Fax 44(0) 20 7493 5537 www.johnmitchell.net email: enquiries@johnmitchell.net Personnel: James Mitchell, William Mitchell Old Masters, 19th Century European & British Paintings, Drawings & Watercolours Lillian Nassau LLC G8 • page 83 220 East 57th Street, New York, NY 10022, USA Telephone 1 212 759 6062 Fax 1 212 832 9493 www.lilliannassau.com email: info@lilliannassau.com Personnel: Arlie Sulka, Eric Silver Museum quality Tiffany Studios lamps, favrile glass and pottery, mosaics, metalwork and windows; American sculpture; 19th and 20th century European and American decorative arts and sculpture; mid-century modern and studio furniture and design nexxt20 D7 • page 84 5600 Lovers Lane, #116-161, Dallas, TX 75209, USA Telephone 1 845 453 5852 www.nexxt20.com email: info@nexxt20.com Personnel: Sally Rosen Specialising in 20th century estate jewelry, artists’ jewelry, 20th century sculpture Frank Partridge E6 • page 85 7 Thurloe Square, London SW7 2TA, UK Telephone 44 (0)20 7225 3654 Cell 44 (0)7801 480548 Fax 44(0)20 7581 9387 www.frankpartridge.co.uk email: mail@frankpartridge.co.uk Personnel: Frank Partridge, Susan Partridge English and French furniture; French clocks
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Ronald Phillips Ltd B3/4 • page 86 26 Bruton Street, London W1J 6QL, UK Telephone +44 (0)20 7493 2341 www.ronaldphillipsantiques.com email: simon@ronaldphillips.co.uk Personnel: Simon Phillips 18th century English furniture, mirrors and glass Phoenix Ancient Art E2 • page 88 47 East 66th Street, New York, NY 10065, USA Telephone 1 212 288 7518 Fax 1 212 288 7121 and 6, rue Verdaine, 1204 Geneva, Switzerland Telephone 41 (0)22 318 8010 Fax 41 (0)22 310 0388 www.phoenixancientart.com email: info@phoenixancientart.com Personnel: New York: Hicham Aboutaam, Alexander Gherardi, Alexander Kruglov Geneva: Ali Aboutaam, Michael Hedqvist Antiquities of the highest quality and interest coming from the lands that formed the Greek, Roman and Byzantine world, as well as cultures in Mesopotamia, the Near East, Egypt, Europe, the Balkans, Eurasia, and the Steppes ranging from the Neolithic Period of the 6th Millennium B.C. to the 14th century A.D. Potterton Books B7 • page 90 The Old Rectory, Sessay, Thirsk, North Yorkshire, YO7 3LZ, UK Telephone 44 (0)1845 501218 Fax 44 (0)1845 501439 www.pottertonbooks.co.uk email: ros@pottertonbooks.co.uk Personnel: Clare Jameson Books on the fine and decorative arts Sylvia Powell Decorative Arts G4 • page 91 By appointment only Suit 400 Ceramic House, 571 Finchley Road, London NW3 7BN, UK Telephone 44 (0)20 8201 5880 Cell 44 (0)7802 714 998 www.sylviapowell.com email: Sylvia@sylviapowell.com Personnel: Sylvia Powell Rare and perfect art pottery. Specialising in the best examples of works by Picassso, Jean Cocteau, William De Morgan, Wedgwood, Fairland, Martin Brothers, Moorcroft and many others Primavera Gallery F7 • page 92 210 11th Avenue at 25th Street, Suite 800, New York, NY 10001, USA Telephone 1 212 924 6600 Fax 1 212 924 6602 www.primaveragallery.com email: contact@primaveragallery.com Personnel: Audrey Friedman, Haim Manishevitz Specialising in 20th century applied and decorative arts, including furniture, glass, ceramics, lighting and metal, sculpture, paintings and drawings. Fine and rare jewelry by the most important houses and designers Red Fox Fine Art C1 • page 93 At the Red Fox Inn, 2 East Washington St., 2nd Floor, P.O. Box 385, Middelburg, VA 20118, USA Telephone 1 703 8515160 Fax 1 540 6876306 www.redfoxfineart.com email: tr@redfoxfineart.com Personnel: Turner Reuter Jr., Alex Orfila Specialising in fine paintings and sculpture, 1750-1950
Röbbig München B14 • page 94 Frühe Porzellane – Kunsthandel, Briennerstrasse 9, 80333 Munich, Germany Telephone +49 89 299758 Cell +49 171 65 00 456 Fax. +49 89 223822 www.roebbig.de email: info@roebbig.de Specialises in 18th century German porcelain from the most important manufactories Meissen, Frankenthal, Höchst, Nymphenburg, Fürstenberg and KPM Berlin. Also important French furniture, paintings and objets d’art from the Louis XV to the Louis XVI and early Empire period. James Robinson, Inc. F2 • page 95 480 Park Avenue at 58th Street, New York, NY 10022, USA Telephone 1 212 752 6166 Fax 1 212 754 0961 www.jrobinson.com email: info@jrobinson.com Antique and period jewelry Antique English silver Antique porcelain and glass Handmade sterling silver flatware Rountree Tryon Galleries A3 • page 96 7 Bury Street, St James’s, London SW1Y 6AL, UK Telephone 44(0)20 7839 8083 Fax 44 (0)20 7839 8085 www.rountreetryon.com email: info@roountreetryon.com Personnel: Jamie Rountree, Rowland Rhodes Sporting and maritime paintings 18th century, 19th century, 20th century Samina Inc. A16 • page 97 By appointment only 33 St James’s Square, London SW1Y 4JS, UK Telephone 44 (0)20 3170 6076 Cell 44 (0)7775 872960 Fax 44 (0)20 7286 3633 www.saminainc.com email: saminainc@hotmail.com Personnel: Dr Samina Khanyari, Ms Chantal Sparwasser Rare, collectable Indian jewels; Indian and Islamic works of art (17th – 20th century) Schillay Fine Art, Inc. 520 East 72nd Street, New York, NY 10021, USA Telephone 1 212 861 8353 www.schillay.com email: richard@schillay.com Personnel: Richard Schillay, Marcy Schillay Specialising in Impressionist, Modern, and Post-War Fine Art
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Shapero Rare Books B8 • page 99 32 Saint George Street, London W1S 2EA, UK Telephone 44 (0) 20 7493 0876 Fax 44 (0) 20 7495 5010 www.shapero.com email: rarebooks@shapero.com Personnel: Bernard Shapero, Pierre-Yves Guillemet Specialists in antiquarian travel books with an emphasis on Russia and Eastern Europe; fine illustrated and colour plate books, including natural history, first editions of English and European literature and important books in other fields. We also deal regularly in vintage photography, maps and decorative prints and watercolours, all of the finest quality.
