1770s Furniture

Antique print of a horse drawn float with religious figures. Double page with joined sheets and original folding lines. This print originates fro...

Small oval tray Felice Clerici Manufactory 1745-1780 Milan, Circa 1770-1780 Maiolica polychrome. Dimensions: 10.82 x 8.66 in (27.5 x 22 cm); weight 0.4...

Maiolica sugar bowl Antonio Ferretti Manufacture Lodi, Circa 1770-1780 Maiolica polychrome decorated “a piccolo fuoco” (third fire). It measures 3.54 x 4.52 x 3.54 in (9 x 11,5 x 9 cm) Weight: 0.394 lb (0.179 kg) State of conservation: small and slight chips on the edges. The small sugar bowl has a swollen and ribbed body resting on a flat base. The cap-shaped lid follows the rib of the container and is topped with a small knob in the shape of a two-colored fruit. The sugar bowl is painted “a piccolo fuoco” (third fire) with the characteristic floral motif of bunches and isolated semis. An example which closely corresponds to this one is kept at the Civic Museum in Lodi (G. Gregorietti, Maioliche di Lodi, Milano e Pavia, Catalogo della Mostra, Milano, 1964 n. 137). This decorative style represented a strong point of the Lodi factory, which established itself thanks to the vivid nature of the colors made possible by the introduction of a new technique perfected by Paul Hannong in Strasbourg and later introduced by Antonio Ferretti to Italy. The production process, called “piccolo fuoco” (third fire), allowed the use of a greater number of colors than in the past; in particular, the purple of Cassius, a red made from gold chloride, was introduced. Its use allowed for many more tones and shades, from pink to purple. The Ferretti family started their maiolica manufacturing business in Lodi in 1725. The forefather Simpliciano started the business by purchasing an ancient furnace in 1725 and, indeed, we have evidence of the full activity of the furnaces starting from April of the same year (Novasconi-Ferrari-Corvi, 1964, p. 26 n. 4). Simpliciano started a production of excellence also thanks to the ownership of clay quarries in Stradella, not far from Pavia. The production was so successful that in 1726 a decree of the Turin Chamber came to prohibit the importation of foreign ceramics, especially from Lodi, to protect internal production (G. Lise, La ceramica a Lodi, Lodi 1981, p. 59). In its initial stages, the manufacture produced maolicas painted with the “a gran fuoco” (double fire) technique, often in turquoise monochrome, with ornamentation derived from compositional modules in vogue in Rouen in France. This was also thanks to the collaboration of painters like Giorgio Giacinto Rossetti, who placed his name on the best specimens next to the initials of the factory. In 1748 Simpliciano made his will (Gelmini, 1995, p. 30) appointing his son Giuseppe Antonio (known as Antonio) as universal heir. After 1750, when Simpliciano passed away, Antonio was directly involved in the maiolica factory, increasing its fortunes and achieving a reputation on a European level. Particularly important was the aforementioned introduction in 1760 of the innovative “a piccolo fuoco” (third fire) processing, which, expanding the ornamental repertoire with Saxon-inspired floral themes, was able to commercially compete with the German porcelains that had one of its most renowned offerings in the naturalistic Deutsche Blumen. Antonio Ferretti understood and promoted this technique and this decoration, proposing it in a fresher and more corrective version, less linked to botanical tables, both with or without contour lines, as well as in purple or green monochrome. After efforts to introduce more industrial production techniques to the sector succeeded, even the Ferretti manufacture, in the last decade of the eighteenth century, started heading towards decline despite its attempts to adapt production to neoclassical tastes. In 1796 the Napoleonic battle for the conquest of the Lodi bridge over the Adda definitively compromised the furnaces. Production resumed, albeit in a rather stunted manner, until Antonio's death on 29 December 1810. (M. L. Gelmini, pp. 28-30, 38, 43 sgg., 130-136 (for Simpliciano); pp. 31 sgg., 45-47, 142-192 (for Antonio). Bibliography G. Gregorietti, Maioliche di Lodi Milano e Pavia Catalogo della Mostra, Milano, 1964 n. 137; C. Baroni, Storia delle ceramiche nel Lodigiano, in Archivio storico per la città e i comuni del circondario e della diocesi di Lodi, XXXIV (1915), pp. 118, 124, 142; XXXV (1916), pp. 5-8; C. Baroni, La maiolica antica di Lodi, in Archivio storico lombardo, LVIII (1931), pp. 453-455; L. Ciboldi, La maiolica lodigiana, in Archivio storico lodigiano, LXXX (1953), pp. 25 sgg.; S. Levy, Maioliche settecentesche lombarde e venete, Milano 1962, pp. 17 sgg.; A. Novasconi - S. Ferrari - S. Corvi, La ceramica lodigiana, Lodi 1964, ad Indicem; Maioliche di Lodi, Milano e Pavia (catal.), Milano 1964, p. 17; O. Ferrari - G. Scavizzi, Maioliche italiane del Seicento e del Settecento, Milano 1965, pp. 26 sgg.; G. C. Sciolla, Lodi. Museo civico, Bologna 1977, pp. 69-85 passim; G. Lise, La ceramica a Lodi, Lodi 1981; M. Vitali, in Storia dell'arte ceramica...

