Naples Art, Antique & Jewelry Show Catalogue 2014

NAPLES

Art, Antique & Jewelry Show FEBRUARY 6-10, 2014

Naples

Art, Antique & Jewelry Show February 6-1 0, 2014 2014 Show Catalogue

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Scott Diament, GG, G.I.A

Robert Samuels, GG, G.I.A

From The Organizers, Welcome to the Third Annual Naples Art, Antique & Jewelry Show – a prestigious event featuring the world-class collections of more than 60 internationally acclaimed exhibitors. It is with great pleasure that we return this year to the picturesque resort destination of Naples, Florida.

The Naples Art, Antique & Jewelry Show features the world’s most beautiful and coveted treasures of the last several thousand years, including major works of art, antique and estate jewelry, furniture, Asian antiquities, American and European silver, glass, textiles, sculpture, contemporary art and more.

This year, we are excited to add one of Naples’ most prominent charities, the David Lawrence Center and Foundation, as the beneficiary of the Opening Night Preview Party. We are thankful and delighted to welcome their supporters and to help raise funds for such a great cause.

A show of this magnitude presents exciting challenges and requires a coordinated effort from a myriad of people. We would like to show our gratitude by congratulating everyone involved in making the Naples Art, Antique & Jewelry Show a success. It is truly a team effort that requires seamless production from our hardworking office staff to our technical and creative personnel that bring this event to life.

We would also like to thank UBS and Stephens Group at UBS for believing our vision and helping to make this show special.

Most importantly, we would like to give a special thanks to our exhibitors from around the world who travel here so that we may enjoy spectacular works of art, rare antiques and timeless treasures. To each participant, we offer our deep appreciation and gratitude.

To our visitors, we extend our warmest welcome, and invite you to take advantage of this cultural experience and the opportunity to meet many of the worlds most renowned and respected jewelry, fine art and antique dealers who are eager to share their knowledge and treasures with you. We are also pleased to welcome you to other Palm Beach Show Group events: Chicago International Art, Antique & Jewelry Show, April 24-28, 2014 Baltimore Summer Antiques Show, August 21-24, 2014 Art Baltimore, August 21-24, 2014 New York Art, Antique & Jewelry Show, September 17-21, 2014 Dallas International Art, Antique & Jewelry Show, November 6-10, 2014 Palm Beach Jewelry & Watch Show, November 13-16, 2014 LA Art Show, January 14-18, 2015 Los Angeles Jewelry, Antique & Design Show, January 14-18, 2015 Naples Art, Antique & Jewelry Show, February 5-9, 2015 Palm Beach Jewelry, Art & Antique Show February 13-17, 2015 “It would take a lifetime of travel to experience all that the Palm Beach Show Group has to offer.”

Enjoy the Show!

Scott Diament Robert Samuels

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Opening Night Preview Party

Show Hours

Thursday, February 6 5:00 pm-9:00 pm Benefiting David Lawrence Center & Foundation

Friday Saturday Sunday Monday

February February February February

Palm Beach Show Group President/CEO.................................................................... Scott Diament, GG G.I.A. Vice President........................................................................Rob Samuels, GG G.I.A. Chief Operating Officer.......................................................................Dale Chlumsky Event Management Executive Show Coordinator.....................................................................Kellie Ross Executive Exhibitor Development Manager.................................Jaime Moses Show Director, Chicago...................................................................Laurette Lutiger Show Director, New York..............................................................Barbara Goodwin Show Production Assistant..................................................................... Nikki Torres Administrative Assistant........................................................................... Vanya Allen Communications Executive Director of Communications.......................................... Laurie Green Communications Assistant..........................................................Danielle Hamilton Art Director................................................................................................. Hanna Isotalo Lead Graphic Designer.................................................................. Shelley O’Connor Accounting Executive Finance Manager..........................................Lisa Solomon Weissman Assistant Bookkeeper...........................................................................Chere Morales Operations Logistics Consultant................................................................................. Robert Hahn Logistics Coordinator................................................................................... Luis Alfaro Booth Design................................................................................................ Chris Bowes

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7 8 9 10

10:00 am-6:00 pm 10:00 am-6:00 pm 1 1:00 am-5:00 pm 1 1:00 am-5:00 pm

February 6, 2014

Dear Friends, It is my pleasure to welcome all attending the Naples Art, Antique & Jewelry Show.

Florida is proud to host this event, which draws visitors from throughout the United States and around the world.

As you enjoy the show, our scenic beauty, and friendly businesses, I also invite you to learn more about what we are doing to make Florida the best place for businesses to succeed. As a lifelong entrepreneur, I understand what it takes to grow a business. That is why during the three years since I took office, we have reduced the size, cost, and scope of government in order to expand opportunities for entrepreneurs, and Florida’s increased rate of private-sector job creation indicates that our strategy is working.

To that end, I am focused on three goals for our state: making Florida the No. 1 place for businesses to succeed, keeping the cost of living low for families and businesses, and making sure our schools prepare students for the career of college of their dreams. As a result, Florida’s economy is moving in the right direction because we have the right strategies in place.

You have my best wishes for a memorable and successful show, and I hope each of you will visit Florida often.

Sincerely,

Rick Scott Governor

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City of Naples JOHN F. SOREY III MAYOR

February 6, 2014 Welcome to the Naples Art, Antique and Jewelry Show!

Naples is proud to host this art show for the third year which will feature the ravishing collections of more than 75 internationally acclaimed artists and exhibitors. Guests will feast their eyes on some of the world’s most radiant and unique pieces around today, including works of art, antique finds, estate jewelry, furniture, porcelain, Asian antiquities, American and European silver, glass, textiles, sculptures, contemporary art and so much more.

Since Naples was founded in 1886, people have been drawn to our seven miles of beaches, balmy breezes, cultural activities, great shopping and terrific dining in a pristine tropical setting. We have enticed 22,000 people to take up residence full-time, and another 12,000 to come for the winter months from throughout the USA, Canada, Europe, and South America.

The City of Naples has so much to offer our visiting guests, especially its friendly hospitality and neighborly residents. From our rich history, art, culture, recreation, special events, and our locals, Naples is no longer just a great place to visit; it is a great place to live, work, and play. Naples is the crown jewel of Southwest Florida. We hope you will come back to visit us soon.

Sincerely,

John F. Sorey III, Mayor

th

735 8 Street South, Naples, Florida 34102 Telephone: (239) 213-1000 Fax: (239) 213-1010 Email: Mayor@naplesgov.com

Welcome to Florida’s Paradise Coast, On behalf of the Naples, Marco Island, Everglades Convention & Visitors Bureau, we warmly welcome each visitor, guest and exhibitor to the prestigious Naples Art, Antique & Jewelry Show. It is a privilege to host this event showcasing over 200 international exhibitors in the height of our busy season.

With great enthusiasm we applaud the show organizers Scott Diament and Rob Samuels for presenting this extraordinary caliber show experience at the 50,000 sq. ft. Naples Exhibition Center. This magnificent collection of international exhibitors and collectors distinguishes Florida’s Paradise Coast with a highly vetted array of fine art, jewelry and important antique dealers from all parts of the globe.

Once you have perused the extraordinary exhibits, we encourage you to experience the beauty and charm of our little slice of Paradise here in Naples. We encourage you to visit our restaurants and attractions, delight in our nightlife and historic sites, stroll our avenue shops, bask in the glow of our colorful sunsets, and explore the pristine nature of the Gulf Coast Everglades region, with endless adventures awaiting you whether on foot, paddling a kayak or exploring this pristine watery ecosystem by boat.