Librairie Signatures B15 • page 101 17 Rue Jacob, Paris 75006, France Cell +33 (0) 668 710956 www.librairiesignatures.com email: pfontana@librairiesignatures.com Personnel: Philippe Fontana – Director, Julie Feraud Specialises in Autograph letters signed, manuscripts, vintage photographs The Silver Fund C5 • page 102 330 Worth Avenue, Palm Beach, Florida 33480, USA Telephone:1 561 629 5153 Cell: 1 917 447 1911 www.thesilverfund.com email: dealers@thesilverfund.com Personnel: Michael James, Jason Laskey, Joshua Burcham 20th century silver Somlo Antiques B10 • page 103 35-36 Burlington Arcade, London W1J 0QB, UK Telephone 44 (0)20 7499 6526 Fax 44 (0)20 7499 0603 www.somlo.com email: mail@somlo.com Personnel: George Somlo, Sandi Somlo Vintage wristwatches and antique pocket watches Tambaran Gallery F6 • page 105 5 East 82nd Street, New York, NY 10028, USA Telephone 1 212 570 0655 www.tambaran.com email: m.zarember@tambaran.com Personnel: Maureen Zarember, Thuraya Marsi Specialises in beautiful museum quality tribal art and offers unrivalled expertise in African, Oceanic and North-West Coast American art. Carolle Thibaut-Pomerantz E5 • page 104 By appointment only New York: Telephone 1 212 759 6048 Paris: Telephone 33 (0) 6 09 05 35 98 www.antique-wallpaper.com email: carolle@ctpdecorativearts.com Personnel: Carolle Thibaut-Pomerantz Specialising in wallpaper panels and 20th century Decorative Arts Erik Thomsen Gallery E10 • page 106 23 East 67th Street, New York, NY 10065, USA Telephone 1 212 288 2588 Fax 1 212 535 6787 www.erikthomsen.com email: info@erikthomsen.com Personnel: Erik Thomsen, Cornelia Thomsen, Takayuki Yamada, Dieuwke Eijer Japanese screens and scrolls, paintings, makie gold lacquer, bamboo baskets, tea ceramics and contemporary art Axel Vervoordt D2/5 • page 108 Kanaal - Stokerijstraat 15 -19, Wijnegem 2110, Belgium Telephone 32 3 355 3300 Fax 32 3 355 3301 www.axel-vervoordt.com email: info@axel-vervoordt.com Personnel: Axel Vervoordt, Boris Vervoordt, Robert Lauwers, Philip Feyfer Specialising in furniture, Zero and Gutai Art, archaeology
S.J. Shrubsole, Corp A6/7 • page 100 104 East 57th Street, New York, NY 10022, USA Telephone 1 212 753 8920 Fax 1 212 754 5192 www.shrubsole.com email: inquiries@shrubsole.com Personnel: Timothy Martin, James McConnaughy, Eric Shrubsole, Karin Shrubsole Antique English and American silver, antique jewelry 33
AANW, Inc. D8 5875 Collins Avenue Suite 805 Miami Beach, FL 33140 USA Telephone 1 212 737 3766 Cell 1 917 584 0189 email: pcart@aanwinc.com
Large and extremely fine Teotihuacán Pale Greenstone Mask Classic Period, Circa A.D. 300 - 600 Height 9¾ inches (24.9 cm) Width 10½ inches (26.7 cm)
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A La Vieille Russie, Inc. F1 78l Fifth Avenue, New York, NY 10022, USA Telephone 1 212 752 1727 www.alvr.com email: alvr@alvr.com
A small selection
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Daphne Alazraki Fine Art D6 424 Madison Avenue, 16th Floor, New York, NY 10017 USA Telephone 1 212 734 8658 Cell 1 917 699 7226 Fax 1 212 717 2344 www.alazraki.com email: fineart@alazraki.com
Jean Francois Raffaelli Les Champs Elysees French, 1850 -1924 Oil on paper laid on canvas 28 x 36 inches (71.1 x 91 cm) Framed: 38¼ x 45½ inches (97 x 115.5 cm) Signed: JF RAFFAELLI Provenance: Collection of Alma de Bretteville Spreckels, San Francisco Thence by descent Private collection, USA Literature: Arsène Alexandre, Jean-François Raffaëlli: Peintre Graveur et Sculpteur, Paris, 1909, illustrated p. 147
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This painting will be included in the online Raffaëlli catalogue critique being prepared by Galerie Brame & Lorenceau
Michael Altman Fine Art & Advisory Services, LLC E14 38 East 70th Street, New York, NY 10021 USA Telephone 1 212 879 0002 Fax 1 212 879 0011 www.mnafineart.com email: info@mnafineart.com
Milton Avery 1949 ‘The Musicians’ Signed and dated lower right: Milton Avery 1949 Oil on canvasboard 18 x 23¾ inches (45.7 x 60.3 cm) Provenance: M. Knoedler & Co., New York, 1950 Mrs. Stauffer Sigall, San Francisco, California, 1951 Private collection, Minnesota, 1985 ACA Galleries, New York Private collection, New York, acquired from the above, 1987 Christie’s New York, American Paintings, Drawings & Sculpture Sale, November 29, 2001 [Lot 80] Private Collection Christies New York, American Paintings, Drawings & Sculpture Sale, May 23, 2013 [Lot 15]
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Apter-Fredericks Ltd D11 265-267 Fulham Road, London SW3 6HY UK Telephone 44(0)20 7352 2188 USA Cell 1 917 696 4063 www.apter-fredericks.com email: antiques@apter-fredericks.com
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Ariadne Galleries D12 11 East 76th Street, New York, NY 10021, USA Telephone 1 212 772 3388 Fax 1 212 517 7562 www.ariadnegalleries.com email: info@ariadnegalleries.com
Torso of a Nude Youth Roman First to Second century AD Marble Height: 76 cm Provenance: European Art Market, 1980’s Mme. Jacqueline Goudard Lacroix Collection, Paris, France & Lasne, Belgium, 1990s
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Veronique Bamps G7 41 Avenue Hector Otto, Monaco MC 98000, Monaco Telephone 377 9797 3757 Cell 33 641 937465 Fax 377 9797 3757 www.veroniquebamps.com email: info@veroniquebamps.com
Pair of Art-Deco earrings in Egyptian revival style, set with antique scarabs, beads and amulets, natural pearls on an enameled gold and diamond mount.
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Joanna Booth G6 PO Box 50886, London SW3 5YH Telephone 44 (0)20 7352 8998 Cell 44(0)7711 047640 www.joannabooth.co.uk email: joanna@joannabooth.co.uk
The Coronation of the Virgin Probably the central panel from an altar piece English, circa 1480 Alabaster 16½ x 10½ inches (42 x 26 cm)
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J.H. Bourdon-Smith B6 24 Mason’s Yard, Duke Street St. James’s, London SW1Y 6BU, UK Telephone 44 (0)20 7839 4714 Cell 44 (0)7769 974366 Fax 44 (0)20 7839 3951 www.bourdonsmith.co.uk email: enquiries@bourdonsmith.co.uk
A decorative pair of frosted glass claret jugs with vine and tendril silver-gilt mounts. Made in London in 1840 by Mortimer and Hunt, who carried on the business of Paul Storr. Height to top of handle: 13.¼ inches (33.7 cm)
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W.M. Brady & Co. D4 22 East 80th Street, New York, NY 10075 USA Telephone 1 212 249 7212 Cell 1 917 744 9095 Fax 1 212 628 6587 email: mark@wmbrady.com / laura@wmbrady.com
Maurice Denis Granville 1870 – 1943 Paris Via dei Servi, Florence, 1907 Signed and dated, lower left, MAU. D. 07; the backing board numbered in blue crayon, lower left, 24 12 x 9¾ inches (30.5 x 24.8 cm)
Provenance: Galerie Druet, Paris (Galerie Druet label, verso, marked with the inventory number, 4686, and inscribed, Denis Maurice./ Dôme à Florence./ M Aubry) M. Aubry, Paris Sale: New York, Sotheby’s, 9 October 1996, lot 29 Private collection, Maine, until 2014 Exhibitions: Paris, Galerie Druet, 1908, no. 24 (as Via Dei Servi [App. à M.A.)
