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by Louis Bofferding

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A Venetian Sansovino frame, circa 1580.  Giltwood, probably walnut, with red bole, mounted on cypress.  53 1/2“ x 49 1/2“;  interior dimensions 39 “ x 34”.  $25,000

In the 20th century a Modernist room was a white-painted envelope of space, and the frames of the paintings that were hung there were mere strips of wood.  In the 16th century, however, a Renaissance room was sumptuously decorated, and frames were anything but wallflowers.  Then, frames were sculpted, painted, and gilded, and when arranged symmetrically (as they nearly always were) they reinforced the architectonic integrity of the room itself.

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Francesco de’ Medici’s studiolo in Florence is an exemplar of the seamless union of frame and decor.  Ironically, that unity made frames vulnerable to shifting taste, for when a room was redecorated the paintings were reframed to suit, leaving the frames themselves out of the picture, if not in the dustbin.

So when Modernists decreed that frames should be unobtrusive, they were taking a position that artists and their patrons would have found risible four centuries earlier.  It certainly would have seemed so to Rosso Fiorentino and King Francis I of France who summoned him to the chateau of Fontainebleau in 1530.  On arrival Rosso set about decorating a gallery that was built for strolling in inclement weather, rather than displaying pictures from the royal collection.  There, Rosso executed a series of allegorical frescoes set in plaster frames that were every bit as assertive as the painted scenes themselves.

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Art historians separate the Renaissance into three chronological periods:  Early, High, and Late, when the Mannerist style prevailed.  It was during that last, mannered phase when frames like ours became showstoppers, bristling with scrolls, swags, boughs, cherubs, and the humanoid supports called caryatids.  These frames are referred to as Sansovino frames, after the Venetian architect Jacopo Sansovino whose interiors were articulated with elaborate enframements that were, in fact, the work of the sculptor Alessandro Vittoria (seen here in a painting by Veronese).

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Fast forward to the 1960s when the New York financier Robert Lehman left his vast collection to the Metropolitan Museum.  Among the treasures were nearly four hundred period frames, many dating from the Renaissance.  Initially he bought them to match up with his paintings, but in time he seems to have come around to buying them for their own sake.  In so doing, Lehman embarked on a path that was obscure, but not untrodden.  In 1928 when he was making a name for himself on Wall Street, Lehman may have gotten wind of an extraordinary collection of 18th-century French giltwood frames that were coming up for auction in Paris.  They were consigned by the widow of Paul-César Helleu, the fashionable society portraitist (seen below in a John Singer Sargent watercolor), who was celebrated for his exquisite taste in art, furniture, and women.  Helleu had used them to frame his Watteau, Boucher, and Fragonard drawings, but he also arranged them empty on his walls, which is to say, he displayed them as works of art in their own right.

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Antique frames have seduced more than a few artists and collectors with the confidence to stray from the beaten track.  Picasso, for example, took pleasure in seeing his paintings in 17th-century frames, both period and reproduction, as does George Condo today.  And then there’s Tobias Meyer, head of Sotheby’s contemporary art worldwide, and his partner Mark Fletcher, a contemporary art dealer.  Together they selected an early 18th-century Italian giltwood frame for their prized John Curran painting, knowing full well that the contrast would bring out the best in both.

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An 18th-century Italian painted and gilded armchair from the collection of Count and Countess Rodolfo Crespi, Rome.  43” high.

Cutting a bella figura (“to put one’s best foot forward” might be the English equivalent) has been a characteristic of the Italians and their furniture for centuries.  To succeed at it isn’t easy, since it involves being a bit showy without being vulgar.  In the case of this over-scaled and almost over-embellished armchair, nearly every neo-classical motif – swag, rosette, volute, ribbon, and bow – is thrown in and somehow pulled off.

No one cut more of a bella figura in 1960s Rome than Count Rodolfo Crespi and his wife Consuelo who placed this large armchair behind a modern steel desk by John Vesey in their Palazzo Odescalchi residence.  The countess, who hailed from New York, was one of the beautiful O’Connor twins, the jet set’s answer to café society’s Cushing sisters a generation earlier.  Her sense of style so impressed Diana Vreeland of Vogue that she hired the countess as the editor of the Italian edition.