Serpentine crossbanded top with brass curtain rail over a conforming long drawer flanked by a pair of small drawers and a deep drawer with bottle...

An exceptional, fine and impressive set of six antique Georgian sterling silver Hanoverian pattern picture back teaspoons - boxed; an addition to our silver cutlery and flatware coll...

This stunning large pendant chandelier with six textured glass bowls and gold-plated fittings was produced in the 1970s in the style of Brotto. Illuminates beautifully. Elegant and f...

With rectangular top with inset red leather and banded edge, over a long drawer opening to A-Z lidded compartments. The pedestals below each with three drawers. All with classic Gill...

A rustic single-door cabinet from the Alpine region, crafted in 1771. The cabinet stands on shaped bracket feet and features a red and black painted finish that highlights its tradit...

Console table on four fluted conical legs with grey and gilt paint and carved floral ornaments. The white stone top was added later.

Antique French Oval Walnut Coffee Table or Tea Table that was hand-made during the 1700's and enjoys an unbelievable all original patina that words simply cannot do justice to. The h...

English Chippendale heavily grained walnut lowboy featuring two flanking drawers over larger center drawer, ornate original brasses, dovetail construction, and resting on carved cabr...

18th century mahogany longcase clock by John Wood of Grantham (known to be working from 1753-1797) an imposing mahogany clock wi...

Finely carved and having the best quality mahogany makes this a very desirable piece. Rectangular top with shaped drop leaves with carved edges. The frieze with overall blind fret ca...

having a rectangular top with canted corners and a molded edge atop a conforming case with 4 drawers and interior shelving, the case raised on shaped bracket feet

Derby Porcelain Shaped Vase with May Blossom Decoration, circa 1770-1775 The four-sided shaped Baluster vase and cover with square-shaped neck and foot is designed with a design of multiple applied tightly packed May blossoms or Mayflowers (Schneeballen) with yellow stamen and a tint of aqua blue to the edge of each flower while the ground behind has a light purple wash creating a stunning effect after the Meissen Schneeballen...

Bottle cooler Manufacture Joseph Hannong Strasbourg, France, circa 1771 Maiolica polychrome decorated “a piccolo fuoco” (third fire) It measures 7.40 in in height x 9.64 in diam...

This vintage tribal flatweave rug was handmade in Turkey. The Mid-Century Modern Collection is skillfully sourced by N A S I R I and exclusive to our showroom. These flatweaves embod...

