Recognized Dealers

The bronze mounts are impressed "France".

Three piece French bronze and marble clock garniture, circa 1875.

Neoclassical, sterling silver, parcel gilt, pedestal based sauce/gravy boat, New York, Ca. 1870, Wood and Hughes - makers. Shell - form scalloped inter...

The rare carpets of Mongolia have in recent years achieved a stature of their own. They differ from traditional 19th century Chinese carpets in that they typically employ stylized pa...

Modeled with foo-dog perched on a rock and leaning on a clock as it emerges from the waves.

A fine cut glass chandelier with multi baluster stem, the main receiver bowl cut with large drop hung scallops issuing ten thumb cut scroll S-arms supporting flat diamond and scallop...

The collet set central mother-of-pearl to a border of pearls. Mounted in yellow gold.

French gilt bronze table mirror, circa 1875.

Pair of large bronze-mounted celadon and gilt covered potpourri jars, circa 1870 on French mounts.

Modelled in high relief with eagle attacking a dragon emerging from waves. Marked KGL.

Cassatt, Mary. WOMAN WITH OPERA GLASSES (STUDY FOR "IN THE LOGE"). Drawing, Pencil, circa 1878. 5 x 8 1/2 inches (sheet). With the estate stamp "Mary Cassatt - Collection Mathilde....

Egyptian Revival micro-mosaic ear pendants. A matching pair, each issuing from a roundel with fine ropework borders containing a raised micro-mosaic plaque depicting a heron against ...

James Whistler (1834-1903), The Traghetto, etching and drypoint, 1879-80, signed with the butterfly on the tab and inscribed “imp”. Reference: Kennedy 19...

Pair of continental yellow glazed figural jugs, circa 1870.

Red Bashir Ersari Long Rug with Tiled Octagons, 19th Century Woven along the banks of the Oxus River in Central Asia, this long and narrow Bashir carpet represents a distinctive for...

19th century English brass trimmed wrought iron nursery guard with wide "fish-net" mesh. Used originally to protect pets and children from the fireplace. Now a decorative accessory.

Large French overlay glass centerpiece on plinth, circa 1875.

Impressed "Moore" on the bottom of the base.

This Persian Tabriz carpet was woven by the order of Prince Shahrukh Mirza circa 1870, as stated by the signature in the carpet's border. It consists of a cotton warp and thread, han...

Pair of French bronze mounted and blue john two-light candelabra, circa 1875.

An adorable rendition of a terrier dog, immortalized in reverse painted Essex crystal and framed by rose cut diamonds. The pendant measures just over 1 inch in diameter and is slight...

Granulation... glorious granulation! Look closely to appreciate the incredible amount of labor that was required to create this stunning oversized Victorian treasure. A large cabocho...

Designed as an half loop two rows cluster ring, the claw set old cut diamonds weighing approximately 3.60 cts, to a carved gallery and trifurcated plain hoop. Mounted in silver and ...

An extremely fine English needlepoint rug, representative of the highest quality woven during the Victorian era, decorated by an allover pattern of ivory cartouches containing refine...

Finely cut pair of Victorian decanters of unusual form.

Handmade antique Platinum filigree engagement ring, circa 1870s set with wonderful old old European and mine cut Diamonds in a domed pierced engagement setting. 1 old European cut D...