Most of all we invite you to come back and visit us often!

Sincerely,

Jack Wert Executive Director

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TO SUBSCRIBE, CALL (239) 213-6000

After witnessing the unthinkable at 12 years old – her mother shot at the hands of her stepfather – Velma quit school and started picking in the fields of Immokalee to support her brothers and sisters.

Velma remained upbeat and had a family of her own, but then experienced multiple, devastating losses and trauma and was diagnosed with a debilitating health issue. She felt suicide was the only way to escape her sadness, fear and pain. For her children’s sake, she finally asked for help from the David Lawrence Center.

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A not-for-profit organization founded and still governed by community leaders, the David Lawrence Center is the behavioral health component of our community’s healthcare network.

A true local resource, it relies on donations, fees and grants to invest in the health, safety and wellbeing of our community.

When you or someone you love needs help, call on the highly compassionate, committed and competent professionals of the David Lawrence Center to inspire you to move beyond the crisis towards life-changing wellness.

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immokalee

239-657-4434

Contents Show Hours & Preview Party..................................................................... 7 Letters of Greeting........................................................................................ 8 Maine Sublime................................................................................................ 15

by John Wilmerding The World at Your Fingertips.................................................................. 25

by Caroline Wallrock of Wick Antiques Participating Exhibitors............................................................................ 30 Index of Exhibitors....................................................................................... 78 Advertisements............................................................................................ 80

COVER

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Maine Sublime Fr eder ic Edw in Church’s L andscapes of Mount Desert and Mount K atahdin

by John Wilmerding Fig. 1: Frederic Edwin Church (1826–1900) We now recognize Frederic Edwin Church (1826–1900) Twilight in the Wilderness, 1860 Oil on canvas, 40 x 64 inches as one of America’s great artists of the nineteenth century. The Cleveland Museum of Art Mr. and Mrs. William H. Marlatt Fund (1965.233) Further, many believe his work done in Maine includes Image © The Cleveland Museum of Art some of his most important images, with Twilight in the Wilderness (Fig. 1), based on a sunset he had sketched at Bar Harbor, Maine, a few years earlier, ranking among the dozen greatest paintings in the history of American art.

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Fig. 2: Frederic Edwin Church (1826–1900) The Wreck, 1852 Oil on canvas, 30 x 46 inches James M. Cowan Collection of American Art The Parthenon, Nashville, Tennessee (29.2.14) Image © 1929 The Parthenon Museum, Nashville, Tennessee

Fig. 3: Frederic Edwin Church (1826–1900) Granite Cliffs, Mount Desert Island, ca. August 1850 Graphite on light brown paper, 1013⁄16 x 15 inches Olana, OL (1977.112)

Church was a public and a private artist. His paintings address both history and autobiography. The work done in Maine during the 1850s and early 1860s, primarily at Mount Desert, embodied sentiments of increasing national strife, in symbolic and suggestive ways, while his career of the later 1860s and into the 1880s was devoted more to Church’s personal time in inland Maine around Mount Katahdin. Where his earlier production was extroverted and exclamatory, the latter was often nostalgic and withdrawn. Over the thirtyyear period, Church made more than a dozen trips to Maine, nearly half to Mount Desert during the 1850s and the remainder to the Katahdin region mostly in the two decades following.

How Church came to travel to Maine relates to his initial artistic training. From 1844 to 1846 Church studied with Thomas Cole (1801–1848), the foremost landscape artist of the day, in Catskill, New York. In 1844 Cole decided to make an excursion to the Maine coast and Mount Desert Island, where he filled his sketchbook with more than a dozen pencil drawings of the surrounding area as well as panoramic views of and from the island itself. Over the next year he created at least three canvases based on his trip, including View across Frenchman’s 16

blocks of quartz and granite across the rock face of Otter Cliffs.

Birch Tree Struck by Lightning (Olana, Hudson, New York) executed in the manner of Cole, suggests God’s hand in the life of nature, but Church’s sketches were far more specific and identifiable in their execution than Cole’s.

Church found the lumber mills, either under construction or in operation around the island, a lively subject to sketch, later producing the finished oil painting Lumber Mill, Mount Desert Island, circa 1850 (Fig. 4).

During his first trip Church also undertook several drawings of Newport Mountain from varying distances and slightly different angles, almost as if he were photographing it with changing zoom and wide-angle lenses. In his New York studio later that fall, he began to compose a large canvas of the view (Fig. 5), synthesizing selected aspects he had recorded by pencil on separate sheets. Featuring a man in the foreground pulling in over the rocks the remains of a wrecked vessel, the sky is a crisp deep blue and autumn colors dot the forests, but it is the turbulent surf and looming mountainside that address nature’s more awesome character.

In October 1851, Church returned to Mount Desert, actively painting and sketching, gathering material for The Wreck (see fig. 2).

Fig. 4: Frederic Edwin Church (1826–1900) Lumber Mill, Mount Desert Island, ca. 1850 Oil on canvas, 14 x 20 inches Private collection. Image courtesy David Stansbury

Bay from Mt. Desert Island, After a Squall (Cincinnati Art Museum, Cincinnati).

After Cole’s death in 1848, Church’s maturing style followed the evolving taste toward a more exacting and explicit recording of sites, but his teacher’s work in that exotic coastal wilderness obviously impressed him deeply.

At the same time, several other artistic and literary forces then coming to fruition—Andreas Achenbach (1815–1910), Fitz Henry Lane (1804–1865), and New England author Henry David Thoreau (1817–1862)—shaped Church’s ambition to try new subjects along the Maine coast. In the exclamatory language of the sublime, these influential artists celebrated nature’s dual pastoral and awesome, even destructive, elements. Church would tackle a similar subject when he painted The Wreck (Fig. 2) at Mount Desert.

On his first trip to Maine in 1850, Church was eager to visit particular views his mentor Cole had sketched. Granite Cliffs, Mount Desert Island (Fig. 3) is a close-up sketch of the compressed cubic 17

companions recorded, “Mr. Church says this island is remarkable for fine sunsets; and our stay here is daily proving impressions just.” 2 Church painted his greatest Maine sunset in 1860, when the nation was on the threshold of civil war, and almost all scholarship on Church sees Twilight in the Wilderness (see fig. 1) as emblematic of this explosive moment. Three aspects dominate this pivotal picture: the meteorological, the spiritual, and the national. The cloud formation reflecting the setting sun is several thousand feet high in the atmosphere—what weather reporters today would describe as a sharp front about to bring impending change— is depicted in a preliminary sketch (Fig. 9). Tied to the meteorological display is the artist’s strong religious faith. He presents the landscape as a day of judgment. On the right, three trees appear in various stages of decay and collapse, signifying the cycle of time. Church also universalized the setting: it remains a Maine subject, but it is also a continental landscape, pertinent to the state of the nation and the impending civil war.

In 1860, Church’s personal life and energies shifted. He purchased a farm near Hudson, New York, where soon after marrying Isabel Carnes he built a cottage. Family affairs seized his attention with the birth of his first two children, born in 1862 and late 1864. In celebration of their births, he painted small companion

This canvas shows some crucial changes in Church’s work: No human figures are present, and an old schooner forced onto the rocks now occupies the foreground. Its aft mast is broken, but the one forward with its cross bar above forms a clearly silhouetted cross against the sky in an image of salvation.1 Brilliant afternoon sunlight breaks through the stormy clouds to illuminate the horizon line with its redemptive force. With this work Church decisively turned his attention to the evening hours, whose expressive colors he would explore in shifting ways over the rest of the decade.

