Pair of Marble Vases Florentine. 19th Century.

Measurements: Height: 26" (66cm) Diameter: 24 3/4" (63cm)

A Pair of gilt-wood twelve light chandeliers in the William and Mary Taste by Edward F. Caldwell

New York. Circa 1900.

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Marks: Each stamped within a lozenge: C (manufactory initial) Measurements: Height: 39″ (99 cm); Diameter: 44″ (112 cm).

Description: Edward Caldwell began his career as a lighting designer at the New York-based gas lighting manufactory Archer & Pancoast in the late 1880s. It was there that he future business partner, Victor F. von Lossberg, with whom he would found Edward F. Caldwell and Company in 1894. His pieces were often based on historical models, but Caldwell also excelled in conceiving original designs which he produced to fit his clients’ individual decorative demands.  The quality of his work often rivaled the 18th- and 19th-century prototypes from which he drew, and, particularly in his gilding, Caldwell’s techniques were far superior to those of his contemporaries. Caldwell’s work appeared in prominent buildings such as the White House and the Waldorf Astoria, and in homes of affluent New Yorkers including Henry Clay Frick and Andrew Carnegie.  Electric fixtures were relatively new and many that did exist were not particularly suitable for rooms decorated with antiques. “[Caldwell’s] rich and conservative clientele preferred traditional interiors, so Caldwell based his lighting fixtures predominantly on historical styles, often using photographs of objects in European palaces as models, or relying on eighteenth century pattern books.” The design for the present chandeliers was undoubtedly taken from a model made by Francis Garthorne (fl. 1690-1713) for the King’s Presence Chamber at Hampton Court (circa 1690), the former royal residence, now part of the Royal Collection. Garthorne was a prominent English silversmith working in the Huguenot style and was frequently employed by William and Mary, as in the case of the Hampton Court Chandelier. The four shell-topped cartouches that surmount the top of both the original and the Caldwell chandeliers contain the symbols of a rose, a fleur-de-lys, a thistle and a harp. These represent England, Wales, Scotland and Ireland, respectively, and are the symbols adorning, among other objects, the Hampton House Palace gates.  A photograph of an eighteen-light Caldwell chandelier closely related to the present pair, though with different crests in the four cartouches topping the fixture, can be found in the Cooper Hewitt Museum Library’s Edward F. Caldwell Lighting Collection (numbered “a80742″).

A Fine Set of Four Neoclassical Giltwood Klismos Chairs Italian. Last Quarter of the Eighteenth Century.

Provenance:

Quatrain, Inc., Los Angeles Estate of Merv Griffin

Measurements:

Height: 35″  (89cm); Width: 20″ (51 cm); Depth: 22″ (56 cm)

Description:

Of giltwood.  Each witha rectangular open back centered by a pierced roundel with cane seats, rising on swept sabre legs. gilding refreshed in places. The form of the present set of neoclassical chairs is derived from the klismos chair, a Greek invention that evolved from a simple throne. Splayed, sabre-form legs and uprights connected by a concave backrest are characteristics of these chairs, which became popular in the late-18th and 19th centuries for their gracefulness and lightness of form, as well as their reference to antiquity. The present chairs are illustrative of the variations on the klismos form that occurred at the end of 18th century during the Neoclassical period in Italy, when furniture was relieved of ornament in favor of simple lines more closely modeled on its classical forbears.

London. Signed and dated 1907.

Measurements: Six tapestries: Height: 161 2/5″ (410 cm); Width: 66″ (168 cm); Four tapestries: Height: 165 1/3″ (420 cm); Width: 84 3/5″ (215 cm). Executed by: The Royal School of Needlework for Fanhams Hall

English. Circa 1845.

Exhibited: The Great Exhibition, 1851 Measurements: Height: 29″ (74cm); Diameter: 48″ (122cm).

Four Torchères. Italian, probably Lucca. Circa 1800.