James Whistler (1834-1903), The Bridge, Santa Marta, 1879-80, etching with drypoint, printed in sepia on fine laid paper. Signed with the butterfly and inscribed imp on the tab (also with an exceedingly light butterfly lower right in the plate). Kennedy 204, probably eighth (final) state; Glasgow 201, probably state 9 (of 9) (cf. Margaret F. MacDonald, Grischka Petri, Meg Hausberg, and Joanna Meacock, James McNeill Whistler: The Etchings, a catalogue raisonné, University of Glasgow, 2011), Lochnan 199. Trimmed to the platemark by the artist, h: 11.8 x w: 7.9 in / h: 30 x w: 20.1 cm. A fine impression, printed with subtle tone. The bridge theme occurs repeatedly in Whistler’s vistas. It is also the main focus of more than one of the Venetian prints. While some bridges are seen from below, from where one would see it if approaching in a gondola (for example Ponte del Piovan, Kennedy 209), The Bridge depicts the scene from a high perspective, opening up the view into the far distance. The small boat approaching the arch in the foreground is again, as in the earlier Thames prints, a stock motif that is probably ultimately derived from the Japanese woodcuts of Hokusai and Hiroshige. The bridge here is the Ponte de le Terese over the Rio de l’Arzere in the Santa Marta quarter. The early biography of Whistler by Elizabeth and Joseph Pennell is essential for its “immense quantity of information” but also notorious for “the inherent hyperbole and misinformation” (Eric Denker, Annotated Bibliography, in Fine, p. 184). Still, it is worth quoting from the Pennels’ appraisal of The Bridge: “Simplicity of expression has never been carried further. Probably the finest plate, in its simplicity and directness, is The Bridge. Whistler now obtained the quality of richness by suggesting detail, and also by printing. In The Traghetto...

Of marquise form set with old brilliant cut diamonds weighing approximately three carats, to a gold shank. Bezel 2.3 cm by 1.0cm. Finger size: 6 1/2 Weight: 4 gr

A good quality mid-Victorian frosted glass six-light chandelier the main baluster shaped shaft surmounted by drop hung scalloped edged pans the main container with drop hung ring and...

An important pair of five-light cut-glass wall-lights the backplates stamped F&C OSLER this back plate covered by a richly cut-glass back plate of unusual type the silvered back plat...

Designed with a claw set amethyst engraved with a gold filled letter R to side floral decorations, the bangle is hinged and opens. Inner diameter: 60 mm

Gilt bronze equestrian inkwell, circa 1870.

Pair of framed Wedgwood circular plaques, circa 1875.

Large Vienna silver and enamel tankard, circa 1875.

James Whistler (1830-1903), Battersea Morn (also Battersea Dawn), drypoint, 1875, Kennedy 155, signed in pencil with the butterfly and inscribed “imp”. Kennedy 155, first state (of ...

Viennese enamel painting of a tavern scene, circa 1875.

James Whistler (1834-1903), The Beggars, etching and drypoint, 1879-80, signed with the butterfly and inscribed “imp”. Reference: Glasgow 190, seventh sta...

Beautiful, Victorian, hobnail-cut crystal biscuit barrel on original Sheffield plated stand, Sheffield, England, circa 1870, Cooper Bros. & Son, Ltd.- make...

James McNeill Whistler (1830-1903), Lagoon: Noon, etching and drypoint, 1879-1880, signed with the butterfly and inscribed “imp” on the tab [also signed with the butterfly in the plate lower left]. Reference: Glasgow 209, third state (of 3), Kennedy 216, third state (of 3); Lochnan 231, 4 7/8 x 7 7/8 inches. A fine impression with very little plate tone, and printed with extraordinary attention to the etching and drypoint details. The printed butterfly, usually only barely visible, is clearly defined in this impression (see detail below). Kennedy mades special note that an impression like this, with the clearly visible butterfly, was in the collection of John H. Wrenn. On a commission from the Fine Arts Society, Whistler created the plates of his Venice series...

The Venetian Mast. 1879-80. Etching and drypoint. Kennedy catalog 195 state .vi; Glasgow catalog 219 state x/xii. 13 3/8 x 6 3/8. Glasgow records 53 impressions. A fine, atmospheric...

Camille Pissarro (1830-1903), Paysanne Donnant a Manger a un Enfant, etching on zinc, 1874, signed in pencil lower right and inscribed lower left “No 1 – 1er etat”, also titled in p...

An important cut-glass twelve-light chandeliers by F&C Osler. The flute and slice cut baluster stem centred by six rope twisted reversed crooks these terminating with thumb cut coll...

Stylish Napoleon III period ebonized bookcase decorated with boxwood string inlay, the two doors fitted glass panes.