Assortment of 4 dishes with braided rim Antonio Ferretti Manufacture Lodi, circa 1770-1780 Maiolica polychrome decorated “a piccolo fuoco” (third fire). Measures: 14 x 10 in (35.5 x 25.5 cm); 12.2 x 8.39 in (31 x 21.3 cm); 10.4 x 9.65 in (26.5 x 24.5 cm); 10.8 x 9.61 in (27.5 x 24.4 cm). Weight: 4.4 lb (1.998 kg) State of conservation: some chips due to use on the edges and on the parts in relief. The four different dishes have a foot with a low lip from which extends a wide, flat, slanted rim resembling a basket weave. The small handles are painted green: they resemble wickerwork in the two oval dishes and take the form of a sinuous branch in the round ones. The third fire decoration is inspired by the naturalistic floral botanical patterns on the ceramics produced by the Hannong family in Strasbourg. Here the pattern is defined by the rapidity and subtlety of the brushstrokes and the result is particularly tasteful, characterized by compositional intelligence and pictorial expertise. A main corolla, either a wild or garden rose, is set slightly off center in each well. From this extends a thin stem holding a small secondary bud and there are small field florets dotting the composition to lend volume to the delicate bunch of flowers. On the brim, small polychrome flowers add color to the weave, accompanied by lanceolate leaves of a very intense green. There exist few and very rare examples for comparison with this morphology: a round plate - entirely consistent with those in question - has been dated to around 1775 (S. Levy, Maioliche settecentesche lombarde e venete, Milano 1962, tav. 200). Two other dishes with a basket rim, but with parallel striped brim decoration, were exhibited in the 1995 exhibition on Lodi ceramics; the attribution to the Lombard town near Milan is therefore almost exclusively derived from the decoration called "alla rosa contornata" or "alla vecchia Lodi" and constitutes one of the most popular decorations during the eighteenth century. (M. L. Gelmini, in Maioliche lodigiane del '700 (cat. mostra Lodi), Milano 1995, pp. 31 p. 162-163 nn. 181-182). This decorative choice represented a strong point of the Lodi factory, which established itself thanks to the vivid nature of the colors made possible by the introduction of a new technique perfected by Paul Hannong in Strasbourg and which Antonio Ferretti introduced in Italy. This production process, called “piccolo fuoco” (third fire), allowed the use of a greater number of colors than in the past; in particular, the purple of Cassius, a red made from gold chloride, was introduced. Its use allowed for many more tones and shades, from pink to purple. The Ferretti family had started their Maiolica manufacturing business in Lodi in 1725. The forefather Simpliciano had started the business by purchasing an ancient furnace in 1725 and, indeed, we have evidence of the full activity of the furnaces from April of the same year (Novasconi-Ferrari-Corvi, 1964, p. 26 n. 4). Simpliciano had started a production of excellence also thanks to the ownership of clay quarries in Stradella, not far from Pavia. The production was so successful that in 1726 a decree of the Turin Chamber came to prohibit the importation of foreign ceramics, especially from Lodi, to protect internal production (G. Lise, La ceramica a Lodi, Lodi 1981, p. 59). In its initial stages, the manufacture produced maolicas painted with the “a gran fuoco” (double fire) technique, often in turquoise monochrome, with ornamentation derived from compositional modules in vogue in Rouen in France. This was also thanks to the collaboration of painters like Giorgio Giacinto Rossetti, who placed his name on the best specimens next to the initials of the factory. In 1748 Simpliciano made his will (Gelmini, 1995, p. 30) appointing his son Giuseppe Antonio (known as Antonio) as universal heir. After 1750, when Simpliciano passed away, Antonio was directly involved in the Maiolica factory, increasing its fortunes and achieving a reputation on a European level. Particularly important was the aforementioned introduction in 1760 of the innovative “a piccolo fuoco” (third fire) processing, which, expanding the ornamental repertoire with Saxon-inspired floral themes, could commercially compete with the German porcelains that had one of its most renowned offerings in the naturalistic Deutsche Blumen. Antonio Ferretti understood and promoted this technique and this decoration, proposing it in a fresher and more corrective version, less linked to botanical tables...

English bronze thunder mug signal cannon with decorative central ring, original side handle, lower fuse port, and resting on circular ringed base. Late 18t...

English Chippendale mahogany octagonal cellarette with locking hinged top, fitted copper removable interior with handles, original molded brass ba...

A deep delft punch bowl with polychrome decoration in reds, yellows and blues on a white ground with extensive exterior coverage depicting flowers in overlapping rounded tiles with a...

An exceptional pair of corner cabinets or encoignures each with a marquetry top above canted corners simulating fluting, the panelled door with flowers in a vase made of precious woods i.e. burl ash, walnut, fruit woods, with pyrogravure and fruitwood stringing, opening to reveal one shelf, on bracket feet. Daniel Deloose, or de Loose, was an ébèniste of Flemish origin who received his maitrise in 1767, thanks to a special royal edict. He worked mainly in the Transitional and Louis XVI style, both with geometric parquetry and landscape marquetry. His designs often comprise a marquetry top instead of a marble top as it was generally expected of French case cabinets...

