Gallery
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CH-43
18th-Century George II Mahogany Linen Press, Attributed, Giles Grendey
A fine and rare 18th century two-part George II mahogany linen press. Attributed to Giles Grendey. England : circa 1750 The detailed dentil moulded cornice sits above a pair of raised and fielded figured mahogany shaped doors opening to reveal the original shaped solid oak slides and a hanging rail. The base fitted with four oak-lined dovetailed drawers resting on shaped bracket feet. This rare piece is of exceptional quality, great colour and patination and retains all of the original brass hardware and locks as well as side handles. Provenance: Private collection of Phylis Friedman Canada . Giles Grendey was born at Wotton-under-Edge in Gloucestershire in 1693. His workshop was at Aylesbury House, St. John’s Square, Clerkenwell, London and is most famously known to have supplied an order to the duke of Infantado for his castle of Lazcano in Spain.
- width
- 50
- height
- 70
- depth
- 25
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B-09
17th Century Italian Baroque Cabinet
18th century Italian Baroque walnut buffet-cabinet, probably Tuscan c.1680
- width
- 69
- height
- 45.5
- depth
- 20.5
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F-33
Black Lacquer and Patinated-Metal-Mounted Paneled Three-Part Screen, Attributed to Eugene Printz
Black Lacquer and Patinated-Metal-Mounted Paneled Three-Part Screen, Attributed to Eugene Printz. France: circa 1930
- width
- 114 in.
- height
- 79.5 in.
- depth
- 1.5 in.
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SC-45
Abstract Polished Bronze Sculpture by Antonio Grediaga Kieff
Abstract polished bronze sculpture by Antonio Grediaga Kieff Estate / Collection: Property from the Estate of Erika Hecht Wadds Canada: circa 1970
- width
- 3.5
- height
- 8
- depth
- 3.5
- condition
- Very good
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SC-44
Abstract Bronze Sculpture by Jordi Bonet
Jordi Bonet (1932-1979), Spanish-Canadian. Abstract bronze sculpture by Jordi Bonet,signed and stamped : Jordi Bonet, numbered 1/1 and inscribed N-73131 on the base. Jordi Bonet was born in 1932 in Barcelona (Spain), where he briefly attended la Llotja School of Fine Arts. In his adolescence, he was in an accident and lost his right arm. He drew a lot in order to develop agility in his right arm and thus rediscovered Velasquez, Goya and Gaudi’s architecture. Jordi Bonet was awarded several prizes throughout his career such as the Prize for Drawing at the Montreal Museum of Fine Arts’ Spring Exhibition (1958) and the Royal Architectural Institute of Canada’s Award of Excellence. He is a member of Barcelona’s Cercle Maillol (1953), associate member of the Royal Canadian Academy of Arts (1966) and member of the Association des artistes professionnels du Québec, Bonet moved to Montreal in 1954 where he would live with his studio neighbor: Catalan artist Jesus Carlos de Vilallonga. He continued his studies at the School of Fine Arts and began studying ceramics with Jean Cartier. He experimented with this new medium by accepting all job offers and started creating his first murals. Jordi Bonet was exasperated by the concessions he would have to make in order to have his work showcased in galleries or museums. He wanted to make art for the people. The 1960s would be a turning point in his career. He would sculpt more than a hundred murals to be showcased around the world; his first pieces were made with ceramic and concrete and then he started using aluminum and bronze. His work consisted of using a printed mold and he then sometimes integrated elements of nature or various objects into the mural. Other great works include the mural L'homme avant la science which adorns the west facade of the Pavillon Adrien-Pouliot on the campus of Laval University, Citius, Altius, Fortius at the Pie-IX station of the metro de Montreal; the Homage to Gaudí wall sculptures at the Place des Arts in Montréal He created some pieces out of glass, such as one for the Our Lady of the Skies chapel in the John F. Kennedy airport in New York. He then briefly taught at the École d’Architecture de l’Université de Montréal (from 1966 to 1968) As of 1971, Bonet gradually stopped creating murals and devoted his time to more intimates pieces. Museums: Collection d'œuvres d'art, Université de Montréal Musée d'art contemporain de Montréal Musée des beaux-arts de Montréal Musée national des beaux-arts du Québec Musée des beaux-arts de Sherbrooke.
- width
- 8.5
- height
- 13.75
- depth
- 4.75
- condition
- Good original condition, patina consistant with age .
