Important French Parcel Gilt and Gem Set Jewel Casket, with the mark for Paul Rigaux and Pierre Leblanc (est. $20,000-$40,000)

Over 700 lots of fine art, decorative arts, and fine wine will be offered at LLAES Ltd.’s Two-Day Fall Catalogue Auction.  Fine Wine to be sold Friday, September 16th at 6PM, Fine & Decorative Arts to be sold Saturday, September 17th at 9AM.  This event will be held at the firm’s state of the art gallery in Hillsborough, NC.

Leland Little Auction & Estate Sales, Ltd. is proud to announce their Two-Day Fall Catalogue Auction.  The fine offerings at this sale will feature property deaccessioned from the Museum of Early Southern Decorative Arts, the North Carolina Museum of History, the New Bern Historical Society, as well as other select estates and collections.  Floor, absentee, and telephone bidding will be available both days, as well as live online bidding through Live Auctioneers.

Of special note, LLAES, Ltd. is under current construction to expand their gallery space by 5500 square feet, bringing the total square footage to 15,500 square feet.  This expansion will offer 2000 square feet of additional gallery space, a state of the art walk in wine cooler, and ample storage for consignors.  LLAES, Ltd. expects the construction to be completed by December of 2011.

The first session on Friday evening will offer 107 lots of fine wine and will be led by a magnum bottle of La Tache, vintage 2005 (est. $6,000-$8,000).  This sale will also feature vintage 1996 Petrus, one bottle (est. $1,200 -$1,500), vintage 1959 Chateau d’Yquem, one bottle (est. $1,000-$1,500), as well as vintage 1985 Chateau Margaux, four bottles (est. $800-$1,100).  To discuss buying or selling fine wines contact Mark Solomon, Fine Wine Director, at mark@llauctions.com.

Starting at 9AM on Saturday morning, over 600 lots of Fine and Decorative Arts will be offered.  This session will start off

Southern Federal Inlaid Serpentine Sideboard, circa 1800, eastern North Carolina (est. $10,000-$15,000)

with an outstanding Confederate and Militaria collection.  A rare Mendenhall, Jones & Gardner Confederate Rifle, made in Guilford County, North Carolina (est. $12,000-$16,000) should generate excitement. Other lots of note include a McElroy Confederate Foot Officer’s Sword (est. $9,000-$12,000), a Confederate North Carolina Contract Forage Cap, circa 1860-62 ($4,000-$6,000), and an Identified Rhode Island Civil War Gillmore Medal (est. $3,500 – $4,500), which was awarded “For Gallant and Meritorious Conduct” at Fort Sumter.

Fine Silver will be strong, as usual, led by an Important French Parcel Gilt & Gem Set Jewel Casket with the mark for Paul Rigaux and Pierre Leblanc (est. $20,000-$40,000).  Other top lots include a Tiffany & Co. Japanese Style Sterling Bowl (est. $1,000-$2,000) and a Swedish Silver Tea Urn by Gustaf Mollenborg (est. $4,000-$6,000).

Over seventy lots of Fine American Art will energize the sale throughout the day.  Top lots include a series of four bas relief sculptures of calla lilies by Donald Sultan (est. $8,000-$12,000), an oil on canvas by Francis Flanagan, entitled, “Monhegan Island, Maine” (est. $4,000-$6,000), and an oil on canvas by Lendall Pitts entitled, “Source of Romanche” (est. $3,000-$6,000).  An unusually fine offering of contemporary American art and photography will also generate excitement, led by an untitled lithograph by Richard Diebenkorn (est. $4,000-$6,000) and a screen print on paper, pencil signed on the lower left by Andy Warhol (est. $2,000-$4,000).

Bronze Bird Fountain with remnants of gilding by Janet Scudders (est. $15,000-$25,000)

Sculpture will be well represented at this auction, led by a bronze bird fountain with remnants of gilding by Janet Scudder (est. $15,000-$25,000).  This sculpture bears a foundry mark reading “GORHAM Co. Foundeurs,” and was included in a 1919 exhibition of 22 garden sculptures organized by W. Frank Purdy, president of the Art Alliance in New York City.  Other fine offerings include a bronze fluid abstract modernist sculpture by Oded Halahmy (est. $500-$1,000) and a 19th century carved wood with gesso and polychrome paint statue of Our Lady of Guadelupe (est. $1,000-$2,000).