Of neglige design, the flexible collar of gaspipe linking terminating in two tassels at the front with a locket at the centre decorated with a S motif set with enamel length 450mm a...

A striking wide cuff bracelet, measuring 1.25 inches wide, with an interior diameter of 2.25 by 1.75 inches. Made in Italy, circa 1870. The cameo depicts a classic profile and is fra...

James Whistler (1834-1903), The Little Mast, etching, drypoint and burnishing, 1879-80, signed in pencil with the early shaded butterfly lower left and annotated “imp”. References: G...

Designed with an horseshoe centered by an crystal and decorated with an tourmaline and pearls, two flowers at the sides. Mounted in yellow gold 42 mm long

Bronze sculpture of a child blowing a kiss, signed A. Lefebvre, entitled "Bonjour."

Pair of French Napoleon III gilt and patinated bronze ten-light candelabra with a traditionally dressed man and woman under palm trees mounted on bases.

This charming, quirky 19th century black-painted cast-iron table is mounted on wheels, and fitted with a modern custom black opaline-glass top framed in bronze by Guerin.

This 1870-1880 Persian Meeshan Malayer rug consists of a cotton warp, handspun wool weft and hand-knotted handspun wool pile. Its vivid reds, oranges, pinks, and blues were all creat...

Rare California Gold Quartz Bar Pin/Brooch. Fourteen carat Rose Gold Handmade American Pin measuring approximately 2-1/2 inches in length.

This white Samarkand Khotan carpet consists of a cotton warp and weft, hand-knotted pure wool pile and organic vegetal dyes. Created circa 1870, its unique coloration, age and fine q...

Centering an oval-shaped tablet of carved onyx measuring 19.0 x 23.0 mm - opaque glossy black With a carved agate cameo appliqué depicting a Neoclassical woman Draped cloth leaning a...

Armchair in Chevron Wool England circa 1875 Antique frame reupholstered in McLaurin & Piercy Cotton blend. 27”w x 36”d x 30”h x 12”seat

Designed as a bangle bracelet featuring old European and mine cut diamonds prong set to front Weighing approximately 4.36 carats total - J color with SI1 clarity Alternating in patt...

Pair of American Coin Silver (.900), Neoclassical-style Medallion bud vases, Gorham Mfg. Co., Providence, Rhode Island, Ca. 1875. Each vase has 3 lovely Neoclassical medallions aroun...

Victorian classic navette ring with diamonds. Gorgeous antique ring, created in England during the Victorian period, back in the 1870. This beautiful ring has been designed with cla...