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Thomas Colville Fine Art B1 111 Old Quarry Road, Guilford CT 06437 USA Telephone 1 203 453 2449 Fax 1 203 453 6983 www.thomascolville.com email: tlc@thomascolville.com
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Francisco Miralles y Galup (Spanish 1848 – 1901) “Banks of the Seine” Signed and dated “F. Miralles/Paris 1881” lower right Oil on canvas 24 x 19½ inches
Sandra Cronan B2 First Floor, 16 Albemarle Street, London W1S 4HW, UK Telephone 44 (0)20 7491 4851 www.sandracronan.com email: enquiries@sandracronan.com
Tiffany & Co A natural pearl and diamond set peacock feather pendant. American. Circa 1905.
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Douglas Dawson Gallery A5 224 South Michigan Ave, Suite 266, Chicago IL 60604, USA Telephone 1 312 226 7975 Fax 1 312 226 7974 Cell 1 312 953 9839 www.douglasdawson.com email: info@douglasdawson.com
Fireman’s Coat (shobo) Japan Edo period ca. 1860 Deer skin Height: 46 inches Width: 53 inches
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Provenance: Private collection Japan
Drucker Antiques F8 487 East Main Street, Suite 197, Mount Kisco, New York NY10549, USA Telephone 1 914 923 4560 / 1 212 794 8536 Cell 1 914 419 2295 Fax 1 914 206 9623 www.druckerantiques.com email: bill@druckerantiques.com
American Arts & Crafts Movement Necklace By Edward Oakes of The Oakes Studio 18kt Gold and Cabochon Moonstone Circa 1927 The work of Edward Oakes is in the collection of The Victoria & Albert Museum London, Metropolitan Museum of Art NYC, Boston Museum of Fine Art, Boston MA
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Martin Du Louvre E7 69 rue du Faubourg Saint Honoré, 75008 Paris, France Telephone 33 (0)1 40170689 Cell 33 (0) 680175101 www.martindulouvre.com email: 69faubourg@gmail.com
M. or H. (?) Huber German or Austrian School Active in the mid-1940s Die Götterdämmerung / Die heilige deutsche Kunst, 1945 Oil on canvas. Dimensions: 40 x 72 cm. Signed lower left: M. or H. (?) Huber. Old label affixed to original stretcher bearing an inscription in Sutterlin German script: Die Götterdämmerung / Die heilige deutsche Kunst / 1945. Provenance: Private collection, Vienna.
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Epoque Fine Jewels A14 Overbekeplein 34, Kortrijk 8500, Belgium Telephone +32 475 616 831 Fax: +32 56 22 9340 www.epoquefinejewels.com email: info@epoquefinejewels.com
A magnificent Art Nouveau gold, enamel, glass and diamond wood anemone pendant by RenĂŠ Lalique, designed as glass wood anemone flowers spiralling out from a hexagonal diamond, the branches applied with translucent blue enamel, on a rod and link enamelled gold chain. Can also be worn as a brooch Signed: Lalique Paris, circa 1905
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European Decorative Arts Company E3 85 Birch Drive, Roslyn, New York, NY 11576, USA Telephone 1 212 758 3023 Cell 1 516 643 1538 www.eurodecart.com email: eurodecart@gmail.com
Anna La Fortino (1673 – 1749) Relief in Wax Palermo, Sicily, Circa 1730 12 x 9 inches Provenance: With Daneau, Palermo (paper label attached) Deaccessioned from Montclair Art Museum, Montclair, New Jersey
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Finch & Co. A2 Suite 744, 2 Old Brompton Road, London SW7 3DQ, UK Telephone 44 (0)20 7413 9937 Cell 44 (0)7768 236921/7836 684133 Fax 44 (0)20 7581 4445 www.finch-and-co.co.uk email: enquiries@finch-and-co.co.uk
A Magnificent Large and Rare Pair of Nepalese Cast Bronze Fantastical Lion Dogs the Male and Female with Tails Held High Richly Scrolled Manes and Wings standing on Clawed Paw Feet Snarling with Long Protruding Tongues. Punched geometric design and engraved floral patterns on face and chest Traces of gilt, red and blue pigment, black lacquer. The underside fitted with a receptacle for relics. 18th / early 19th Century Size: 10½ inches high, 13½ inches long, 6 inches wide
Provenance: Presented in 1851 to Sir Joseph Dalton Hooker (1817-1911) Second Official Director of Kew from 1865 to 1885, by the 11th Dalai Lama of Tibet Mkhas-Grub-Rgya-Mtsho who was a personal friend. From 1848 to 1851 Sir Joseph Hooker studied and collected the spectacular species of Rhododendron that grow in Sikkim and the bordering area of the Himalayas. In 1851 the Dalai Lama gave Hooker specimens collected in Tibet to send back to the Royal Botanic Gardens at Kew. Sir Joseph Hooker wrote a book ‘The Rhododendrons of SikkimHimalaya’ detailing the previously unknown species he had collected, some of which can still be seen in Kew’s rhododendron dell. In 1861 Sir Joseph Hooker succeeded his father Sir William as Director of Kew and by 1885 had concluded his father’s vision for the Botanic Gardens. He was arguably the most important British botanist of the 19th century. A great traveller and passionate plant collector, he was one of Charles Darwin’s closest friends. Gifted in 1911 to his grandson John Hooker, thence by descent.
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Peter Finer D1 38-39 Duke Street St James’s, London SW1Y 6DF, UK Telephone 44 (0)20 7839 5666 Fax 44 (0)20 7839 5777 www.peterfiner.com email: gallery@peterfiner.com
A German Sporting Crossbow Veneered In Engraved Staghorn, Circa 1590 -1600 Overall length: 22½ inches (57.1 cm) Width: 25½ inches (64.8 cm) Made for a member of the Hapsburg Bohemian nobility, whose arms and crest are engraved on the horn plaque capping the base of the tiller. With steel bow etched over the respective lengths of its upper and lower surfaces with an undulating pattern of foliage and spiralling tendrils set against a gilt ground. The bow seated on its original wooden saddle-block with iron suspension-ring and attached by the original hemp cords.