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A pair of giltwood Louis XVI chairs by Jean Avisse, from the collection of Antenor Patiño, and then Countess Crespi, New York.  20” high.

If the best Italian furniture is swashbuckling, 18th-century fine French furniture — referred to by insiders as FFF — is nothing short of Apollonian in perfection.  No wonder connoisseurs for the last two centuries have considered it the apogee of the art of furniture making.

A celebrated menuisier of that refined time and place was Jean Avisse who proudly stamped each of these exquisite, diminutive Louis XVI giltwood chairs three times.  In the last century they were acquired by Antenor Patiño, a great collector of FFF and the son of the Bolivian magnate known as the “King of Tin.”  His family’s mines were nationalized in the 1950s, but that didn’t prevent him from living splendidly in a hôtel particulier in Paris and an enormous quinta in Portugal, both  decorated by Jansen.  Later, he and his wife Beatriz acquired an apartment at 834 Fifth Avenue, but when widowed Mrs. Patiño downsized to another one on Park Avenue and consigned these chairs to auction.  There, they caught the eye of Countess Crespi (see the post above) who had recently returned stateside as a widow herself.  Placing the winning bid, she whisked them off to her own Park Avenue apartment.

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An 1846 portrait of Fanny, Queen Victoria’s whippet, by John Edward Jones (1806-1862).  Chalk on paper, in its original giltwood and lacquered frame.  15“ x 15 1/4 “.

“We are not amused” is the oft-quoted line of Queen Victoria’s that buttonholed her for all posterity as a dour woman who ruled over an empire so vast that when the sun set on one of her territories it rose above another.  Victoria was also a proponent of what’s known today as family values.  A homebody of many palatial homes, she was devoted to her husband Prince Albert, their many children, and their innumerable dogs.  Albert’s favorite was Eos, a greyhound that was given nearly equal billing in the painting by Sir Edwin Landseer of the couple’s firstborn child, the Princess Royal.  One of the Queen’s favorites was Fanny, the whippet seen here that’s identified by name on her collar.

The likeness was made by John Edward Jones who first achieved fame and fortune as a designer of bridges and viaducts in Dublin, and a sewage system in London.  In 1840 he threw caution to the winds by abandoning a successful career as an engineer in order to become a sculptor.  As it turned out his gamble paid off.  He came to be celebrated for sculpting portrait busts of European royals, including this pair mounted on columns of Victoria and Albert.  His work was exhibited at the Louvre and the Royal Academy, and also at the Great Exhibition held in London at Prince Albert’s instigation in 1851.  There, to much acclaim, Jones exhibited a group of drawings of children and animals.

This drawing of Fanny is dated “Dec 25 1846,” and has on the verso a sketch of the royal family.  It may well have been a Christmas gift to them from the artist who spent considerable time in their company.  And no wonder, as he had all the attributes of a successful courtier, at least according to a contemporary who praised his “kind, courteous and generous disposition,” and noted that “in wit, humor and vivacity he was a thorough Irishman.”

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A French Belle Époque screen, circa 1890, of painted-and-gilded wood, beveled glass, and silk panels, from the collection of Mr. and Mrs. Henry E. Huntington, Pasadena.  60” tall, panel width 19” and 17 ½”.

San Francisco high society was scandalized in 1913 when Arabella Huntington married her deceased husband’s recently divorced nephew Henry Huntington.  You might say they were just keeping it in the family — and there was an awful lot to keep, what with the railroads, oilfields, hotels, and streetcar lines.  All that’s long gone, but what remains is their impressive manse in Pasadena with its garden, art collection, furniture, and library that opened to the public as The Huntington Library in 1928. There, in her day, Mrs. Huntington hung the Vermeer, positioned the Jacob chairs, and shelved the Gutenberg Bible.  Among those treasures were some newly made things too, like this screen of superlative quality which probably graced her boudoir.  While inspired by the rococo period, its Art Nouveau curves and beveled-glass panels are pure Belle Époque. One can imagine Mrs. Huntington, known to her intimates as Belle, stepping behind it to slip into something more comfortable, transforming the screen into a gilt-edged vitrine for this formidable woman’s considerable charms.

