Gallery
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L-85
Important Bronze and Glass Chandelier by Jules Leleu
Patinated bronze and frosted glass modernist 12 arms chandelier by Jules Leleu. Provenance: Bernd Goeckler Antiques, Inc., New York France: circa 1945 Authenticated by Alexia Leleu of Maison Leleu, grand-daughter of Jules Leleu. Born in Boulogne sur Mer, France, Leleu studied decorative painting[ and at the age of 26 succeeded his father in the family painting business.With his brother he began work in the Decorating field. AfterWorld War I Leleu specialized in furniture making. He opened a Paris gallery, Maison Leleu, in 1924 and exhibited at the 1925 Exposition Industrielle et Arts Decoratifs, winning a grand prize at the exposition. Leleu designed the Grand Salon of the Ambassadors at the Society of Nations in Geneva and the French Embassies of several nations as well as the ocean liners SS Iles DeFrance and SS Normandie. Jules Leleu worked with Alice Colonieu, she performed for Jules leleu two beautiful ceramic panels for the Ocean Liner Pierre Loti. Leleu often implemented lacquer in his work and efore World War II he worked with Japanese lacquer master Katsu Hamanaka and after the War withPaul Etienne Sain and Henri Tambute.
- height
- 63.5 in.
- diameter
- 42 in.
- condition
- Good original condition, nice patina some ware to circular brass canapé
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T-04
on hold
Pair of Gilt Iron Low Tables attributed to Gilbert Poillerat
Pair of Gilt Iron Low Tables attributed to Gilbert Poillerat. France: 1938
- height
- 18 in (45.72 cm)
- diameter
- 36 in (91.44 cm)
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SC-09
sold
Marble "Venus Victrix" After Antonio Canova by Carlo Fossi
Marble "Venus Victrix" after Antonio Canova by Carlo Fossi Marble figure; on a grey-painted and parcel-gilt pine base; signed 'C. Fossi. Roma' late 19th c. Very little is known about Carlo Fossi. The English inscription on this copy suggests that Fossi was affiliated with one of a number of Italian workshops making replicas of celebrated Roman sculptures for European and American markets at the turn of the 20th century. Signed works by Carlo Fossi include a full-size marble copy of the Rape of Proserpina after Bernini at the Museo Bellver, Seville, and a copy of Pauline Borghese as Venus Victrix after Antonio Canova in the Villa Borghese (Christie's, The Collector: Silver, 19th Century Furniture, Sculpture & Works of Art, London, sale 14227, lot 590). Italy: circa 1890
- width
- 39
- height
- 23.5
- depth
- 14.75
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CR-24
Art Deco Ceramic Glazed Vase by René Buthaud
Art Deco glazed ceramic glazed vase by René Buthaud with female portrait inside Glazed signature to underside ‘RB’. provenance: Important US private collection Following a brief stint as an engraver for the French army during WWI, he returned to Bordeaux where his artist friends Jean Dupas and Roger Bissière encouraged him to try his hand at ceramics. In 1919 and 1920 he exhibited his new wares at the Salon d’Automne and the Salon des Artistes Décorateurs in Paris, where his work achieved critical acclaim. Among his buyers was the famed artist Jean Dunand, who was so impressed by Buthaud’s work that he nominated him for the first Florence Blumenthal Prize, which went to Buthaud in 1921. He settled in Bordeaux in 1925, where he would spend his entire life in continual experimentation and growth, branching out further into ceramics and eventually working with glass as well. The subsequent decades were filled with a multitude of achievements including: jurying the Exposition des Arts Décoratifs in 1925, directing the Primavera Pottery from 1923 through 1926, exhibiting at galleries Druet and George Rouard, becoming a Chevalier of the Légion d'Honneur in 1937, an officer of the Ordre des Arts et des Lettres in 1983, and receiving the French National Order of Merit in 1986, mere months before his death. He left behind an enormous and impressive body of work encompassing drawings, paintings, verre églomisé panels, and ceramics, all bearing the hallmarks of his unique style: a combination of classicism and modernism with dashes of Cubism, the Italian Renaissance, and influences of the African tribal art he collected.
