AADLA: The League Journal - Winter, Issue 03 by Kapoor Galleries

ISSUE —03

FOREWORD

December 2024

RAYMOND YARD (1885-1964) A LA VIEILLE RUSSIE AT THE 2025 WINTER SHOW

A ROSSETTI STUNNER ROBERT SIMON FINE ART AT THE 2025 WINTER SHOW

MODERNIZING ANTIQUES: TECHNOLOGY WITHOUT COMPROMISE

THIRTEEN WINTERS OF EXCELLENCE CLINTON HOWELL ANTIQUES AT THE 2025 WINTER SHOW

ANCESTRAL ARCHIVES THE ORIGINS OF HYDE PARK ANTIQUES

TREASURES OF THE ANCIENT WORLD HIXENBAUGH ANCIENT ART AT THE 2025 WINTER SHOW

NY ANTIQUES DEALERS ALLOWED TO DISPLAY IVORY FOR SALE, COURT SAYS

Upcoming EVENTS

DECEMBER 05, 2024: Wild Horizons exhibition opening at Kapoor Galleries, NY

DECEMBER 05-16, 2024: The AADLA Twelve Days of Christmas Virtual Holiday Art and Antique Show

JANUARY 10-12, 2025: The Washington Winter Show, DC

JANUARY 24-FEBRUARY 02, 2025: The Winter Show at the Armory, NY

JANUARY 31-FEBRUARY 02, 2025: Antiques & Garden Show of Nashville, TN

PROJECT ART CREATING OPPORTUNITY THROUGH ART

REGENCY REVIVAL HYDE PARK ANTIQUES AT THE 2025 WINTER SHOW CURATING EXCELLENCE MICHAEL PASHBY ANTIQUES AT THE 2025 WINTER SHOW

DEALER SPOTLIGHT WALTER ARADER OF ARADER GALLERIES

BLUE JOHN EUROPEAN DECORATIVE ARTS CO. AT THE AT THE 2025 WINTER SHOW

LOST & FOUND: THE PORTRAIT OF CHIEFESS LILIHA KELLY KINZLE ANTIQUES AT THE AT THE 2025 WINTER SHOW

OUT OF OBSCURITY A SILVER TANKARD BY FROMENTMEURICE PRESENTED BY EDAC

FEBRUARY 13-18, 2025: The Palm Beach Show, FL

MARCH 21-23, 2025: The Charleston Show, SC

Cover Image: Roman Marble Head of a Youth presented by Hixenbaugh Ancient Art, section 07, page

Publication Design: Shruti Trivedi Editor: Henry Houstan

FOREWORD

CO-PRESIDENTS OF AADLA

Dear AADLA Members, Friends, and Supporters,

As we close the chapter on 2024, we take this opportunity to reflect on the remarkable year behind us and share our vision for a bright and thriving future.

This year brought challenges and opportunities to the art and antiques market. As collector priorities shifted, new markets emerged, and sustainability gained focus, the market remained resilient. Auction prices stabilized, nearing pre-pandemic levels, while collectors showed a renewed interest in provenance and the rich stories behind each piece.

For the AADLA, 2024 has been a testament to the strength of our community. Our members have shown incredible creativity and dedication, hosting outstanding exhibitions and forging meaningful connections with collectors worldwide. Despite the fluctuations in the market, the AADLA has remained a beacon of expertise and collaboration, championing the preservation of cultural heritage and showcasing the enduring value of fine art and antiques.

Looking ahead to 2025, we are optimistic and determined to deepen connections, expand educational programs, and celebrate our shared passion for art and antiques. To our members, partners, and supporters—thank you for making 2024 a memorable and impactful year. Your dedication fuels our mission and inspires us to aim higher each year.

With warm regards,

SANJAY KAPOOR + CLINTON HOWELL

Sanjay Kapoor + Clinton Howell

RAYMOND YARD (1885-1964)

A La Vieille Russie at the 2025 Winter Show

A LA VIEILLE RUSSIE, INC.

www.alvr.com

alvr@alvr.com

1 (212) 752-1727

745 Fifth Ave., Suite 415

New York, NY 10151

We’re delighted to present at the 2025 Winter Show a collection of Raymond Yard (1885-1964) jewels that exemplify the whimsy, artistry, and elegance for which this great jeweler is celebrated. This group continues A La Vieille Russie’s tradition of offering jewels and jeweled objects of exceptional design and craftsmanship. We have done so since our founding in 1851, and at the Winter Show almost since its inception.