American Furniture offerings are extremely strong and provide an outstanding sampling ranging from 18th century to modern forms.  Top lots include a Southern Federal Inlaid Serpentine Sideboard, circa 1800 (est. $10,000-$15,000), a North Carolina Paint Decorated Blanket Chest, attributed to Alamance County, the first half of the 19th century (est. $5,000-$10,000), a circa 1810 New York Federal Linen Press (est. $4,000-$8,000), an American Classical Secretary Bookcase, circa 1820-1840 (est. $4,000-$6,000), a North Carolina Country Sheraton Sideboard attributed to Guilford County, early 19th century (est. $2,000-$4,000), and a Philadelphia Chippendale Arm Chair, second half of the 18th century, attributed to William Savery (est. $1,000-$2,000).

Amethyst, Turquoise, Diamond, and Pearl Vintage Choker Necklace, consisting of one round amethyst weighing approximately 44 carats (est. $4,500-$6,500)

The Jewelry Department at LLAES, Ltd. has again brought a fine collection of estate jewelry and watches to market, led by an Amethyst, Turquoise, Diamond, and Pearl Choker consisting of one round amethyst weighing approximately 44 carats (est. $4,500-$6,500). Other lots of note include a Platinum and Three Stone Diamond Ring (est. $3,500-$5,500), an Antique Red Coral Bracelet (est. $600-$800), and an 18KT Diamond and Emerald Link Bracelet (est. $1,000-$3,000).

Decorative Accessories, led by a Tiffany Studios collection including a Tiffany Blown Glass and Bronze Candelabrum (est. $4,000-$8,000) and a Tiffany Studios

Tiffany Blown Glass and Bronze Candelabrum, signed Tiffany Studios New York 10088 with Tiffany Studios Monogram (est. $4,000-$8,000)

16 Piece “Grapevine” Desk Set (est. $4,0000-$8,000), will be a highlight of the sale.  Other exciting lots include an Alamance County Redware Plate, circa 1800 (est. $2,000-$4,000), a Navajo Germantown Blanket (est. $2,000-$4,000), and a Fine Ormolu and Cut Glass Chandelier, 19th century (est. $2,000 – $4,000).

LLAES, Ltd. continues to bring fresh Asian Art offerings to market.  Lots of note include a Chinese Millefleur Bottle Vase, 20th century (est. $1,000-$2,000), a Large Chinese Famille Jaune Porcelain Vase, 19th century (est. $1,000-$2,000), and a Large Chinese Scholar’s Brush Pot, likely 18th century (est. $600-$900).

Leland Little Auction & Estate Sales, Ltd.’s Two-Day Winter Catalogue Auction will be held on December 2^nd and 3^rd, 2011.  LLAES, Ltd. is always seeking quality consignments, whether it be an entire estate or a significant item. If you would like to discuss selling please call at 919-644-1243 or email at info@LLAuctions.com.  To learn more about Leland Little Auction & Estate Sales, Ltd. please visit their website at www.LLAUCTIONS.com.

LANCASTER, Pa. – Beautifully designed and richly illustrated, the 2011 edition of Jan Foulke’s Guide to Dolls is now available for purchase through Synapse Publishing’s website or amazon.com. Nearly 300 pages in length, this immaculately organized full-color reference is an indispensable resource for any level of doll buyer, seller or collector.

Written by the most trusted authority on antique and vintage dolls, Jan Foulke, the book includes reliable, up-to-the-minute market values on more than 2,000 antique, vintage and modern collectible dolls. More than 600 dolls – many of them from premier private collections – are shown in full-color photographs.

Main doll classifications are broken down into subcategories arranged alphabetically by manufacturer. Doll productions from each of the makers are further sorted by doll type, size and/or model number.

Foulke added an introductory section to each doll factory or studio category, providing a thumbnail history, basic description of the manufacturing technique, and additional tidbits of information, such as cautions about reproductions.

A detailed main index enables the user to look up virtually any doll by name, and it is followed by a second index that helps identify dolls by numbers incised into the molds from which they were created. Foulke didn’t stop there; she also included a glossary of terms to help beginners and non-doll specialists with trade terminology, such as “paperweight eyes,” “gusset joint” or “mignonnette.”

