Legend of the Nymphenburg Porcelains Works starts with the designs of Dominikus Auliczek. He was born in East Bohemia on August 1, 1734. Following an apprenticeship in Litomyšl, Auliczek travelled to Vienna, Paris, London and Rome to refine his skills as a sculptor. He was awarded first prize of the Accademia di San Luca for his modelling work by Pope Clemens XII. Auliczek came to Munich in 1762, as one of the best in his field.

It was in 1763, he commenced work for Porcelain Works-Studio Nymphenburg as the successor to Franz Anton Bustelli. In 1772, he advanced to become royal sculptor to the Bavarian electoral court. He created around 100 figures as the model maker during this period. From 1773 to 1797, he headed manufacture as inspector and subsequently as the artistic director (until his death in 1804).

Initially, still strongly influenced by the late-baroque buildings and structures he encountered on his travels in Italy, he created statuesque figures of the gods and a monumental table piece. The most pioneering design by Dominikus Auliczek is the PEARL service held in the Louis-Seize style, which was initially created at the porcelain manufactory for Elector Carl Theodor of Bavaria (around 1793).

These works has been produced for over the past 100 years plus, this service was reserved exclusively for the court of the Wittelsbach family. The name of PEARL is derived from the fragile bar of pearl that lines each individual object. For the first time in the history of porcelain in Europe, Auliczek based his service on the shape of a dodecagon.

Lovingly artisans applied with 792 different sepia veduta and lavish blue-gold decorations, the service was produced in 1918 for the golden wedding anniversary of King Ludwig III and Archduchess Marie Therese as a gift from their children and has, since this time, been known as the “Royal Bavarian Service”.

The painted decoration consists of small oval and round landscape reserves in grey or sepia (tone-in-tone painting) with a few trees in the foreground, sometimes with a building as a “view ” and in some cases adorned with  small figures of people in the spirit of Jacques Callot’s etched scenes . Even today these works are highly sought after as so many of the fine works of the Nymphenbury Porcelains factory in different variations based on original layouts dating from the 18th century.

The Nymphenburg Porcelain Manufactory (in German: Porzellanmanufaktur Nymphenburg), manufacturer of Nymphenburg porcelain, is situated in the Nymphenburg Palace in Munich, capital of Bavaria, and since the mid-eighteenth century has been manufacturing porcelain of high artistic value.

After his accession in 1745 Maximilian III Joseph, Prince-Elector of Bavaria, commanded the establishment of manufacturing companies in order to bail out the state finances. From 1747 attempts were made to manufacture porcelain and at the end of that year the former Neudeck Castle in the area now the Munich suburb of Au-Haidhausen was made available for that purpose. Up to 1754 the experiments were a miserable failure and lost considerable amounts of money, but in that year the efforts to manufacture porcelain finally began to succeed. In 1755 the factory received its first commission from the Bavarian court and in 1756 came the first success in painting the porcelain in color. The management of the jurist and entrepreneur Count Sigmund von Haimhausen from 1758 ensured that the factory was placed on a sound commercial footing. By 1761 it had moved to the Nymphenburg Palace, where it still is today.

Among the great artists who followed Bustelli were Dominikus Auliczek the elder (1734—1804) and Johann Peter Melchior. A great promoter of the works was Ludwig I who gave them many commissions. Particular favorites were dinner services with copies of famous paintings or with Bavarian landscapes in an antique style.

In 1822 Friedrich von Garner, the fashionable architect, was appointed artistic director of the factory. In the middle of the 19th century, its financial position deteriorated to the extent that in 1856 all artistic production was halted and it was decide to privatize the factory. It was leased out for the first time in 1862 and its focus shifted to the production of technical, medical and sanitary porcelain goods.

In 1887 Albert Bäuml (1855—1929) took a lease of the factory. His aim was to regain the previous high artistic level of the factory’s products: it was Bäuml, for example, who “rediscovered” Bustelli. This aim was realized at around the turn of the 19th and 20th centuries and besides historical copies, elegant Jugendstil ceramics were developed.

Works of the Nymphenberg Porcelains work can be seen and appreciated at;

http://stores.ebay.com/Candlewood-Yankee-Fine-Arts/_i.html?rt=nc&_nkw=Nymphenburg&_sid=645563163&_sticky=1&_trksid=p4634.c0.m14&_sop=3&_sc=1

James Stow & Anthony Yau

Candlewood Yankee Fine Arts

Since the 5 of January 2009, Wedgwood, Waterford and Royal Doulton has been sold K P S Capital Partners had purchased The English Manufacture works. Except for special orders and smaller ware in Jasper ware, Wedgwood jasper ware is NO LONGER produced in any volume .