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SC-40
Abstract Cast Aluminium Sculpture by Jordi Bonet
c. Abstract cast aluminium sculpture , "Judith" No. 7306 by Jordi Bonet. Signed and dated "73 Jordi" on the base; also signed and inscribed : "Jordi Bonet 1/1 No. 7306 exemplaire unique" on the base. Canada: 1973 Jordi Bonet was born in 1932 in Barcelona (Spain), where he briefly attended la Llotja School of Fine Arts. In his adolescence, he was in an accident and lost his right arm. He drew a lot in order to develop agility in his right arm and thus rediscovered Velasquez, Goya and Gaudi’s architecture. Jordi Bonet was awarded several prizes throughout his career such as the Prize for Drawing at the Montreal Museum of Fine Arts’ Spring Exhibition (1958) and the Royal Architectural Institute of Canada’s Award of Excellence. He is a member of Barcelona’s Cercle Maillol (1953), associate member of the Royal Canadian Academy of Arts (1966) and member of the Association des artistes professionnels du Québec, Bonet moved to Montreal in 1954 where he would live with his studio neighbor: Catalan artist Jesus Carlos de Vilallonga. He continued his studies at the School of Fine Arts and began studying ceramics with Jean Cartier. He experimented with this new medium by accepting all job offers and started creating his first murals. Jordi Bonet was exasperated by the concessions he would have to make in order to have his work showcased in galleries or museums. He wanted to make art for the people. The 1960s would be a turning point in his career. He would sculpt more than a hundred murals to be showcased around the world; his first pieces were made with ceramic and concrete and then he started using aluminum and bronze. His work consisted of using a printed mold and he then sometimes integrated elements of nature or various objects into the mural. other great works include the mural L'homme avant la science which adorns the west facade of the Pavillon Adrien-Pouliot on the campus of Laval University, Citius, Altius, Fortius at the Pie-IX station of the metro de Montreal; the Homage to Gaudí wall sculptures at the Place des Arts in Montréal He created some pieces out of glass, such as one for the Our Lady of the Skies chapel in the John F. Kennedy airport in New York. He then briefly taught at the École d’Architecture de l’Université de Montréal (from 1966 to 1968) As of 1971, Bonet gradually stopped creating murals and devoted his time to more intimates pieces. Museums: Collection d'œuvres d'art, Université de Montréal Musée d'art contemporain de Montréal Musée des beaux-arts de Montréal Musée national des beaux-arts du Québec Musée des beaux-arts de Sherbrooke.
- width
- 35.5 in.
- height
- 12 in.
- depth
- 6 in.
- condition
- Good Overall Condition
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CH-07
Burled Elm Art Deco Period Secretary Cabinet Attributed To Rene Herbst
Burled elm Art Deco period secretary cabinet attributed To Rene Herbst. the front decorated with looping thread inlay, drop down door opening with inset with cognac colour leather writing surface and bird eye maple sectioned storage and drawers, raised on gilt wood and elm plinth, ex-Sotheby's France: circa 1930. Provenance: Private Collection; Sotheby's 20th Century Design Sale, March 11, 2004, lot 226, scan of receipt available on request; Maison Gerard, New York Literature:Heiner Scharfenorth, "Sammeln," Architektur & Wohnen, November 1979, p. 130 (for similar pieces from the same commission)
- width
- 32 in.
- height
- 59 in.
- depth
- 15 in.
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T-212
sold
Circular Rosewood Coffee Table in the Style of Mogens Lassen
Circular rosewood 'Egyptian' coffee table in the style of Mogens Lassen by Aimara Masterpieces with X-form support with brass end caps, label to underside Aimara Masterpieces
- height
- 20 in.
- diameter
- 43.25 in.
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L-105
Pair of French Maison Bagues Crystal Rock and Silver Leaf Sconces.
Gorgeous vintage pair of French MaisonBagues crystal rock with silver plated copper foiled backing urn with flowers supporting two scroll arms topped with electrified candlesticks and rock crystal bobeche, stamped "Made in France" on the back, France: circa 1940 Provenance: A Private Collection: 502 Park Avenue, NYC
- width
- 12 in
- height
- 25 in (63.5 cm)
- depth
- 5 in (12.7 cm)
- condition
- Very good condition.
