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Click here to subscribeAmerican Rococo Carved Rosewood Center Table, mid-19th c., probably New York, variegated serpentine marble top, foliate carved frieze, cabochon and floral cabriole legs, arched stretchers centering finial, h. 29 in., w. 40 1/8 in., d. 28 5/8 in Provenance: Estate of Charles and Doris Bellows, NY, NY
Fine American Renaissance Carved Walnut Extension Dining Table, attr. to Thomas Brooks, New York, molded top, carved frieze, bracketed pedestal, vasiform supports, stepped base, block feet, opening to receive three leaves, h. 30 1/2 in., l. (closed) 47 1/2 in., l. (extended) 90 1/4 in., w. 47 3/4 in
Antique Continental Fruitwood Cricket Table, circular top, splayed uprights, stretcher shelf, cabriole legs; together with an antique Continental carved oak gate-leg table, cricket table h. 26 1/4 in., w. 27 in., d. 29 1/2 in.; table h. 26 1/4 in., w. 19 1/4 in., d. 19 in. Provenance: Eric Bolin, Los Angeles
Eight Malachite Table Items, incl. obelisk, h. 8 in.; 3 hexagonal, square and trunk-form boxes, w. 2 7/8 in., 1 3/4 in. and 3 3/4 in.; dish, w. 4 1/2 in.; rhino, w. 4 in.; egg, w. 3 in.; and polished specimen, w. 5 3/4 in. Provenance: Estate of Thomas Greene Collins, Jr., Arabi, LA
American Classical Carved Mahogany Work Table, early 19th c., probably Philadelphia, lift top, birdseye maple stiles, torus molded fitted tray over two drawers, cylindrical standard, incurvate plinth, acanthus carved paw feet, casters, h. 31 1/8 in., w. 20 1/4 in., d. 16 3/4 in. Provenance: Bernard Caperton, Charlottesville, VA
American Classical Carved Mahogany Pier Table, early 19th c., Boston, Egyptian marble top, cove-molded frieze, foliate carved tapered columnar supports, tapered pilasters flanking mirror back, incurvate plinth base, h. 33 in., w. 41 3/4 in., d. 17 in. Note: Several aspects of the pier table shown here, such as the Egyptian marble top, bolection frieze, exuberantly carved supports, and incurvate plinth, relate to Classical pier tables by Boston cabinetmakers such as Isaac Vose and Emmons & Archibald. A pier table by Emmons & Archibald in the collection of the Museum of Fine Arts Boston features the pairing of an Egyptian marble top and a shaped lower plinth. A table with a similar overall form and bolection frieze attributed to Boston was sold in these salesrooms on Feb. 23, 2008, as lot 92. Ref.: Pearce, Clark. “Classical Excellence in Boston: The Work of Isaac Vose.” adafca.org/events/classical-excellence-in-boston-the-work-of-isaac-vose. Accessed October 17, 2017; Museum of Fine Arts Boston. www.mfa.org/collections/object/pier-table-44784. Accessed October 17, 2017.
Rare American Rococo Highly Carved Rosewood Dressing Table, mid-19th c., New York, possibly Alexander Roux, arched crest, fruit and flower cartouche flanked by putti, mythological bird supports, shield shaped mirror centered by a cabochon, serpentine carrara marble top, conforming drawer, C scrolled fruit carved cabriole legs connected by a foliate and floral stretcher, h. 85 in., w. 53 1/2 in., d. 21 7/8 in. Note: The stunning and exuberantly carved dressing table offered as lot 304 shares many similar aspects with an étagère in the collection of the Metropolitan Museum of Art in New York, including the overall form, exaggerated crest, the carving hand of the winding foliate scrolls, and the shape and proportions of the scrolled feet. Among the New York Rococo-revival cabinetmakers, Roux was most known for often incorporating mythological, animal, and human figures in his elaborate pieces. The mythological birds flanking the mirror on the dressing table here relate to a Roux sideboard in the Metropolitan Museum of Art, which features similar elements. The present lot also relates to another Roux sideboard held in the Brooklyn Museum, also featuring many naturalistic elements. Ref.: Brooklyn Museum. Decorative Arts. brooklynmuseum.org/opencollection/objects/2291. Accessed October 18, 2017; Metropolitan Museum of Art. metmuseum.org/art/collection/search/3555. Accessed October 18, 2017; Metropolitan Museum of Art. “Heilbrunn Timeline of Art History.” www.metmuseum.org/toah/works-of-art/1993.168/. Accessed October 18, 2017.