38 CANTED STARS IN STAGGERED ROWS, ON A CLAMP-DYED, WOOL, ANTIQUE AMERICAN FLAG MADE BY THE HORSTMANN BROTHERS IN PHILADELPHIA, ALMOST CERTAINLY FOR DISPLAY AT THE 1876 CENTENNIAL EXPOSITION; A VERY RARE EXAMPLE WITH STRONG COLORS AND GREAT TEXTURE; REFLECTS COLORADO STATEHOOD 38 star American flag, press-dyed on wool bunting, with wonderful texture and great colors. Made by Horstmann Brothers of Philadelphia, a major military outfitter, the flag is signed along the hoist with a black stencil. The stars of the flag are arranged in lineal rows of 8-7-8-7-8. Note how these are universally canted, with one point directed at roughly 11:00, when the flag is viewed on the obverse (front). This particular style of flag, from Horstmann, is exceedingly rare. Measuring approximately two by three feet, I know of just four examples in total, including this flag, all of which I have had the great privilege to own. The first two I acquired about 20 years ago. I was not yet taking digital imagery at the time, and cannot seem to locate them among my files of hard copy prints and negatives. I believe they displayed in the same configuration of staggered rows. The example that I owned more recently bore the staggered row layout, but had exceedingly crude printing, whimsical and interesting in its own right. All, I believe, have displayed their stars slightly canted at an angle, like the flag that is the subject of this narrative. A close variation that I acquired about 11 or 12 years ago also had canted stars. It was in the same scale and shared the same 8-7-8-7-8 distribution, but the rows were not staggered. Instead these were justified toward the fly end. Because the spacing was inconsistent, the resulting formation was not what one might expect, with perfect spaces for two additional stars along the hoist end (a “notched” pattern). Horstman flags made of press-dyed wool sometimes had formal bindings, sometimes had a length of fabric tape stitched along the hoist, and sometimes had no binding at all. This one has a traditional binding, made of heavy cotton twill, in the form of an open sleeve, treadle-sewn along the hoist. Near the top of this, “2 x 3 Ft.” appears in a black inked stencil, near the top, accompanied by “Horstmann. Phila.” Near the bottom. Colorado became the 38th state on August 1st, 1876. This was the year of our nation’s 100-year anniversary of independence. Per the Third Flag Act of 1818, stars were not officially added until the 4th of July following a state's addition. For this reason, 37 was the official star count for the American flag in 1876. Flag-making was a competitive venture, however, and few flag-makers would have continued to produce 37 star flags when their competitors were making 38’s. It is for this reason that 38 and 13 stars (to represent the original 13 colonies) are more often seen at the Centennial Expo. Some flag-makers would have been adding a star for the 38th state even before it entered the Union, in the early part of 1876 or even prior. In fact, many makers of parade flags were actually producing 39 star flags, in hopeful anticipation of the addition of two more Western Territories instead of one. But the 39th state would not join the Union for another 13 years, when the Dakota Territory entered as two states on the same day. The 38 star flag became official on July 4th, 1877 and was generally used until the addition of the Dakotas in 1889. Press-dyed wool flags are scarcer than those printed on cotton and silk. Because parade flags were often intended for one day's use at a parade, political rally, a reunion of soldiers, or some other patriotic event, most were made of cotton. While cotton absorbs water, short-term use precluded the need for anything more hardy. Because the Centennial Exposition lasted for a period of six months, it required decorative flags that would sustain being flown for a longer time and withstand the elements. It is reasonable to assume that press-dyed wool flags were adapted for precisely this purpose, because wool sheds water is suitable for extended outdoor use. Previous to this time they primarily saw military function. A Brief History of the Horstmann Company: William H. Horstmann (1785-1850) was the founder of what would become a major military outfitter in both Philadelphia and New York City. A solider and fourth generation passementier (textile weaver), he emigrated to the United States from Germany in 1816 and settled in the Germantown area of Philadelphia, where there was a significant concentration of textile manufacture. There he married the daughter of the most successful lace manufacturing firm, and started his own business in coach lace and military goods at the corner of 59 North 3rd Street. He imported looms from Germany and elsewhere and maintained a regular trade with his family in Europe. The company grew exponentially in size and had many addresses over its years of operation. In 1828, the William H. Horstmann Military Store opened. In 1843 it became William H. Horstmann & Sons Military Store, and in 1859 it was taken over by sons, Sigmund H. and William J., and began to operate as Horstmann Bros. & Co. The company manufactured its own goods, including flags, swords, drums, insignia, and many other items, and it subcontracted their manufacture as well, depending on financial sensibility. There were investors along the way, such as William S. Hassall and George Evans, who broke off and began their own large and successful firm. The New York branch changed its name in 1877 to that of a Horstmann partner, H.V. Allien. Both Philadelphia and New York branches filed for bankruptcy and closed in 1948. Because of its Philadelphia location, Horstmann was in a unique position to supply flags and banners to the 1876 Centennial International Exposition, and thus served an integral role in decorating the enormous, six-month long event. It is logical to presume that this extremely interesting and rare flag...

39 STARS IN TWO SIZES, ALTERNATING FROM ONE COLUMN TO THE NEXT, ON AN ANTIQUE AMERICAN PARADE FLAG DATING TO THE 1876 CENTENNIAL, NEVER AN OFFICIAL STAR COUNT,...