With nearly 40 years of experience in the doll business, Foulke relishes the opportunity to share her knowledge and does so with an extensive section on how to assess quality, condition, clothing and originality. It is followed by a detailed narrative packed with tips on buying and selling dolls, including at auction. Throughout, these tutorials are written in a clear and conversational style with no filler.

Jan Foulke’s Guide to Dolls 2011 softcover edition is quite likely the only book any doll enthusiast requires for doll identification and accurate market values. The book is available to purchase online for $26.95 through Synapse Publishing’s dedicated web page www.jansdollbook.com or amazon.com.

The 27^th Florence International Antiques Fair (aka Florence Biennale) will be hosted this year at the enchanting Palazzo Corsini from October 1^st– 9^th with a layout masterminded by the Maestro Pier Luigi Pizzi. The Biennale, first started by Mario and Giuseppe Bellini in 1959, is the oldest continuous art and antiques fair in Europe and has become the most important Italian art exhibition in the world.

The home to the bi-yearly Florence Biennale since 1997, the Palazzo Corsini in its subdued Baroque style with an 18th-century flair is truly a unique and greatly admired building in Florence and a sight to see in itself. The residence, which was completed only in 1737, is also the proud home of Florence’s most important and historically significant private gallery, boasting a collection, begun in 1765 by Don Lorenzo Corsini, nephew of Pope Clement XII.

The works of art displayed by antiquarians from all over the world–74 Italian and 14 foreign—are the undisputed stars of the show. The vast variety of the over 3,000 pieces presented at the fair range from paintings to plates and antique books to sculptures.

All the works exhibited at the Biennale will be monitored and authenticated by the Scientific Committee. On September 28^th, two Committees, the first appointed by the Florence Exports Office, and the second sent by the Ministry for the Cultural Heritage, will examine the works for which the antiquarians request a free circulation certificate, a document which allows Italian works of art to circulate abroad.

Collateral Events:

The Biennale continues to support Corri la Vita, an association, devoted to the study and prevention of breast cancer presided over by the Marchioness Bona Frescobaldi. On October 1^st a charity evening will be held and during the dinner Christie’s will auction works of art donated by exhibitors at the Biennale. The proceeds of the auction will be devolved entirely in favour of the Association.

On October 5^th prizes will be awarded to the best painting and sculpture at the Fair. The prizes, amounting to 10,000 Euro each, will be destined to the restoration of a work of art from the public cultural heritage.

On October 6^th the “Lorenzo d’oro” prize will be awarded to Piero Angela, for his long and successful career as a director of documentaries.

Press Office:

Sveva Fede, tel. +39 336 693 367, tel. e fax +39 0575 370 368, sveva.fede@libero.it

Press Office for Tuscany:

Anna Pampaloni, tel. +39 055 69 63 65, +39 347 56 20 327, a.pampa@katamail.com

Foreign Press Offices:

Great Britain: Cawdell Douglas, 10-11 Lower John Street, W1R 3PE London (GB), tel. +44 207 439 28 22, fax +44 207 287 54 88, e-mail: press@cawdelldouglas.co.uk

U.S.A.: Jonathan Marder + Company, 24 Fifth Avenue, suite 1530, N.Y. 10011 New York (U.S.A.), tel. +1 646 638 24 79 fax + 1 646 638 25 29, e-mail: m.dattatreya@gsmltd.net

France: Colonnes, Claire Galimard, 16 rue des Saints-Pères, 75007 Paris (France), tel. +33 1 426 070 10, fax +33 1 426 070 07, e-mail: contact@colonnes.com

Info:

Expo Arte e Cultura S.r.l. – Via del Parione 11 – 50123 Firenze – tel. +39 055 282 283 – +39 055 282 635 – Fax +39 055 214 831 – www.biennaleantiquariato.it – info@biennaleantiquariato.it

Short history of the Florence International Antiques Fair

•  The Mostra Internazionale dell’Antiquariato was launched in 1959 in the prestigious premises of Palazzo Strozzi. The Fair was the brainchild of Luigi Bellini Sr., designed to attract to Florence the very best in the international antiques world, and it made its name by offering the choicest selection in the collecting and antiques sector. The overwhelming success of the first Fair, and of those which followed, marked the start of a market season increasingly oriented towards the Antiques Fairs. The originality of the idea, accompanied by an astute selection of the antiquarians, transformed the Fair into a cultural and fashionable event that could not be missed, to the extent that the Florentine Fair was visited both by the members of the international jet set and by a crowd avid for curiosities, knowledge and marvels. The international triumph was triggered by the fact that it was held in Florence and was also accompanied for the entire duration  by a series of highly attractive cultural and society events.

