299 results for "verni"

An extraordinary fine and Palatial French Louis XV style 19th century ebonized lacquered Chinoiserie style and finely chased gilt bronze-mounted two drawer Serpentine commode with ma...

We delight to offer for sake this amazing French Walnut and Gilt Metal-Mounted Bureau, late 19th century, with a three-quarter pierced brass gallery above three small drawers and a ...

An extraordinary Louis XV period (1715-1774) French ormolu mounted tulipwood and kingwood marquetry bombé sauteuse commode by master Parisian ébéniste André-Antoine Lardin. circa late 1740s In our 40+ years we have not came across a chest of drawers that captures our attention like this one! Exquisitely hand-crafted in Paris in the mid-18th century, exceptionally executed in opulent and luxurious period King Louis 15th taste, featuring a curvacious serpentine-front bombe-form solid wood case fitted with two drawers, adorned with finely chased, chiseled and gilded bronze doré mounts, including rare and most distinctive sculptural fiolated scroll Rocaille handles, flanking ornate keyhole escutcheons with original key included. In absolutely stunning rare and exotic precious tulipwood and kingwood veneer work with striking warm rich highly figured grain patterns, elegant floral marquetry inlays and fascinating early sunburst panels. Topped with the original serpentine shaped Brèche de Médous marble-top with stepped molded edge. The Breccia de Médous is extracted in the towns of Médous and Asté, near Bagnères-de-Bigorre in the Hautes-Pyrénées. This dramatic breccia is composed of angular elements of contrasting colors ranging from black to yellow to gray creating a bold but subdued visual display. Signed, retaining the original LARDIN blind stamp to top proper-right rear post underneath marble. André-Antoine Lardin (1724-1790) is a celebrated Master Cabinetmaker, earning maître in 1750, and particularly respected for his extraordinary woodworking veneer - marquetry work. - PROVENANCE / ACQUISITION: From the important collection of Loyd-Paxton, Dallas, Texas. Property from the magnificent Estate of Mr. and Mrs. Robert Morris Graham Sr., El Paso, Texas, but also with homes in Dallas, Texas and Pebble Beach, California. Acquired from the highly reputable auction house Heritage Auctions, Dallas, Texas. 2024 Furniture & Decorative Art Featuring The Collection of Mrs. Henry Ford II Signature Auction Catalog #8167 Loyd Paxton Gallery, Dallas, Texas. With one of the finest collections in the world and prominent customers to match, including Sir Elton John, Truman Capote, Saudi Prince Faisal, and the Sultan of Brunei. Rare French antiques from Loyd-Paxton made their way into Versailles when it underwent renovations, and the Metropolitan Museum of Art in New York purchased furnishings, including a dazzling Louis XIV Boulle desk that had been owned by the Sun King himself. Betty Jo Graham might not hold celebrity status but her remarkable life and many contributions to American history and the arts community of El Paso, Texas, make her deserving of the limelight nonetheless. Affectionately known to her friends as BJ, led a remarkable life that intertwined a deep passion for music with significant contributions to her community and country. BJ embarked on her vocal journey at the age of 12, studying under the esteemed Mini Ferguson Owens at the University of Wichita. Her pursuit of musical excellence continued in the same institution, where she later attended college. BJ's life was not solely dedicated to music; she also played a vital role in American history. During the tumultuous times of World War II, she contributed her skills to the Cessna AT-17 training program, a crucial effort in preparing pilots for combat. She worked as an electrical wiring diagram analyst for Boeing Engineering Development on the iconic Enola Gay project in 1956. BJ's heart always remained with music. She continued to refine her vocal skills with notable figures such as Maude Douglas Tweedy in New York City and John Charles Thomas in Apple Valley, California. Her love story with Robert Morris Graham Sr., whom she married in 1975, was filled with shared adventures and travels across the globe, living in places from Dallas, Texas, to Pebble Beach, California, and El Paso, Texas. As a trustee of the El Paso Symphony Orchestra and a board member of the El Paso Symphony Youth Orchestra and El Paso Pro-Musica, she played a pivotal role in nurturing the musical landscape of her community. Her support extended to various causes, including the El Paso Opera, Holocaust