In 1852 Church made his first excursion to Mount Katahdin.

Far fewer sketches survive from this trip, but the great northern peak clearly possessed his attention. A powerful oil study depicts the mountain silhouetted at twilight (Fig. 6). The artist envisioned Katahdin as a sublime continental complement to the coastal positioning of Mount Desert.

Further trips to Mount Desert Island produced a variety of sensational sunsets (Figs. 7 and 8). One of Church’s traveling Fig. 5: Frederic Edwin Church (1826–1900) Newport Mountain, Mount Desert, 1851 Oil on canvas, 21¼ x 31¼ inches Private collection, promised gift National Gallery of Art, Washington, D.C.

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In 1878, the artist purchased the fifty-acre Stevens Farm on the south shore of Millinocket Lake, which brought him back to Maine for successive stays in the years following. The property gave him unobstructed views across the water to the mountain, and he repeatedly sketched it and the surrounding woods in pencil and oil studies (Fig. 11). Many of these are beautiful and technically precise vignettes, but they seldom led to singular completed projects as they had earlier at Mount Desert.

After his final visit, in1881, Church continued to paint occasional canvases of Mount Katahdin, some of good size. Very different from the visual exultations he recorded on his first visits, these are calm and reflective, often bathed in pink light. The foregrounds are mostly empty and often in shadow, the peak reached across an expanse of flat open water. The mood seems wistful and elegiac.

Rather than inviting, these works were a meditation on something enduring at a great distance away. Debilitated by arthritis, Church’s last dated canvas was Mount Katahdin from Millinocket Camp,

Fig. 6: Frederic Edwin Church (1826–1900) Twilight Mount Ktaadn [sic], ca. 1858–60 Oil on paper mounted on board, 10½ x 13⅝ inches Private collection

canvases, Sunrise and Moonrise (both at Olana, Hudson, New York).

His joy was dashed the following year with the deaths of both from diphtheria; this was a moment in his art of turning from public to personal meanings.

Four more children were born over the next few years, as domestic life took hold. Church added to and landscaped his Hudson property, and in 1867 purchased the hilltop with the intent of building a new home. Construction of the Persian villa was under way between 1870 and 1872 (Fig. 10). Church blended eastern and western elements into its detailing and designed the views from major windows and balconies to frame living landscape compositions. The house and 250acre designed landscape, later named Olana, are a work of art in their own right. Thus domestic life and space drew his principal emotional and creative drives during these years.

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Fig. 7: Frederic Edwin Church (1826–1900) Sunset, Bar Harbor, ca. September 1854 Oil on paper mounted on canvas, 10⅛ x 17¼ inches Olana, OL (1981.72)

Fig. 8: Frederic Edwin Church (1826–1900) Maine Sunset, ca. 1856 Oil on paper mounted on canvas, 10 x 17½ inches Olana, OL (1980.1889)

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Fig. 9: Frederic Edwin Church (1826–1900) Twilight, a Sketch, 1858 Oil on canvas, 8¼ x 12¼ inches Olana, OL (1981.8)

painted in 1895 (Fig. 12), which he presented to his wife, Isabel, as a birthday gift. His accompanying note read, “Your old guide is paddling his canoe in the shadow, but he knows that the glories of the Heavens and the earth are seen more appreciatively when the observer rests in the shade.” 3 He had been painting the great summits of Maine for forty-five years, from 1850 to 1895, expressing the most public and personal themes of his lifetime.

John Wilmerding is Sarofim Professor of American art, emeritus, at Princeton University and a noted scholar of American art and cultural studies. Formerly, he was a visiting curator in the Department of American art at The Metropolitan Museum of Art and served as Senior Curator and Deputy Director of the National Gallery of Art in Washington.

1. Charles Colbert, Haunted Visions: Spiritualism and American Art (Philadelphia: University of Pennsylvania Press, 2011), 117.

2. Anne Mazlish, ed., The Tracy Log Book, 1855, A Month in Summer Bar Harbor, Maine (Bar Harbor: Acadia Publishing Company, 1997), 57. In August

Fig. 10. Peter Aaron, View across the Lake, Olana, photograph, 2010 (2010A53.442). © Peter Aaron/OTTO. All rights reserved.

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and September of 1855 Church was part of a large vacationing group of family and friends organized by Charles Tracy of New York (who later became the father-in-law of J. Pierpont Morgan).

Tracy kept a lively diary of their time on the island, which provides us with a glimpse of the artist’s congenial side, as he was known to sing and play the piano, tell stories, fish, and cook for the group.

3. Frederic Church to Isabel Church, November 10, 1895.

The Olana Partnership and the New York State Office of Parks, Recreation and Historic Preservation present Maine Sublime: Frederic Edwin Church’s Landscapes of Mount Desert and Mount Katahdin, a traveling exhibition, exploring the almost half-century during which Frederic Edwin Church traveled to and was inspired by the landscapes of Maine.

Guest curated by John Wilmerding, the exhibition was most recently on view at the Evelyn and Maurice Sharp Gallery at Olana, Hudson, New York. A companion catalogue is available that includes a more comprehensive version of this essay. The exhibition will next be on view at the Cleveland Museum of Art from June 8 – September 21, 2014. For more details, call 518.828.0135 or visit www.olana.org or www.clevelandart.org.

Fig. 11: Frederic Edwin Church (1826–1900) Wood Interior Near Mount Katahdin, ca. 1877 Oil on paper mounted on canvas, 125⁄16 x 171⁄16 inches Olana, OL (1980.1871)

Fig. 12: Frederic Edwin Church (1826–1900) Mount Katahdin from Millinocket Camp, 1895 Oil on canvas, 26½ x 42¼ inches Portland Museum of Art, Maine, Gift of Owen W. and Anna H. Wells in memory of Elizabeth B. Noyce (1998.96)

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The World at Your Fingertips

Article by Caroline Wallrock of Wick Antiques

N

owadays it might seem incredible that, as late as the 1300s, Man believed the world was

flat and that sailors departing for the unknown might drop off the end. Brave, en-

quiring minds were persecuted and even put to death for daring to think other-

Aristotle proved the world was round over 2,000 years ago by noticing the round shadow of the earth during an eclipse of the moon

wise, despite the fact that the first known

spheres, often silver or gold. These were very costly, the preserve of royalty or the nobility. As demand grew scholars, scientists, engravers, printers and craftsmen combined to create a complex series of gores or elliptical strips of paper which could be printed in the flat, hand coloured and then carefully trimmed and pasted

globe was made by Crates of Mallus in the

golden age of sail where immense politi-

onto a globe which in turn was set into

2nd century BC and Aristotle proved the

cal power, sovereign territorial gain and

a stand which not only allowed it to be

world was round over 2,000 years ago by

untold wealth would be concentrated in

spun on its axis but also revolved to show

noticing the round shadow of the earth

the hands of those who controlled the

both hemispheres.

during an eclipse of the moon. In 1492

high seas, especially the routes to the West;

mers captured the scatter of constellations

Martin Behaim of Nuremberg made the

Portugal, Spain, the Netherlands, France

across the skies and translated it onto a

oldest western globe still in existence to-

and Britain. The dawn of maritime domi-

corresponding sphere; initially these were

day but there were large expanses of sea

nance coincided with the development of

concave to mirror the heavens as seen from

to the West. Coincidentally Christopher

the printing press and immediately posed

earth.