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T-211
sold
Edward Wormley for Dunbar Walnut Occasional Table with Murano Mosaic Tiles
Edward wormley for Dunbar walnut occasional table model 5425 with Murano mosaic tiles. United States: circa 1955
- width
- 25.75 in (65.41 cm)
- height
- 21.75 in (55.25 cm)
- depth
- 23.5 in (59.69 cm)
- condition
- Good
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SC-18
Bronze Sculpture, "Europa and the Bull" by Georg Wrba
Georg Wrba, German, 1872-1939 "Europa and the Bull", bronze with dark brown patina and gilt accents. Signed Wrba in the center of the plinth; with the foundry stamp C. Leyrer München on the side edge Germany: circa 1900 Shown at the 8th exhibition of the Viennese secession movement in 1900, exhibited on top of a cabinet designed by C. R. Ashbee. An other example is documented in the flat of Mr. Gustav Pollak, Vienna for which Josef Hoffmann was commissioned to design the interior in 1901. Ref.: Dekorative Kunst, vol. IV, p. 185 Provenance: Private New York Art Deco collection. Wrba was born in Munich in 1872, the son of a smith. His younger brother Max Wrba became an architect in Dresden. Wrba began his training with Jakob Bradl the Elder and his son Jakob Bradl the Younger. From 1891 to 1896, he studied at the Akademie der Bildenden Künste München under Syrius Eberle. After some time spent in Italy (with Egon Rheinberger), a trip made possible by a travel award from Prince Regent Luitpold, he settled in Munich as an independent sculptor in 1897 and became director of the city's school of sculpture. In 1906 and 1907, he worked in Berlin, where he created sculptures for buildings for the architects Ludwig Hoffmann and Alfred Messel. Wrba then moved to Dresden, where from 1907 to 1930 he taught at the Dresden Academy of Fine Arts. He brought the Dresden school of sculpture into contact with the reforming ideas of the Deutscher Werkbund and was a founding member of the Dresden Artists' Association, known as "Die Zunft" ("The Guild"). The basic aim of the "Werkbund", and also of "Die Zunft", was to achieve a collaboration between and integration of various forms of art, rejecting ornamentation for its own sake: painting and sculpture were to form integral parts of architecture. In Dresden he made, among many other works, the Marie Gey Fountain near the Dresden Hauptbahnhof in the Südvorstadt, which was donated by a Dr. Heinze for his wife, a student at the Kunstakademie, who had died young. In 1910 Wrba agreed a contract for the restoration and completion of the missing parts of the Zwinger, for which he directed the work of 53 sculptors from 1911 to 1933, and himself created many groups of figures modelled from the life. Wrba died on 9 January 1939 in Dresden, where a street is named after him. He is buried in the Munich Waldfriedhof.
- width
- 11.75 in.
- height
- 17.5
- depth
- 3.5 in.
- condition
- Good original patina and general condition faint scratches visible. Consistent with age
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CR-28
18th Century Blue and White Delft De Klaauw Factory Peacock Charger
Netherlands: circa 1750
- diameter
- 12 in (30.48 cm)
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CR-26
Nice Delft Fan Dish by Geertruy Verstelle
Delft Fan dish with florals motives displayed like a peacock. Signature G.V.S is for Geertruy Verstelle, a Woman Faience Manufacturer Established at Delft in the Mid 18th Century Under the Sign of "The Old Moor's Head" (Het Oude Moriaanshooft). Netherlands 1764
- height
- 13.5 in (34.29 cm)
- diameter
- 13.5 in (34.29 cm)
- condition
- Good
-
P-42
Oil on Wood Panel Religious Painting of Marie De Bourgonne par Moerenhout
Oil on Wood Panel Religious Painting of Marie De Bourgonne. Signed: Moerenhout Gent 1902. Belgium: 1902
- width
- 9.25 in (23.5 cm)
- height
- 11 in (27.94 cm)
- depth
- 2 in (5.08 cm)
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P-37
18th Century Portrait of Noble Lady with Necklace and Pendant
18th century portrait of an elegant noble lady with a pearl necklace and pendant . England circa 1750
- width
- 23.5 in (59.69 cm)
- height
- 29 in (73.66 cm)
- depth
- 1 in (2.54 cm)
- condition
- Good
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GL-54
Ruby Red and Clear Murano Glass Sommerso Bottle by Salviati
Murano glass ruby red sommerso bottle with stopper by Salviati. Dark red and clear glass, old acrylic label to base. Italy: circa 1970
- width
- 5 in (12.7 cm)
- height
- 14 in (35.56 cm)
- depth
- 2 in (5.08 cm)
- condition
- Good overall condition
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L-98
Rare Art Glass and Wrought Iron Sculptural Lamp by Muller-Frères
Rare art glass and wrought iron sculptural lamp by Muller-Frères, representing a stork bird standing on one leg . This sculptural lamp is finely crafted with a brown patinated wrought, hammered iron sculpted bird inset with blown " Marmoreal" glass in shades of blue white and pink. Signed etched to glass "Muller Freres" and "Chapelle Nancy " on base France: circa 1925 Provenance: The Collection of Dr. Thomas Chua Muller Frères were French glass makers located in Lunéville, France. Their business ran from 1895 to 1933. They were renowned for producing art nouveau glassworks such as vases and lampshades.The Muller family originally came from Alsace. Some members of the family worked together with Émile Gallé before starting their own business. Muller Freres, French for Muller Brothers, made cameo and other glass from about 1895 to 1933. Their factory was first located in Luneville, then in nearby Croismare, France. After World War I, the company also made iron and glass chandeliers, vases and other decorative items. Pieces were usually marked with the company name.