Museum, Museum of Art, and many more, showcasing her belief in the transformative power of art and culture. Betty Jo Graham's journey through life reflects a profound dedication to her passions, community, and the arts. Her legacy, marked by her music, history, and philanthropy contributions, inspires and impacts many, ensuring that her melodious spirit will be remembered and cherished for future generations. After traveling the globe and living in cities across the country, Graham and her husband, Robert Morris Graham Sr., eventually settled in El Paso, where she served as a trustee of the El Paso Symphony Orchestra and a board member of the El Paso Symphony Youth Orchestra and El Paso Pro-Musica. Though Graham had a lifelong passion for music and played a pivotal role in nurturing the musical landscape of her community, her philanthropy extended to various causes, including the El Paso Opera, El Paso Holocaust Museum and El Paso Museum of Art, showcasing her belief in the power of art and culture. A patron of the arts, Graham was also a collector of fine jewelry, with a particular fondness for eye-catching, statement-making rings, necklaces, earrings and more, and Heritage was honored to present Property from the Estate of Mrs. Betty Jo “B.J.” Graham as part of its Spring Fine Jewelry Signature Auction. Inscription to placard on reverse: FROM THE COLLECTION OF LOYD-PAXTON DALLAS, TEXAS Signatures: Original blind stamped LARDIN to top of rear post. Bronzes not removed to inspect for foundry marks. - DIMENSIONS: (approx) 33" High, 42" Wide, 20.75" Deep - CONDITION REPORT: Overall a superb example, especially considering its nearly 300 years old. Beautifully aged warm patina, antique wood glow and lustrous sheen. Strong, sturdy, stable, structurally sound. Evidence of restorations, likely by Loyd-Paxton, including high-quality bespoke upholstered drawer lining. Typical wear commensurate with age, use, handling and exposure, including minor nicks to edge, age splits scattered throughout body, expected antique character and charm. Marble top is in great shape. Accompanied by two working keys. Overall outstanding presence, delivered cleaned, waxed, with hand rubbed polished patina, ready for immediate use and generational enjoyment! - INTERESTING ADDITIONAL INFORMATION: This elegant commode typifies the fashion for furniture mounted with exotic and rare woods, exquisite marquetry-work, and decadent Rococo bronzes. Andre Antoine Lardin, also known as N.B. Lardin was born in 1724 and died on 10 August 1790. He held his master's title from 1 July 1750 and was particularly respected for the exceptional quality of his veneering / marquetry. A well known and regarded maître ébéniste, Lardin’s career is somewhat thinly documented, most likely due to the upheaval and record destruction during the Revolution, notably when the guilds in Paris and elsewhere were abolished in 1791. Lardin worked for various marchand-mercier (furniture dealers) and probably also for a private clientele. He ran his workshop first in the Rue de Charenton and from 1770 in the Rue Saint-Nicolas. His two sons, André Antoine II and Louis François, worked with him for some time and the second-named became his successor in the Rue Saint-Nicolas. Lardin is known to have worked for the marchands André-François Carré, this superb commode having almost most certainly been commissioned through the intervention of one of these fashionable dealers. The marchand-mercier André-François Carré, is recorded rue Froidmanteau, "Magasin de glaces, porcelaine ébénisterie et curiosités pour les cabinets d'histoire naturelle." Carré also worked with two vernisseurs (vernis Martin): Porchon and Prévost. All of Lardin's furniture is classic in form and decor, well crafted and mostly veneered in rosewoods or violet wood. Lardin worked in the taste of the time with geometric patterns, cartouche fields and simulated fluting. Furniture with elaborate inlays such as birds, trophies, urns, landscapes, or flowers and sunburts such as this stunning example appear more rarely. The stamp JME stands for Jures Menuisiers Ebeniste and notes the guild affiliation of the master. The Corporation des Menuisiers-Ébénistes was a French craft guild which was concerned with the profession of woodworking. Some JME stamps are worn down from the marble slab over the years and no longer apparent, but in this case lacking the JME stamp is likely indicative of work made prior to reaching maître ébéniste (master cabinetmaker), denoting an early and exceedingly scarce example. Eighteenth century French furniture...