Columbus and Amerigo Vespucci voyaged

the challenge of producing a constantly

For the next 400 years returning ex-

to the New World in that same year, al-

changing world in the round. Monarchs

plorers and sea captains would provide

though they initially hoped they had ar-

and statesmen, explorers and buccaneers,

globe makers with their ships’ logs and de-

rived in the Orient, and gradually some of

clergymen and merchants all wanted the

tailed diaries leading to proud declarations

the gaps in the known world’s surface were

most up-to-date information. In addition,

of up-to-the minute papers for example

filled in.

alongside their charts and hand-held in-

“compiled from the most recent authen-

struments, navigators needed a different

tic surveys of British and foreign naviga-

set of maps - those of the stars.

tors and travellers,” or “all the Fixed Stars,

This heralded the beginning of the Fig 5. ‘Philips’ Thirty-Inch Globe, Rand McNally & Company, San Francisco, Chicago, New York. Circa 1910.

(Photograph courtesy of Wick Antiques)

Meanwhile astrono-

Enter the globe makers. The earliest

Nebulae and Clusters ….together with the

globes were hand drawn or sometimes in-

additional Stars noticed in the recent Cat-

cised by cartographers directly onto metal

alogue of the British Association”, or “with

25

New Discoveries and Political Alterations

Dutch East India Company (V.O.C.) in

for Louis XIV and the die was cast. They

down to the present period” and so on.

1602 combined to shift the focus of globe

were so popular that Coronelli founded

Political and cultural developments

making to Amsterdam. Petrus Planicus,

his workshop in Venice to produce 3-foot

dictated the changing centres for globe

preacher, scientist, astronomer and car-

printed globes for nobility, archbishops,

production. As we have seen above, the

tographer added stars from the Southern

cardinals, ambassadors and scientists right

first centre of excellence was Nuremberg

Hemisphere including Crux (the Southern

across Northern Europe. Such valuable

where Johann Schöner (1477-1547), a

Cross) and Triangulum Australe with 135

show-pieces were often set into ornate

priest, teacher of mathematics and printer

further stars grouped into 12 constella-

frames, for example a pair, now in Brus-

who cut his own wood blocks for his first

tions named after creatures from Asia and

sels, were supported by carved, painted

set of gores, is credited with being the first

the West Indies; Chamaeleon, Apus (Bird

and gilded allegorical figures of the Four

person to make a pair of corresponding ce-

of Paradise), Tucana, and so on.

Continents and the Four Elements.

lestial and terrestrial globes.

By the late 17th century fashion was

Meanwhile French scientific and astro-

In the next century successful Dutch

changing. Globes were status symbols for

nomical expeditions to far-flung Peking,

expeditions round the Cape of Good Hope

emperors and kings. They had to be splen-

Peru and Lapland combined with more

(1595), to Australia (1620) and New Zea-

did as well as scientifically accurate. In

reliable clocks, stronger telescopes in the

land (1642-44) together with the grant-

1683 an Italian called Vincenzo Coronelli

newly founded Paris Observatory, 1666

ing of a monopoly to trade in Asia to the

made the massive 3.85m ‘Marly’ globes

and a study of the moons of the planet Jupiter led to the more accurate determination of longitude on French maps and globes. In London, around 1680, Joseph Moxon started a trend for pocket globes which were to become so popular and affordable that they were soon being mass produced.

Like their European counterparts, British globe-makers benefitted from the scientific advances and explorations of their compatriots. The greatest of these was Sir Isaac Newton. His extraordinary new revelations about the earth and the planets led to an explosion in commercial instrument manufacture around 1700.

Master craftsmen, unfettered by protectionist craft guilds like those in France, were able to meet the demand for ‘orreries’ (complicated mechanical models of the movement of planets round the sun), ‘planetaria’ ‘cometaria’, ‘lunaesolaria’, mathematical instruments, armillary spheres and of course globes. Nathaniel Figure 1. Newton Handbill.

(Photograph courtesy of Wick Antiques)

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Hill, globe maker, advertises his shop thus

Figure 2 shows a pair of Cary's 21-inch

and the other "Cary's New and Improved

‘Makes and Sells all Sorts of Mathemati-

Library Globes purchased from the Free-

Celestial Globe on which is carefully laid

cal Instruments in Silver, Brass, Ivory or

mason’s Hall in Bournemouth, England.

down the whole of the stars and nebulae...

Wood, very curious, and true graduated

Each globe is surmounted by a brass scale

adapted to the year 1800."

both for Sea and Land with Books of their

in a circular mahogany stand with four

Equally the Newton family were

Use and the best Black-Lead Pencils. New

arched supports on a baluster and ring-

ranked among the leading English

and Correct GLOBES of 3.9.12 & 15

turned column. One is inscribed "Cary's

globe makers of the early 19th century.

inches diameter.” (Fig. 1) George Adams

New Terrestrial Globe exhibiting the tracks

John Newton (1759-1844) trained un-

based his celestial globes on the recent ‘star

and discoveries made by Captain Cook....

der Thomas Bateman before founding his

catalogue’ of John Flamstead, the Royal

together with every other improvement

own company in 1780. In the early 1800s,

Astronomer at Greenwich and his later

collected from various navigators to the

John and his second son William (1786-

globes featured the discoveries of Captain

present time""London, made and sold

1861) relocated to 97 Chancery Lane and

James Cook’s three voyages of 1768-80.

by J & W Cary Strand, March 1st 1815,

traded under the name J & W Newton.

with additions and corrections to 1823”

From 1831 to 1841 another partner was

Now we enter the heyday of British globe manufacturing centred on London. The roll call includes Leonard and Richard Cushee, John Senex, the Adams family, James Ferguson, Malby and Sons and Charles Smith and Sons. The giants among them however, were Bardin and Son, Newtons and the Carys. These firms dominated globe production well into the 19th century.

The celebrated Cary family of cartographers and globe makers produced some of the greatest late Georgian globes. The firm was started in London in the late 18th century by John Cary (cl 1754-1835), an engraver and dealer in maps who often worked in partnership with his brother William Cary (cl 760-1825), a scientific instrument maker. John concentrated on geographical excellence rather than on decoration. In about 1820 the Cary brothers moved their business to 86 St. James's Street, leaving the premises at 181 Strand to John Cary's sons George (c. 17881859) and John Jr. (1791 - 1852) who traded as G. & J. Cary until about 1850.

Figure 2. A pair of Cary's 21-inch Library Globes (Photograph courtesy of Wick Antiques)

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Figure 3. Detail of a Celestial Globe

by Loring and Joslin.

(Photograph courtesy of Wick Antiques)

added, civil engineer Miles Berry, and the company became Newton, Son and Berry.

After 1841 ownership passed to the eldest son William Edward Newton (1818-79).

But what was happening on the other side of the Atlantic? Initially Americans relied on English maps and globes, but Independence and also greater mapping of central and western N. America required a domestic product. James Wilson (17631855) started the ball rolling, literally, with solid wood spheres covered in papers he researched in the Encyclopaedia Britannica. Having taught himself every aspect of globe making and even having made all the machines required, Wilson made his first “New American Thirteen Inch Globe” in 1810 and was running a full factory by 1815. Incidentally this was also the year in which Harvard College first listed a knowledge of Geography as an entry requirement. His globes charted the steady increase of States seeking entry into the Union and some have the prime meridian running through Washington.

So now globes had evolved from luxury status symbols to classroom essentials and educational tools. Two Boston booksellers, Joseph Loring and Gilman Joslin (Figures 3 & 4) seized the chance to market globes alongside their printed maps and atlases and rose to such prominence that the former was awarded a silver medal in 1838 (although the globes themselves were made and engraved by W. Annin and G.Smith.)