- height
- 3 in (7.62 cm)
- diameter
- 5.5 in (13.97 cm)
- condition
- Good general overall condition
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T-120
Rare Mahogany Samuel Hawkins Crank Dining Table
Rare Mahogany Samuel Hawkins crank dining table including 3 leaves. 118 inches when fully extended and 23 inches height under the skirt. Bearing brass medallion "Samuel Hawkins, Bishopsgate, London".
- width
- 55 in (139.7 cm)
- height
- 28.5 in (72.39 cm)
- depth
- 48 in (121.92 cm)
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GL-48
Set of Four Elegant French Silver Open Salt Cellars
Set of Four Elegant French Silver Open Salt Cellars France: circa 1800
- width
- 4 in (10.16 cm)
- height
- 3.75 in (9.53 cm)
- depth
- 2 in (5.08 cm)
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M-21
Gilt Wood and Gold Leaf Napoleon III Period Mirror
Gilt wood and gold leaf Napoleon III period mirror France: circa 1860
- width
- 40
- height
- 60.25
- depth
- 2.5
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S-75
Pair of English 17th Century Period Oak Hall Chairs
Pair of English 17th century period oak hall chairs. England: circa 1680
- width
- 20.75 in (52.71 cm)
- height
- 43.25 in (109.86 cm)
- depth
- 15 in (38.1 cm)
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S-73
Pair of Stainless Steel and Leather Armchairs in the Manner of Mario Botta
Pair of Stainless Steel and Leather Armchairs in the Manner of Mario Botta Italy: circa 1980
- width
- 20 in (50.8 cm)
- height
- 31 in (78.74 cm)
- depth
- 19 in (48.26 cm)
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B-05
on hold
Rare "Patch Work" Copper Credenza by Paul Evans
Rare "Patch Work" credenza by Paul Evans, the six patinated acid copper doors over a typical copper/peweter patchwork structural base, walnut cabinetry work, the top inset with three black granit tops. United States: circa 1970
- width
- 80 in (203.2 cm)
- height
- 34 in (86.36 cm)
- depth
- 18.75 in (47.63 cm)
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S-55
Charles II Period Oak Long Bench
A Charles II oak long bench resting on four splayed block & turned supports braced by bar stretchers. England: circa 1760
- width
- 69 in (175.26 cm)
- height
- 19.5 in (49.53 cm)
- depth
- 10.5 in (26.67 cm)
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T-143
Napoleon III Louis XVI Style Mahogany Side Table
Napoleon III Louis XVI style mahogany side table inset with rouge Languedoc marble top and decorated with brass railing. France: circa 1890
- width
- 20 in (50.8 cm)
- height
- 30 in (76.2 cm)
- depth
- 12.75 in (32.39 cm)
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BC-06
George III Period Mahogany Breakfront
George III Period mahogany breakfront interior fitted with desk pigeonholes, silk lining and fitted lighting. England: circa 1800.
- width
- 88.5 in.
- height
- 80.5 in.
- depth
- 21.75 in.
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P-26
Pair of 17th Century Dutch Portraits
Interesting pair of 17th century Dutch portraits representing the likes of a nobleman and his wife. Both paintings bear the monogram AET along with an illegible second monogram , the age of the sitters is also indicated on each portraits , the lady is aged 32 and the gentleman is aged 35 . They are oil on canvas, unframed, set on their original stretchers , in very good condition showing small areas of old restorations visible upon close inspection .
- width
- 33.5 in.
- height
- 39.5 in.
- depth
- 1 in.
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D-07
Sycomore two-drawer writing desk attributed to Jean Michel Frank
Sycomore two-drawer writing desk attributed to Jean Michel Frank France: circa 1940
- width
- 47.25
- height
- 29.5 in.