Signed lower right, 'Y. Ganne' (French, born 1931) with print and limitation, '167/275', lower left. Accompanied by a Certificate of Authentication from the Societe de Verification d...

Chanel 2021 Advent Calendar, sold out worldwide in minutes! Collectible item. The box is opened, unsealed. The contents are new, never used...

Meuble de rangement vintage des années 60 70, en pin, 2 portes avec 1 étagère intérieure, bon état général avec des signes et marques du temps qui passe sur la façade, plateau poncé ...

Enfilade meuble de rangement vintage des années 60, style scandinave et moderniste, dans le goût des meubles de Antoine Philippon et Jacqueline Lecoq pour Degorre ou de Pierre Guaric...

The painted scenes that decorate the side doors are children and a harp in one and a woman with a Cupid in the other. Technically, they remember the plaques made with the so-called "...

Katz, Alex Jayne Anne, 1984 Vernis mou and aquatint on Hahnemuehle paper 18 1/8 x 15 1/2 in. 24 from the limited edition of 40 Hand Signed and Numbered Mint Condition

Louis Vuitton Le Catalogue Reference Book No 7. From the Louis Vuitton store in Rodeo Drive Beverly Hills in California. Catalog LV 2011 GIF...

Bureau vintage des années 50 60, modèle Multitable attribué au designer français Jacques Hitier pour Multiplex, style moderniste dans le goût de Pierre Paulin, Pierre Guariche ou Min...

Table de salle à manger de Aldo Tura en parchemin marron vernis. Une reserve à bouteilles se situe au milieu. L'ensemble a été restauré

An important side cabinet By Henry Dasson Constructed in amboyna and purpleheart, with ebony and boxwood stringing, dressed with fine ormolu mounts. Rising from tapering and bron...

A very fine French Louis XV style ormolu and jasperware-mounted mahogany single door vitrine display or curio cabinet, attributed to François Linke (1855-1946). The two upper front c...

Meuble de rangement vintage des années 60 70, en pin, dans le style de Charlotte Perriand pour Les Arcs, jolies poignées, 2 portes avec 1 étagère intérieure, très bon état général av...

19th Century French brass mounted Louis XV-style mantel clock, by Japy Freres. Decorated in the Vernis Martin style with Watteauesque-style scene of a young courtship couple beneath...

Magnifique sac à main CHANEL modèle Caméra, réalisé en cuir verni noir matelassé et sublimé par une bijouterie dorée plaquée or 24 carats. Ce modèle emblématique, imaginé sous la dir...

Table à manger rectangulaire vintage des années 60 70, en pin, de Charlotte Perriand pour Les Arcs, très bon état général, plateau poncé et verni. Ref 231 210 Hauteur : 71 cm Largeur...

Enfilade meuble de rangement vintage des années 60, style scandinave et moderniste, dans le goût des meubles de Antoine Philippon et Jacqueline Lecoq pour Degorre ou de Pierre Guaric...

This pair of antique gilt candelabras are unmarked, but presumed to have been made in France between 1900 and 1920 in the Empire style. The can...

Rare enfilade basse vintage scandinave des années 60, en teck, signée du designer danois Edvard Valentinsen, distribution par Samcom (estampilles Samcom et Furniture from Edv. Valent...

Louis Vuitton 2011 PRINTEMPS – ETE (Spring / Summer) MEN by Marc Jacobs. Louis Vuitton Fashion Catalog Spring Summer Men Women RTW Cover Printemps Ete Paris Marc Jacobs 2011...

Oil on canvas by Edith Desternes (1901-2000), France, 1920s. The Church Notre-Dame de l'Assomption in Auvers-sur-Oise. This church has been painted in ...

Bureau vintage des années 70 80, en pin, avec pieds luge, style sympathique de chalet de montagne dans le goût de Charlotte Perriand, 1 porte abattante sous le plateau avec grand cas...

Louis Vuitton Conte De Fees Pochette in extremely nice condition. Marc Jacobs and Julie Verhoeven collaborated on a limited-edition collection based on...

Ensemble vintage des années 60, en sapin, dans le goût de Charlotte Perriand, composé d’une table rectangulaire et de 2 bancs assortis, Très bon ét...

Authentic Louis Vuitton Vernis Monogram Hot Springs Backpack in Black and White. Features black patent leather, with white and black monogram coated canvas front flap closure with bu...

Très belle table à manger scandinave rectangulaire vintage des années 50 60, en teck, magnifique design danois attribué à Ejvind A. Johansson, superbes finitions, plateau rectangle a...

René Herbst French modern rubber, nickel, bent-wood "Sandows" armchair, 1930. Establishments René Herbst. This listing is for a single chair. Most known for his work with the modern...

Bureau de direction style scandinave vintage des années 60, en teck, le dos est joliment travaillé pour être placé au centre d’une pièce, pieds compas, 6 tiroirs avec jolis boutons e...

The splendid showcase vitrine, made of solid wood, dates back to the end of the 19th century. Made in France by a master cabinet maker of great ability, it’s in Louis XVI style. The ...

Grand bureau de direction vintage des années 70, en chêne, double-face pour être placé au centre d’une pièce, 5 tiroirs à l’avant dont un grand casier, superbes poignées, magnifique ...