This gorgeous French Louis XV chest of drawers dates back to around 1770. It was made during the so called Transition period, the time between Louis XV and Louis XVI. It already shows the plain and stricter design of the Louis XVI period, but has still some playful marquetry decor details which draw from the more pompous Louis XV style. The three drawers commode stands on four cabriole legs with bronze sabots. Between the first and the second drawer is a decorated bronze band. This beautiful chest of drawers has its original wooden top with its veneer decor matching the decor of the front and sides. The Transition commode has been expertly refinished in our workshop. The price includes costs for the exquisite restoration and the international shipping from Europe...

American Chippendale Cuban mahogany table with a one board top, two drop leaves consisting of one board, carved scalloped skirt, two pivot swing o...

Pair of maiolica tureens Antonio Ferretti Manufacture Lodi, circa 1770-1780 Maiolica polychrome decorated “a piccolo fuoco” (third fire). a – 8.66 x 11.02 x 7.48 in (22 x 28 x 19...

18th Century Poudreuse Writing Desk, Console Table Painted Piemont Italien Small, Rare Poudreuse or Console Table – Italy, Piedmont c. 1760/70 This elegant and finely crafted piece ...

English creamware Chinoiserie teapot & cover with pierced galleried rim. Circa 1775. The circular English creamware teapot with two designs front ...

Very fine George III mahogany serpentine cabinet, the shaped top with molded edge, the two doors in vivid crotch grain with hard round molded surrou...

George III sterling silver epergne. Made by Thomas Pitts in London in 1774. Reeded and beaded oval frame; at base swags threaded through fixed rings with pendant oval vase medallions, overlapping four split-mounted leafing supports terminating in pierced and scrolled oval feet. Four reeded and scrolling leaf-capped and -wrapped arms, each terminating in oval basket, mounted to frame base alternating with four reeded and scrolling leaf-wrapped arms, each terminating in round basket, mounted to supports. Large oval basket...

Sick cup Pasquale Rubati Manufacture Milan, Circa 1770 - 1780 Maiolica decorated in polychrome “a piccolo fuoco” (third fire) It measures: h 2.36 x 7.4 x 7.87 (h 6 x 19 x 20 cm) ...

Description George III sterling silver coffee pot, Charles Wright, London, 1771. Of baluster form on circular foot, decorated with festoons of leaves tied by ribbons, the spout with ...

Majolica flower pot "crescent" decorated in manganese Pasquale Rubati Factory Milan, c. 1770 4.92 in x 8.66 in x 5,31 in 12.5 cm x 22 cm X 13.5 cm Weight: 2.29 lb (1039 g) State of conservation: intact with slight chipping due to use in relief parts A rare example of a flower pot "a mezzaluna" produced by the manufactory of the refined painter Pasquale Rubati, who opened a factory in Milan in 1756 to compete with Felice Clerici...

A fantastic and extremely rare pair of George III period gilt Carton-Pierre and giltwood oval mirrors in the manner of John Linnell. Each mirror is gorgeously hand carved with meticulous detail and fine craftsmanship. The giltwood borders are designed with foliate crests above female masks, with aprons centered by a standing or recumbent left facing lamb. It is extremely rare to find a pair of mirrors of this date and in such amazing untouched condition, the mirror panels are most probably original and date to the late 1700s. Provenance: Jeremy, Ltd., London England, circa 1770 Carton-pierre, literal translation from the French - cardboard stone, was developed in the 18th century specifically to imitate wood and stone. The Formula typically included flour, chalk, sawdust, sand and plaster and bound with wax, resin, animal glues or gum arabic. The material could be moulded, bent and otherwise formed into the desired design. Preeminent makers like Gillows and John Linnell began using carton pierre in the late 1760s. The new material allowed for lacey decorative spandrels and festoons that could be made into nearly any length or shape required. These elements and the particular foliate umbrella canopy on this pair of mirrors relates to designs of William and John Linnell. The most famous example of this crest element is on the mirror supplied by Linnell to the 4th Duke of Beaufort for the State Bedroom at Badminton House...

A fine library bust from the Wedgwood & Bentley period, exhibiting the fineness and quality that make this early Wedgwood so very desirable. Homer, often regarded as the greatest of...

Japanese Emperor Shōwa Period Kiyomizu-Ware Vase, 18th Century Emperor Shōwa Period - from 1926 to 1989/1990 DIMENSIONS Height: 9 inches diame...