Raymond Yard’s jewelry career began at just thirteen years old when he became a messenger for the renowned New York firm Marcus & Co. in 1898. Over the next 24 years, Yard acquired extensive knowledge of the jewelry trade and cultivated lasting relationships with the company's elite clientele. In fact, it was his client John D. Rockefeller Jr. who encouraged him to open his own firm, which he did in 1922.

Particularly known for custom-designed pieces, Yard’s firm quickly earned a reputation for sourcing the highest-quality materials to meet their clients' exacting standards. Clients trusted Yard’s perfectionism so strongly that they were willing to wait for him to find the perfect stones for their jewelry. His prominence in the industry continued to rise, attracting commissions from America’s wealthiest families, and from Hollywood legends such as Joan Crawford and Douglas Fairbanks.

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1935.

Fig.

Burma ruby, diamond, and platinum bracelet, circa

Ruby dress clips and ring, circa 1950.

Raymond Yard’s work brought a new level of artistry and refinement to Art Deco jewelry. For example, his signature use of striking color contrasts, and the combination of different gem cuts, are exemplified in our circa 1935 Burma ruby, diamond, and platinum bracelet (Fig. 1). The superlative color and quality of the rubies is critical to the overall beauty and craftsmanship of the piece. This formula continued throughout his career, still sparkling in the 1950s in these dress clips and ring (Fig. 2).

Yard is also known for his whimsical, iconic brooches. A ruby, diamond, and yellow diamond cherry brooch (Fig. 3) perfectly exemplifies the signature blending of gems of great color and cut, in a design created with meticulous attention to detail.

Yard retired in 1958. The firm passed to trusted employees, and continues today. From his humble beginnings at Marcus & Co. to his rise as a sought-after designer for Hollywood luminaries, Yard’s creations have continued to captivate jewelry lovers and collectors, and have cemented his place as a defining figure in the history of American jewelry design.

The collection of Raymond Yard (1885-1964) will be presented by A La Vieille Russie, Inc. at the 2025 Winter Show, Park Avenue Armory, NY. January 24 - February 02, 2025.

Fig. 3

A ruby, diamond, and yellow diamond cherry brooch.

A ROSSETTI STUNNER

Robert Simon Fine Art at the 2025 Winter Show

ROBERT SIMON FINE ART

www.robertsimon.com

rbs@robertsimon.com

(212) 288 - 9712 22 East 80th Street, Fourth Floor New York, NY 10075

The artists of the Pre-Raphaelite Brotherhood have always fascinated me and so I am thrilled to be bringing to the Winter Show a spectacular drawing in colored chalks by the group’s most celebrated member, Dante Gabriel Rossetti. It is at once a preliminary drawing for a painting (Marigolds, now in the Nottingham Castle Museum and Art Gallery) and a finished work in its own right. There is no doubt that the artist loved a particular type of female beauty, both in his art and his personal life. His models were his muses and at times his lovers: Jane Morris, Lizzie Siddal, Fanny Cornforth, Alexa Wilding, and Annie Miller are the most well known. They are often referred to as “stunners” and although their features were quite distinct, Rossetti accentuated and idealized aspects of their physiognomy that makes them seem like sisters with their plump lips, red hair, imploring eyes, and subtly seductive expression.

Our drawing and the painting that came of it were made at Kelmscott Manor, the celebrated Cotswolds estate that Rossetti and the artist and designer William Morris jointly leased in 1871. Rossetti lived and worked there until 1874, in the company of Jane Morris, William’s wife and Rossetti’s and sometime mistress. But the model

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Dante Gabriel Rossetti (London 1828 – 1882 Birchington-on-Sea)

Annie Allen, A Study for ‘Marigolds’

Colored chalks and pencil on duck-egg blue paper

26 ½ x 21 ¾ in. (67.3 x 55.3 cm.)

for Marigolds and the subject of the present work was in fact Annie Allen, the niece of Philip Comley, the gardener at Kelmscott Manor.

Affectionately known as “Little Annie,” Annie was thirteen or fourteen years of age when Rossetti began work on Marigolds in the spring of 1873. He then set it aside, returning to it and completing it in 1874. But although the model was at most fifteen years old when the work was completed, Rossetti transformed her into an adult siren, a woman with head thrown back in an ecstatic pose, her eyes halfclosed, with a languorous expression at once self-involved and inviting.