By 1872, in Chicago, Rand McNally were cutting production and labour costs, by using full colour printing and cerography, 28

an innovative wax-engraving print tech-

the Graf Zeppelin and the Lindbergh,

the world at your fingertips, invest in a

nique, so successfully that they quickly

the construction of the Suez and Panama

globe. n

became, and remain to this day, one of the

canals and even man-made islands in the

best known map publishing companies in

shape of palm trees. Likewise as symbols

the United States. Figure 5 shows a very

of wealth and good taste, as examples of

impressive ‘Philips’ 30-Inch

terrestrial

timeless elegance reflecting the style and

globe c1910 in a walnut stand with four

fashions of bygone eras, globes have re-

fluted columns joined by shaped stretchers

tained their cachet.

carved with bold acanthus scrolls.

If you want to touch the stars, if you want

America also produced the first female globe innovator. In 1875 governess Ellen Eliza Fitz obtained a patent for a globe stand which was able to show the position of the sun and the length of days, nights, and even twilight for the whole year.

Cook’s voyages completed the gaps in our knowledge of the Earth’s coastlines. The great 19th century explorers filled in the blank spaces of central Africa and the Polar Regions and by the 20th century scientists and explorers were turning their energies to the moon, nearby planets and distant galaxies. Global satellite navigation systems and the internet have replaced globes as a means of navigation and education but the allure of these spheres as snapshots of a different era still remains. It is fascinating to find a globe where Australia is New Holland or there is no Lake Victoria.

The rise and fall of nations and Empires are mapped out in changing names and borders, when did the Indian Territory become Eastern Oklahoma or Newfoundland and Labrador join Canada. When did Yugoslavia disappear or Myanmar emerge?

Great milestones in our development are often noted on globes, sometimes by hand; like the position of the first transatlantic telegraphic cable, the flights of Figure 4. A pair of Loring and Gilman globes on unusual tripod stands.

Circa 1875 (Photograph courtesy of Wick Antiques)

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Wick Antiques stock a whole host of globes, all shapes and sizes. Please enquire for more details. Find us at: www.wickantiques.co.uk +44 (0)7768 877 069 Charles@wickantiques.co.uk https://www.facebook.com/Wickantiques

Art Link international Fine Art Paintings & Glass contact: Howard Brassner & Barbara Womelsdorf 809 Lucerne Ave. Lake Worth, FL tel: 561-493-1162 email: barbara@artlinkinternational.com website: www.artlinkinternational.com

Carlos Merida (1891 - 1984) Dos Personajes Acrylic on Handmade Paper, 23 1/4� x 20�, 1958 Certificate of Authenticity from Alma Merida (his daughter) date October 31, 1984

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Cavalier Galleries Contemporary art, painting, sculpture, and photography contact: Ron Cavalier Greenwich, New York, Nantucket tel: 203-869-3664 212-570-4696 508-325-4405 email: art@cavaliergalleries.com website: www.cavaliergalleries.com

Jim Rennert “Decisions, decisions�

26 1/2 x 14 x 9

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Century guild art nouveau, symbolist & secession lithographs from germany, austria, france & italy from 1880-1925 Chicago & Los Angeles tel: 312-617-8711 email: chicago@centuryguild.net website: www.centuryguild.net

In 1908 Gustav Klimt released Das Werks, a 300 - edition folio containing fifty collotypes - including: “TheKiss.�

Klimt supervised the production and applied a signet to each piece as signature and approval seal.

This masterpiece represents the mystical union of spiritual and erotic love, merging the individual with eternal cosmos.

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CHAcE Alexander gallery 119 Australian Avenue West Palm Beach, FL 33480 tel: 561-267-0217 email: jckkjr@gmail.com

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Charamonde Jewelers Fine Estate Jewelry contact: Kris Charamonde 500 North Dixie Highway Lake Worth, FL 33460 tel: 561-245-0333 email: charamonde@aol.com

Collection of Kieselstein - Cord Jewelry

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Charles L. Washburne Antiques victoriaN majolica specialist P.O. Box 486 Solebury, PA 18963 tel: 215.794.7584 website: www.majolica.net

Rare George Jones Majolica Dressing Table Set Tulip Candlestick with Butterflies, England, Circa 1870

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colm rowan Fine Art THE MASTERWORKS OF KEN HAMILTON SCULPTURE BY NNAMDI OKONKWO contact: Colm Rowan Philadelphia, Pennsylvania USA tel: 610-256-3256 email: rowan.colm@gmail.com website: www.colmrowan.com

Ken Hamilton (Irish, 1956“Girl in a Kimono” oil on artist board 10” x 8” Monogrammed

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)

David David GALLERY American & European Paintings, Watercolors, Drawings & Sculptures from the 17th-21st century 260 S. 18th Street Philadelphia, PA 19103 tel: 215-735-2922 fax: 215-735-4244 email: info@daviddavidgallery.com, daviddavidgal@mindspring.com website: www.daviddavidgallery.com

“Ladies Knitting” Martha Walter (American 1875-1976) Signed lower left Painted Circa 1920 Size 40” x 48” Oil on canvas Excellent condition Provenance: Estate Of The Artist/David David Gallery/Private Collection Illustrated: Illustrated, “Martha Walter” by Carl David, American Art Review, May 1978

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Eckert Fine Art NY specializes in Post-War and Contemporary artists such as Robert Rauschenberg, Roy Lichtenstein, Jim Dine, and the Realist painter Eric Forstmann 34 Main Street Millerton, NY 12546 Coats Wright Art & Design at the Indiana Design Center 200 S. Rangeline Road, Suite 122 Carmel, IN 46032 tel: 518-592-1330 (NY) 317-569-5980 (IN) email: janneckert@aol.com, dwright@coatswright.com website: www.eckertfineart.com

“Pearamid” 2013 Oil on Board 32 X 22” by Eric Forstmann.

Eckert Fine Art is the exclusive representative of Forstmann.

According to Art News “Forstmann brings insouciance and rumpled informality to the tradition of trompe l’oeil still life paintings.

His self- deprecating humor adds the likeable Everyman persona that comes across in his work”

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Eckert Fine Art NY specializes in Post-War and Contemporary artists such as Robert Rauschenberg, Roy Lichtenstein, Jim Dine, and the Realist painter Eric Forstmann 34 Main Street Millerton, NY 12546 Coats Wright Art & Design at the Indiana Design Center 200 S. Rangeline Road, Suite 122 Carmel, IN 46032 tel: 518-592-1330 (NY) 317-569-5980 (IN) email: janneckert@aol.com, dwright@coatswright.com website: www.eckertfineart.com

“American Vitamin, (Runt)” 2007 Pigment Transfer on Polylaminate 61 X 73-1/2” by Robert Rauschenberg.

Rauschenberg, considered one of the world’s greatest artists, has a long history with Southwestern Florida through having a studio on Captiva Island since 1970. Time Magazine wrote after the artist’s death, “What made Rauschenberg a great American artist? His embrace of just about everything.”

