Catalog (2407)

A very nice 19th century Mexican tin retablo illustrating “El Nino de Atocha”. According to tradition, Christ appeared in the guise of a small child to feed the hungry Christian prisoners of the town of Atocha during the Moorish invasion of Spain. The retablo illustrates the boy wearing his traditional garb and carrying his usual water gourd on the end of a staff and a food basket. Bouquets of flowers are arranged at his feet. Interestingly, the staff and basket are shown in the opposite hands from their original arrangement and the boy is seen standing rather than sitting. The pouty appearance of the mouth suggest that this retablo might be by the “bee-stung mouth” artist, though the relative simplicity of the design would make it among his earlier works. The heavy-lidded treatment of the eyes is also characteristic of the Red Bole Group, with which the artist is often associated. The retablo retains the original welded hook on the back side, and a collector’s label stating “Santo Nino de Atocha”.

Origin: Mexico, ca. 1840. Condition: excellent, very light scattered paint nicks to front, no rust. Size: 6-3/4” x 10”.

A classic pearl and diamond ring by Mikimoto. A single 8.4 millimeter pearl is set at the center of the ring and is surrounded by small round brilliant-cut diamonds. The pearl is of very fine quality, estimated at AA. The body color is cream with rose overtones. The surface is smooth and lustrous. The diamonds are of equally fine quality. Typically, Mikimoto uses diamonds in the F-G color range with VVS clarity. The shank is stamped with Mikimoto’s oyster shell hallmark and “K18”.

Origin: Japan, ca. 1980. Condition: excellent. Finger Size: 6-3/4. Crown Size: 1/2" X 1/2" X 7/16” high. Weight: 3.5 grams. Approximate Total Diamond Weight: .2 carat.

An oustanding sterling silver centerpiece basket by Gorham. The sides and handle are decorated with extremely ornate bright-cut engraving in a swirling foliate pattern. The motif is repeated to great effect in the gilt feet that raise up the basket. The intersection of the handle and feet is finished with an applied classical lion mask. The surfaces are finished in an acid-finished matte texture. The reeded border and the feet are enhanced with matte gilding, while the interior is finished with highly polished gilding. The centerpiece is an excellent example of Gorham's work for an elite market in the years immediately following the Civil War. The bottom is stamped with Gorham's hallmark, the date mark for 1871, and with Gorham's retail location at Union Square in New York.

Origin: America, 1871. Condition: very good, the interior has some small dings and light wear to the gilding visible in raking light only when the centerpiece is empty. Weight: 737.0 grams. Size: 7-1/4" x 10-1/4" x 8-1/4" tall.

A nice stoneware ewer in an unusual form by Doulton Lambeth. The bulbous body is decorated with raised flowers and foliage against a cobalt blue ground, while the foot and long tapering neck are finished in a simple pattern of incised rings highlighted with chocolate brown borders. The inside of the foot is stamped with the mark used 1891-1902 and also with the artist's mark which appears to be a conjoined "JH", "HL" or possibly just an ornate "H". There is also an assistant's mark, "b".

Origin: England, ca. 1895. Condition: no chips or cracks. Size: 11-5/8" tall.

Fine Pennsylvania impressionist oil on board snowscape by H. Don Donnell. The image depicts a winding country road along bordered by a fence to one side and a couple of trees on the other. Pockets of brush dot the landscape. Auburn leaves cling to the trees, creating a nice counterpoint of color to the soft greys and blues in the snow-covered ground and wintery sky. A pair of small buildings appear in the near background before the scene rises to the foothills of the Allegheny Mountains. The perspective is particularly appealing. The painting is signed twice at lower right, one under the impasto and again in the same hand over the impasto. The first signature seems to include a date, which appears to be 1920. The back of the board is marked in pencil "Butcher Creek Road Near Butler Pa/$75/By H. Don Donnell".

Origin: America, ca. 1920. Condition: excellent. Size: board, 16" x 12"; overall, 21-1/2" x 17-1/4".

American Impressionist School, ca. 1910. Oil on canvas depicting a woodland pond amid autumn foliage. Though unsigned, the painting is clearly the work of a talented artist and is reminiscent of the work of Julian Alden Weir. The coloring is sophisticated and the perspective and reflections in the water are perfectly accomplished. The canvas remains on its original stretcher. Size: canvas, 30" x 26"; overall, 35-1/2" x 31-1/2".