- depth
- 23.75
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T-141
Italian Walnut Tuscan Baroque Console Table
Italian walnut tuscan Baroque console table. Italy: circa 1750
- width
- 46.5 in (118.11 cm)
- height
- 32 in (81.28 cm)
- depth
- 22 in (55.88 cm)
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CH-06
17th Century Oak Dutch Court Cupboard
17th Century Oak Dutch Court Cupboard Netherlands : 1657
- width
- 52 in (132.08 cm)
- height
- 65 in (165.1 cm)
- depth
- 22.5 in (57.15 cm)
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S-46
Pair of Wrought Iron and Leather Curule Stools by Morgan Colt
Pair of Wrought Iron and Leather Curule Stools by Morgan Colt. United States: circa 1900
- width
- 25 in (63.5 cm)
- height
- 17.5 in (44.45 cm)
- depth
- 18 in (45.72 cm)
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NW-51
Silver-Mounted Porcelain Grey Ribbed Matte Vase by Bulgari
Silver-Mounted Porcelain Grey Ribbed Matte Vase by Bulgari with terling silver rim and foot, Bvlgari touch marks to underside and rim Italy: circa 1950
- height
- 5 in.
- diameter
- 4 in.
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GL-47
Blue and Yellow Sommerso "Pinnacolo" Vase by Luciano Gaspari for Salviati
Blue and Yellow Sommerso "Pinnacolo" Vase by Luciano Gaspari for Salviati with spiral threads. Italy: circa 1960 Luciano Gaspari, born in Venice on March 22 1913 in a family of decorators. After attending the Institute of Art in 1931, he made his debut at the collective exhibition of the Opera Bevilacqua La Masa. 1932. He receives the prize for the younger painter at the XVII Venice Biennale. 1933. Student of Virgilio Guidi at the Academy of Fine Arts. 1935. He follows Guidi in Bologna. Here he attends the course of engraving techniques held by Giorgio Morandi, with whom he will remain in correspondence for a long time. 1936. Participates in the Rome Quadriennale and the Venice Biennale. 1937. After completing his studies in Bologna, he returns to Venice. 1938. Participates in the Venice Biennale. 1940. Participates in the Venice Biennale; becomes assistant to Giuseppe Cesetti, professor of figure at the Academy of Fine Arts in Venice, who takes over holding the chair until 1983. 1943. marries the painter Bruna Gasparini. He held his first private exhibition at the Galleria del Milione in Milan with Armando Pizzinato. 1944. He exhibits thirteen works in a solo show in Venice, at the Galleria del Cavallino by Carlo Cardazzo, a reference point for Venetian Spatialism, whose - although not adhering to the movement - is close to his inspiration. 1947. Participates in the Rome Quadrennial. He began working as a designer with the Salviati Murano glassworks. 1948. Participates in the 24th Biennale with three paintings: Dormiente, purchased by the Gallery of Modern Art of Ca ’Pesaro, Figure and Composition. Take part in the Palazzo Re Enzo in Bologna at the first national contemporary art exhibition promoted by the Alliance for the Defense of Culture, (over forty appearances, including, in addition to him, Afro, Cagli, Consagra, Guttuso, Leoncillo, Mafai, Turcato, ...), who claims the necessity of artistic confrontation with avant-garde European experiences.
- width
- 11 in.
- height
- 11 in.
- depth
- 5 in.