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ed weissman Antiques American, English & Continental Furniture prior to 1830, 19th & 20th Century Paintings, 17th - Mid 19th Century Decorative Arts 110 Chapel Street Portsmouth, NH 03801 tel: 603-431-7575, 239-450-5585 email: margaret@edweissmanantiques.com website: www.edweissmanantiques.com

19th century American Birth Record of the Augustus Hemenway Family of Salem/Boston in the form of a Silver “Mermaid Rattle�

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The Englishman Fine Art NINETEENTH AND EARLY TWENTIETH CENTURY PAINTINGS 1190 Third Street South Naples, FL 34102 tel: 239-649-8088 email: info@theenglishmanusa.com website: www.theenglishmanusa.com

Anshelm Schultzberg (1862-1945) “Sunset on the Mountains” Signed Oil on Canvas, Circa 1910 40 x 53 inches framed

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eve stone antiques, ltd. contact: Susan Stone - Eve Stone Woodbridge, CT tel: 203-466-6665 email: sstone@evestoneantiques.com website: www.evestoneantiques.com

French, brass, repousse, magnificent wine cooler with masked creatures at each side. circa 1760

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Gallery Frederic Got contemporary art, sculptures in bronze, photos & original paintings 35 Rue de Seine 75006 Paris, France tel: +33 635423215 email: gallerygot@gmail.com

Name of artist : Jacques Lebescond Name of sculpture : Epsilon Media : bronze , limited edition Year 2012

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The gallery at four india 19th-21st century american & french paintings, sculptures, sailor valentines and collectibles from traditional to contemporary fine art contact: Kathleen Knight 4 India Street Nantucket, MA 02554 Private viewings available by appointment in Lyme, Connecticut tel: 508-228-8509 email: gallerynantucket@gmail.com website: www.galleryfourindia.com

Henry St. Clair (French, 1899-1990) "The Board Walk" Oil on Painter's Board 27 x 29½ inches A collection of oil paintings from the Estate of the Artist, Henry St. Clair c. 1925-1950. and a special exhibit of Sailor Valentine’s by awarded artists Sandy Moran and Judy Dinnick

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gallery of amazing things 50 million-year-old Stone Fossil Murals and Sculptures contact: Arron Rimpley, Gregg Whittecar 481 South Federal Highway Dania Beach, FL 33004 tel: 954-654-7739 fax: 786-464-1950 email: info@galleryamazing.com website: www.galleryamazing.com

A 71 million year old Ammonite fossil found in Alberta, Canada. As rare as they are beautiful, all Ammonite fossils are one of a kind—unique in brilliance and color.

These exceptionally scarce specimens are sought after by museums and private collectors the world over.

Size: 47”H x 57”W

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isabella m. Vintage and interiors hand blown italian murano glass lighting and objects, 1920-1960 Venice, Saint Tropez, Dallas tel: France +33 494 63890 +33 687 114785 Dallas 214-741-9858 email: isabella.muratori@isabellam.com, scottrome@aol.com website: www.isabellam.com

A large pair of “Fungi� lamps in hand blown fume glass, Murano, Italy signed BAROVIER, 1930.

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J.S. Fearnley Fine & Estate Jewelry contact: Steven Fearnley or David McKeone 87 West Paces Ferry Road, Suite 2 Atlanta, GA 30305 tel: 404-812-6464 email: steven@jsfearnley.com, david@jsfearnley.com, alexander@jsfearnley.com website: www.jsfearnley.com

18 Karat Gold, Onyx and Diamond Bangle Bracelet and Ring

by Boucheron, France, circa 1960’s

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John Atzbach Faberge & Imperial Russian Antiques 15127 NE 24th St. Ste. 118 Redmond, WA 98052 tel: 425-271-8950 cell: 206-618-2684 fax: 425-271-8940 email: john@atzbach.com website: www.atzbach.com

A Russian silver and shaded cloisonné enamel Imperial presentation bread and salt set, by the 6th Artel, Moscow, circa 1912; originally presented to the British Ambassador Sir George Buchanan.

Tray diameter: 7 1/8”; Cup height: 1 1/8”.

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Kaminski Auctions, Appraisals & Fine Art Beverly, Massachusetts, San Diego, Beverly Hills, Palm Springs, California, New York tel: 978-927-2223 email: auctions@kaminskiauctions.com, consignments@kaminskiauctions.com website: www.kaminskiauctions.com

Augustus Saint-Gaudens (1848 - 1907), Bronze scuplture of Nike Eirene (Head of Victory). From the collection of Hyatt Lemoine of New Haven, CT.

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Made in Russia Since 1994 a leading purveyor of fine Russian Orthodox icons, Catholic Reliquaries, and other Christian religious artificats contact: Dennis Easter Palm Beach, FL New York, NY tel: 561-723-3131 email: dennis@russianstore.com website: www.russianstore.com

An exceptional matching pair of Russian Orthodox icons in gilded silver, cloisonnĂŠ enamel, and pearl cover by maker Pavel Ovchinnikov.

Ca. 1900, Moscow.

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marc ravet unearth rare objects with the passion of art France tel: +33 674 061 194 email: anticravet@orange.fr

Outstanding and rare chest of drawers interim Louis the 15th Louis the 16th period with 2 drawers without crosstie bearing the cabinetmaker’s mark: Pierre Henry MEWESEN (1766).

52

mary ran gallery specializing in 19th, 20th & 21st century original paintings, custom framing & restoration & appraisals 3668 Erie Avenue Cincinnati, OH 45208 tel: 513-871-5604 email: mrangallery@aol.com website: www.maryrangallery.com

Edward Henry Potthast (1857-1927) “Beach Scene� oil on canvas 30 x 40 inches

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McColl Fine Art Fine American and European Paintings from the 19th and Early 20th Centuries as well as Classical Contemporary Works of Art 126 Cottage Place Charlotte, NC 28207 tel: 704-333-5983 email: info@mccollfineart.com website: www.mccollfineart.com

Ian Marion, Monument Valley, Oil on canvas, 38 x 51.75 inches, 42.25 x 56.25 inches framed, Signature: lower right, IM

54

moira of new bond street the rarest jewels, the finest antiques 11 New Bond Street London, W1S 3SR, United Kingdom tel: +44 20 7629 0160 fax: 44 20 7495 3343 email: simon@moira-jewels.com website: www.moira-jewels.com

A fantastic selection of our snake bangles, showing examples of the differing styles and techniques, featuring enamelled, scale and woven designs, set with gemstones.

55

Nula Thanhauser Art nouveau, art deco and asian textile antique purses, signature designer & custom bags, as well as period frames in bakelite, celluloid and precious metals East Hampton, NY • By appointment only tel: 215-266-2888 email: Nula@NulaThanhauser.com website: www.NulaThanhauser.com

Embroidered purse depicting Shiva, an auspicious Hindu deity, encased in a jade surround, circa 1900, probably English.

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Only authentics chanel, hermÈs & Louis vuitton fine luxury accessories, vintage, runway & limited editions New York, NY tel: 212-477-0116 email: charlesvirgil@gmail.com website: www.onlyauthentics.com

Hermès 35 cm Porosus Crocodile Birkin in “Cassis”

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patricia robalino designs specializing in 18K Gold jewelry with diamonds, precious stones, and semi-precious stones Palm Beach, New York, Ecuador tel: 786-423-4766 email: probalin@patriciarobalino.com website: www.patriciarobalino.com

Extravagant flower set creation designed by Patricia Robalino with a mix of London Blue Topaz, Green Garnet, and Diamonds set in 18K Gold. Handmade in Ecuador.

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Piranesi precious jewels since 1845

592 Fifth Avenue 525 East Cooper Street New York, NY 10036 Aspen, Colorado 81611 212-332-7373 970-920-7777 piranesi@piranesi.com aspen@piranesi.com website: www.piranesi.com

An exquisite diamond and fancy yellow diamond pear shape necklace weighing a total of 19.67 carats in diamonds and 29.70 carats in fancy yellow diamonds. Fancy intense yellow cushion diamond ring weighing 12.32 carats SI2 Clarity with two trapezoid side stones weighing a total of 2.03 carats. Round Diamond weighing 10.01 carats with round diamonds around and down the shank weighing a total of 1.27 carats.