A sinuous line follows Annie’s profile, chin, and neck, before jumping onto the shoulder seam of her dress. While her head and hair are highly finished with red and brown colored chalks, the rest of her body, her hand and outstretched arm are lightly sketched in pencil. Rossetti’s was focused on the beauty of his model.

The drawing survives in remarkable condition, retaining its vibrant colors against the pale tone of the duck-egg blue paper that the artist prized. It was kept by Rossetti for his entire life until sold in the artist’s estate sale in 1883. It was later owned by the noted book collector Charles E. Feinberg and the influential American publisher Cass Canfield, in whose family it has descended. The collection of Robert Simon Fine Art will be presented at the 2025 Winter Show, Park Avenue Armory, NY. January 24 - February 02, 2025.

04 MODERNIZING ANTIQUES: Technology Without Compromise

RONATI

www.ronati.com

contact@ronati.com

USA +1 866 739 8343

UK +44 (0) 8081 692399

Download the App

In the thriving marketplace of unique and pre-owned treasures, dealers face significant challenges in inventory management. Many vendors have an ever-changing and eclectic stock and rely on outdated systems such as spreadsheets and notepads to monitor their valuable items. This frequently leads to confusion across multiple marketplaces, creates time management issues, and limits the focus on sales opportunities. A transformative technological solution has long been overdue.

Introducing Studio, the world's first self-service inventory manager and stock documentation mobile app designed for sellers of pre-owned and unique items. Created by Ronati and perfected through robust collaborations with dealers in the U.S. and UK, Studio gives dealers complete control and visibility of their inventory.

Studio’s user-friendly app allows sellers to easily import inventory from various online sources while efficiently organizing images and essential data in one centralized location. With a few quick taps, sellers can decide when and where their inventory is listed for sale while solving the problem of data organization and sharing. Studio effectively reduces the time it takes to inventory and list an item by an average of 40%, significantly enhancing business operations and creating new sales opportunities. With Studio’s encompassing efficiency built in, dealers can refocus on customer engagement and the storytelling behind their distinctive offerings.

Founded by Stacey Tiveron, a 20-year technology industry veteran, Ronati is dedicated to developing user-friendly technology solutions that empower dealers worldwide to compete with retailers on a global scale.

Ronati believes that technology should enhance, not change, the essence of the antique trade. Studio is more than just a productivity tool for your entire business; it serves as a bridge to the future, thoughtfully designed to honor traditions while embracing innovation.

THIRTEEN WINTERS OF EXCELLENCE

Clinton Howell Antiques at the 2025 Winter Show

This will be my 13th Winter Show appearance. My first year was in 2003 and I was in the show until 2010 when I dropped out because the League was finally given a spot for a show at the Armory. I decided that one show at the Armory was enough which was probably short sighted of me as the Winter Show has such a strong audience, one that would have taken the League years to equal, if it ever could. And once I was out, I was out until 2022 under the auspices of new management headed by Helen Allen.

What is it about the Winter Show that is so successful? The group of dealers is ever shifting, people come and go and what they had, whether jewelry, French furniture, antiquities, books and prints—none of what one dealer offered was ever essential to the Show’s success. What is essential to the Show’s success, however, is unstinting effort on behalf of management and a dealer pride in showing items that are among the best they can muster. This aspect, coming up with inventory for the Show every year, is the hard part.

It is hard to determine who the clientele will be as you anticipate what to take to the show? As far as English furniture is concerned, the market has descended, ascended in some areas and not in others and seemed firm enough at times to take

some superb, and expensive, pieces. At other times, you wonder if it would be better to take good quality middle level items that point to the furnishing market. And then there is what the people who know you, the decorators primarily, who are expecting a level of innovative inventory that will help make their work look singular.

One can get lost in mind games about what to bring. What you do need to be is enthusiastic about what you have. I find it quite difficult to sell items that I’m not enthusiastic about, meaning that I need color, design, condition, quality and provenance to get me excited about my booth. I will, after all, be spending ten days with it and I will need to discuss many of the pieces many times over in the attempt at selling something. The formula has lots of flaws save for the fact that it works. You meet people at the Show who are interested in buying, who want to own really nice items and who are not necessarily looking for those things in Madison Avenue clothes shops. Many come to look and learn, some come to learn and buy. It is what the Winter Show offers every dealer. It’s an honor to be part of it.