First Period Worcester porcelain coffee can and saucer, This design is closely related to the Lord Henry Thynne and Earl Dalhousie patterns. circa 1772-1775 The fluted Worcester por...

Louis XVI Style Tulipwood and Purpleheart bureau plat. An original furnishing from the Waldorf Towers in New York City. Newly replaced tooled brown leather set...

Hallmarked in London in 1774 by Edward Cooper, this very attractive, George III, Antique Sterling Silver Teapot, is 'Drum' shaped, with bright cut engraved decoration throughout, and...

Very fine carved and giltwood George III mirror in the manner of John Linnell, comprising two oak branches bound with ribbon forming a wreath, adorned with acorns and finely detailed rustication. Round...

18th Century French Aubusson Louis XVI Period Carpet 15'8" x 16'10"-478 x 513 Louis XV owned this rug. Well, not really, but it certainly was made ...

Baroque table, Switzerland, 1770. This pretty Baroque table dates back to the Rococo period and comes from Berne in Switzerland. The base with the curved legs is made of cherry wood....

This solid agateware cat was hand-crafted in Staffordshire, England, around 1770 from laminated salt-glazed stoneware. An exceptional example of 18th-century English ceramics, it co...

Antique Meissen figure in hand-painted porcelain. Boy playing the flute. Marcolini period 1774-1814. Measures: 20 x 9 cm. In excellent condition. Stamped.

A rare 18th Century set of 12 handcoloured copperplate engravings of Zoological studies, featuring primates of varying species. Each colourfully executed with a naive charm, and Lati...

These truly exceptional and rare antique Louis XVI period vases have been sculpted from agate, a precious and highly sought-after stone. The vases are set on square agate bases with gilt bronze laurel wreath socles. The burgundy and claret agate bodies of the vases are mounted with gilt bronze acanthus leaf ornamentation, and twin lion masks joined by draped swags above. The lids of the vases are mounted with gilt bronze, surmounted by pine cone finials. The vases' design is attributed to the late 18th century, French clockmaker Martin Baffert. Baffert worked with a number of Parisian bronziers including Jean-Nicholas Fremont, Nicolas-Guillaume Jourdan and Francois-Robert Leguel, who assisted in the creation of his designs. This pair of vases is very similar to another pair of vases which Baffert designed, which form part of a clock garniture currently in the Rothschild collection at Waddesdon Manor. The Rothschild vases...

English mahogany one board tilt top tea table with the original banjo locking mechanism, turned ringed spiral pedestal, and terminating on tripod legs with slipper pad feet, Late 18t...

Assortment of 12 elements with polychrome and gold decoration Pasquale Rubati Factory Milan, circa 1770- 1790. Two oval trays 10.62 in x 8.58 in (27 x 21.8 cm) Two dishes with perforated brim diameter 10.43 in (26.5 cm) Eight round dishes 9.37 in (23.8 cm) lb 10.14 (kg 4.6) State of conservation: very good, except for light chips with color drops at the edges, a greater one in a round dish. This rare set of dishes has great decorative impact and confirms the undisputed artistic ability of Pasquale Rubati's productions during the period of his greatest success. It also attests to the taste of the great Milanese commissions of the eighteenth century. Pasquale Rubati, a refined painter, opened his own factory in Milan in 1756, in competition with Felice Clerici...

Coffee assortment with “barbotine” decoration Manufacture of Pasquale Rubati or Felice Clerici Milan, 1770- 1780 Maiolica polychrome decorated “a piccolo fuoco” (third fire). ...

Maiolica flower pot “a mezzaluna” decorated with tulip Pasquale Rubati Factory Milan, circa 1770. Measures: 4.7 in x 4.7 in x 8.6 in 12 cm x 12...

This exceptional French Louis XV secretary, crafted around 1770, is a stunning example of 18th-century craftsmanship. Featuring breathtaking ...

Regilded in burnished gold leaf. Each with oval backs with a carved beaded frame, carved arms with scroll hand hold, leaf carved seat rail with paterae, raised on circular tapered fl...

The four beautiful models, called Bozettis, portray the four elements fire, water, earth and air. They are of good quality and wonderfully fine carved with a love for details. For ex...

English chinoiserie hanging corner cupboard with a carved upper molded edge, figural and pagoda landscape scenes, original four butterfly hinges, orig...