Most ware are now manufactured outside of the UK by other locations  in the Foreign  Companies owned by the WWD ( Waterford-Wedgwood-Royal Daulton ) producing other wares and not the noted Jasper ware .

The more outstanding items, Larger Plaques, Portland Vases, tricolor works are still produced in the United Kingdom.  The sweet dishes, small plates, small vases that we see by the thousands are what has flooded the market and still can be found in the secondary auctions. These you find in so many auctions houses, on-line Auctions by the hundreds.

Special and outstanding ones can still be found on the Better Auction Houses and by dedicated Smaller Antique dealers.  The older vintage works can be purchased for far less than the new ones produced and available from the Wedgwood site in the United Kingdom.

“What a Shame, that the “Father of British Pottery” was a victim of the global financial crisis.”

Josiah Wedgwood (July 12, 1730 – January 3, 1795, born Burslem, Stoke-on-Trent) was an English potter, credited with the industrialization of the manufacture of pottery. He was a member of the Darwin — Wedgwood family, most famously including his grandson, Charles Darwin.

Born the thirteenth and youngest child of Thomas Wedgwood III and Mary Wedgwood (born Stringer; d. 1766), Josiah was raised within a family of English Dissenters. He survived a childhood bout of smallpox to serve as an apprentice potter under his eldest brother Thomas Wedgwood IV. Smallpox left Josiah with a permanently weakened knee, which made him unable to work the foot pedal of a potter’s wheel. As a result, he concentrated from an early age on designing pottery rather than making it.

In his early twenties, Wedgwood began working with the most renowned English pottery-maker of his day, T. Whieldon. There he began experimenting with a wide variety of pottery techniques, an experimentation that coincided with the burgeoning early industrial city of Manchester, which was nearby. Inspired, Wedgwood leased the Ivy Works in his home town of Burslem and set to work. Over the course of the next decade, his experimentation (and a considerable injection of capital from his marriage to a richly endowed distant cousin, Sarah Wedgwood) transformed the sleepy artisan works into the first true pottery factory.

To better appreciate the beauty and hand craftsmanship of these works please visit the two sites here;

Part 1-    http://www.youtube.com/watch?v=uy87Gd7kQpE

Part 2-    http://www.youtube.com/watch?v=w9E_BJgc3kM

Vintage works in Jasper Ware from the Wedgwood Manufacture can be seen at;

http://stores.ebay.com/Candlewood-Yankee-Fine-Arts/_i.html?rt=nc&_nkw=wedgwood&_sid=645563163&_sticky=1&_trksid=p4634.c0.m14&_sop=3&_sc=1

James Stow & Anthony Yau

Candlewood-Yankee Fine Arts

Sooner than later, we will be preparing for the, “Holiday’s Shopping and Gift Giving Season.”  Perhaps now is the best time to make the ‘battle Plans’ for the upcoming events.

Forget waiting in line in the middle of the night for that “Door Buster, ” twelve hours to open and the madness when all shoppers will act like fools to buy that mass produced item, twenty colors and sizes to choose from and will be tossed aside and forgotten in a few months for a newer version a few months later OR regifted for another gift at a later date.

So often this is the case. Why not try something new quite time tested and proven?

Set your budget and think more about how each of your gifts should be tailored to the one receiving it. Give a gift of Fine Art, collectible or fine antique that says something special for that special one. Give a Gift of Fine Art or a Treasure Antique …  Many people do not realize this is possible even with the most modest budget.

Years ago Neman Marcus started this with the “Christmas Wish Book” and others followed …Why not do your own with special art for the REAL collectors without spending hundreds of thousands of dollars.

Take the time and think about the hobbies or interests of the ones you are giving a gift.  Over the years many collectors love antiques Cups & Saucers and many can be purchased at $75.00 or less from fine English Derby, Worcester Gregorian Periods , singular tea bowl /bowls are favorites along with a selection of fine Gourmet  tea’s makes a great gift. Many other fine porcelains dating from the Georgian Period to the Mid Century are priced from $25.00 and up depending on the work.