This 17 piece porcelain demitasse set was made by Vista Alegre of Portugal for Mottahedeh. The pieces have been finished in the heavily gilded ...

Matched pair of 19th Century French Kingwood serpentine fronted vitrines, each with classical gilded ormolu mounts, adjustable shelves within, Verni Martin hand painted panels depict...

An Exceptional Vernis Martin Cabinet-on-Stand In the Louis XVI Style By Henry Dasson Surmounted by its original double-moulded Brocatelle d’Espagne marble top and constructed from ...

This unusual cabinet, though plainly Art Nouveau, pays homage to Louis XV. It is bombe, with gently swelling sides and front. This ebeniste really knew his trade, the drawer fronts a...

Louis Vuitton Le Catalogue Reference Book 1997. From the Louis Vuitton store in Rodeo Drive Beverly Hills in California. Master suitcase mak...

A pair of two patina bronze torcheres attributed to V. Paillard. Each modelled as a pair of putti holding aloft a large foliate shaft issuing eleven berried-acanthus scrolled branche...

Louis Vuitton, Amarante vernis leather cosmetic pouch. The item is in good condition with light signs of wear. Comes with booklet.

Jean Marais (1913 - 1998) Portrait of my Friend Jean Cocteau Original lithograph Signed with the stamp of the artist Bears also a printed signature in the plate Numbered /100 On vel...

Magnificent Louis XVI style showcase in mahogany veneer with rich, very finely chiseled gilded bronze ornamentation. Opening two large doors on the front separated by a glass frame. Beveled windows on the front as well as on the sides. Mirror bottom and three thick glazed...

The stunning cabinet in the Napoleon III style and of the sam period, featuring inlaid Boulle work panels of brass and fine scarlet tortoise shell, with cast ormolu mounts depicting ...

Table basse moderniste vintage des années 70, en pin massif, dans le goût de Rainer Daumiller, design original et atypique, plateau supérieur rectangulaire arrondi quasi ovale, plate...

PIERRE-AUGUSTE RENOIR (1841-1919) "Enfants jouant à la balle" Lithograph in colors, on Arches Ingres laid paper watermark MBM, 1900, from the edition of 200, published by Ambroise V...

Ernst Fuchs (1930 Vienna - 2015 ibid), The Lost Trace, 1972. Vernis mou and aquatint etching, 46.8 x 36.4 cm (plate), 66 x 50 cm (sheet), 69.5 x 53.5 cm (frame), WVZ Hartmann no. 185...

This Louis Vuitton Damier Azur Pochette was made in the USA in 2017 and it is crafted of the classic Louis Vuitton Monogram coated canvas exterior with leather trimming and gold-tone...

High pair of Mauro Marzollo design floor lamps for Lucien Gau maker made of bronze and brass gilt and vernished Good conditions Note : 1 round task on one of the floor lamps Cir...

Presenting a fabulous mint green Louis Vuitton Vernis phone holder bag. From the Spring/Summer 1999 collection by Marc Jacobs, this fantastic mini bag...

Dans cette œuvre, j'ai capturé l'esprit de la course, l'effervescence autour des Ferrari rouges flamboyants, symboles de passion et de vitesse. L'utilisation de l'huile donne une...

Chest of drawers by Louis Foureau, Paris, circa 1760 This exquisite chest of drawers was crafted around 1760 by the renowned cabinetmaker Louis Foureau and exemplifies the elegant Fr...

Louis Vuitton signature bag, Wilshire model in PM size, made of amaranth patent leather with gold hardware. Equipped with a hook-and-loop closure and internally lined in tone-on-tone...

Ce vase évasé en céramique illustre à merveille l’univers théâtral de Hilton McConnico. Posée sur un fond noir verni et sombre, la pièce s’anime d’un graphisme audacieux et contrasté...

Katz, Alex Serena 1984 Vernis mou and aquatint on Hahnemuehle paper 18 1/8 x 15 1/2 in. 24 from the limited edition of 40 Hand Signed and Numbered Mint Condition