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N & I Franklin C2 11 Bury Street, St James’s, London SW1Y 6AB, UK Telephone 44 207 839 3131 Cell USA 1 646 8528034 www.franklinsilver.com email: katiealice@franklinsilver.com
A highly important George I sideboard dish by Louis Mattayer, London 1720, Britannia Standard Weight: 234oz The crest is that of Thomas Meux, Esq. of Stoughton Manor. Meux married Elizabeth, daughter of Sir William Massingbred, BT of Gunby, Co Lincoln. He died in 1719 and his wife’s brother William became 2nd Baronet, dying in 1723 at which time the title became extinct. Provenance: with Crichton, 1929. The Executers of the late Viscount Kelmsley; Christies, London 26th November 1975, Lot 9
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Bernd Goeckler Antiques, Inc. D9 30 East 10th Street, New York, NY 10003, USA Telephone 1 212 777 8209 Cell 1 646 8249644 Fax 1 212 777 8302 www.bgoecklerantiques.com email: bgantiques@mac.com Holger Pedersen Wederkinch 1921 “The Loving Pair” Carved limestone Scandinavian lynxes on stone base Height: 82½ inches, Width: 43½ inches, Depth 23 inches
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Wederkinch began sculpting animals in clay at age six. He debuted as a sculptor at 19 at the Charlottenborg Spring Exhibition in 1905. That Autumn he entered the College where he stayed until Autumn 1908. He finished his education in Paris and London. Characteristic of his work are groups of animals intertwined in dramatic situations with emphasis on muscle play and the group’s silhouette. He exhibited at Charlottenborg and he participated in the Artists’ exhibition 1909-15 and the Danish exhibition in Brighton (UK) in 1912. He had his own exhibition at Winkel & Magnussen in 1917 and at the Free Exhibition in 1923. In Paris he became an associate at the Societe Nationale des Beaux-Arts in 1924, and received the gold medal for a giant polar bear group in 1929. In London he exhibited at the Royal Academy’s exhibitions, and in 1930 he became a member of the Royal Society of Arts. His “Langeline” in bronze won the 1929 gold medal at the Paris Salon.
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Michael Goedhuis D3 61 Cadogan Square, London SW1X 0HZ, UK Telephone 44 (0)20 7823 1395 USA Cell 1 917 4551035 UK Cell 44 (0)7760 625 375 www.michaelgoedhuis.com email: london@michaelgoedhuis.com
Yao Jui-Chung 2014 Good Times: Spring Breeze Ink and gold leaf on paper Published in “The Ink Art of China”, Michael Goedhuis, 2014 78 x 32¼ inches (198 x 82 cm)
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Bernard Goldberg Fine Arts, LLC E11 New York, USA Telephone 1 212 813 9797 www.bgfa.com email: info@bgfa.com
Charles Burchfield 1917 “The open road in September” Estate stamp and numbered Watercolor, crayon and ink on paper 17½ x 14 inches
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Brian Haughton Gallery E1 15 Duke Street St James’s, London SW1Y 6DB, UK Telephone 44 (0)20 7389 6550 Fax 44 (0)20 7389 6556 www.haughton.com email: gallery@haughton.com
A rare Doccia Figure of a Chatir, personal Guard of the Grand Vizier, modelled in walking contraposto pose. Circa 1750 Height: 8½ inches (21.5 cm) Copied from an engraving by J.B.Van Mour, taken from, Recueil de cent estampes representant differentes nations du Levant tirees sur les tableaux peints d’apres nature en 1707 et 1708, Charles Marquis De le Hay et Ferriol.
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Brian Haughton Gallery E1
A Rare and Lifelike Paris Dihl and Guerhard Biscuit Porcelain Seated Infant Boy Reading a Book, after the model by Charles Gabriel Sauvage. Circa 1795 Height: 18½ inches A porcelain plaque with the portrait of Dihl by Etienne Le Guay is in the Musee de Ceramique at Sevres. In this portrait, dated 1797, appears the exact model of the seated child, which rests on the top of his desk. Another example is within the Arkhangelskoye Palace, Russia. Sauvage was chief modeller at the Niderviller porcelain manufactory until he moved to work for Dihl.
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Brian Haughton Gallery E1 15 Duke Street St James’s, London SW1Y 6DB, UK Telephone 44 (0)20 7389 6550 Fax 44 (0)20 7389 6556 www.haughton.com email: gallery@haughton.com
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An Extremely Rare and Fine Pair of Meissen Models of Squirrels, modelled by J. J. Kaendler, each Squirrel seated on its haunches and beautifully painted with ginger and brown markings and wearing silvered collars.
Brian Haughton Gallery E1
Circa 1745 Height: 8 inches (20.5 cm) J. J. Kaendler first modelled a pair of Squirrels for the Meissen manufactory in 1732, his work records or Taxa report for the month of August that year lists, ‘Zwei Eichhornigen’. See Carl Albiker, Die Meissner Porzellantiere im 18. Jahrhundert, Berlin, 1935. No 164. It is certainly conceivable that Kaendler modelled these extremely successful naturalistic models from captive Squirrels perhaps in the Royal Menagerie at Moritzburg, which he frequently visited in order to gain inspiration and to draw from the life.
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Hancocks A1 52 & 53 Burlington Arcade, London W1J OHH, UK Telephone 44 (0)20 7493 8904 Fax 44 (0)20 7493 8905 www.hancocks-london.com email: info@hancocks-london.com
Art Deco aquamarine briolette pendant by Marzo, Paris, Circa 1925
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Galerie Marc Heiremans F5 Rue Joseph Stevens 25, Brussels, Belgium 1000 Telephone 32 2 512 80 58 Cell 32 478 28 03 08 www.marc-heiremans.com email: info@marcheiremans.com
Seguso Vetri D’Arte Murano (IT), des. Flavio Poli 1955 Exhibited: Museo del Vetro, Murano/Venice (IT). May 2013 Design Museum Ghent (BE). November 2014 Literature: Modeldrawing 11023, archive Seguso vetri d’arte, Fondazione Giorgio Cini, Venice (IT). Squarcina Chiara: “Seguso vetri d’arte: 1932-1973” Venice 2013, s.p. illustrated. Heiremans M.: “Seguso vetri d’arte, glass objects from Murano”, Stuttgart 2014, p.269 (ill.)
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John Howard F4 Heritage, 6 Market Place, Woodstock, Oxfordshire OX20 1TA, UK Telephone 44 (0)1993 812580 Cell 44 (0)7831 850544 Fax 44 (0)1993 812580 www.johnhoward.co.uk email:john@johnhoward.co.uk
London 1689 – 94 English delftware plate with naïve representation of King William and Queen Mary: London England 64
Page: 85 Delftware by Michael Archer
Hyde Park Antiques Ltd F3 836 Broadway, New York, NY 10003, USA Telephone 1 212 477 0033 Fax 1 212 477 1781 www.hydeparkantiques.com email: info@hydeparkantiques.com
A Superb Pair of George lV Rosewood Ormolu Mounted Armchairs in the Manner of Morel & Hughes Circa 1825 The upholstered scroll back, armrests and sides all set in a finely figured frame, above a parcel gilt rail and round tapering legs terminating in the original fluted brass caps and casters. Height: 37½ inches Width: 26 inches Depth: 31 inches
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Imperial Fine Books A11 790 Madison Avenue, New York, NY 10065 Telephone 001 212 861 6620 Cell 001 201 294 3874 www.imperialfinebooks.com e: info@imperialfinebooks.com
20 volumes William Shakespeare. Complete works. Bound in full Morocco with doublers. Limited to 15 sets. Illustrated with watercolours. Pub. Edinburgh: T. A. Constable 1903
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Gallery Japonesque E9 824 Montgomery St, San Francisco, CA 94133 USA Telephone 1 415 391 8860 Cell 1 415 533 5151 Fax 1 415 391 3530 www.galleryjaponesque.com email: koichihara@earthlink.net
Close up to Time 2014 by Dennis Letbetter detail of photgraph archival giclee print 26 inches w x 41 inches h 68 cm x 104.2 cm
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Gallery Japonesque E9
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Hidden Light 2013 By Koichi Hara Cabinet Bronze, copper, gold leaf, glass, and wood, part of a circa 18th c. Japanese boat, previously tea ceremony screens (Furosaki-byobu) 72 x 37 x 22 inches (183 x 94 x 56 cm)
Gallery Japonesque E9
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Kentshire A4 700 Madison Avenue, New York, NY 10065, USA Telephone 1 212 421 1100 Cell 1 646 704 3224 Fax 1 212 421 1180 www.kentshire.com email: info@kentshire.com
A fine antique gold box chain in the form of an Ouroboros snake with a pavĂŠ turquoise head and tail embellished with diamonds and ruby. 70
Circa 1870
Keshishian A15 73 Pimlico Road, London SW1W 8NE, UK Telephone 44 (0)20 7730 8810 Fax 44 (0)20 7730 8803
and By appointment in New York Telephone 1 212 956 1586 www.keshishiancarpets.com email: info@keshishiancarpets.com
A rare Regency Axminster carpet, English, circa 1810. 15ft 10 inches x 9ft 10 inches (488 x 305 cm)
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Koopman Rare Art D10 53-64 Chancery Lane, London WC2A 1QS, UK Telephone 44 (0)20 7242 7624 USA Cell: 1 646 5544416 www.koopmanrareart.com email: enquiries@koopmanrareart.com
Robert Hennell A fine William lV Silver Warwick Vase Soup Tureen London 1834 The Warwick Vase is an ancient Roman marble vase with Bacchic ornament that was discovered at Hadrian’s Villa, Tivoli, circa 1771
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12 inches diameter, 16½ inches across handles, 14½ inches high. Weight 185 oz.