The collection of Clinton Howell Antiques will be presented at the 2025 Winter Show, Park Avenue Armory, NY. January 24 - February 02, 2025. words by Clinton Howell

Mahogany Inlaid Serving Table attributed to Mayhew and Ince, circa 1775.

Mayhew and Ince were among the top suppliers to Robert Adam for furniture and upholstery along with Thomas Chippendale and John Linnell. Like his competitors, the firm created interesting features such as the collars at the bottom the legs with turned rosettes in boxwood. Other examples in their oeuvre can be found on pp. 386-7 in "Industry and Ingenuity, The Partnership of William Ince and John Mayhew" by Hugh Roberts and Charles Cator.

www. clintonhowellantiques.com

clintonrhowell@gmail.com (646) 489 - 0434

30 E 95th St #5B New York, NY 10028

ANCESTRAL ARCHIVES 06

The Origins of Hyde Park Antiques

It all started with a 14th century beer stein. Bernard Karr, founder of Hyde Park Antiques, Ltd, had been in Europe after finishing his stint in the army. While there he would wander in and out of the many small shops, often buying one thing or another. This habit continued once he was back home in New York City. He had always collected things, coins and stamps as a small boy. Fast forward to the mid 1960’s and that collecting bug remained. Only now, the purchases included Wedgewood urns, Tiffany lamps, both American and English furniture, along with paintings that he had fallen in love with. Seemingly overnight that collection threatened to consume his apartment. Fortunately, a store became vacant, on 27th street and Third avenue, right around the corner from where he lived. And that is how the gallery was formed.

Entering the antiques world was a leap of faith. He had no backers, no partners other than his wife Barbara who was with him from the start. He had no money. What he did have was faith in the quality of the objects. At first, he didn’t even know any other dealers, but it did not take long for some of the “old timers” to take him under their wings

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Photograph of Bernard and Barbara Karr at The Winter Antiques Show, 1995

and show him the ropes. In the 1970’s and 1980’s they were a tight knit group, traveling together, attending auctions together, followed by many, many martinis at The Carlye’s Bemelmans Bar. They learnt from each other and laughed quite a bit while doing it. Together Bernie and Barbara were a strong team, and that team built the business up to where it is today.

As his knowledge grew, his tastes became more focused. He realized that it was Georgian furniture and objects that really interested him. Now known specifically for English furniture, it is possibly one of the largest inventories in the country. Several different locations and over sixty years later many of the early lessons and advice are still important. If it’s too good to be true, it really is probably too good to be true. Buy what you love, what you would want to have in your home. Do not buy as an investment, assuming that value can only go up; that takes the passion out of the process. Above all else, enjoy being surrounded by beautiful things with such interesting histories.

words by Rachel Karr

HYDE PARK ANTIQUES, LTD

www.hydeparkantiques.com info@hydeparkantiques.com (212) 477-0033

836 Broadway, New York, NY 10003

Bernard Karr at The Connoisseur’s Fair, circa 2005

TREASURES OF THE ANCIENT WORLD

Hixenbaugh Ancient Art at the 2025 Winter Show

Hixenbaugh Ancient Art is pleased to exhibit for the first time at the Winter Show in New York in 2025. As one of the world’s most prominent art galleries specialized in ancient art, for over twenty years we have maintained a storefront presence in New York. The gallery is focused on handling fine authentic antiquities from the ancient world including the cultures of Egypt, Mesopotamia, Greece and Rome. Under the direction of the founder, Randall Hixenbaugh, we continue to source material from old collections in the United States and Europe and place them with museums and a new generation of designers, decorators, and discerning collectors worldwide.