 

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A pair of 1960s Maison Charles bronze and plastic resin lamps with bronze-trimmed steel shades.  34” high.

In 1908 the Paris bronzier Ernest Charles founded Maison Charles and set about casting reproductions of the 18th-century sconces, candelabra, and andirons that were then fashionable.  Taste, however, had changed by the time his sons Jean and Jacques entered the picture and gave the firm’s traditional fixtures an up-to-date twist.

These stylish lamps were inspired by the sheet-metal ornaments made in France around 1800 after the exotic flora arriving from their colonies in the West Indies.  But if the wit of the pineapple lamps is their modish take on an old form, the chic of them is the unexpected juxtaposition of traditional bronze with modern plastic and industrial steel.  To make sure their clientele saw these lamps in a modern light, the model was introduced in the Maison Charles line named Inox, from the French acier inoxydable, or, as we say in English, stainless steel.

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A Turkish angora rug, circa 1950, sold by the Istanbul dealer Vedat Durusel.  53” x 80”.

“Persian” and “Oriental” rugs had been prized in the West long before modernist designers took notice of a simpler kind that was also loomed in the Islamic world.  The rugs that appealed to them came from remote tribal areas and were made for local use, rather than a regional elite or far flung markets.  Boldly patterned, long haired, and making minimal use of color, they held their own in the spare white rooms Le Corbusier called “machines for living.”  Within a few short years, however, these humble rugs were being purchased by the chi-chi decorators modernists scorned, like Frances Elkins who put them in her antiques-filled rooms to add a bit of modern pizzazz.

It was the Kurdish women of central Anatolia in Turkey who loomed this graphic rug in wide black-and-white stripes.  As the wool they used was un-dyed angora, its two-color scheme reflects the actual coloration of the sheep that were sheared to make it.

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A Piero Fornasetti set of 8 gilt-porcelain ashtrays in their original cardboard box, circa 1960.  Box 4 ½ ” diameter.  SOLD

The Latin term horror vacui was coined by art historians to identify the neurotic aversion to blank surfaces that can be found in the profusely decorated manuscript illuminations of medieval monks, and the edge-to-edge paint drippings of Jackson Pollock.  It can also to be found in the decorative objects of Piero Fornasetti.

Fornasetti turned to design after being expelled for insubordination from the Brera Academy art school in Milan. But that didn’t prevent his patterned-silk scarves from being a hit at the 1943 Milan Triennale where his work caught the attention of Gio Ponti, the greatest Italian architect and designer of the 20th century.  They would collaborate on a number of projects, among them the first-class staterooms on the luxury liner Andrea Doria (which sank en route to New York in 1956). In them Fornasetti spangled every available surface, hard and soft, with signs of the zodiac that were taken from old prints.

Fornasetti’s decorative genius was brought to bear on the most unlikely and humble of objects, like this set of amusing ashtrays sold under the name “Musicalia.” Embellished with archaic musical instruments taken from an antique source, they come in their original faux-malachite box that’s appliquéd with a lyre of silver foil.

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A pair of 1930s Steuben glass anchors with dolphins, commissioned by the Grolier Club of New York. 21” high, 17” wide.

Italics, the semicolon, and pocket edition books are so omnipresent it’s difficult to imagine they weren’t always around, yet they were invented in the late 1400s by the Venetian publisher Aldus Manutius.  His books’ title pages were emblazoned with his device, a dolphin curling around an anchor, which pays homage to the city of seafarers where he lived himself. This being the Renaissance, his best-seller was Aristotle, and his new talent was Erasmus.  With such a distinguished backlist it’s not surprising the Grolier Club in New York, the society of bibliophiles, commissioned these unique sculptures that were probably modeled by their in-house designer Sydney Waugh. As shown here suspended from a simple rope, these striking sculptures would add an erudite sparkle to a beach house dining room or stairwell.