Galerie Lefebvre B11 5 Quai Voltaire, Paris 75007, France Telephone 33 (0) 1 45481813 www.galerielefebvre.com email: gallerylefebvre@gmail.com
Jean DUPAS (1882 – 1964) ‘The Water Pourer’ part of the “Rape of Europe” composition from “Normandie” ocean liner’s Grand Salon. Exceptional Saint Gobin glass panel entirely decorated by Jean Dupas using reverse glass painting technique; Gold and silver leaf background is highlighted with gouache and Chinese ink. Unsigned. Circa 1934 Height: 34 inches Length: 49 inches Provenance: Private collection, US Ocean liner “Normandie”
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Lost City Arts A8/9 18 Cooper Square, New York, NY 10003, USA Telephone 1 212 375 0500 Cell 1 917 860 0930 Fax 1 212 375 9342 www.lostcityarts.com email: info@lostcityarts.com
Harry Bertoia, 1970’s Stainless Steel 51 inches high, 30 inches deep
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H.M. Luther G1 The Carlyle, 35 East 76th Street, New York, NY 10021, USA Telephone 1 212 439 7919 Greenwich Village, 61 East 11th Street, New York, NY 10003, USA Telephone 1 212 505 1485 www.hmluther.com email: info@hmluther.com
Mogens Voltelen for Niels Vodder A Pair of Danish Leather and Beech Copenhagen Chairs Circa 1936 Height: 37.25 inches (94.6 cm)
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H.M. Luther G1 A Swedish Grace Period Flame Mahogany and Marquetry Cabinet on Stand Circa 1930 Height: 67.25 inches (170.2 cm) Width: 37 inches (92.7 cm) Depth: 23 inches (59.1 cm)
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H.M. Luther G1 The Carlyle, 35 East 76th Street, New York, NY 10021, USA Telephone 1 212 439 7919 Greenwich Village, 61 East 11th Street, New York, NY 10003, USA Telephone 1 212 505 1485 www.hmluther.com email: info@hmluther.com
Carl Fagerlund for Orrefors A Rare Swedish Elliptical Pendant Chandelier Circa 1960 Height: 61 inches (154.9 cm) Diameter: 16 inches (40.6 cm)
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MacConnal-Mason Gallery G5 14 & 17 Duke Street St James’s, London SW1Y 6DB, UK Telephone 44 (0)20 7839 7693 Fax 44 (0)20 7839 6797 www.macconnal-mason.com email: fineart@macconnal-mason.com
Eugène Louis Boudin 1824 – 1898 “Bassin de Deauville” Signed and dated ’90 Oil on panel 131/ 8 x 161/ 8 inches (33.5 x 41 cm) Provenance: Galerie Tédesco Frères, Paris; Hirschl & Adler, New York from whom purchased by a French noble family. Literature: Robert Schmit, Eugène Boudin, Premier Supplement, Paris, 1984, P.59, No. 3791 illustrated. 78
Mallett E12 FRANK SINATRA AND MIA FARROW The Truman Capote Black and White Ball at the Plaza Hotel. Signed by Harry Benson, Edition of 35.
929 Madison Avenue, New York, NY10021, USA Telephone: 1 212 249 8783 www.mallettantiques.com email: rcave@mallettantiques.com
New York City, 1966 Print Size 40 x 60 inches
TUNA by Hamish Mackie Made in stainless steel and mounted on a black marble base. Signed and numbered edition of 12. England, 2010 Height 24 inches (61 cm) Width 39 inches (99 cm) Depth 13 inches (33 cm)
COMMODE by Paolo Buffa Mahogany veneer and brass Italy, circa 1940 Height 33.9 inches (86 cm), Width 18.5 inches (47 cm), Depth 65 inches (165 cm)
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Maison Gerard G2 43 & 53 East 10th Street, New York, NY 10003, USA Telephone 1 212 674 7611 Cell (Benoist Drut) 1 917 686 6782 www.maisongerard.com email: home@maisongerard.com
Bookcase and Desk Maison Jansen (1880-1972) Green lacquer with gilt detailing Circa 1960 Each side: Height: 88 inches Width: 108 inches Depth: 20.25 inches Privately commissioned Vittoria Chair by Achille Salvagni Limited edition of 40 Date: 2014, contemporary Signed: AS Atelier
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Height: 29.25 inches Width: 29.5 inches Depth: 36.25 inches
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John Mitchell Fine Paintings A12 44 Old Bond Street, London W1S 4GB, UK Telephone: 44 (0)20 7493 7567 Fax 44(0) 20 7493 5537 www.johnmitchell.net email: enquiries@johnmitchell.net
Gian Domenico Cerrini (1609 – 1681) A Vanitas: Time revealing Truth Oil on canvas 60 x 73 inches (151.5 x 185 cm) Provenance: Possibly painted for Tomasso Fantacci circa 1670 in Florence. Private collection, Belgrade, Serbia.