Attributed to Henri-Alphonse Barnoin, French, 1882-1935. "Marché du plage de Concarneau", depicting the seaside market outside the Brittany fishing village of Concarneau. The town is clearly identifiable from the distinctive town ramparts and tower in the background. In the foreground, Breton women in traditional dress gather to buy and sell foodstuffs while a few fisherman in small boats work at the shore. The loose brushwork is more in the style of Barnoin's pastels and gouaches. His subject is traditional, yet the somewhat geometric dabs of paint barely suggestive of outlines and features skirts with Impressionism. The canvas is stretched on its original stretchers and has been lightly cleaned. Unsigned. Size: canvas, 24" x 20"; overall, 31" x 27".

A very nice antique Chinese glass paperweight featuring a lampwork poinsettia. The bright red petals are arranged in a double row around a sulfur yellow millefiori center and are accented with a green stem and a pair of leaves. The Chinese copied this design from New England Glass Company paperweights of the 19th century. The glass in this example is relatively good quality, with only few small bubbles, and is considerably larger than many examples. The base is ground and polished concave.

Origin: China, ca. 1930. Condition: excellent, no chips, cracks or significant surface wear. Size: 3-1/4" diameter.

A very nice Nanking Chinese export porcelain plate. The blue decoration is finely worked and the body color is excellent.

Origin: China, ca. 1820. Condition: very good, no chips, two tight 1" hairlines visible on the back side at the rim. Size: 8" diameter.

A fabulous 14K yellow gold and platinum brooch by William Ruser commissioned to celebrate the astounding victory of the Pittsburgh Pirates over the New York Yankees in the 1960 World Series. The brooch is designed as one of Ruser's classic waif-like children, this time dressed in a pirate's costume. One eye is set with a blue sapphire and the other is covered with a platinum eyepatch highlighted with matte black enamel. A platinum earring dangles from one ear. In one hand he holds a baseball bat and in the other a World Series crown set with sapphires and a ruby. The pirate appears to be walking across a bouquet of flowers made of natural freshwater pearls. Each flower is centered with a prong-set brilliant round-cut diamond. Small gold flowers centered blue sapphires complete the bouquet. The back is engraved "Pittsburgh Pirates World Champions 1960". It is also signed by Ruser and marked appropriately for 14K gold and platinum.

Ruser was famed for his jewels featuring dogs, cherubs and children. He was favored by major Hollywood stars such as Joan Crawford and Loretta Young. He also accepted unusual commission opportunities that allowed for creative use of his favorite design elements. This is one of the wittiest examples of Ruser's work we've seen. He used only the finest raw materials and the design is masterful. Along with a tie bar he designed for one of the stars of the Indy 500, this brooch is probably the finest example of Ruser's sports-related commissions.

Origin: America, 1960. Condition: excellent, all original. Size: 2-1/4" x 2". Weight: 27.0 grams. Approximate Total Gemstone Weight: ruby, .02 carat; sapphire, .43 carat; diamond, .15 carat.

A magnificent pair of signed Mikimoto earrings featuring 13.75 mm mabe pearls in 18K yellow gold twisted knot settings accented with diamonds. The pearls are of the finest quality, estimated at AA. They have cream body color and extraordinary cream body color with rose overtones and superb luster. The brilliant round-cut diamonds are of similarly fine quality, estimated at VVS clarity and E color. They are bead set in 18K white gold to accent the color. The backs are finished with posts and omega clips. The posts could be easily removed for wear as clips-on earrings without altering the Mikimoto signature. The backs are signed with Mikimoto's oystershell mark flanked by "NY", indicating that they were made for Mikimoto's flagship New York store on 7th Avenue, and "18".

Ca. 1980. Condition: excellent, all original. Size: 1-1/16" diameter. Weight: 23.5 grams. Approximate Total Diamond Weight: 2.5 carats.