Perhaps for someone that loves jewelry would be interested in a hand crafted Necklace or a rare and vintage “John Lenon Designed Italian Scarf,” or a Rene Lalique Star of David Necklace that would be great as a wearable work of art. All under $ 250.00

The collector of fine literary works would love a Medieval Manuscript from the Nuremberg Chronicle or a Durer Wood Cut from “The Small passions,” first executed in 1511 at $125.00 and up. Often nice volumes of a limited edition of classic literature are illustrated with original etching, wood cuts or lithographs by Baskin, Austin or Brangwyn among others.

A great gift for the host or hostess can be a nice porcelain vase or decorative dish by Wedgwood, Waterford, Spode, Royal Doulton and others which then can be filled with favorite sweets and packed as a gift basket…. Many love Crystal Goblets (Waterford perhaps a pair with a nice bottle of wine never loses appeal.)  If a person loves silver, find a piece of the silver or china pattern they may not have and would love to add to their collection. Many company’s make great gift sets that are no longer made BUT can be found on the secondary market in antique and replacement shops.

For the Art Lover, a nice Limited Edition Print by James Whistler, Matisse, Manet, Renoir or other modern masters. For the true traditionalist collector with more in the budget try Rembrandt’s (etched by Durand or a student after the artist exactly line for line after Rembrandt) for $75.00 and up. If your budget allows, several etchings executed by Rembrandt and pulled from the artist copper plate at $ 2,000.00.

No matter what is the price range, when you take the care to know the person a little better a quality gift of good taste can be achieved. Good fine art and quality antiques can be obtained if you take the time to do so BEFORE the night you have to wrap a gift…

Giving a special gift will give the recipient a life time of precious enjoyment when you know what really matters.  It is the energy and effort you take to give a gift that makes a statement of yourself and the person you wish to please. It’s not the price, it is the planning and the knowing what is a special gift.

Candlewood Yankee Fine Art and Antiques Offers a wide selection of both Fine Art and Antiques priced from as little as $25.00 to several thousands of dollars. Something for every occasion and budget.

Please visit our site. Shop early for a better selection and save the drama of “Holiday Shopping,” for the theatrical crowd.

https://www.facebook.com/xlijstow

James Stow & Anthony Yau

Candlewood-Yankee Fine Arts

Printing a Etching of “The Three Trees,” by  Rembrandt

For both the Veteran and Beginner Print Collector , The video is a wonderful way to see the process of the printing OR what is called , “Pulling a Proof ” from a original copper plate etched by Rembrandt .  This was filmed at the  Rijks Museum (Amsterdam), in which the largest collection of Rembrandt’s Copper Plates are deposited.

http://www.youtube.com/watch?v=hIfaU1Q1zs0

Enjoy the video, it is not every day you can see a great work of art created by a Master Artist of the Past who will remain as one of the greatest of all time. The work in the video is “THE THREE TREES,” among one of his finest examples of Landscape etchings.

James Stow & Anthony Yau

Candlewood-Yankee Fine Arts

http://www.ebay.com/itm/Rembrandt-Lieven-Willemsz-van-Coppenol-Etching-/180386117685?pt=Art_Prints&hash=item29ffd9b835

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Rembrandt’s Etchings True or False Originals?

Mae West once said, “Come up and see my etchings some time.” The variations of Original Rembrandt Etchings has been misunderstood and abused since the days of his own life time. In the field of fine prints there are; the etching conceived, etch and printed from the same plate … either printed by Rembrandt or various printers with possession of the Copper plates are in fact originals work and should be treated as such.

See the link;     fineartadvocacy.com  or  http://www.fineartregistry.com/

This is excellent Start to better understand the history and appreciation of Rembrandt’s Etched work.

These plates (depending on that particular image), have been printed from over the past three centuries, some lost and others were printed from as late as 1998 and the Millennium Impressions … which are only a ghost of the image of what the Artist intended .

Many works were in fact etched after Rembrandt by his students (studio workers and later devoted students influenced by his work) and later great bodies of works were etched in the same size with a slight larger plate mark size by Armand Durand. Durand’s works are explained in a excellent way at;      http://www.kickarseart.com/consigned_etchings/etching_armand_durand.htm

Many etchings are passed off as Originals in Internet Auctions, including many online so called Auctions or E -Bay sites. So many others are in fact NOT by Rembrandt but either Helli gravures (reproduction) original etchings etched by Durand or by a student copyist.