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Provident Jewelry West Palm Beach tel: 561-833-7755 Jupiter tel: 561-747-4449 Boca Raton tel: 561-488-7737 Naples I tel: 239-649-7737 Naples II tel: 239-649-7200 Fort Myers tel: 239-274-7777 website: www.providentjewelry.com

Stunning early 1900s platinum Art Deco wide diamond bracelet with ~60 carats of diamonds

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QUEEN FINE ARTS HIGH QUALITY PAINTINGS Miami tel: 786-514-7417, 786-355-2344, 786-660-3106 email: sales@queenfinearts.com website: www.queenfinearts.com

Mihail Chemiankin (b. 1943) Dreams of Nejinsky, 1992 100 x 80 cm (45 x 35� in) Oil on Canvas Signed M. Chemiakin (lower left) Signed, dated, titled and inscribed (verso)

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R & A INTERNATIONAL contact: Rosaria Varra 36 NE 1st Street #365 Miami, FL 33132 tel: 305-924-0122  fax: 305-532-1210 email: rnaintldesign@yahoo.com website: rosariafinejewelry.com

Rare Akoya pearl and amber bead bracelet, with cabochon sapphire and diamond baguette spacers and clasp, signed Boucheron Paris, circa 1980’s

63

M.S. Rau Antiques Fine Art, Rare Antiques & Important Jewelry New Orleans, LA tel: 1-800-544-9440 email: info@rauantiques.com website: www.rauantiques.com

Pierre-Auguste Renoir, Oedipus Rex Impressionist master Pierre-Auguste Renoir captures Greek tragedy in this awe-inspiring composition. Entitled Oedipus Rex, this exceptional painting depicts a pivotal scene from Sophocles’ iconic play. Imbued with intense energy and emotion, this intimate masterpiece displays Renoir’s uncanny ability to render life and movement with texture and color. Circa 1895.

Oil on canvas; stamp signed “Renoir.” Canvas: 13⅞”h x 13⅞”w Frame: 23”h x 23”w. #30-0961

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Raymond Lee Jewelers Antique and estate jewelry, diamonds and watches contact: Lee Josephson 22191 Powerline Rd. Boca Raton, FL 33433 tel: 561-750-7808 fax: 561-750-8005 email: info@raymondleejewelers.net website: www.raymondleejewelers.net

A Van Cleef & Arpels Fancy Yellow Radiant Cut Diamond Engagement Ring.

65

rehs contemporary galleries Important Works of Art contact: Alyssa Rehs 5 East 57th Street New York, NY 10022 tel: 212-355-5710 fax: 212-355-5742 email: alyssa@rehs.com website: www.rehs.com

John Stobart (B. 1929) Milwaukee: A View of the Inner Harbor in 1880 Oil on canvas 23 x 36 inches Signed and dated 1988

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rosenberg diamonds & Co. Rare and Important white & natural fancy color diamonds and high jewels contact: David Rosenberg Boca Raton, FL tel: 561-477-5444 fax: 561-477-5222 email: info@rosenbergdiamonds.com website: www.rosenbergdiamonds.com

Shown above; 28.32ct Diamond earrings with alternating Fancy Intense yellow diamonds and collection white diamond.

42.57ct Diamond Necklace with alternating Fancy Intense Yellow Diamonds and Collection White Diamonds.

20.43ct Fancy Intense Yellow VVS1 Pear shape Diamond Ring.

Diamond Bracelet with alternating Fancy Vivid Yellow Diamonds and Collection White 19.77ct.

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Sherry’s contact: Sherry Fehr and Gail Fehr 21090 Saint Andrews Blvd., Boca Raton, FL tel: 561-338-9100 email: ijtman@aol.com

18k gold, diamonds, and green tourmaline necklace.

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southern classic jewelry antique and estate jewelry 250 Spring Street NW, Suite 6E109B Atlanta, GA 30303 tel: 404-584-2422 email: info@southernclassicjewelry.com website: southernclassicjewelry.com

Magnificent Sapphire & Diamond Earrings - featuring 5.42 ct TW of GIA certified Natural Sapphires surrounded by 2.18 ct TW of round brilliant diamonds, set in a 18 kt white gold setting

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Stephen Kalms Antiques Fine Antique Silver contact: Stephen Kalms Vault 13 London Silver Vaults 53-64 Chancery Lane London WC2A1QS, United Kingdom tel: + 44207 430 1254 cell: +447831 604 001 email: stephen@kalmsantiques.com website: www.kalmsantiques.com

A fabulous pair of Sterling silver wine coolers made in 1810 by Benjamin Smith in London, England

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Steven Neckman diamonds and estate jewelry contact: Steven Neckman 36 NE 1st Street, Suite 1046 Miami, FL 33131 tel: 305-755-9030 email: Steve@stevenneckman.com website: www.stevenneckman.com

A fine and unusual 18K yellow gold single hinged textured gold cuff bracelet of bypass design Signed Webb for David Webb, N.Y C 1970’s

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TOJ Gallery european ceramics and japanese works of art on paper

By Appointment 420 Adams Street Annapolis, MD tel: 410-626-0770 cell: 443-995-5377 email: susan@tojgallery.com website: www.tojgallery.com

A rare pair of Boch Freres Keramis French craquele enamel vases created in 1934.

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Valerio art deco French art deco furniture, art glass, sculptures, and jewelry 250 Valencia Ave. Coral Gables, FL 33134 tel: 305-448-6779窶デax: 305-444-1634 email: mail@valerioartdeco.com website: www.valerioartdeco.com

Secretaire & table by Jacques Adnet, Bronze & Ivory Sculptures by Paul Philippe, Enamel vases by Camile Faure, Crystal Coupe Riviera by Daum Nancy

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Valerio art deco French art deco furniture, art glass, sculptures, and jewelry 250 Valencia Ave. Coral Gables, FL 33134 tel: 305-448-6779窶デax: 305-444-1634 email: mail@valerioartdeco.com website: www.valerioartdeco.com

Oil on Canvas by Charles Nolhac, Sculpture by Guiraud-Riviere, Small Cabinet & Daybed by DIM

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Valerio art deco French art deco furniture, art glass, sculptures, and jewelry 250 Valencia Ave. Coral Gables, FL 33134 tel: 305-448-6779 fax: 305-444-1634 email: mail@valerioartdeco.com website: www.valerioartdeco.com

“Blackamoor Brooch” by NARDI-Venice Italy in 18K yellow gold and silver with multicolor sapphires and semi precious stones.

Head in hand carved ebony with diamond earrings

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Vendome fine Signed 20th Century Estate Jewelry contact: Deborah Wilson 1187 Coast Village Road, #1-496 Santa Barbara, CA 93108 tel: 805-969-5997 fax: 805-565-1112 email: vendomejewelry@cox.net website: www.vendomeinc.com

Tiffany & Co. Lapis Bangle and Earclip Suite, circa 1980

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Villa del arte galleries a Collection of consistent high quality paintings, sculpture and photography, over thirty spanish and international contemporary artists C/Tapinería 39, 08002 Barcelona, Spain Sloterweg 1210, 1066 CV Amsterdam, The Netherlands tel: + 34 933103435 email: info@villadelarte.com website: www.villadelarte.com

HYBRID M.J1 | 170 x 170 cm| mixed media, cowhide and polyurethane Christiaan Lieverse’s Hybrids depict female faces by assembling different photographs, where Phi is used to create flawless proportions.

