purchased in Rome in the 1980's, the well-carved chubby winged putti in opposing stances and poised on one foot over a rock-work base; depicting the grape harvest also known as the allegory of autumn (see detail image of Jean-Jacques Lagrenée's 'Putti Harvesting Grapes'); interior image courtesy 'Edward Lobrano Interior Design', NYC; excellent antique condition with overall rubbing to refreshed gilding
likely from the Lombardy region, the rectangular top with canted corners above a conforming body fitted with 3 paneled drawers flanked by canted pilasters and paneled sides; resting on a splayed base over bun feet; some wear to painted surface
the rectangular top with shaped ends over a conforming case incorporating two long drawers and a pair of paneled doors; raised on rear bracket and front bun feet; the whole retaining original pale-sage painted decoration on an ochre painted ground; originally purchased from Therien & Co., San Francisco; solid condition; overall wear and patina to surface
the later nine-section mirror plate secured by rosette clips with a bolection moulded frame; the heavily patinated gilt frame retaining traces of original silver gilding; originally purchased from Therien, San Francisco
fine example of a reverse-glass still life painting with lush floral stems over newly-sliced pomegranates, plump grapes, red cherries and pears with two small hidden birds; exposed section on back with script describing the gifting of the painting to William Schroeder from his Aunt Hickson in 1849. The painting was originally owned by Schroeder's grandfather (Hickson's father), German-born Valentine Schwarz and was described as Schwarz' 'favorite picture'; most-likely the painting was brought from Germany by Schwartz in the 18th century settling in Frederick Town, Maryland
Originally this piece would have been elaborately painted. It was recovered from a sunken ship after approximately 200 years on the sea floor. The result is this wonderful carving with only hints of the original paint having been washed and softened by the sea; overall even wear; some chipping; small areas of pigment; now on a later stand
of cornucopia form with flared candle holder tapering to a scrolled end; adorned with florets and acanthus leaves all over a later ebonized wooden plinth; ex-collection of Michael Taylor, San Francisco; later plinth; overall patina and wear; refreshed gilding
of mixed woods with marquetry and parquetry inlay; the rectangular top with large central reserve within a cross-banded border; the body fitted with 3 long drawers with herring-bone veneer adorned with spandrels and imbricated decoration with similarly veneered side panels; the whole standing on tapering legs; rich color and overall good antique condition with areas of replaced veneer and shrinkage consistent with age and use
in two pieces, the dramatic arching crest above a 2-door cabinet resting on a base fitted with two short drawers over 2 doors; excellent restored condition
one of the largest and best quality Canterbury's made, fitted with three adjustable serpentine dividers on a rectangular base with applied moldings and lion ring handles; the columnar rounded corners continuing to tapering legs on brass casters; excellent antique condition; attributed to Gillows of Lancaster and London (1730-1840)