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A Korean 19th-century mother-of-pearl inlaid lacquer wood box.  6” high, 11” wide and deep.

Toxicodendron vernicifluum, commonly known as the lacquer tree, produces a toxic sap that hardens to a durable luster when applied by brush.  This tree which grows in China, Japan, and Korea isn’t rare, but the objects that are painted with the lacquer distilled from its sap are.  The status of these objects was conferred by their beauty, as well as the painstaking means of their production, which requires the application of multiple coats of lacquer under strict, climate-controlled conditions. Typical of Korean lacquer are the mother-of-pearl inlays, the floral motifs, and the four-lobed shape of this box. In their day, these objects were horded by aristocrats, sent as diplomatic gifts, and offered as bribes to corrupt court officials. They were so coveted that Confucians lamented the “wanton skill” that produced objects with the power to “sway the mind” of courtiers and emperors alike.

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A 1960s Alessandro Albrizzi steel-mounted acrylic and glass cocktail table that was owned by Mrs. Vincent (Brooke) Astor.  15 1/4″ high and 48″ in diameter.  SOLD

Fortune smiled on Alessandro Abrizzi at birth, when he opened his eyes for the very first time to take in the gilded splendor of the family’s ancestral palace.  Even in Venice, a city fabled for an abundance of them, the Palazzo Albrizzi stood out for its beauty and the magnificence of its furnishings.  All this he would one day inherit, but the title of baron was his from the start.  In hindsight, one is tempted to say that this scion of a proud line was fated to have what the cognoscenti call “an eye.”

Albrizzi had an industriousness that was not often encountered among the aristocrats of his generation.  Initially making a name for himself as a photographer, he went on to achieve  fame, and fortune too, as a designer of furniture that can best be described, stylistically, as “mod.”  Appropriately enough, he opened his first shop in swinging ’60s London where he sold his line of geometric carpets by the yard, steel director’s chairs upholstered in suede, objects cut from acrylic [see BOXES] — which is known as Perspex in England — and acrylic and glass tables mounted with steel or brass [see the center table in CASE FURNITURE].

Like a true aristocrat, Albrizzi couldn’t abide anything that was shoddy.  This fastidiousness lead him to have his modern designs produced, ironically, by hand, rather than mass produced by machine.  No wonder Albrizzi’s “Perspex was like diamonds — so expensive,” according to Mary Jane Pool, a magazine editor of the day.   And since anything expensive in a capitalist society is by definition exclusive, his elegant furniture attracted “the Beautiful People,” like Egon and Diane von Fürstenberg, the Agnellis, and Princess Margaret, as well as fashionable decorators like David Hicks, Billy Baldwin, and Jansen of Paris.

With shops in London, Rome, and Paris, in 1968 Albrizzi moved to New York and opened yet another one at 989 Madison Avenue in the Carlyle Hotel.  There, Mrs. Vincent Astor found this elegant cocktail table with curved sheets of transparent acrylic mounted in steel that’s crafted like jewelry.  In her sixties at the time, and already a grand dame in training, giltwood, marble, and porcelain, was more her cup of tea than steel, glass, and acrylic.  But her younger jet-set friends were buying it, the baron was so charming, and, after all, who doesn’t want to be in the swim?  And so a sale was made, and another bold-face name was added to Albrizzi’s distinguished roster of clients.

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A pair of Syrie Maugham painted-and-gilded chairs from the 1930s.  36” high.  SOLD

The English decorator Syrie Maugham is remembered for two things:  a failed marriage to the famous novelist  Somerset Maugham, and creating a vogue for the all-white interior.  Known as the “white queen,” her affinity for royalty extended to decorating for Edward VIII, thanks to a referral from another client, Mrs. Simpson, for whom the king famously abdicated.  When Maugham wasn’t stripping original finishes off antique pieces or painting them white, she was having white-painted furniture made to order. Since she wasn’t the type to sit at a drafting board,  her designs were mostly stylized versions of her favorite antique pieces.  For example, this graceful chair model, which turns up in many of the rooms she decorated, appears to be Maugham’s own streamlined take on a Swedish rococo model.