An exceptional and rare late 19th century gilt bronze mounted Louis XV Style Bureau Plat Attributed to Zwiener Attributed to Joseph Zwiener The serpentine case with a rectangular top with gilt-tooled leather writing-surface within a molded border above a quarter-veneered frieze, three drawers to the front and three simulated drawers to the reverse each flanked by a large putto, the sides centered with a fine bronze Apollo mask, the cabriole legs mounted with sea shell bronze designs with foliate-cast sabots. Born in Herdon, Germany, in 1849, Joseph Emmanuel Zwiener followed the tradition of some of the best ébnistes of the nineteenth century. He moved to Paris establishing a workshop at 12, rue de la Roquette, between 1880 and 1895. He produced a wide array of the very finest furniture, modelling in his own interpretations of the eighteenth century Louis XV Rococo style, veneered with the highest and finest quality marquetry and ‘Vernis Martin’ panels. Exhibiting at the Exposition Universelle, Paris, in 1889, Zwiener was awarded a gold medal for what the jury reported as ‘dè ses dèbuts à une Exposition Universelle, [il] s’est mi au premier rang par la richesse, la hardinesse, et le fini de ses meubles incrustés de bronze et fort habilment marquetés.’ Zwiener was closely associated with François Linke, and the two houses produced work which, at first glance, is remarkably similar and with occasionally identical mounts. The similarities are made more likely by the fact that the brilliant sculptor, Léon Messagé, worked initially for Zwiener and subsequently, upon Zwiener’s departure for Berlin to work on furniture commissioned by Freidrich Wilhelm II , he was employed in the workshop of François Linke. It appears that Zwiener, unlike Linke, did not sign all his work, although some stamped pieces with his name and/or his “Z” initial are documented. There is some uncertainty between the recorded stamp E. Zwiener and the work of a Julius Zwiener...

A Louis XV Style Lacquer Commode After the design of BVRB Constructed from bois noirci with vernis martin decorated panels in the manner of oriental lacquer, the commode of bombé form is profusely dressed with Rococo gilt bronze mounts, supported on elegant scrolled sabot feet, with acanthus espagnolettes to the corners, the front housing two sans-traverse drawers decorated with an oriental landscape within an ormolu tripartite frame of acanthus C-scrolls, rocaille motifs, and issuing foliate handles; the whole surmounted by a double-moulded and shaped onyx marble top. French, circa 1890 Dimensions: H: 33.5 in / 85 cm W: 54.5 in / 138 cm D: 23 in / 58 cm BVRB, the stamp used by Bernard van...

A pair of French gilt-bronze mounted and ebonised meubles d'appui, by Mathieu Béfort dit Béfort Jeune. Each has a vert maurin marble top above a cup...

René DROUET ( attribué à ) élégant secrétaire art déco en loupe de tuya 1930 intérieur en sycomore bronzes originaux entièrement restauré finition vernis tampon

A Rare set of Four Petite Louis XV Painted & Parcel Gilt Side Chairs Stamped Tillard Circa 1750 Height 33 ½ in. Width 19 in. Depth 17 in. Jean-Baptiste ...

GOOD CONDITION (7/10 or B) Retail $1160 (Outside) Some rubs on the edges (Outside) partially stains (Inside) partially rubs (Inside) minor stains in the note compartments (zipper...

A very fine late 19th century gilt bronze-mounted Louis XV style Vernis Martin cabinet. By Joseph Zwiener. The central section finely decorated door panel displaying an allegorical 'Vernis Martin' scene, within a gilt bronze banded frame. With finely cast acanthus and figurative gilt bronze mounts. Stamped ‘NZ’ for Zwiener on the back of the escutcheons and reverse of the bronze mask to the base. Born in Herdon, Germany, in 1849, Joseph Emmanuel Zwiener followed the tradition of some of the best ébnistes of the 19th century. He moved to Paris establishing a workshop at 12, rue de la Roquette, between 1880 and 1895. He produced a wide array of the very finest furniture, modelling in his own interpretations of the 18th century Louis XV Rococo style, veneered with the highest and finest quality marquetry and 'Vernis Martin' panels. Exhibiting at the Exposition Universelle, Paris, in 1889, Zwiener was awarded a Gold Medal for what the jury reported as 'dè ses dèbuts à une Exposition Universelle, [il] s'est mi au premier rang par la richesse, la hardinesse, et le fini de ses meubles incrustés de bronze et fort habilment marquetés.' Zwiener was closely associated with François Linke and the two houses produced work which, at first glance, is remarkably similar and with occasionally identical mounts. The similarities are made more likely by the fact that the brilliant sculptor, Léon Messagé, worked initially for Zwiener and subsequently, upon Zwiener's departure for Berlin to work on furniture commissioned by Freidrich Wilhelm II, he was employed in the workshop of François Linke. It appears that Zwiener, unlike Linke, did not sign all his work, although some stamped pieces with his name and/or his "Z" initial are documented. There is some uncertainty between the recorded stamp E. Zwiener and the work of a Julius Zwiener...