A set of four torchères. Measurements: Height: 57 1/2″ (146 cm); Width: 14 1/2″ (37 cm).

CLOCK BY ALPHONSE GIROUX, THE CASE IN THE FORM OF ANTOINE QUATREMERE DE QUINCY’S REMODELLING OF THE PANTHEON Paris. Circa 1800. Clock Measurements: Height: 20″ (51 cm); Width: 27″ (69 cm); 12″ (30 cm).

DINING TABLE English. Circa 1835. Dining Table Measurements: Height: 29″ (74 cm); Length: 11′ 8″ (356 cm); Width: 4′ 7″ (140 cm).

LIBRARY STEPS English. Circa 1805. Library Steps Measurements: Height: 87 1/2″ (222 cm); Width: 35″ (89 cm); Depth: 83″ (211 cm).

DINING TABLE English. Circa 1760. Dining Table Measurements: Height: 29″ (74 cm); Width: 63″ (160 cm); Depth: 61″ (155 cm).

BUREAU MAZARIN Probably Roman. Circa 1735. Bureau Mazarin Detail of Bureau Mazarin Measurements: Height: 46″ (117 cm); Width: 62″ (157 cm); Depth: 29″ (74 cm). Height to the writing top: 33″ (84 cm).

PAIR OF PIER GLASSES English. Circa 1825.

Pair of Pier Glasses

Measurements: Height: 118″ (300 cm); Width: 63″ (160 cm).

SIDE TABLE IN THE MANNER OF WILLIAM KENT English. Circa 1740. Side Table Measurements: Height: 32″ (83 cm); Width: 45″ (115 cm); Depth: 21″ (54.5 cm).

PAIR OF SIDE CABINETS PROBABLY DESIGNED BY THOMAS WARD English. Circa 1820.

Pair of Side Cabinets Measurements: Height: 45″ (114 cm); Width: 115″ (292 cm); Depth: 19 1/4″ (49 cm).

LIBRARY TABLE IN THE MANNER OF THOMAS CHIPPENDALE English. Circa 1760. Library Table Measurements: Height: 30 1/2″ (78 cm); Width: 60 1/2″ (154 cm); Depth: 36 1/2″ (93 cm).

CARD TABLE ATTRIBUTED TO PIETRO PIFFETTI Italian. Circa 1735. Card Table Open Card Table Closed Measurements: Height: 29 1/2″ (75 cm); Width: 32″ (81 cm); Depth closed: 16″ (40.5 cm); Depth open: 32″ (81 cm).

WINE COOLER. English. Circa 1815.

Wine Cooler

Measurements: Height: 22″ (56 cm); Width: 33″ (84 cm); Depth: 22″ (56 cm).

Topographical Scene Of ‘Jerusalem At The Time Of Christ’ on Flickr via @CarltonHobbs.com Topographical Scene Of 'Jerusalem At The Time Of Christ'

Carlton Hobbs Provenance Arts & Antiques Remembered Presented Displayed & Cataloged Carlton Hobbs Provenance Gallery

Provenance From Wikipedia, the free encyclopedia

The provenance of works of fine art, antiques and antiquities often assumes great importance. Documented evidence of provenance for an object can help to establish that it has not been altered and is not a forgery, reproduction, stolen or looted art. Knowledge of provenance can help to assign the work to a known artist and a documented history can be of use in helping to prove ownership. The quality of provenance of an important work of art can make a considerable difference to its selling price in the market; this is affected by the degree of certainty of the provenance, the status of past owners as collectors, and in many cases by the strength of evidence that an object has not been illegally excavated or exported from another country. The provenance of a work of art may be recorded in various forms depending on context or the amount that is known, from a single name to an entry in a full scholarly catalogue several thousand… We have many memories of things once seen and beauty once beheld. Carlton Hobbs looks to the future and belives antiquety need not mean forgoten. We present to your a gallery of things lost to the past yet remembered and found in the future. Carlton Hobbs Provenance by @CarltonHobbs.Com