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A pair of nesting jade dishes, one mounted with a gold “B” initial, possibly by Cartier.  Dia: 6 1/2″ and 6 1/8″.  Provenance: Consuelo Vanderbilt Balsan, Southampton & Palm Beach.

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Cecil Beaton (1904 – 1980), English.  Elsie de Wolfe in her Paris apartment wearing a Schiaparelli cape, late 1930s.  Image 7 1/2″ x 7 1/2″

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Fontana Arte box by Pietro Chiesa (1892-1948), Italian circa 1950. Hewn oak and glass. H: 5 ¼” L: 4 ½” D:4 ½”

Justen Ladda, Untitled (Green & Pink Dress), American 2002.  Photo printed in gum bichromate on wood.  H: 18 1/2″ W: 13 1/2″

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Two Venini bottles, Italian, both 1978.  Inciso glass.  H: 12″ and 8 1/2″

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American folk-art flashed-glass sock-darner in red and white, circa 1900.  L: 9 3/4″

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Pair of Irish gilt-crystal dishes, circa 1900.  Dia: 7″

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Tapio Wirkkala “egg” in clear glass with gold yoke for Venini, Italian circa 1960s.  3″

Globe paperweight by Zecchino, Italian, 1960s.  Blue-green glass with air bubbles.  Dia: 2 1/2″

Ovoid paperweight by Gunnel Nyman for Nuutajarvi, Finnish 1940s (unmarked).  Blue and clear glass with web of air bubbles.   H: 3″

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Venini chandelier in clear glass & aluminum, Italian 1948.  H: 35″ Dia: 33″.  Provenance: Given to Mr. & Mrs. Giorgio de Santillana by Paolo Venini.

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Pair of Venini sconces in clear glass & silvered metal, Italian 1948.  H: 18″ W: 17″.  Provenance: Given to Mr. & Mrs. Giorgio de Santillana by Paolo Venini.

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Venini paperweight, Italian circa 1960.  Glass with multicolor spiral. 5″

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Pair of Chinese Song dynasty vases mounted as lamps.  Incised white-slip glaze on stoneware.  H: 14 1/2″(bases)/26 1/2 ” (with shades).

Pistol-form object (can be hung from wall),German circa 1760.  Blanc-de-chine porcelain.  L: 16 1/4″

Chinese side table, 1920s.  Bamboo and black-lacquered wood.  Provenance: Mrs. Vincent (Brooke) Astor.  H: 19″ L: 16″ D:12 1/4″

Frances Elkins dressing table, with its original French 1760s bench, American 1930s.  Gilt wood, lacquered bronze, upholstery.  H: 30″ L: 46″ D: 18″.  Provenance: Lady Donohue, Los Angeles

Low table attributed to Robert Block, French 1930s.  Mirror, gilt and painted wrought iron.  H: 19″ L: 40″ D: 20″

Pierre Le-Tan console, French 2010 (antique trestle supports).  Painted wood, inset glass top.  H: 36 1/2″ L: 47 1/4″ D: 13 1/2″

Miniature articulated tilt-top table, American circa 1840.  Bronze.  H: 4″ Dia: 4″

Checkerboard, American 19th century.  Mirror, modern steelframe and grey-and-black felt backing.  23″ x 12″

Obelisk, Continental, 19th/20th century.  marble (serpentine, giallo antico with intrusion, steatite).  H: 22″

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Pair of Jules Leleu sconces, 1940s.  Gilt bronze, sand-blasted glass.  H: 7 1/4″ W: 15″ $5,000

Bird-leg lamp by P. E. Guerin (New York), circa 1950.  Brass and painted metal.  Provenance: Mrs. Vincent (Brooke) Astor.  H: 61″ including original shade.