A wonderful and very rare pair of signed Eva Segoura ladybug earrings worked in 18K yellow gold, and set with hematite and rubies. Segoura was a very exclusive Parisian jewelry designer at 20 rue du Faubourg St-Honoré for a short time. Many of her jewels were rather whimsical and featured animals such as ladybugs, caterpillars, mice and blowfish. Segoura made ladybug earrings in several variations using different precious and semi-precious stones. These ladybug earrings have bodies of carved hematite set in gold frames. The sides of each ladybug are adorned with collet-set cabochon rubies, as are the eyes. The little creatures are completed with alert antennae and ball feet. The clips are marked with the maker’s mark, the French 18K guarantee mark, and a partially obscured serial number. The backs of the frames are signed “Eva Segoura” in script.

Origin: France, ca. 1980. Condition: excellent, all original. Size: 1-1/4” x 15/16”. Weight: 28.25 grams. Approximate Total Gemstone Weight: ruby, 2.15 carats.

A fine, large bronze animalier sculpture by Ferdinand Pautrot (1832-74). The figure represents a pair of pheasants, one perched on a gnarled barren branch while the other appears to strut along the ground. The body position of the lower bird gives the composition a great deal of movement that is often missing in classical animalier bronzes. The ground is covered in long grass that is somewhat less common than Pautrot's more characteristic rocky ground. Along with Mène and Moigniez, Pautrot was considered the be France's finest sculptor of animal figures. He first successfully participated in the Paris Salon of 1861 (three entries) and continued to exhibit until 1870. The details of the feathers are stunning and absolutely realistic in appearance. The ground is signed "F. Pautrot". The figure retains its original medium brown patina with light gilt touches.

Origin: France, ca. 1865. Condition: excellent, original patina, built-up dust that could be cleaned if desired. Size: 7-1/2" x 3-1/2 x 9-1/4" tall.

Artist References: Benezit, "Dictionnaire des Peintres et Sculpteurs"; Lami, "Dictionnaire de Sculpteurs de l'ecole Francaise"; Kjellberg, "Bronzes of the 19th Century"; Savage, "A Concise History of Bronzes"; Payne, "Animals in Bronze"; Horswell, "Les Animaliers"; and Mackay, "Les Animaliers".

A fine bronze animalier sculpture by Ferdinand Pautrot (1832-74). The figure represents a pair of songbirds, one of which has caught a fly in its mouth. The other bird appears to be contemplating the possibility of wresting the insect from his companion. Both birds are perched on the rocky ground typical of Pautrot's work. An upright flowering plant appears at one end of the composition. Along with Mène and Moigniez, Pautrot was considered the be France's finest sculptor of animal figures. He first successfully participated in the Paris Salon of 1861 (three entries) and continued to exhibit until 1870. The details of the feathers are stunning and absolutely realistic in appearance. The rocky ground is signed "F. Pautrot". The figure retains its original medium brown patina with light gilt touches.

Origin: France, ca. 1865. Condition: excellent, original patina, built-up dust that could be cleaned if desired. Size: 6-1/4" x 3-1/4 x 6-1/2" tall.

Artist References: Benezit, "Dictionnaire des Peintres et Sculpteurs"; Lami, "Dictionnaire de Sculpteurs de l'ecole Francaise"; Kjellberg, "Bronzes of the 19th Century"; Savage, "A Concise History of Bronzes"; Payne, "Animals in Bronze"; Horswell, "Les Animaliers"; and Mackay, "Les Animaliers".

A rare, complete set of Art Deco sterling silver demitasse spoons in the "Zodiac" pattern by Tiffany & Co. presented in their original fitted case. The finial of each spoon features a streamlined illustration of a zodiac sign. The bowls are parcel gilt. The back of the spoons are stamped with the Tiffany hallmark used 1907-1947, and are also marked with the patent date 1926. These spoons were made for only a short duration and complete sets are quite difficult to find. The inside of the original case is stamped "Tiffany & Co. New-York Paris London".

Origin: America, ca. 1926. Condition: spoons are mint condition, the outside of the box shows considerable wear to the silk covering. Size: 4-1/8" long. Weight: 162.0 grams.

An extremely fine pair of Art Deco cufflinks worked in platinum and 18K yellow gold. Each square face is centered with a gypsy-set old European cut diamond, and has square cut blue sapphires at each corner. The stones have excellent color and clarity, especially the sapphires, which are bright blue. The platinum is finished with a matte surface, causing the gemstones to seem even more vibrant. The faces have pierced galleries around the edges and are attached to baton backs with chains. The outer surface of the batons are also worked in matte platinum. The geometric styling of these cufflinks is a very good example of early Art Deco.