At the Winter Show Hixenbaugh Ancient Art will display a wide variety of antiquities in terms of culture, iconography and medium. We will have an array of ancient Greek armor, a specialty of Mr. Hixenbaugh, including an extraordinarily fine and well-preserved Corinthian bronze hoplite helmet representing the Classical pinnacle of military design and function. Other Greek items on display will range from early Cycladic marble idols to 5th century BC red-figured pottery vessels for the wine service. Roman artwork will include several marble statues and bronze statuettes of gods and goddesses

including Dionysos, Silenus, Aphrodite and Athena. A particularly striking marble head of a youth that once belonged to Barbara Walters is among the stand outs. Our Egyptian art will include a Middle Kingdom wood figure of a man that had long been displayed at the Metropolitan Museum of Art. Other pieces include a particularly fine Egyptian bronze seated cat as well as more intimate items like amulets and cosmetic vessels. One may also expect to see fine examples of ancient inscriptions, glass, and jewelry. Our stand will be carefully curated to exhibit not only fine and rare antiquities, but objects with meticulously researched and verified provenance.

The collection of Hixenbaugh Ancient Art will be presented at the 2025 Winter Show, Park Avenue Armory, NY. January 24 - February 02, 2025

HIXENBAUGH ANCIENT ART www.hixenbaugh.net info@hixenbaugh.net (212) 989-9743

235 East 60th Street

New York, NY 10022

Roman Marble Head of a Youth

Ca. late 2nd century AD.

Height: 7 1/2 in. (19 cm.)

Formerly in the Barbara Walters collection, New York, acquired in 1990.

An ancient Roman marble fragmentary face of a male youth with tousled hair, idealized features, full lips and drilled eyes.

Greek Bronze Corinthian Helmet

Ca. 525 - 450 BC.

Height: 10 ½ in. (26.8 cm.)

Formerly in a Colorado private collection.

An ancient Greek bronze helmet of the Corinthian type (Lamia sub-type), with a carinated ridge around the top rising to a point over the forehead, stylized horns, thick elongated nose guard, almond shaped eye holes, elongated cheek pieces and small perforated holes at the sides. Inscribed at the back of the neck: Epsilon Psi.

The Corinthian helmet was first developed in the Peloponnese in the early 7th century BC. Its closed form, shielding the face of the soldier, was preferred by generations of hoplites in their distinctive phalanx combat. The early examples are austere and upright. Later examples have extended cheek pieces, carinated upper sections, and finely worked borders. The Corinthian helmet fell out of use in the later 5th century BC. The Lamia sub-group of Corinthian helmets are distinct from the Hermione sub-group in that they include stylized repoussé horns over the brow. They are named after an example excavated at Lamia in Thessaly. The helmets are among the finest ever produced by the most advanced mainland Greek workshops.

cf. for similar examples, R. Hixenbaugh and A. Valdman, Ancient Greek Helmets: a Complete Guide and Catalog, (New York, 2019), cat. nos. C638 - C774.

Egyptian Wood Male Figure

Middle Kingdom, 12th - 18th Dynasty, Ca. 1981 - 1550 BC.

Height: 15 3/8 in. (39 cm.)

Exhibited at the Brooklyn Museum, October 1979 - March 1992 (L.79.36); The Metropolitan Museum of Art, March 1992 - March 2024 (L.1992.29).

Formerly in a New York private collection, acquired in Montreal in 1977; loaned to the Brooklyn Museum, 1979-1992; loaned to the Metropolitan Museum of Art, 1992-2024.

An ancient Egyptian Middle Kingdom large polychrome wood striding male figure with his arms to his sides and his left foot forward, bare chested and wearing a white kilt, his tanned skin indicated with red paint, his short wig in black.

NEW YORK ANTIQUES DEALERS ALLOWED TO DISPLAY IVORY FOR SALE, COURT RULES

LOOKING BACK & LOOKING AHEAD

In 2019 the AADLA & NAADAA commenced a lawsuit against the NYS Department of Environmental Conservation (DEC) challenging implementation of the 2015 law which prohibited the sale of ivory in New York State, except in limited circumstances. The plaintiffs lost the case in 2021 on summary judgment and the plaintiffs appealed to the United States Court of Appeals for the Second Circuit in 2022.

The appeal consisted of two separate causes of action: (1) that the law was preempted by federal law thereby making the New York law invalid and (2) that the law violates free speech rights guaranteed by the First Amendment, because the DEC prohibited dealers from actually displaying federally approved antique ivory items in their places of business.

The appeal was argued in 2022 and on November 13, 2024, the court affirmed dismissal of the preemption claim, but reversed the summary judgment decision which prohibited the dealers from displaying their ivory objects for sale in a public setting. This reversal applies only to dealers who are members of either the AADLA or NAADAA.