- width
- 14
- height
- 14.5
- depth
- 6.75
- condition
- good overall condition
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L-97
Rare art glass and wrought iron sculptural lamp by Muller-Frères
Rare art glass and wrought iron sculptural lamp by Muller-Frères, representing a peacock bird. This sculptural lamp is finely crafted with a brown patinated wrought, hammered iron sculpted bird inset with blown " Marmoreal" glass in shades of blue and orange, set on oval marble base. Etched signature on glass : "Muller Frères Luneville". Marked on iron base: "Migis Lyon" France: circa 1925. Provenance: The Collection of Dr. Thomas Chua Muller Frères were French glass makers located in Lunéville, France. Their business ran from 1895 to 1933. They were renowned for producing art nouveau glassworks such as vases and lampshades.The Muller family originally came from Alsace. Some members of the family worked together with Émile Gallé before starting their own business. Muller Freres, French for Muller Brothers, made cameo and other glass from about 1895 to 1933. Their factory was first located in Luneville, then in nearby Croismare, France. After World War I, the company also made iron and glass chandeliers, vases and other decorative items. Pieces were usually marked with the company name.
- width
- 24
- height
- 18
- depth
- 7
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T-209
Louis Philippe Mahogany "Sutherland" Drop Leaf Table
French Table, Louis-Philippe period, fitted with a Drop-leaf System. The top without shutters is made up of two overhanging boards. The entire top is made of a so-called "Unfolded" Mahogany, Hidden below, two notches allow it to be opened. The set rests on four Elegantly Turned legs, finished with Castors. France:circa 1860
- width
- 37 in (93.98 cm)
- height
- 27 in (68.58 cm)
- depth
- 31.25 in (79.38 cm)
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OA-15
Macassar Ebony Letter Rack by Emile-Jacques Ruhlmann
Macassar ebony letter rack by Emile-Jacques Ruhlmann with graduated semi-circle slats on rectangular base. Iron stamped: "Ruhlmann Literature: see signature in Genius of Art Deco edited by Emmanuel Bréon and Rosalind Pepall p.122 France: circa 1930 Émile-Jacques Ruhlmann (28 August 1879 – 15 November 1933), (sometimes called Jacques-Émile Ruhlmann), was a French furniture designer and interior decorator, who was one of the most important figures in the Art Deco movement. His furniture featured sleek designs, expensive and exotic materials and extremely fine craftsmanship, and became a symbol of the luxury and modernity of Art Deco.
- width
- 14
- height
- 7 in.
- depth
- 6.5
-
L-93
Rare Murano Glass Cascading Chandelier
Important cascading Murano moulded glass chandelier consisting of multiple pieces of glass moulded in the form of a swag . Italy: circa 1975 Provenance: Estate of Nicole Magder Town of Mount Royal , Montreal Canada. Purchased in Italy by Mme. Magder in the 1970's.
- height
- 60 in.
- diameter
- 32 in.