- condition
- Good, scattered light scratches
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S-24
sold
Oak and Leather Upholstered Bridge Chair by André Sornay
Oak laminate and leather upholstered bridge chair by André Sornay, inlayed with typical metal dots. Branded manufacturer's mark to underside ‘Breveté France Sornay Etranger’. France: circa 1935. provenance: New York private collection, Hostler Burrows New York literature: André Sornay, Roche, ppg. 30, 73, 108, 120, 155 André SORNAY mainly exhibited his work at the Lyon autumn fairs. He, nevertheless, took part in two Parisian exhibitions. In 1925, at the Exposition Internationale des Arts Décoratifs Industriels et Modernes (International Exhibition of Industrial and Modern Decorative Arts), his work did not seem yet to be fully undestood. His contemporaries were still drawn to artists such as RUHLMANN, JALLOT, SÛE and MARE. Twelve years later in 1937, he was awarded the bronze medal for the display of his own personal study at the Exposition Internationale des Arts et Techniques dans la Vie Moderne (International Exhibition of Arts and Techniques in Modern Life )
- width
- 20.25
- height
- 36
- depth
- 18
- condition
- Good original condition some small missing edge veneer replaced, refinished
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P-13
Jean Dupas Advertising Lithograph in Colours Poster for Arnold Constable
Jean Dupas advertising lithograph in colours for Arnold Constable. France 1928. Signed: "Jean Dupas Paris 1928" and marked "Made in France Tolmer Paris". In the sophisticated Art Deco style that was a hallmark of Dupas work, the fashion poster was commissioned by the Arnold Constable department storeand depicting three women, dressed in the fashions of the past, present, and future, amid lush, slightly surrealistic scenery. Arnold Constable & Company was a department store chain in the New York City metropolitan area. At one point it was the oldest department store in America, operating for over 150 years from its founding in 1825 to its closing in 1975 Jean Dupas intervenes, like many artists of the time, in the most varied fields. In 1923 and 1924, he worked on orders from the Manufacture nationale de Sèvres, as well as on cartons for the Manufacture des Gobelins. He designs for major fashion magazines like Vogue and Harper's Bazaar. In 1925, he sent an oil on canvas, Les Perruches, to the Exhibition of Decorative Arts where it was very noticed8. In 1927, he designed the Max fur catalog for the Draeger printer. He was a member of the Sacred Art Workshops, after 1919, in the wake of Maurice Denis and George Desvallières, and participated in the revival of frescoes. In this capacity, he worked on the decoration of the Church of the Holy Spirit in Paris10, collaborating, among others, with the Lyon painter Louis Bouquet, organizer of the Salon de l'Afrique at the Palais des Colonies in Paris. He also creates posters for the Grands Magasins Dufayel. At that time he lived at 19, boulevard de Port-Royal in Paris.
- width
- 30 in.
- height
- 47 in.
- condition
- Good overall condition
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GL-46
Rare Polychrome Murano Glass "Pezzato" Vase by Fulvio Bianconi for Venini
Rare polychrome Murano glass "Pezzato" vase by Fulvio Bianconi for Venini, signed on the underside of the base: "Bianconi Venini" Italy: circa 1950. Bianconi’s real contribution to the world of art and design, however, finds its inception in 1947 when the Milanese Paulo Venini commissioned a series of perfume bottles from the illustrator, beginning the artist’s career as a freelance glasswork designer (Ricke 22). Unimpeded by the restrictions of the glass artisan’s principles of design and financially independent due to his work as a graphic designer, Bianconi was free to experiment with the formal qualities and potentials of glass as a fluid and organic medium. His earliest freelance work for Venini, which he not only designed but also cut and ground himself in order to become familiar with the medium, engages in a spontaneous aesthetic that intentionally and ironically protests against traditional values of perfect craftsmanship (Ricke 23). Throughout the late 1940’s and 1950’s, Bianconi brought a theatrical and humorous sensibility to his glasswork design that was born both from his personal roots in cartooning and caricature as well as a more general atmosphere of creative experimentation enjoyed by a post-Fascist Italy
- height
- 11.75
- condition
- Good overall condition
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GL-45
Yellow and Green Glass Bottle by Fulvio Bianconi for Venini
Yellow and Green Glass Bottle by Fulvio Bianconi for Venini. Signed on the underside of the base: Bianconi Venini. Italy: circa 1950 Bianconi’s real contribution to the world of art and design, however, finds its inception in 1947 when the Milanese Paulo Venini commissioned a series of perfume bottles from the illustrator, beginning the artist’s career as a freelance glasswork designer (Ricke 22). Unimpeded by the restrictions of the glass artisan’s principles of design and financially independent due to his work as a graphic designer, Bianconi was free to experiment with the formal qualities and potentials of glass as a fluid and organic medium. His earliest freelance work for Venini, which he not only designed but also cut and ground himself in order to become familiar with the medium, engages in a spontaneous aesthetic that intentionally and ironically protests against traditional values of perfect craftsmanship (Ricke 23). Throughout the late 1940’s and 1950’s, Bianconi brought a theatrical and humorous sensibility to his glasswork design that was born both from his personal roots in cartooning and caricature as well as a more general atmosphere of creative experimentation enjoyed by a post-Fascist Italy
- height
- 15.75 in.
- condition
- Good overall condition