Frances Elkins lamp made by Larkin Studio (San Jose), American 1950s.  Silver-leafed ceramic, silvered fittings.  H: 12″ (24″ with shade).  Provenance:  Lord and Lady Donohue, Los Angeles

Single lamp.  Made from antique rock crystal, silvered mounts.  H: 8 1/4″ (16 1/2″ including shade)

Single lamp.  Made from antique rock crystal, silvered mounts.  H: 7″ (14″ including shade)

American mirror, circa 1960.  Gilt and gesso on pickled wood with burlap liner, mirror plate.  35″ x 29″ $4,500

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John Dickinson console (unique), American, 1975.  Painted wood.  H: 6″ L: 108″ D: 18″

Large French Louis XV-style armchair, French circa 1900. Walnut upholstered in velvet.  H: 40″ W: 30″ D: 31″.  Provenance: Pierre Le-Tan, Paris.

Set of 6 rococo chairs (available in pairs), Italian circa 1760.  Painted wood with satin cushions (4 red, 2 oyster).  H: 35 1/2″.  Provenance: Whitney Warren, Jr., San Francisco.

Pair of Jean Avisse small chairs, French circa 1780.  Giltwood, silk satin upholstery.  H: 20″.   Provenance: Mr. & Mrs. Antenor Patino, New York; Countess Consuelo Crespi, New York.

Pair of Capodimonte (Naples) magpies, Italian 19th century.  H: 11 1/2″

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Chinese umbrella stand, 20th century.  Transfer-printed porcelain.  H: 19″ Dia: 8 1/4″

Cut-silk velvet, Japanese 1930s.  75″ x 29″

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A bolt of voided silk velvet, Chinese circa 1910.  W: 23 1/2″ (includes selvage) L: 132″ (11′) and 40″ (3′).

Piero Fornasetti set of 8 ‘Musicalia’ ashtrays in original faux-malachite box, Italian 1960s.  Gilt porcelain, cardboard box.  Dia: 4″ each ashtray.

Fornasetti paperweight, Italian circa 1960.  Gilt porcelain.  4″

Giambattista Piranesi (1720 – 1778), Italian 18th century.  Frontispiece from Vasi, candelabri series.  Etching on paper.  29 1/2″x 38 1/2″ framed.

Justen Ladda, Silver Mirror, American 2010.  Silver leaf on wood, clear lacquer.  Dia: 27 1/4″.

Pair of Neo-Gothic garden benches, English circa 1840.  Painted cast iron.  H: 33″ L: 55″ D: 20″.

Mariano Fortuny evening jacket, Italian circa 1930.  Silk velvet gold-printed in neo-Moorish style, silk lining, original label.  Drop 29″.  Provenance: Mrs. Potter Palmer, Chicago

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Tibetan “singing bowl” in brass and carved wood.  H: 7 1/2″ Dia: 9″

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Chinese scholar’s rock.  Stone, wood base.  H: 10 1/2 ”

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French Louis XV-style stool, 19th century.  Painted wood, ocelot upholstery.  H: 16 1/4″ W: 14″ D: 14″

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Pair of Jansen dog beds, French circa 1920.  Giltwood.  H: 14 1/2″ W: 15 1/4″ D: 13″

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Faceted obelisk.  Green-gray cut crystal.  H: 5″

Small octagonal Indian table, 20th century.  Pickled wood.  H: 10″ D: 9 1/2″. Provenance: Mrs. Vincent (Brooke) Astor.

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Set of 6 Fornasetti cups in original packaging, Italian 1960s. Each; 3″ in diameter, box; H: 3 1/2″ W: 10″ D: 5 1/2″

Japanese box with feather decorations, 1930s.  Lacquered wood, with gold.  Provenance: Mrs. Vincent (Brooke) Astor.  H: 2 1/3″ L: 5 1/4″ D: 3 3/4″

Chinese cylinder box, 1930s.  Carved red-and-black guri lacquer with blue-enameled brass interior.  Provenance: Mrs. Vincent (Brooke) Astor.