The image is then created on cowhide to depict a ‘perfectly animal’ being, attractive and carnal at the same time.

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Alphabetical List of Exhibitors Art Link International Howard Brassner & Barbara Womelsdorf 809 Lucerne Ave. Lake Worth, FL 561-493-1162 barbara@artlinkinternational.com artlinkinternational.com Benchmark of Palm Beach 678 East Main Street Blue Ridge, GA 30513 800-790-9033 benchmarkofpalmbeach@hotmail.com benchmarkofpalmbeach.com Cavalier Galleries Ron Cavalier Greenwich, New York, Nantucket 203-869-3664 art@cavaliergalleries.com cavaliergalleries.com Century Guild Chicago & Los Angeles 312-617-8711 chicago@centuryguild.net centuryguild.net Chace Alexander Gallery 119 Australian Avenue West Palm Beach, FL 33480 561-267-0217 jckkjr@gmail.com Charamonde Jewelers Kris Charamonde 500 North Dixie Highway Lake Worth, FL 33460 561-245-0333 charamonde@aol.com Charles L. Washburne Antiques P.O. Box 486 Solebury, PA 18963 215.794.7584 majolica.net Colm Rowan Fine Art Colm Rowan Philadelphia, Pennsylvania USA 610-256-3256 rowan.colm@gmail.com colmrowan.com David David Gallery 260 S. 18th Street Philadelphia, PA 19103 215-735-2922 info@daviddavidgallery.com daviddavidgallery.com

Eckert Fine Art NY 34 Main Street Millerton, NY 12546 518-592-1330 (NY) janneckert@aol.com eckertfineart.com Ed Weissman Antiques 110 Chapel Street Portsmouth, NH 03801 603-431-7575 margaret@edweissmanantiques.com edweissmanantiques.com The Englishman Fine Art 1190 Third Street South Naples, FL 34102 239-649-8088 info@theenglishmanusa.com theenglishmanusa.com Eve Stone Antiques, LTD. Susan Stone - Eve Stone Woodbridge, CT 203-466-6665 sstone@evestoneantiques.com evestoneantiques.com Gallery Frederic Got 35 Rue de Seine 75006 Paris, France +33 635423215 gallerygot@gmail.com The Gallery at Four India Kathleen Knight 4 India Street Nantucket, MA 02554 508-228-8509 gallerynantucket@gmail.com galleryfourindia.com Gallery of Amazing Things Arron Rimpley, Gregg Whittecar 481 South Federal Highway Dania Beach, FL 33004 954-654-7739 info@galleryamazing.com galleryamazing.com Isabella M. Vintage and Interiors Venice, Saint Tropez, Dallas +33 494 63890, 214-741-9858 isabella.muratori@isabellam.com isabellam.com J.S. Fearnley Steven Fearnley 87 West Paces Ferry Road, Suite 2 Atlanta, GA 30305 404-812-6464 steven@jsfearnley.com jsfearnley.com

John Atzbach 15127 NE 24th St. Ste. 118 Redmond, WA 98052 425-271-8950 john@atzbach.com atzbach.com Kaminski Beverly, Massachusetts, San Diego, Beverly Hills, Palm Springs, California, New York 978-927-2223 auctions@kaminskiauctions.com kaminskiauctions.com Made In Russia Dennis Easter Palm Beach, FL New York, NY 561-723-3131 dennis@russianstore.com russianstore.com Marc Ravet France +33 674 061 194 anticravet@orange.fr Mary Ran Gallery 3668 Erie Avenue Cincinnati, OH 45208 513-871-5604 mrangallery@aol.com maryrangallery.com McColl Fine Art 126 Cottage Place Charlotte, NC 28207 tel: 704-333-5983 info@mccollfineart.com mccollfineart.com Moira of New Bond Street 11 New Bond Street London, W1S 3SR, United Kingdom +44 20 7629 0160 simon@moira-jewels.com moira-jewels.com Nula Thanhauser East Hampton, NY 215-266-2888 Nula@NulaThanhauser.com NulaThanhauser.com Only Authentics New York, NY 212-477-0116 charlesvirgil@gmail.com onlyauthentics.com

Alphabetical List of Exhibitors Patricia Robalino Designs Palm Beach, New York, Ecuador 786-423-4766 probalin@patriciarobalino.com patriciarobalino.com Persian Galleries 375 Broad Ave S Naples, FL 34102 239-263-3835 pgknox@aol.com persiangalleries.com Piranesi New York, NY; Aspen, CO 212-332-7373, 970-920-7777 Piranesi@piranesi.com, aspen@piranesi.com Piranesi.com Provident Jewelry West Palm Beach: 561-833-7755 Jupiter: 561-747-4449 Boca Raton: 561-488-7737 Naples I: 239-649-7737 Naples II: 239-649-7200 Fort Myers: 239-274-7777 providentjewelry.com Queen Fine Arts Miami 786-514-7417 sales@queenfinearts.com queenfinearts.com R&A International Rosaria Varra 36 NE 1st Street #365 Miami, FL 33132 305-924-0122 rnaintldesign@yahoo.com rosariafinejewelry.com M.S. Rau Antiques New Orleans, LA 1-800-544-9440 info@rauantiques.com rauantiques.com Raymond Lee Jewelers Lee Josephson 22191 Powerline Rd. Boca Raton, FL 33433 561-750-7808 info@raymondleejewelers.net raymondleejewelers.net

Rehs Contemporary Galleries Alyssa Rehs 5 East 57th Street New York, NY 10022 212-355-5710 alyssa@rehs.com Rehs.com

Vendome Deborah Wilson 1187 Coast Village Road, #1-496 Santa Barbara, CA 93108 805-969-5997 vendomejewelry@cox.net vendomeinc.com

Rosenberg Diamonds & Co. David Rosenberg Boca Raton, FL 561-477-5444 info@rosenbergdiamonds.com rosenbergdiamonds.com

Villa del Arte Galleries C/TapineriĂ…La 39, 08002 Barcelona, Spain Sloterweg 1210, 1066 CV Amsterdam, The Netherlands + 34 933103435 info@villadelarte.com villadelarte.com

Sherry’s Sherry Fehr and Gail Fehr 21090 Saint Andrews Blvd.

Boca Raton, FL 561-338-9100 ijtman@aol.com Southern Classic Jewelry 250 Spring Street NW, Suite 6E109B Atlanta, GA 30303 404-584-2422 info@southernclassicjewelry.com southernclassicjewelry.com Stephen Kalms Antiques Stephen Kalms Vault 13 London Silver Vaults 53-64 Chancery Lane London WC2A1QS, United Kingdom + 44207 430 1254 stephen@kalmsantiques.com kalmsantiques.com Steven Neckman 36 NE 1st Street, Suite 1046 Miami, FL 33131 305-755-9030 Steve@stevenneckman.com stevenneckman.com TOJ Gallery 420 Adams Street Annapolis, MD 410-626-0770 susan@tojgallery.com tojgallery.com Valerio Art Deco 250 Valencia Ave. Coral Gables, FL 33134 305-448-6779 mail@valerioartdeco.com valerioartdeco.com

Queen Anne bonnet-top highboy, dated 1789. Offered by Jeffrey Tillou Antiques.

Where have you been all my life?

I’m 86-inches tall.

Inspired by Queen Anne and born when Washington was president.

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Have beautiful legs and a great surface.

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