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Bibliography: Francesco Federico Mancini, Gian Domenico Cerrini, il Cavalier Perugino tra classicismo e barocco, September 2005 – January 2006, Palazzo Baldeschi al Corso, Perugia. Silvana Editoriale, Milano (2005)
Lillian Nassau LLC G8 220 East 57th Street, New York, NY 10022, USA Telephone 1 212 7596062 Fax 1 212 8329493 www.lilliannassau.com email: info@lilliannassau.com
Tiffany Studios Peacock Shade on Rare Turtle Back Glass Base Circa 1900 Leaded glass, turtle back glass and bronze Diameter: 16 inches Height: 18 inches 83
nexxt20 D7 Telephone 1 845 453 5858 Fax 1 214 522 1475 www.nexxt20.com email: info@nexxt20.com
Alexander Calder untitled brooch with initials MJB in silver; executed in 1957 as a gift to Mary James Brown
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Frank Partridge E6 7 Thurloe Square, London SW7 2TA, UK Telephone 44 (0)20 7225 3654 Cell 44 (0)7801 480548 Fax 44 (0)20 7581 9387 www.frankpartridge.co.uk email: mail@frankpartridge.co.uk
A Directoire Ormolu Mantel Clock representing America, signed by Armingaud L’Aine Circa 1795 16 x 4.75 x 25 inches high (41 x 13 x 65 cm)
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Ronald Phillips Ltd B3/4 26 Bruton Street, London W1J 6QL, UK Telephone +44 (0)20 7493 2341 www.ronaldphillipsantiques.com email simon@ronaldphillips.co.uk
A highly important mid 18th century Chippendale period carved giltwood demi-lune console table designed by Robert Adam and made by William France and John Bradburn. English, 1765 Height: 2 ft 11 inches (89 cm) Width: 5 ft 3 inches (160 cm) Depth: 2 ft ½ inches (62.5 cm) 86
Provenance: Supplied to Sir Lawrence Dundas, Bt., in 1765 for 19 Arlington Street, London; By descent to the Marquess of Zetland, until 1934; William Randolph Hearst, New York; Michael Hogg, London; Private collection, London.
An exceptionally rare and important mid 18th century carved mahogany desk armchair almost certainly by Thomas Chippendale.
Ronald Phillips Ltd B3/4
English, circa 1770 Height: 39 inches (99 cm) Height of seat: 18½ inches (47 cm) Width: 25 inches (63.5 cm) Depth: 28 inches (71 cm)
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Phoenix Ancient Art E2 47 East 66th Street, New York, NY 10065, USA Telephone 1 212 288 7518 Fax 1 212 288 7121 and 6 rue Verdaine, 1204 Geneva, Switzerland Telephone 41 (0)22 318 8010 Fax 41 (0)22 310 0388 www.phoenixancientart.com email: info@phoenixancientart.com
A CYCLADIC MARBLE HEAD attributed to the Goulandris Sculptor circa 2500-2400 B.C. Marble Height: 15 cm Provenance: With Simone de Monbhson, Paris, 1970s: with Elsa Bloch-Dlener, Bern, 1977 88
Phoenix Ancient Art E2
AN ASSYRIAN WHITE MAGNESITE HEAD OF PAZUZU 8th century B.C. White Magnesite and Lapis Lazuli Height: 12 cm Provenance: With Mr. E. Sello, Ticino, early 1960’s; Ex- Swiss private collection; Ex- Mrs. Hirschfeld collection, Laussane, 1968
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Potterton Books B7 The Old Rectory, Sessay, Thirsk, North Yorkshire, YO7 3LZ, UK Telephone 44 (0)1845 501218 Fax 44 (0)1845 501439 www.pottertonbooks.co.uk email: ros@pottertonbooks.co.uk
‘The Universal System of Household Furniture’ by John Mayhew and William Ince Consisting of above 300 designs in the most elegant taste both useful and ornamental. Finely engraved in which the nature of ornament and perspective is accurately exemplified. London: Sold by Robert Sayer (1759 – 1762) Folio 175/ 8 x 111/ 8 inches Text in English and French
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Sylvia Powell Decorative Arts G4 By appointment only Suit 400 Ceramic House, 571 Finchley Road, London NW3 7BN, UK Telephone 44 (0)20 8201 5880 Cell 44 (0)7802 714 998 www.sylviapowell.com email: Sylvia@sylviapowell.com
‘Ghostly Wood’ Wedgwood Fairyland Lustre Malfrey Pot and Cover, circa 1920, designed by Daisy MakeigJones. 32.5 cm high, printed mark, incised shape number and painted pattern no Z4968 This design took inspiration from The Legends of Croquemitaine. In this French legend Mitaine, the goddaughter of Charlemagne, travels through the ‘Land of Illusion’ , described as a place of lost souls, demon trees and ghostly apparitions, to conquer the ‘Fortress of Fear’ .
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Primavera Gallery F7 210 11th Avenue at 25th Street, Suite 800, New York, NY 10001, USA Telephone 1 212 924 6600 Fax 1 212 924 6602 www.primaveragallery.com email: contact@primaveragallery.com
Rare and important Art Deco ceramic vase by Rene Buthaud, French Circa 1925 14.5 inches high x 8 inches wide, with RB monogram to the base. Illustrated in Arts DĂŠcoratifs Volume 5, plate L 11.
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Red Fox Fine Art C1 At the Red Fox Inn, 2 East Washington St., 2nd Floor, P.O. Box 385, Middelburg, VA 20118, USA Telephone 1 703 851 5160 Fax 1 540 687 6306 www.redfoxfineart.com email: tr@redfoxfineart.com
Theodore Marsden (American, 1811 - ?) American Field Sports, (Partridge Shooting, To Ho) 1857 Signed Marsden Oil on canvas 36 x 48 inches
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Röbbig München B14 Frühe Porzellane – Kunsthandel, Briennerstrasse 9, 80333 Munich, Germany Telephone +49 89 299758 Cell +49 171 65 00 456 Fax +49 89 223822 www.roebbig.de email: info@roebbig.de
Johann Joachim Kaendler (1706-1775) The indiscreet Harlequin Meissen, Circa 1740 Height 17 cm Width 16 cm Depth 15 cm
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James Robinson, Inc F2 480 Park Avenue at 58th Street, New York, NY 10022, USA Telephone 1 212 752 6166 Fax 1 212 754 0961 www.jrobinson.com email: info@jrobinson.com
Nineteenth century jewelry
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Rountree Tryon Galleries A3 7 Bury Street, St James’s, London SW1Y 6AL, UK Telephone 44(0)20 7839 8083 Fax 44 (0)20 7839 8085 www.rountreetryon.com email: info@rountreetryon.com
Sir Edwin Landseer R.A., R.I. (1802 – 1873) Arab Mare and Foal Oil on canvas Signed with initials and dated ‘1825’ (lower left) 28 x 36 inches (71.1 x 91.4 cm)
Provenance: Princess Charlotte, eldest daughter of George III Gifted to Lady Barbara Ponsonby By Descent Sold Christie’s 1908, where bought by a close relative of the owners Baron De Mauley By descent to present day Exhibited: Royal Academy 1874, ‘Paintings by Sir Edwin Landseer RA’, No. 385. Lent by Hon. Ashley Ponsonby
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Samina Inc A16 By appointment only 33 St James’s Square, London SW1Y 4JS, UK Telephone 44 (0)20 3170 6076 Cell 44 (0)7775 872960 Fax 44 (0)20 7286 3633 www.saminainc.com email: saminainc@hotmail.com
Necklace Deccan, probably Hyderabad, India 18th Century Gold set with diamonds and an emerald drop, with Basra pearls and emerald beads. Enamelled on the front.