Origin: Europe, possibly France, ca. 1920. Condition: excellent, all original. Size: 15/32" x 15/32". Weight: 7.5 grams. Approximate Total Gemstone Weight: diamond, .25 carat; sapphire, 2.0 carats.

A handsome pair of early Art Deco 18K yellow gold cufflinks, the faces designed in a sort of "Prince of Wales feather" pattern. Each face is highlighted with three old mine cut diamonds in milligrained platinum collet settings. The diamonds have nice color and are well-set for maximum sparkle. The faces are pierced to emphasize the three-dimensionality of the design. The baton backs are attached with chains. Tested and guaranteed 18K gold and platinum.

Origin: America, ca. 1915. Condition: excellent, all original. Size: 9/16" x 9/16". Weight: 8.0 grams. Approximate Total Diamond Weight: .74 carat.

A lovely cut glass perfume bottle cut from cranberry to clear. The design is a simple, classic combination of crosshatched diamonds and fans. The shoulders of the bottle are panel cut, and the base is finished with a 24-point star. The lapidary-cut stopper is original to the bottle and is engraved with the same number as the inside of the bottle's neck. Origin: Europe, ca. 1900. Condition: excellent, no chips or cracks. Size: 5-3/4" tall.

A lovely cut glass perfume bottle cut from cranberry to clear. The design incorporates wide miters separated by combinations of fans, strawberry diamond and star motifs. The shoulders of the bottle are panel cut, and the base is finished with a 24-point star. The lapidary-cut stopper is original to the bottle and is engraved with the same number as the inside of the bottle's neck.

Origin: Europe, possibly Val St. Lambert, ca. 1900. Condition: excellent, no chips or cracks. Size: 5-3/4" tall.

A wonderful Art & Crafts sterling silver bracelet by the Kalo Workshop of Chicago. The bracelet is formed of six plaques, each centering an oval buff-cut citrine. The plaques are somewhat diamond-shaped, with beadwork at either end, and are joined by double oval links. The citrines have very dark amber coloring, with superb evenness and clarity. The smooth domed tops reflect the faceted cutting on the bottoms of the stones to very nice effect. The clasp is finished with a simple domed silver cabochon. The back of the clasp is stamped “Hand Wrought Sterling Kalo”. Kalo pieces set with gemstones are particularly rare.

Origin: America, ca. 1925. Condition: excellent, all original. Size: 7-1/2” long; 3/4" wide. Weight: 51.25 grams. Approximate Total Gemstone Weight: 13.14 carats.

A good bronze footed trumpet vase by Carl Sorensen. The surface is patinated in a dark mottled green and is enhanced with parallel engraved lines forming bands decorated in a darker green patination. The small foot makes this one of Sorensen's more unusual vase designs. Sorensen made a variety of decorative metalwares, but little is known about him. He worked in Pennsylvania, and his pieces were possibly sold by Roycroft and Tiffany. The base is signed "Carl Sorensen" and also has his hallmark.

Origin: America, ca. 1930. Condition: excellent, a slightly flattened area along the upper rim is just barely visible when seen from the right angle. Size: 6-1/2" tall.

A pretty 18Kyellow gold pin in the shape of a salamander from the reign of Emperor Napoleon III. Animal brooches were very popular in the mid-19th century, and reptiles were especially favored. The salamander has a long history in France, and was the personal symbol of King François whose rule began in the late 15th century. This example is beautifully engraved with delicate scales, claws, and eyes. The back is set with a line of alternating seed pearls and Persian turquoise cabochons. The head is set with a larger turquoise. The original clasp is marked with the “tête de cheval” hallmark used only outside Paris between 1838 and 1919.

Origin: France, ca. 1850. Condition: excellent. Size: 1-7/16” long. Weight: 3.5 grams.

A nice pair of modernist 14K yellow gold and pearl earrings. 5.2-millimeter pearl studs suspend faceted gold bars that, in turn, suspend open-work gold spheres studded with pearls. Each sphere comprises a dozen 4.9 millimeter cultured pearls of very good quality. The body color is cream with rose overtones. The luster is bright and the surfaces are smooth. Each of the spheres is completed with the addition of prong-set seed pearls. The spheres dangle freely and exhibit lots of movement. During the late 1950s and 1960s, scientific knowledge became an inspiration for jewelry designers who began turning pieces like “Sputnik” rings. The arrangement of the pearls and the underlying gold structure of these earrings is clearly based on atomic-level molecule models. Tested and guaranteed 14K.