Miniature scholar’s rock, Chinese 19th century.  Pink quartz, burled-wood base.  H: 5 1/2″.

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Two sculptures of pineapples, American, early 20th century.  Cast metal with steel fronds.  H: 11″ and 13″.

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Cartier box from the 1970s.  Bronze, whip-stitched leather.  H: 2 1/2″ L: 8″  D: 5 1/2″.  Provenance: Bobby Short.

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A Jugendstil candleholder by Erdmann Schlegelmilch, German circa 1902.  Gilt porcelain.  4″.  SOLD

Pitcher by KPM (Berlin), German circa 1840.  Gilt porcelain.  H: 10 1/2″.

Pair of Piero Fornasetti ashtrays in original box, Italian 1960s.  Gilt porcelain, cardboard box.  4 1/4″ x 5 1/2″ each ashtray.

Gio Ponti for Richard Ginori (Milan) bud vase in the form of a helmet, Italian, 1927.  Gilt porcelain.  H: 4 1/2″.

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Set of 6 Fornasetti cups in original packaging, Italian 1960s. Each; 3″ in diameter, box; H: 3 1/2″ W: 10″ D: 5 1/2″.

Set of 3 Dresden small dishes, German 1950s.  Gilt porcelain.  6″ x 5″ each.

Napoleonic commemorative object, French circa 1860.  Gilt bronze, marble.  W: 6 1/4″  D: 3 1/4″.

Binoculars, American or English circa 1920.  Ivory, brass, glass.  H: 5″ W: 5″.

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Two sculptures of pineapples, American, early 20th century.  Cast metal with steel fronds.  H: 11″ and 13″.

Dish, French 20th century.  Carved marble.  Dia: 8″.

Paperweight, American 20th century.  Marble.  H: 3 1/2″ Dia: 3 1/2″.

Pair of Jean-Pierre Hagnauer cigarette tables, French 1960s.  Lacquered wood.  H: 9 1/2″ L: 12 3/4″ D: 12 3/4″.  Provenance:  Mrs. Charles Wrightsman, London.

H. T. Koshiba, American, born Japan.  Elsie de Wolfe (Lady Mendl), 1929.  Image 10″ x 7″, framed 16 1/2″ x 14″.

George Platt Lynes (1907 – 1955), American.  Pavel Tchelitchew (artist), circa 1942.  Image 10″ x 8 1/4″.

Cecil Beaton (1904 – 1980), English.  E. M. Forster for Vogue 1960s.  Image 9″ x 9 1/4″ frame 16″ x 16″.

George Platt Lynes (1907 – 1955).  American.  Joan Crawford, 1940s.  Image 9″ x 7 1/4″

George Platt Lynes (1907 – 1955), American.  Millicent Rogers 1940s.  Image 9″ x 7 1/4″

Chinese cylinder box, 1930s.  Carved guri black-and-red lacquer on brass, with blue-enamel interior.  H: 4″  Provenance: Mrs. Vincent (Brooke) Astor.

Japanese box, 1930s.  Lacquered wood with feather decoration.  H: 2 1/4″ W: 5 1/4″ D: 3 3/4″. Provenance: Mrs. Vincent (Brooke) Astor.

Belle Epoque table, French circa 1900.  Painted and gilded wood, marble.  H: 24 1/2″ L: 18″ D: 27″.  Provenance: Theodora Lang, Wayzata.

Alessandro Albrizzi cocktail table, Italian 1960s.  Chromed steel, acrylic, glass.  H: 15 1/4″ Dia: 48″.  Provenance:  Mrs. William (Brooke) Astor.

Victorian table, English circa 1860.  Lacquered papier mache, mother-of-pearl inlay, painted gold decorations.  H: 28″ L: 38″ D: 27″.

Pair of Syrie Maugham chairs, English 1930s.  Painted and gilded wood, upholstered.  H: 38 1/2″.