American Late Federal Santo Domingo or Cuban Carved Mahogany Breakfast Table, c. 1810, attr. to Duncan Phyfe, New York, highly figured drop leaf top, one frieze drawer, pendant drops, reeded vasiform support, reeded outswept legs, paw feet, casters. Ref.: Kenny, Peter M. Duncan Phyfe: Master Cabinetmaker in New York. The Metropolitan Museum of Art: New York, 2011, pp. 170-171
American Classical Carved Mahogany Pier Table, c. 1840, attr. to J. & J.W. Meeks, New York, serpentine marble top, conforming frieze, canted scrolled supports, Gothic paneled pilasters, mirrored back, shaped plinth, scrolled feet, h. 36 in., w. 40 1/4 in., d. 19 1/2 in. Note: This table is directly related to a Meeks table sold in these rooms on June 27, 2015, as lot 314
Rare Acadian Cypress Table à Treteau, late 18th/early 19th c., Louisiana, two board plank top, trestle base with splayed legs, stretchers, h. 31 1/2 in., w. 72 in., d. 40 1/2 in Provenance: Thibodeaux Cormier residence, Breaux Bridge, St. Martin Parish, LA. Ill.: Holden, Jack D., et. al. Furnishing Louisiana: Creole and Acadian Furniture, 1735-1835. The Historic New Orleans Collection: 2010, p. 265. Note: The early Acadian trestle or “treteau” table was modeled after the common 18th century French work table, as evident from illustrations in Denis Diderot’s Encyclopédie. The table offered here was found in the Thibodeaux Cormier residence in Breaux Bridge, Louisiana. Practical in use with lightweight legs, the trestle table could be easily moved for various tasks. Intact examples, such as this table, are very rare. Ref.: Holden, Jack D., et. al. Furnishing Louisiana: Creole and Acadian Furniture, 1735 1835. The Historic New Orleans Collection: 2010, p. 264-265.
Fine Pair of George III Sterling Silver Table Candlesticks, John Schofield, London, 1780, mark reg. 1778, each with removable bobeche, fluted tulip-shaped candlecup and tapered shaft, stepped foot, beaded borders throughout, engraved with period script monogram "EM" and armorial crest with motto "manus justa decus (a just hand is an adornment)", h. 9 in., one stick is weighted, unfilled stick wt. 16.85 troy ozs. Provenance: Estate of Stephen G. Henry, Baton Rouge, LA
Acadian Carved and Painted Cypress Table, early 19th c., Louisiana, mortised plank top, plain frieze, bulbous turned legs, stretchers, mortised and pegged construction, h. 28 in., w. 40 in., d. 30 in. Ill.: Holden, Jack D., et. al. Furnishing Louisiana: Creole and Acadian Furniture, 1735-1835. The Historic New Orleans Collection: 2010, p. 252. Note: The cypress table here was found in Avoyelles Parish, Louisiana. The form of the table is an example of the continuous influence of classic French styles from the 17th and 18th centuries on Acadian furniture. This table is clearly Louis XIII in style but dates to the earlier part of the 19th century, evident by the table’s construction. After the Acadians arrived in Louisiana in the 18th century, they remained in relative geographic isolation, which fostered the continuation of classic French forms in Acadian furniture. Ref.: Holden, Jack D., et. al. Furnishing Louisiana: Creole and Acadian Furniture, 1735 1835. The Historic New Orleans Collection: 2010, p. 252.
Charles F. Zimpel (Prussian/American, 1801-1879), "Topographical Map of New Orleans and its Vicinity, Embracing a distance of twelve miles up and eight and three quarter miles down the Mississippi River and Part of Lake Pontchartrain, representing all Public Improvements existing and projected and important Establishments, accompanied by A Statistical Table, containing the most accurate Illustrations; prefaced by A Splendid View of New Orleans, & Compiled from actual surveys and the best authorities, by Chas. F. Ximpel, Deputy City Surveyor of New Orleans, Chief Engineer of the New Orleans & Carrollton Rail Road Company and late Engineer in the Prussian Service, Scale six inches to the mile, New Orleans March 1834", lithograph, on six sheets, original folio, vignettes showing: Orleans Cotton Press Co., City Hotel, Levee Steam Cotton Press, City Hall (Cabildo), St. Louis Cathedral, Presbytere, Bank of the Canal and Banking Co., City House and Market of the City of Lafayette, Bank of New Orleans, Union Bank, American Theater, Sugar Refinery, Charity Hospital, State House, "Defeat of the British Army...", "Plan of the Banks of the Mississippi and Adjacent Country...", and "Mouth of the Mississippi at the South West Pass", six sheets (combined) 63 in. x 64 in. Note: Zimpel, Charles F. (Karl Frederick Zimpel) and the subject map are best summarized in Ellen Merrill’s Germans of Louisiana. Pelican Publishing Company, Inc. 2005: “Zimpel was a young Prussian aristocrat who soon established a lucrative career in the city as a surveyor, engineer, and architect. His tastes were mainly classical, in keeping with the style in vogue in both Europe and America. He was highly successful in those areas in which he was trained and, for a short time, became deputy surveyor and chief engineer for the city. In 1833 he laid out and developed the City of Carrollton. Perhaps his most important achievement was the detailed map of New Orleans he produced in 1834. Dissatisfied with the quality produced by the lithographers in New Orleans, he sent his original drawing back to Germany. On the return trip the lithographic stone and reproductions were lost at sea, making the Zimpel map a collector’s item. As chief engineer of the New Orleans and Carrollton Railway, which ran from Canal Street to Carrollton Avenue along Nayades Street (now St. Charles Avenue), he got involved in land speculation. Having little experience in this area, he soon fell into debt and fled the city. After only seven years of working in New Orleans, he returned to his native Prussia.” Zimpel also designed and oversaw construction of several important buildings in New Orleans during his tenure here, three of which are shown in vignettes above his map: the Bank of New Orleans, City Hotel, and the Orleans Cotton Press. Only six copies of the Zimpel map have been located, five of which are housed in institutional collections.