Origin: America, ca. 1960. Condition: excellent, all original. Size: 1-3/8” long; 5/8” diameter. Weight: 8.5 grams.

A fine Edwardian 14K yellow gold stickpin featuring an reverse-carved Essex crystal head depicting the blue and white striped burgee of the Larchmont Yacht Club. The crystal is well-carved, with bright coloring and no signs of water damage or separation. The crystal is finished with a mother-of-pearl background. The Larchmont Yacht Club dates from 1880 and remains one of America’s most exclusive yachting clubs. Tested and guaranteed 14K.

Origin: America, ca. 1900. Condition: excellent, all original. Size: head, 1/2" diameter; overall length, 2-21/32”. Weight: 2.0 grams.

An uncommon set of six nut picks, the mother of pearl handles attached to the silverplate picks with sterling silver ferules. The ferules are decorated with ropetwist borders flanking an ornate acanthus leaf pattern. In the Victorian era, fresh nuts would have been served alongside and cheese and fruit as a dessert course. The ferules are marked "Sterling".

Most sterling silver flatware services before 1900 had mother of pearl cutlery instead of knives that matched the rest of the service. Mother of pearl pieces such as a nut picks are considerable less common than knives.

Origin: America, ca. 1890. Condition: excellent, no plating loss. Size: 5-1/4".

A classic vintage Mikimoto brooch featuring pearls set in 14K yellow gold. The swirled design includes ten pearls of superb quality, estimated at AA quality. The surfaces are smooth, the luster is bright and the body color is cream with rose overtones. The pearls range in size from 5.5 to 7.7 millimeters. The gold “leaves” are pierced to provide a sense of lightness despite the pin’s relatively generous size. The back retains the original typical Mikimoto clasp and is signed with Mikimoto’s hallmark and “K14”.

Origin: Japan, ca. 1980. Condition: excellent, all original. Size: 2-1/4” x 1-3/8”.

A very rare sterling silver chamber stick in a repousse floral pattern by Shiebler. The overall floral decoration depicts buds and full-blown rose blossoms against a background of leaves. Areas between the leaves are finished with a stippled texture. The knop of the candle socket and the bobeche are plain and make a nice contrast to the elaborate decoration. The thumbpiece is accented with a fan-shaped element that is suggestive of Shiebler’s more Aesthetic-style pieces. The bottom of the bobeche is stamped with Shiebler’s hallmark, the pattern number 1174, and the retailer’s mark “J. E. Caldwell & Co.”

Origin: America, ca. 1890. Condition: excellent, a small rim ding and a couple of pinpoints on the bobeche. Size: 6” diameter; 3-1/2” tall. Weight: 211.0 grams.

A nice vintage 18K yellow gold spherical charm studded with red cabochons (possibly stained red chalcedony). The gold surfaces are nicely decorated with bright-cut engraving that simulates the beading of classic Etruscan pieces. Large charms of this sort were very popular during the 1950s and 60s. Marked with Italian 18K gold hallmarks.

Origin: Italy, ca. 1960. Condition: excellent. Size: 1-1/8" diameter. Weight: 12.0 grams.

A wonderful and extremely rare Victorian 15K rose gold brooch set with Scottish agate. The brooch is in the form of the 19th century Prince of Wales’ crown enclosing the traditional feathers in fleur-de-lys arrangement, over a banner with the legend “Ich Dien”. The feathers are set with jasper and bloodstone. The engraved decoration of the gold is first-rate. The back bears a registry mark, dating the brooch to 1891. In 1891, Queen Victoria’s eldest son, the future Edward VII, celebrated the fiftieth anniversary of his investitute as Prince of Wales. Due to his mother’s longevity, however, Edward was the first Prince of Wales to reach that mark. Agate jewelry set in gold is quite uncommon, and this is the only example we’ve found of this particular design. Tested and guaranteed 15K.

Origin: England, 1891. Condition: excellent, all original. Size: 1-5/16” x 1-1/4”. Weight: 6.0 grams.