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Schillay Fine Art, Inc. C6 520 East 72nd Street, New York, NY 10021, USA Telephone 1 212 861 8353 www.schillay.com email: richard@schillay.com
Sam Francis 1923 – 1994 Untitled, 1994 (SFF.1704) Acrylic on canvas (painted in Santa Monica (West Channel Road studio) 15 x 18 inches (38.1 x 45.72 cm) Sam Francis Catalogue Raisonné Number: SFF.1704 Sam Francis Archive Number: SFP94-20 Accompanying this work is a Painting Documentation Sheet, inclusive of image, dated September 3, 2013, provided by the Sam Francis Foundation. Inscriptions: Inscribed (by studio assistant) on verso with completion date: 7/12/94; Stamped on canvas verso with the Sam Francis Estate logo and facsimile signature stamps. Provenance: Estate of the artist, California (1994), Galleri Faurschou, Copenhagen (June 1996), Kaare Berntsen, Oslo, Private Collection, Private Collection, New York 98
Exhibitions: Los Angeles County Museum of Art, Los Angeles. Sam Francis: The Last Works, 25 May-7 September 1995; exh. brochure (color illus.). Galleri Faurschou, Copenhagen, at Art Basel 28, Basel. The Complete (152)Paintings from the Last Studio of Sam Francis,11-18 June 1997; exh. Brochure (color illus.). Galleri Faurschou, Copenhagen. Sam Francis: The Last Works,18 March-5 June 1999; exh. cat., pp. 12-13 (b/w illus.) and 64-65 (color illus.). Selected Bibliography: Burchett-Lere, Debra, ed. Sam Francis: Catalogue Raisonné of Canvas and Panel Paintings, 1923-1994, Berkeley: University of California Press, 2011; cat. no. 1704, DVD I (color illus.). Installation views of The Last Works, in total or in part, appear in the following publications: Agee, William C. Sam Francis: Paintings 1947-1990. Los Angeles: Museum of Contemporary Art, 1999; exh. cat., fig. 51, p. 57 (illus.). Sam Francis. Mendrisio, Switzerland: Museo d’Arte, 1997; exh. cat., pp. 20-21(illus.), and exh. brochure (illus.).
Shapero Rare Books B8 32 Saint George Street, London W1S 2EA, UK Telephone 44 (0) 20 7493 0876 Fax 44 (0) 20 7495 5010 www.shapero.com email: rarebooks@shapero.com
The largest successful color plate book project of 19th-century America John James AUDUBON The Viviparous quadrupeds of North America New York, 1845-54 Three elephant folio volumes of 150 hand-colored plates, and three text volumes Audubon’s magnificent final work, with brilliantly colored illustrations. An excellent complete set with fine clean plates.
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S.J. Shrubsole, Corp. A6/A7 104 East 57th Street, New York, NY 10022, USA Telephone 1 212 753 8920 Fax 1 212 754 5192 www.shrubsole.com email: inquiries@shrubsole.com
A Royal Gift: A Victorian Statuette of the Greyhound Eos London, 1840 by Edmund Cotterill for Robert Garrard Length: 10 inches Weight: 39 oz. This is a portrait of the greyhound Eos, Prince Albert’s favorite pet. It was commissioned by Queen Victoria as a gift for Albert’s 21st birthday, August 26th, soon after he first arrived in England. The couple had been married for six months and this was the first birthday she shared with him. As such it is one of their first important gifts.
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The piece is well documented, being mentioned in Victoria’s private diary and recorded in the Garrard Royal ledgers.
Librairie Signatures B15 17 Rue Jacob, Paris 75006, France Cell +33 (0) 668 710956 www.librairiesignatures.com email: pfontana@librairiesignatures.com
RenÊ Magritte (1898-1967) Signed and illustrated autograph letter (Summer 1943) Beautiful signed and illustrated autograph letter with Magritte’s famous pipe transformed into the floor plan of a house. 101
The Silver Fund C5 330 Worth Avenue, Palm Beach, Florida 33480, USA Telephone 1 561 629 5153 Cell 1 917 447 1911 www.thesilverfund.com email: dealers@thesilverfund.com
Unique large scale Art Deco wine cooler. Portugal Circa 1930
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14 inches high, 11 inches diameter
Somlo Antiques B10 35-36 Burlington Arcade, London W1J 0QB, UK Telephone 44 (0)20 7499 6526 Fax 44 (0)20 7499 0603 www.somlo.com email: mail@somlo.com
Large gold and enamel oval watch depicting views of the Bosphorus: Bridge calibre cylinder escapement entirely pierced and engraved by Rundell & Bridge jewellers to their Majesty’s London, circa 1820. Made for the Ottoman Empire. 6cm in diameter.
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Carolle Thibaut-Pomerantz E5 By appointment only: New York, USA and Paris, France New York: Telephone 1 212 759 6048 Paris: Telephone 33 (0) 6 09 05 35 98 www.antique-wallpaper.com email: carolle@ctpdecorativearts.com
Carle Vernet, Jacquemart & Benard 1812-1815 Wood Block Printed on Paper Scenic panoramic “Les Chasses de Compiègne” (Stag Hunt at the Chateau de Compiègne): 1 of 4 scenes: The Quarry (La Curée) Mounted on canvas and stretcher This décor is the only panoramic designed by the painter Carle Vernet who specialized in hunt and horse scenes.The panels were wood-block printed by Jacquemart & Bénard, successor of Réveillon.
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Provenance: Private collection of Jean Zuber (founder of the manufacture Zuber and rival of Jacquemart) for his dining room of the Commanderie in Rixheim, Alsace, 1815. One version of “Les Chasses” is in the collection of the Victoria and Albert Museum, London, and one is in the Musée de la Chasse, Paris. The Quarry scene: Height 7ft 5 inches x Wide 9ft 3½ inches (H 2.25m x W 2.83m)
Tambaran Gallery F6 5 East 82nd Street, New York, NY 10028, USA Telephone 1 212 570 0655 Cell: 1 917 9296596 www.tambaran.com email: m.zarember@tambaran.com
Rare Maori Handclub New Zealand Wahaika Wood 17ž inches Provenance: James Hooper Collection, purchased in Kingston-upon-Thames, Surrey 1948 Christies, London, June 12 1977, Lot 76 Private Collection, London Published: Phelps, Steven, Art & Artefacts of the Pacific, Africa and The Americas: The James Hooper Collection, London 1976 Mack, Charles, Polynesian Art at Auction 1965–1980, 1982
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Erik Thomsen E10 23 East 67th Street, New York, NY 10065, USA Telephone 1 212 288 2588 Cell 1 212 300 3244 Fax 1 212 535 6787 www.erikthomsen.com email: info@erikthomsen.com
Fukami Sueharu (Japanese, born 1947) ĺąš Kitsu - Upright, 2013 Porcelain with pale-blue glaze, on granite base 78 x 20 x 17 inches (198 x 51 x 44 cm) Incised underglaze signature: S. Fukami Exhibited: "A Distant View: The Porcelain Sculptures of Fukami Sueharu," Portland Japanese Garden, Portland Oregon, October-November 2013, no. 4
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Erik Thomsen E10
Peacock Pair by Cherry Blossoms in Spring By Tatsuyuki (Japanese, ac. Taisho era) Two-panel folding screen Mineral colors, silver and gold on paper Taisho era (1912-26), ca 1920, Japan 80 x 73 inches 107
Axel Vervoordt D2/5 Kanaal - Stokerijstraat 15 -19, Wijnegem 2110, Belgium Telephone 32 3 355 3300 Fax 32 3 355 3301 www.axel-vervoordt.com email: info@axel-vervoordt.com
Four-sided Hathor Capital Sandstone Egypt, Ptolemaic Period, 332-30 B.C. 15 x 17 inches (38 x 41 cm)
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Provenance: ex-collection Antonovitch, Paris, since early 1980s.