Two antique Meissen plates in pierced porcelain with hand painted floral motifs. Museum Quality. Dated 1773-1814. Measures: 23 cm. In very good condition. Stamped: Marcolini.

An 18th century walnut bench with a wonderful patina and in very good condition for its age, nicely upholstered in Hendon fabric with has nail heads in an antique color. Circa 1770,...

A very fine Italian carved gilt-wood console tables, Roma, circa 1770 With an important and very rare rectangular "greco scritto " marble top. Above a frieze centered by a male mask...

A magnificent, fine and impressive pair of antique George III English cast sterling silver candlesticks made by Edmund Vincent; an addition of our ornamental silverware collection These magnificent antique George III cast sterling silver candlesticks have a baluster shaped form with a waisted knopped stem onto a shaped base. The waisted capitals of these exceptional antique silver candlesticks are embellished with gadroon decorated borders. The capitals are fitted with the original hallmarked detachable sconces ornamented with six-shell ornamentation, in addition to further gadroon decoration to the curvilinear-shaped rim. The upper portion of the waisted shaped column features a shaped knop embellished with six shell designs, reflecting the decoration to the sconce. The waisted column is further ornamented with fluted decoration, in a swirl design, with a gadroon decorated knop to the lower portion The shaped bases of these Georgian silver candle holders are embellished with a swept fluted upper portion to six large shell designs, alternating with convex oval bead motifs. The decoration to each base incorporates a bright cut engraved crest of the bust of a man in profile couped at the shoulders. The shaped rim of each candlestick features an impressive gadroon decorated border. These magnificent candlesticks feature a stunning and ornate variation of six-shell decoration and are the finest of their type you could hope to acquire. Condition These antique 1700...

D shaped top over a conforming frieze and raised on square tapered legs.

Antique map titled 'Kaart van het Oostelyke Deel van het Ryk van Algiers'. Old map of the eastern region of the Kingdom of Algiers, Algeria. Originates from the first Dutch edito...

A lovely quality 18th Century mahogany and brass bound oval wine cooler, having brass lion head pull rings either side, supported on a mahogany base with bold cabriole legs terminati...

Description: Antique print titled 'Habillemens des Femmes du Kamtchatka'. Copper engraving of Kamchadal women. This print originates from volume 19 of 'Histoire generale des voyages (..)' by Antoine Francois Prevost d'Exile. Artists and Engravers: Published by Panckoucke. The Kamchadals inhabit Kamchatka, Russia. The name "Kamchadal" was applied to the descendants of the local Siberians and aboriginal peoples (the Itelmens, Ainu, Koryaks and Chuvans) who assimilated with the Russians. The descendants of the mixed-blood Russian settlers in 18th-19th century are called Kamchadals these days. The Kamchadals speak Russian with a touch of local dialects of the aboriginal languages of Kamchatka. The Kamchadals engage in fur trading...

Antique map titled 'Carte de la Côte Occidentale de l'Isle Sumatra'. Sea chart of the part of the south-western coast of Sumatra with the Nassau (Nias) and Fortune isles. Artists ...

Description: Antique print titled 'The Rejoicings of the Mexicans, at the beginning of the Age'. Copper engraving showing the celebrations of the Mexicans with music and natives dancing...

Two antique Meissen deep plates in pierced porcelain with hand painted floral motifs. Museum Quality. Dated 1773-1814. Measures: 23 x 4.5 cm. In v...

This finely decorated Qing-period rose medallion or rose mandarin bowl is beautifully hand-painted with four vignettes depicting courtly scenes.

With serpentine top with cast brass edge and also crossbanded edge over a conforming frieze finely carved with paterae, anthemion, lyres, beading, cornucopias etc. Raised on ten circ...

A very unusual George III Rococo wall mirror. The giltwood frame is carved with a wonderfully organic design, with foliate flourishes, trailing flowers and fruit, but the most unusua...

Square top with gallery over a lift and slide door and a pull out drawer raised on square legs. From a Bellevue Ave Newport Estate.

This stunning set light fixtures with textured glass bowls and gold-plated fittings was produced in the 1970s in the style of Brotto. Illuminates beautifully. Elegant and fine, it is...

With rectangular caddy top over a brushing slide and four graduated drawers and raised on bracket feet. Prior Sotheby's NY sale. Oak secondary and brass handles.