Jansen folding campaign chair, French 1960s.  Steel, brass, leather.  H: 37″ W: 25″ D: 36″.

Neo-classical large armchair, Italian circa 1770.  Painted and gilded wood, silk upholstery.  H: 43″.  Provenance: Count and Countess Consuelo Crespi, Rome

Japanese folding chair, circa 1850.  Painted and gilded wood, leather, brass hardware.  H: 40 1/2″ W: 33″ D: 17″

Set of 6 English 20th-century candlesticks, 1930s.  Glass with spirals of air in stems.  H: 12″  Provenance:  Frances Elkins.

Frances Elkins rope-twist standing lamp, 1940s.  Black-lacquered wood.  H: 70″ (including shade)  Provenance: Lord and Lady Donohue, Los Angeles.

Pair of Maison Charles lamps, French 1960s.  Brass, steel, synthetic resin.  H: 34″.

French 19th-century lantern.  Painted sheet metal.  H: 24″ (36″ includes drop as shown).

Etienne Drian mirror painting, circa 1932.  Reverse painted mirror, tinted mirror and painted wood frame.  63″ x 43″.  Provenance: Geoffrey Beene, New York.

Kai Frank flask, Finnish 1960s.  Glass.  H: 6 3/4″.

Schnaps bottle, Swedish 1940s.  Glass, cork stopper with metal ring pull.  H: 11″.

Alessandro Albrizzi pen box, 1960s.  Clear and yellow acrylic.  H: 3 3/4″ W: 9″ D: 4″.

Jean-Michel Frank box, circa 1930.  Straw marquetry, wood-veneer interior.  H: 1 1/4″ L: 7 1/4″ D: 4 3/4″.

Small box attributed to Fornasetti, Italian, 1960s.  Faux-malachite porcelain, gold electroplated metal.  H: 1 1/2″ W: 4″ D: 3″.

Japanese box in form of a carp, early 19th century.  Carved gold and silver lacquer on wood, glass eyes, aventurine interior.  L: 7 1/2″  Provenance: Private collection, Chicago.

Japanese writing box, circa 1900.  Wood, lacquer, black lacquer interior.  H: 1 1/4″ W: 8 1/4″ D: 6″.

Japanese scroll box, circa 1850.  Gold, silver, copper lacquers, aventurine interior, silk cord and tassels.  H: 3 1/4″ W: 15 3/4″ D: 3 3/4″.  Provenance: M. Nakazawa, Tokyo; Private collection, Minneapolis.

Aesthetic Movement octagonal umbrella stand, English circa 1890.  Stoneware.  H: 23 3/4″.

Chinese blanc-de-chine vase, circa 1900.  Porcelain, giltwood stand.  H: 22 1/2″.

Paul Scheurich for KPM (Berlin) boy on a dolphin, German 1920s.  Porcelain.  H: 8 1/4″.

Tiffany & Co. mounted section of first transatlantic cable, American 1858.  Steel, brass, with original paper certificate attesting to its authenticity.  L: 4″.

American (Chicago) screen, circa 1940.  Mirror and painted wood.  H: 90″ x 14″ each panel

A French Belle Epoque screen, circa 1900.  Glass, painted and gilded wood, upholstered.  H: 60″ W: 19″ and 17 1/4″.  Provenance: Mr. & Mrs. Henry E. Huntington, Pasadena (now the Huntington Museum)

Guri bowl, Chinese, circa 1650.  Carved red-and-black lacquer, silvered-copper interior and foot.  H: 3 3/4″ Dia: 9″.  Provenance: Valerian Rybar & Jean-Francois Daigre, Paris; Christie’s Paris; Pierre Le-Tan, Paris.

Clear and cloudy quartz specimen.  H: 1 1/2″ W: 4″ D: 2 1/2″.

Pierre Le-Tan, trompe l’oeil urn on column, French circa 2009.  Paint on board.  H: 102″.

Sculpture of a female nude, French circa 1770.  Geso and giltwood on bronze stand.  H: 18: (with stand 23″).