Now with such wonderful websites, collectors should take the step to research before purchasing ANY Etching of Rembrandt. Even if documented by a follower, student or Durand still has some value …However an etching conceived, etched and printed from the original copper plate has much more value.

Know exactly what you are looking at and appreciate each for what the work truly is…. Some of the works etched after the Master are indeed quite beautiful and many have historical importance. Keep in mind the value and quality are TWO DIFFERENT factors. If aN Original Rembrandt is NOT in your means, enjoy a good recreation by a student or by Durand. Often these are finer impressions than the horrid Impressions from the last Edition. How sad the last editions on the market are very poor quality and most often overpriced.

Best way to see what is offered at various prices, feel free to visit;

http://www.ebay.com/itm/Rembrandt-Christ-Between-Two-Thieves-Etching-/170459626592?pt=Art_Prints&hash=item27b02f7c60

James Stow & Anthony Yau

Candlewood Yankee Fine Arts

Childe Hassam American Impressionist Painter, Lithographer, water colorist and etcher (known to all as Childe, pronounced like child) left high school without graduating, and ended up working for a wood engraver. He attended drawing classes at the Lowell Institute, a division of MIT, and was a member of the Boston Art Club. He began his artistic career as an illustrator and water colorist and later worked in etching and Lithography .

By 1882, Hassam was exhibiting publicly and had his first solo exhibition, of watercolors, at the Williams and Everett Gallery in Boston. The following year, his friend Celia Thaxter convinced him to drop his first name and thereafter was known simply as “Childe Hassam”. Having had little formal art training previously, Hassam went to Paris in 1886 to study figure drawing and painting at the Académie Julian. He studied under Gustave Boulanger and Jules Joseph Lefebvre. However, he later considered the education he received there “superfluous.” What had a greater influence on Hassam’s work was the art he was exposed to in the city’s museums and galleries, especially the works of the Impressionists. Hassam returned to America and settled in New York City in 1889. He soon became close friends with fellow artists J. Alden Weir and John Henry Twachtman, whom he met through the American Watercolor Society. Hassam enthusiastically painted the genteel urban atmosphere He discovered in New York, which he greatly preferred to Paris. During his time in New York, Hassam made summer painting excursions to Thaxter’s home on Appledore Island, Maine, the largest of the Isles of Shoals; and to Gloucester, Massachusetts; Cos Cob, Connecticut; and Old Lyme, Connecticut.

Outstanding Pair of his works Lithography can be seen at;

http://www.antiques.com/classified/1135743/Antique-Childe-Hassam—-Venice—-Pair-Rare-Aquatints

James Stow & Anthony Yau

House of Stowe Galleries

PORTLAND, Ore. – On Sept. 30, 2012, a new first-class auction resource for luxury gems, jewelry and timepieces will become available to buyers worldwide with the launch of Watch Auction HQ’s auction division. The Portland-based company was formed from the 2011 merger of a private jewelry wholesale firm and a boutique specialist in estate and privately acquired fine jewelry. Businessman Nick Dillard and a prominent jeweler/gemologist are partners in Watch Auction HQ, which deals only in fine jewelry and watches of an especially high standard, as evidenced in the selection they’ve hand-chosen for their Sept. 30 auction premiere.

“Our private clients are entertainment executives, business owners and ‘captains of industry.’ They are sophisticated buyers who expect exclusivity and a much higher level of customer support than they might receive elsewhere,” said Dillard. “For instance, we recently sold his-and-her diamond bezel bracelets to a movie industry executive and flew to Los Angeles to deliver them personally to the client’s Beverly Hills residence. We’ve tailored our auction model so it incorporates many of the white-glove extras our private clients appreciate, such as lovely cases and packaging for all goods, and complimentary Fed Ex shipment. In addition, auction bidders will have the assurance of knowing that they are dealing with a company that has already proven itself to be of utmost integrity.”

The 300-lot Sept. 30 auction titled ‘Diamonds Speak’ will be structured as a timed online auction through LiveAuctioneers.com, with additional bidding options to include phone and absentee bidding. Lots will close consecutively after the start time of 10 a.m. PST (1 p.m. EST).

Among the men’s timepieces to be offered are watches by Audemars Piguet, Omega and Rolex. Leading the ladies’ watches is a highly desirable diamond-bezel 18K gold Rolex Datejust model. Other ladies’ watches include a stunning 18K yellow gold Lucien Picard contemporary design with 48 pavé diamonds on its face, 32 diamonds on the bezel and 240 diamonds on the bracelet; and a chic 18K yellow gold Tiffany & Co. wristwatch with 134 diamonds on the bezel and diamond dial markers.