While the dealers can now display their ivory objects in their places of business, a license for each verifiably antique piece must be still be issued by the DEC and only pieces that have 20% or less ivory in them can actually be sold within the state.

In order for any member of either organization to display an item for display a permit needs to be obtained. Authorized dealers can download the appropriate permit via their website: dec. ny.gov (sale of Elephant and Mammoth Ivory or Rhinoceros Horn). Incontrovertible evidence of age (more than 100 years old) must be provided with the application, via an artist’s signature or maker’s mark, publication or provenance. An expert’s opinion on the age of the item will not suffice and the application will almost certainly be denied. You are welcome to contact me for guidance, if necessary.

Any other antique pieces which contain 20% or more ivory in them cannot be sold within the state but only outside the borders of NYS, even though they can be displayed publicly to any prospective buyer. The reason for this is simply because NYS cannot regulate interstate commerce, so any transaction that occurs between a buyer and seller who reside in NYS needs to occur outside of the state. This is actually something that can easily be accomplished as there are states that border NY which don’t have the same law.

Furthermore, the buyer of the piece can bring the ivory item back into NYS and possess it in the state without breaking any laws. Of course if there is a buyer from outside of NYS who wants to purchase an ivory from a dealer who has possession of the piece in NYS can still buy it and have it sent to them in any of the 49 states of the U.S. Essentially, the New York law can only prohibit transactions from taking place within its borders.

While there were three judges who heard this case, one judge, Richard Sullivan, dissented from the other two in his decision, declaring that the NYS ivory law is most certainly preempted by federal law as codified in the Endangered Species Act, and would have ruled in favor of the dealers that the NYS law should be vacated in its entirety writing that ….”the New York State Ivory Law impermissibly prohibits what is otherwise authorized by the [ESA] exceptions”.

Our attorneys are now contemplating possible next steps at what can be done in order to effectuate Judge Sullivan’s interpretation of the law, including requesting the U.S. Supreme Court to review the case.

words by Scott Defrin

REGENCY REVIVAL

Hyde Park Antiques at the 2025 Winter Show

The Regency period was a vibrant era for British Design. Spanning across King George III’s illness, the Prince Regent’s activity and the subsequent reigns of King George IV and King William IV, it was a period that brought cultural, political and societal changes. As the grandeur of Palladian architecture combined with a passion for all things Neo-Classical, information flowed like never before, with daily, weekly and monthly publications available to a vast new audience. Political, industrial and artistic discoveries and ideas, news stories from across a shrinking globe and trade flourished. It was a very dynamic time for Regency interiors to emerge. Colors and design were bolder than those of the earlier Georgian period.

Regency furniture was what first intrigued me. In the early 1980’s I started going to the antiques shows, frequented the gallery more often and tagged along to a steady stream of auctions. Looking back, it all seems so obvious to me. Regency furniture was everywhere in the 1980’s! The eclectic vibrancy of the Regency Period that generated those bold designs fit perfectly into the opulence and extravagance of the 1980’s. Both the 1820’s and the 1980’s were eras of layered designs, deep jewel colors, and finely carved wooden furniture and fittings.

Fast forward to 2024, a much more relaxed era, at least in our homes. Our spaces have opened up—one could even say lightened up. For decades we had seen the rise of mid-century modern design, coinciding with

soaring glass towers across New York City. Today, there is another shift: a move towards truly eclectic design. Flip through any shelter magazine and you will notice the incorporation of antiques. So called Brown Furniture, is emerging in a new way. Now, these marvelous pieces of Regency design have become centerpieces, works of art in their own right, and quite often the only antique in the room.

Hyde Park Antiques is no stranger to Regency furniture, having specialized in this period for over half a century and we currently offer several superb examples as illustrated here. You will note the range in motifs is extraordinary, yet each piece has a perfect sense of proportion. Great care was taken to select the finest timber and the highest quality mounts and inlays available at the time, and the expert execution of each piece was unparalleled. Each item, with its strong lines, vibrant wood and inlays, could easily anchor—or be the center piece of—any room today.

The collection of Hyde Park Antiques will be presented at the 2025 Winter Show, Park Avenue Armory, NY.

January 24 - February 02, 2025. words by Rachel Karr

HYDE PARK ANTIQUES, LTD

www.hydeparkantiques.com info@hydeparkantiques.com (212) 477-0033

836 Broadway, New York, NY 10003