Very Fine and Rare American Rococo Revival Carved Rosewood Center Table, mid-19th c., attr. to John Henry Belter, New York, distinctive undulating white marble top, highly carved frieze centered by portrait busts, lion's mask corners, scrolling vines, crouching winged figural supports, paw feet, casters, h. 29 in., w. 46 1/2 in., d. 31 in. Note: This exceptionally rare and unique table, colloquially known by the collector as the “Jenny Lind” table, is a stunning example of New York cabinetmaker John Henry Belter’s use of figural carvings. Belter, most known for elaborate floral and foliate motifs in his Rococo revival furniture, occasionally incorporated human figures, such as in a well-known group of side chairs with crest rails surmounted by busts of Shakespeare, Chaucer, Dante, and Vergil, and a related sofa with busts of Thomas Jefferson, George Washington, and Benjamin Franklin. A close comparison of the winged figural supports and the female busts centering the frieze on the table offered here to other Belter busts, such as those previously mentioned, display similar stylized features and proportions that relate to Belter’s overall work. The female busts centering the frieze of this circa 1850s table are purported to be modeled after 19th century singing sensation Jenny Lind, featuring Lind’s signature hairstyle. The Swedish-born singer became one of the most famous women of the period after entertainment entrepreneur P.T. Barnum booked Lind, already a rising star, on a nationwide tour of the U.S. that was immensely successful and skyrocketed Lind to stardom by 1850. In 1848, P.T. Barnum built an extravagant home in Bridgeport, Connecticut named “Iranistan,”, which was furnished by the best New York City cabinetmakers. It is a possible scenario that Belter had both Barnum and Lind, who was at the height of her popularity, in mind when he created this magnificent table. Ref.: Dubrow, Eileen and Richard. American Furniture of the 19th Century. Sciffer: Pennsylvania, 1983, p. 122; Stanek, Edward J., et. al. The Furniture of John Henry Belter and the Rococo Revival. E.P. Dutton: New York, 1981, pp.48-49; “Meet Jenny Lind, One of America’s First Female Celebrities,” Smithsonian Institution. americanhistory.si.edu/blog/jenny-lind. Accessed October 19, 2017; “Iranistan: The Lost Palace of Bridgeport, Connecticut.” KNOWOL. knowol.com/information/connecticut/iranistan-pt-barnum-bridgeport-ct. Accessed October 19, 2017.
Fine American Classical Carved and Gilded Mahogany Games Table, c. 1815, attr. to Charles Lannuier, New York, foldover swivel top over brass-inlaid conforming frieze, ring and foliate-carved supports, incurvate plinth, acanthus-carved paw feet, casters, h. 29 1/2 in., w. 36 in., d. (closed) 18 1/4 in., d. (open) 36 1/2 in. Note: Features of the games table offered here closely relate to well-known examples by the French-born and trained New York cabinetmaker Charles Honoré Lannuier, including the highly figured mahogany veneers, stamped brass inlay, and finely carved supports and paw feet. A peer of prominent New York cabinetmaker Duncan Phyfe, Lannuier’s elegant classical furniture melded Anglo-American taste with French style and technique. With only subtle differences, this lot is almost identical to a Lannuier card table from a private collection, illustrated in Honoré Lannuier: Cabinetmaker from Paris by Peter M. Kenny. The foliate carved supports are directly related to Lannuier’s “water-leaf carving,” a feature prevalent throughout his work. The table’s paw feet are also related to Lannuier’s common usage of outstretched lion’s paw feet paired with acanthus carvings, also illustrated by Kenny in several examples, including tables held in the collections of the Metropolitan Museum of Art, the Art Institute of Chicago, and the Winterthur Museum in Delaware. Ref. Kenny, Peter M. Honoré Lannuier: Cabinetmaker from Paris. New York: The Metropolitan Museum of Art, 1998, pp. 208, 79, 210-213; Kenny, Peter M. and Matthew Thurlow. Charles Honoré Lannuier (1779-1819). The Metropolitan Museum of Art. www.metmuseum.org/toah/hd/phla/hd_phla.htm. Accessed March 16, 2017.
**Please note - this item is not available for online bidding. Please contact our gallery for additional information. Chinese/Tibetan "Gem" Embellished Parcel-Gilt Bronze Figure Parcel-Gilt Bronze Figure of Amitayus, modeled seated in dhyanasana on a double lotus base with hands held in dhyanamudra, wearing a dhoti chased with foliate borders, a gem-inset five-pronged tiara, necklaces, arm bands and anklets, interior walls set with prayer scrolls, h. 16 1/2 in
American Rococo Carved Walnut Center Table, c. 1850-1860, probably Boston, marble turtle top, conforming frieze carved with fruit clusters, cabriole legs surmounted by carved flowers, scrolling stretcher centered by a floral basket, casters, h. 30 1/4 in., w. 42 in., d. 31 1/2 in
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