The ultimate fashion accessory that moves with ease from the country club to a formal dance is the now-classic tennis bracelet. Watch Auction HQ will offer to the highest bidder an elegant, mint-condition 14K gold tennis bracelet set with 39 diamonds weighing approximately 10 carats.

Several other bracelets are worthy of special mention. A 18K yellow gold custom design by David Freeland features a full carat of sparkling diamonds set in a row alongside a circle of gold-framed opals. Also guaranteed to turn heads is a superb Renaissance-style custom-designed bracelet of white and yellow gold set with tourmalines and both square and round diamonds – total weight: 62.2 grams. The third key lot amongst the bracelets is a hinged design of cobalt-enameled 18K yellow gold fashioned as two intricately detailed, ruby-eyed lions’ heads.

Another statement piece in the sale is an 18K yellow gold and diamond necklace designed by Gabriel Barda. Its graceful motif features gold “leaves” set with 60 round diamonds cumulatively weighing (approx.) 2 carats.

If there is a single jewel that can speak a thousand words, it is the diamond solitaire, says Nick Dillard. “When a fine diamond is cut in a special way, it shows off the jewel’s brilliance and can be the most spectacular thing.” Just such an example in the Sept. 30 sale is the marquise-cut solitaire diamond that serves as the focal point of a 14K yellow gold ring. Ten channel-set diamonds accent he impressive center diamond within a distinctive contemporary design.

Dillard said Watch Auction HQ will be introducing many custom marketing features to its online sales, as well as a private club whose members will receive an exclusive catalog containing “pieces to dazzle even the most discriminating buyer – these items will be for members’ eyes only.”

Starting with the Sept. 30 auction, there will be a gift drawing to accompany each Watch Auction HQ sale. No purchase is required. Anyone who signs up to bid or to receive either the company’s e-mails or e-catalog will automatically be entered for a chance to win a fine-jewelry item or timepiece valued at no less than $500. The Sept. 30 auction-drawing prize is a men’s 14K gold Longines vintage watch valued at $1,000.

“What we want to stress above all else is that customer service is of prime importance to us. We answer every question and respond to every phone call, e-mail and social media contact promptly and courteously. We view each customer as a long-term business partner and want to build lasting relationships with people who like to have fun and enjoy the finer things in life,” Dillard said.

For information on any item in Watch Auction HQ’s Sept. 30 “Diamonds Speak” auction, or to arrange for a phone line on auction day, call 800-890-7780 or e-mail nick@watchauctionhq.com or info@watchauctionhq.com. Visit the company’s website at www.watchauctionhq.com. View the fully illustrated catalog and sign up to bid absentee or live via the Internet on auction day at www.LiveAuctioneers.com.

To view a brief video clip previewing Watch Auction HQ’s Sept. 30 sale, click here:

https://www.youtube.com/watch?feature=player_embedded&v=KGv9lefS7Sg&noredirect=1

What are Putti … Putti in art are plump male children, usually nude and winged that one often sees in Renaissance, Mannerist, Baroque and Rococo art. These come to mind with the works of Franz Anton Bustelli and were most likely originally created to decorate the table in the “Stone Hall” at Schloss Nymphenburgi. The hall’s ceiling painting shows the nymph Flora surrounded by important gods as befit her standing, e.g. Mercury, Jupiter and Juno. Bustelli’s children, clothed as Ovidian gods, may be regarded as allegoric.

Franz Anton Bustelli (April 12, 1723 – April 18, 1763) was a Swiss-born German modeller for the Bavarian Nymphenburg Porcelain Manufactory from 1754 to his death in 1763. He is widely regarded as the finest modeller of porcelain in the Rococo style: “if the art of European porcelain finds its most perfect expression in the rococo style, so the style finds its most perfect expression in the work of Bustelli.”

From 1754 to today these little Putti or Cherubs, are still produced on the designs of Anton Bustelli in white or referred to as Blanc de Chine (French for “White from China”) is the traditional European term for a type of white Chinese porcelain and hand colored.

These are to be found on the secondary market … These are retailing new at the $800-1,000.00 for the uncolored works and up to $3,000.00 an up for the colored works. With patience and a level head you can acquire some beautiful works of Nymphenburg Porcelains.  These are in fact more rare than Meissen and are quite beautiful.