An impressive and well-designed antique Bohemian glass paperweight. The bullet-shaped weight encloses a large central red, white and blue lily surrounded by three smaller lilies, all emanating from a speckled glass pot at the base. The area just above the pot has a thin film of green glass to suggest foliage. The weight is ornately faceted into a bullet-shape. The glass is quite heavy and clear. The coloring tends toward grayish-yellow, as is typical of Bohemian weights of the period.

Origin: Bohemia, ca. 1870. Condition: excellent, no chips, no wear to crown. Size: 7" tall; 2-25/32" diameter.

A very nice scrambled glass paperweight by the New England Glass Company. The weight is well-packed with a colorful assortment of canes and twists. Visually, the set-up extends all the way to the periphery when viewed directly from the top. The glass is very clear.

Origin: America, ca. 1870. Condition: excellent, no wear to crown, some small flakes all along the edges of the basal ring. Size: 2-1/2" diameter; 1-7/8" high.

A very well-cut low bowl in an unidentified pattern. The cutting is deep, sharp and precise. The pattern comprises three panels of star- and diamond-cut cane, divided by elongated loops enclosing flashed fans and strawberry diamond, alternating with hobstars. The blank is heavy and very clear.

Origin: America, ca. 1890. Condition: excellent, a 1/32" fleabite on the inside edge of one tooth. Size: 7-1/4" diameter; 2" high.

A very good bronze figure of a hound by Piere-Jules Mene (1810-1877). The hound stands alert look over his shoulder at the viewer. The rectangular base is well-textured with rocks and branches, typical of Mene's style. The shape of the base suggests that the casting is from Mene's own foundry and dates to the 1840s. The dogs is nicely detailed. The figure is finished in a dark black/brown patina. The front left corner of the base is signed P. J. Mene. There is no foundry mark.

The tail is cast separately, then attached to the rest of the figure with a threaded bronze pin. It is possibly an early repair, but the perfect match of patina and the precision of the fit suggests that the tail was intentionally cast separately.

Origin: France, ca. 1848. Condition: excellent; a small rub to patina on the back side of the hound's hind flank; see note about the tail above. Size: 5-1/4" x 2-1/8" x 3-1/2" high.

A lovely and very unusual late Victorian circle brooch in 14K yellow gold, enhanced with pearl- and emerald-set flowers and enameled leaves. Each flower is represented by a cluster of six seed pearls centering a small old mind cut emerald. The flowers are set between pairs of leaves delicately enameled in translucent shades of green and yellow. One side of the pin is decorated only with a line of pearls, a nice assymetrical touch. The back retains the original extended pinstem, c-clasp and watch hook. Marked “14”.

Origin: America, ca. 1900. Condition: excellent, no enamel damage, all original. Size: 1” diameter. Weight: 3.5 grams.

A pretty Art Deco cut glass perfume bottle with an intaglio stopper. The periwinkle blue body is cut in a diamond pattern, while the flat round stopper has lapidary cut edges and an intaglio four-leaf clover. The overall effect is very sweet. The flat base is acid-etched “Made in Czechoslovakia” inside an elongated oval.

Origin: Czechoslovakia, ca. 1920. Condition: excellent, no chips or cracks. Size: 3-3/4” tall.

Exceptionally fine Edwardian tortoishell letter box decorated with gold pique. The serpentine front is inlaid in a pattern of floral swags flanking a center wreath. The curved top has a matching wreath and swags as well as songbirds. The gold has a beautiful rose tint that contrasts nicely with the rich golden-brown of the tortoise, and the surfaces are intricately engraved to enhance the appearance. The use of gold for pique work was reserved for only the most expensive and impressive items. The back and sides of the box are covered in burgundy Morocco leather and the interior is covered in red silk moire. The workmanship and overall style of this piece suggests the workshop of William Comyns, though he more frequently worked in silver. Signed boxes by Comyns feature exactly the same lining and side upholstery and similar swag and wreath designs.

Origin: England, ca. 1905. Condition: very good, the front has a few hairlines (no hairlines on top), six of the tiny pins along the edge of the top are lacking, no loss to pique. Size: 10-1/8" x 5-3/4" x 7-1/4" tall.

NOTE: This item cannot be shipped outside the United States.