Axel Vervoordt D2/5
Jef VERHEYEN (Belgium, 1932 - 1984) “L’homme s’allume une lumière dans la nuit quand ses yeux s’éteignent” 1976 Signed and dated on the back with inscription Eté Provence Matt lacquer on canvas 50½ x 50½ inchess (130 x 130 cm) Provenance: Private collection Den Haag, The Antwerp Gallery, 1977
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The Exceptional Sale 2014 New York · 11 December 2014
A Very rAre PAir Of Chinese POrCelAin Deer
Qianlong period 16 1/2 in. high $300,000–500,000
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Virginia Salem +1 917.328.7563 vsalem@freemansauction.com IVAN FEDOROVICH CHOULTSÉ (russian 1877-1932) “SOIR D’AUTOMNE (BOIS DE BOULOGNE)” Signed ‘Iw F Choultsé’ bottom right, titled in pencil on stretcher verso, oil on canvas 25 1/2 x 25 1/2 in. (64.8 x 64.8cm) $30,000-50,000 (detail)
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Charles Dickens (1812-1870) The Complete Works, New York & London: Sproul, 1902-1908
Fine Italian Violin, Joannes Franciscus Pressenda, Turin, 1835
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12-18 June 2015 Private View 11 June Albert Memorial West Lawn Kensington Gardens, London The West Lawn is next to The Albert Memorial and directly opposite The Royal Albert Hall
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October 23-29 2015 The Park Avenue Armory at 67th Street, New York Preview Party Benefitting The Society of Memorial Sloan-Kettering Cancer Center, October 22
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Index AANW, Inc. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34
Gallery Japonesque . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67
A La Vieille Russie, Inc. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35
Kentshire . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70
Daphne Alazraki Fine Art . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36
Keshishian . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71
Altman Fine Art & Advisory Services, Michael. . . . . . . . . . . . . . . . . 37 American Fine Art Magazine . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 122 Antiques & Fine Art Magazine . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 112 Antiques, The Magazine . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 114 Apollo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 124 Apter-Fredericks Ltd . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38 Ariadne Galleries . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39 Art Antiques London . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 129 Art & Antiques Magazine . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 114 Veronique Bamps . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40 Joanna Booth . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41 J.H. Bourdon-Smith . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42 W. M. Brady & Co. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43 Christie’s . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 119 Thomas Colville Fine Art, LLC . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44 Sandra Cronan Ltd . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45
Koopman Rare Art . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72 Galerie Lefebvre . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73 Lost City Arts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74 H.M. Luther . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75 MacConnal-Mason Gallery . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78 Maison Gerard . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80 Mallett . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79 Master Art . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 118 John Mitchell Fine Paintings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82 Lillian Nassau LLC . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83 National Antique & Art Dealers Association of America, Inc.. . . 111 nexxt20 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84 Park Avenue Armory . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 127 Frank Partridge . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85 Ronald Phillips Ltd . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86
Cullman & Kravis, Inc. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 113
Phoenix Ancient Art . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88
Douglas Dawson Gallery . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46
Potterton Books . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90
Drucker Antiques . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47
Sylvia Powell Decorative Arts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91
Martin Du Louvre . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48
Primavera Gallery . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92
Epoque Fine Jewels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49
Red Fox Fine Art . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93
European Decorative Arts Company . . . . . . . . . . . . . . . . . . . . . . . 50 Fine Art Connoisseur . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 116 Finch & Co. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51 Peter Finer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52 1stdibs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 120 N & I Franklin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53 Freeman's. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 126 Arthur J. Gallagher & co. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 117 Gander & White Shipping Ltd . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 121 Bernd Goeckler Antiques, Inc. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54 Michael Goedhuis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56 Bernard Goldberg Fine Arts, LLC . . . . . . . . . . . . . . . . . . . . . . . . . . . 57 Hancocks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62 Brian Haughton Gallery . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58 Galerie Marc Heiremans . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63 John Howard . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64
Röbbig München . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94 James Robinson, Inc. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95 Rountree Tryon Galleries . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96 Samina Inc. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97 Schillay Fine Art, Inc. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98 Shapero Rare Books . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99 S.J. Shrubsole, Corp . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100 Librairie Signatures . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101 The Silver Fund . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 102 Skinner. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 128 Somlo Antiques . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103 Stark & Darius Antique Rugs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 115 Tambaran Gallery . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105 The Fund for Park Avenue. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 125 Carolle Thibaut-Pomerantz . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 104
Hyde Park Antiques, Ltd . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65
Erik Thomsen Gallery . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106
Imperial Fine Books . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66
Åxel Vervoordt . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 108
International Fine Art & Antique Dealers Show, The . . . . . . . . . . 130
Wiseman Group, The . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 123
131
Dillon Gallery, Inc
Drucker Antiques F8
H.M. Luther G1
A La Vieille Russie, Inc. F1
Hyde Park Antiques, Ltd F3
James Robinson, Inc. F2
Jeffrey Beal Henkel J1 Bernd Goeckler Antiques, Inc. D9
Lost City Arts A8/9
Imperial Fine Books A11
Primavera Gallery F7
AANW, Inc D8
Erik Thomsen Gallery E10
Koopman Rare Art D10
Michael Altman E14 Apter-Fredericks Ltd D11
Frank Partridge E6
Mallett E12
Carolle Thibaut-Pomerantz E5
Rountree Tryon Finch & Co. Galleries A2 A3
Michael Goedhuis D3
Brian Haughton Gallery E1
European Decorative Arts Company E3
J.H. Bourdon-Smith B6
Axel Vervoordt D2/5
Ariadne Galleries D12
Potterton Books B7
W.M. Brady & Co. D4
Martin Du Louvre E7
Bernard Goldberg Fine Arts, LLC E11
Daphne Alazraki Fine Art D6
nexxt20 D7
Gallery Japonesque E9
F4
Shapero Rare Books B8
S.J. Shrubsole, Corp A6/7
Galerie Marc Heiremans F5
Schillay Fine Art, Inc. C6
Somlo Antiques B10
Douglas Dawson Gallery A5
The Silver Fund C5
Gallery Lefebvre B11
Kentshire A4
C7
John Howard
Veronique Bamps G7
John Mitchell Fine Paintings A12
Maison Gerard G2
Dai Ichi Arts
Tambaran Gallery F6
Lillian Nassau LLC G8
G4
C4
Röbbig München B14
Sylvia Powell Decorative Arts
Samina Inc. A16 Keshishian A15
MacConnal-Mason Gallery G5
Joanna Booth G6
C3
Librairie Signatures B15
Epoque Fine Jewels A14
N & I Franklin C2
Camilla Dietz Bergeron
RESTAURANT & BAR by
Red Fox Fine Art C1
Phoenix Ancient Art E2
Peter Finer D1
Hancocks A1 FAIR ENTRANCE
132
PARK AVENUE
Thomas Colville Fine Art, LLC B1
Sandra Cronan Ltd B2
Ronald Phillips Ltd B3/4
www.haughton.com