Works of these (both Blance de Chine & Colored works) can be seen at;

http://www.antiques.com/classified_items.php?SeArChItEmS=Nymphenburg&img.x=12&img.y=14

James Stowe

House of Stowe Galleries

For more information on Nymphenburg Porcelains, check out their website:

http://www.nymphenburg.com/en/nymphenburg/

Over the years, antiques have been passed down from generation to generation, from one antique shop to the next, and from flea markets all over the world to your home.  With the volume of households antiques have been in over the last 50-100 years, is it any wonder any of it is still in mint condition?

In the United States, collectors often want their antiques to be flawless. In other countries, some damage is more accepted.

I am often asked, “If I buy an item that is restored, does that make the value increase?”  That’s a loaded question.  It doesn’t make the item worth the same as if it was still in “original” mint condition.  However, it can certainly increase the interest in a potential buyer.

Should I restore my things?  It all depends on the type of item you are talking about.  To replace missing stones on a piece of jewelry, yes!  Should I refinish an American Highboy, probably not.

What’s a handy item to have when out antiquing? A black-light!  This handy little tool can help you detect if a piece of glass, pottery, porcelain or a painting has been restored.  Take the item and the black-light into a dark room. Turn on the portable light and hold it over the item.  Wave it from side to side and look for any spot to “jump” out at you.  If something seems to stand out, there might be some issues with the piece.

What if you want to buy a piece that needs restoration? Should you buy it, or should you pass?  In many cases, if an item is damaged, you can expect the value to be 10-20% of what it would be worth if pristine.  If an item is rare, that percentage would change.

So if you just happen to love the item, and it is priced accordingly, then by all means, buy it and enjoy it!  However, if your plans call to restore the item, you might contact your local restorer first to determine how much it would cost to repair it.  Restoration is often not cheap, and even though you are getting an item as a cheap price because of damage, the restoration costs might bring the total investment to the same or close to what you would have to pay if the item was in mint, original condition.

With all this said, where do you go to have your antiques restored?  For simple restorations, you can do a search online for “antique restorer (insert your city/state here)” and there should be plenty of restorers in your area.  If you have a bigger project, or an expensive item you want to make sure is restored properly, contact your local museum and speak with the curator in the department that exhibits your type items.

Finally, you can reach out to Old World Restorations at:  www.oldworldrestorations.com

Or Wiebolds: www.wiebold.com

Recognized 20th Century Decorative Arts Expert and Appraiser.  As seen on CBS “The Early Show” and NBC’s “The Art of Collecting”. Haines has written numerous articles and books on collecting. Her most recent pubication is “Collecting Wristwatches” for Krause Publications which comes out April 2010.  Reyne is a frequent appraiser on PBS Antiques Roadshow.

“Brownrigg Interiors is one of the best antique shops outside London” according to the Tattler magazine. Brownrigg Interiors has been the subject of many press and magazine articles in Britain such as the The World of Interiors, The Times, The Telegraph, Homes and Gardens and many more.

Brownrigg Interiors and antiques shop is based at Tetbury in Gloucestershire, England with other showrooms in London and Petworth, West Sussex. At Brownrigg Interiors, they specialize in French antiques and French antique furniture and also offer a good range of other antiques from Europe. Their French antiques are sourced from all over France and England… be it cities like London, Paris, Limoges, Bristol, Rouen, Marseille, Tours and the Loire Valley region of France.

Antiques buyers in the UK are particularly keen on French antique tables of the refectory table shape. French farmhouse tables or French refectory tables of fruitwood and other woods are especially suited to the modern trend for abandoning the dining room in favour of larger dining areas in the kitchen where the large kitchen dining tables used in France (French Farm house tables) fit the requirement so perfectly. Types of wood used in French farm house tables varies between the general description of fruitwood to cherry, walnut, pine and even rosewood.

Complimentary to such large refectory tables are French breakfast tables, console tables and other French tables such as French marble top tables, round tables, sofa tables, antique console tables and even French dressing tables.

Another very popular item is the French Armoire. These are large antique wardrobes or cabinets, originally used for storing weapons but are now used as bedroom antique wardrobes and cupboards. Often these French Armoires are made from walnut and feature pleasing carvings.