- condition
- Good overall condition
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GL-51
Italian Art Deco Glass and Enamel Vase by Guido Balsamo Stella
A clear Murano glass "Garden" vase, blown glass and hand decorated in black and red enamel with floral design resting on a circular applied base in opaque dark glass. Signed to base "9781 617 (i) Italy: circa 1930. Literature for similar piece Franco Deboni, Murano '900, Bocca publishers, Milan 1996 p. 197. Guido Balsamo Stella was a gifted young artist from Turin who traveled widely in Europe during the first decade of the 20th century. At first, the artistical influence exerted on Balsamo Stella by his long stay both in Northern Europe and in Bohemia were very strong felt. In Munich, he studied and exhibited with members of the Secessionist movement. While in Sweden, Stella met Edward Hald and Simon Gate and became interested in their work with etched and carved glass at Orrefors. During the war years, he worked as designers at Orrefors, focusing on the art of glass engraving before moving back to Italy. Gio ponti himself always had words of praise for the works designed by Guido Balsamo Stella and on his death in 1941 he dedicated to him a commemorative article.
- height
- 6.75
- diameter
- 8
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T-207
$28,500
Max Ingrand Sycomore Coffee Table for Fontana Arte
Sycomore circular coffee table by Max Ingrand for Fontana Arte, model 1774. The top inset with a bronze coloured mirrored glass. Italy: circa 1958 . Similar model published in: Domus, n. 349, 1958; F. Deboni, Fontana Arte. Gio Ponti, Pietro Chiesa, Max Ingrand, Torino 2012, p. 409; Quaderni Fontana Arte n. 2: Arredamento, Milano 1961, p. 8 . One of the most important French masters of art glass, Max Ingrand (1908 - 1969) was born in Bressuire France, spent his youth in Chartres and trained in Paris at the École nationale superiore des arts décoratifs. The stained-glass windows of the cathedral of Chartres are the original source of inspiration for his work, which ranges from restoration to the creation of suggestive stained-glass windows that illuminate important French churches, from that of Sainte Agnès by Maisons-Alfort to that of Saint Pierre in Yvetot, for which he created the largest stained-glass window in Europe. Focusing on the technique of engraving acid and sand glass, bringing it to levels of extreme refinement, he also creates numerous mirrors and decorative panels. In 1954 he took over the artistic direction of Fontana Arte for ten years, and in 1967 founded his own brand, Verre Lumière.
- height
- 14 in.
- diameter
- 32 in.
- condition
- Very good overall condition Some scuffss and usual wear Old restoration marks on the wood
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M-56
sold
Rare Cut and Torn Glass Mirror by Max Ingrand for Fontana Arte
Rare Cut and Torn Glass Mirror Model "1657" by Max Ingrand for Fontana Arte The center mirrored glass surrounded by a freeform incesed and "torn" thick glass frame fitted with a retro-lit device. Italy:circa 1958 Bibliography : - Catalogue Fontana Arte n°6, p. 189 - P-E. Martin-Vivier, "Max Ingrand, du verre à la lumière", Ed. Norma, 2009, modèle similar example on cover and p. 217. Fontana Arte, Pietro Chiesa , Max Ingrand by Franco Deboni , edit.Umberto Allemandi & Co. page 429. This piece is highly indicative in its quality and design of the craftsmanship and simple elegance for which Ingrand was famous. Bearing original maker’s sticker, which reads: “Fontanit Luigi Fontana Italy Milano.” Fig. 432 of Franco Deboni’s reference book Fontana Arte shows a conceptual drawing for this mirror, and fig 451 shows the mirror on display at the Fontana Arte boutique in Milan, circa 1957. “Light is the manifestation of life, artificial light is the continuity of life, because it maintains contact with the world and glorifies reality and transfigures it.” -Max Ingrand. Max Ingrand was born in France in 1908. He studied at the École Nationale Supérieure des Arts Décoratfis in Paris and later apprenticed with the legendary master of Art Nouveau glass Jacques Gruber. Afterwards he began his own art glass studio with his wife Paule, which quickly brought them international renown. He was selected by Gio Ponti to head Fontana Arte in 1954 following the death of Pietro Chiesa, where he presided over a period of growth and innovation, creating many iconic Fontana Arte designs, some of which are still in production today. During this period he also continued to work with his own studio in Paris and was the president of the Société des Artistes Décorateurs. He died suddenly of influenza in 1969, at which point the directorship of Fontana Arte went briefly to Gio Ponti.
- width
- 19.5
- height
- 25
- depth
- 4
- condition
- Very good overall condition Light lacks of silvering on the mirrored glass Natural patina of the brass Light scratches of use