Another interesting item under the French Antique banner is the commode. Originally, in French furniture, a commode introduced about 1700 meant a low cabinet, or chest of drawers at the height of the dado rail. A commode, gilt-bronze mounts, was a piece of case furniture much wider than it was high, raised on high or low legs, with or without enclosing drawers. This piece of furniture would be accompanied by a marble slab top selected to match the marble of the chimneypiece. A commode occupied a prominent position in the room for which it was intended: it stood against the pier between the windows in which case it would often be surmounted by a mirror glass. A pair of identical commodes would flank the chimneypiece or occupy the centre of each end wall. Before the mid-eighteenth century the commode had become such a necessary commodity that it might be made in menuiserie, of solid painted oak, or walnut or fruitwoods, with carved decoration, typical of French provincial furniture.

In the English-speaking world, commode passed into London cabinet-makers’ parlance by the mid-eighteenth century, to describe chests of drawers with gracefully curved fronts, and sometimes with shaped sides as well, perceived as being in the “French” taste. Thomas Chippendale employed the term “French Commode Tables,” to describe designs in The Cabinet-Maker and Upholsterer’s Director (1753).

(Interestingly, the term “commode” is also a rurally used colloquial synonym for a toilet in the United States. This word was commonly heard in the 20th century but seems to be falling out of favour and has become uncommon to rare)

Other French antiques offered include chairs such as armchairs & French Fauteuil, French leather chairs, comfortable Louis XVI chairs and sofas. Their French antiques also include a variety of French cabinets and bookcases together with beautiful antique French mirrors and stunning antique lamps.

Brownrigg Interiors Antiques offers a comprehensive antiques search service. Contact them if you would like to search for a French Antique that you cannot find on their web site.

If you see an item you like on the web site please check it is at the correct showroom before visiting one of their three antiques showrooms. It is also possible to purchase online and they will ship anywhere in the world!

Check our web site for opening hours (Usually they are Monday to Saturday from 10.30 am – 5.30 pm).

Please contact Jorge Perez at the following email brownrigg@mac.com

For more details visit us at: http://www.brownrigg-interiors.co.uk/

(Chicago, IL) The 2012 edition of Journal of Advanced Appraisal Studies contains nineteen in depth original research articles and topical discussions relating to personal property appraisal. While the Journal is targeted primarily at professional property appraisers, it also contains useful insights and information for anyone associated with the business of personal property such as auction houses, estate lawyers, insurance brokerage houses, museums and cultural property conservators.

According to Michael Conner Ph. D, ISA–AM, the mission of the Foundation is to “promote the advancement of education related to personal property appraising.” The Foundation was formed in 2002 as an independent arm of the International Society of Appraisers. The Foundation raises funds to provide scholarships for continuing studies for both new and veteran appraisers by publishing the Journal

Editor Todd W. Sigety, ISA CAPP comments, “The Journal of Advanced Appraisal Studies is now in its 5th year of publication.  From what started as a simple concept of creating a platform for personal property appraisers and allied professionals to publish scholarly works, reviews, primers, theories and experiences has now grown and matured into the publication of choice for our profession. The Journal has developed into an important tool to assist new and emerging appraiser as well as becoming an incubator for developing new concepts and ideas for experienced appraisers.”

Sigety continues, “The 2012 edition of the Journal contains a wealth of appraisal related content on varied topics such as the 2011 art market, photography skills, report writing, Hedonic appraisal approach, marketing through TV, radio and public appearances, the Asian market, Asian textiles, appraising Judaica, book appraising, wood identification, inspection tools, multi-part antiques, artist archives, fair value, women in 20th century design, fraud on eBay, appraising books, and artist identification. All articles are specifically written and selected for the personal property appraiser.   Appraisers from the three major personal property organizations, ISA, ASA and AAA as well as independent appraisers, allied professionals, and educators have been active supporters and contributors to the journal project.”

The 300 page 2012 edition of the Journal, edited by Todd Sigety, is available for $55 at http://www.appraisaljournal.org/contents.html. Previous editions are available for $35 on the same site. For more information visit the Journal’s websites at http://www.appraisaljournal.org  and http://www.foundationforappraisaleducation.org/journal.html to read an excerpt article and visit the home page of the Foundation at  http://www.foundationforappraisaleducation.org/index.html

You can contact the Foundation for Appraisal Education at 201 W Lake St # 214 Chicago IL, 60606, telephone 312 924-1832, email info@foundationforappraisaleducation.org.