• Problems in the utilisation of Palazzo Strozzi, where adaptation work was being carried out, meant that in 1977 the antiquarians had to move to Palazzo Giuntini (now the Grand Hotel), after which they returned to the original site up to 1993. In 1987, Guido Bartolozzi took over from the Bellini brothers as the General Secretary.

• When Palazzo Strozzi became definitively unavailable in 1995 the Fair had to be moved to the Palazzo degli Affari, a fine building designed by Spadolini, but entirely unsuitable for an antiquarian fair of the level of the Florentine Biennale. For the following editions of the Fair, the choice fell on Palazzo Corsini sull’Arno, the current premises of the event, where it has been held since 1997.

•  In 2001 the Management Committee appointed Giovanni Pratesi, Chairman of the Italian Antiquarians Association, as General Secretary of the Florentine Biennale. This appointment represented a crucial turning-point for the Fair and it was in fact in 2001, with an absolutely innovative design and the inclusion of numerous novelties in the general programme, that the Biennale set off on the path that has led to its being considered today as one of the three most important antiques events in the world.

• To place the Biennale at the level of the most prestigious international Fairs it was decided to promote strict controls on the works displayed, modify the image of the Fair by entrusting the orchestration to the Maestro Pier Luigi Pizzi, who performed an authentic masterpiece of restyling, introducing a new pavilion in the entrance courtyard of the Palazzo, boost promotion by setting up specialised Press Offices in the major cities of the world (Wiesbaden, London, Paris, New York); extend to the Italian exhibitors the same rights as their foreign counterparts, offering them advance examination of the works on display so as to provide them with export licences before the start of the Fair.

THE CORSINI PALACE

Maria Maddalena Machiavelli, wife of Marchese Filippo Corsini, purchased the Palace from the Grand Duke Ferdinando II in 1649. Her son, Bartolomeo, began remodelling and redecorating the Palace in 1650. Initially the work was done by Alfonso Parigi the Younger, and then by Ferdinando Tacca, who continued with the project until 1671. Actual construction work on the Pa­lace as it stands today was commissioned by Filippo Corsini junior, in 1685, after the death of his father Bartolomeo. Construction was directed by Antonio Ferri, a versatile exponent of the late Baroque Florentine cul­ture. He was a set designer and engineer, who built machines and fortifi­cations and than poured his extraordinary elegance and creative skill into Palazzo Corsini, making it one of Florence most unusually luxurious pala­ces.

The decorations, executed between 1692 and 1700, are among the finest examples of Florentine painting. Among the artists the Corsini family com­missioned to decorate the located, we must mention the outstanding maters Anton Domenico Gabbiani, Alessandro Gherardini and Pier Dandini.

Palazzo Corsini, located on the banks of the Arno river, is in the heart of Florence, just a short walk from the Ponte Vecchio and the Duomo and near the smart Via Tornabuoni.

The Salon and the Aurora Gallery

When the Salon in the Palazzo Corsini was inaugurated in the late seven­teenth century, Antonio Ferri’s designs (1694‑1696) must have aroused wide­spread amazement. Entering the room from the grand staircase, which forces a corner view, is an enormous source of wonder. The visitor sees an extra­ordinary room flooded with light reflected from the walls with their co­lumns, bases and rippling cornice. The ceiling in the Salon is decorated with a glorification of the Corsini family, and it supports two gigantic painted wooden chandeliers that were carved by Antonio Francesco Gonelli between 1698 and 1700. The doors of the Salon open onto the adjacent deco­rated rooms.

Size and prestigious location make this splendid salon one of the most sought after reception rooms in the heart of Florence.

The impressive main staircase leads to the Aurora Gallery which is part of the main building: its large, arched windows look onto the courtyard and offer a splendid view of hills on the opposite side of the Arno river.

This luminous and completely frescoed gallery was decorated by Bartolomeo Ne­ri and Alessandro Rosi, and with the other luxurious rooms of Palazzo Cor­sini, will house, from the 30th September to the 9th October, the 24^th edition of the Inter­national Antique Fair.

The Ballroom

The Ballroom, that overlooks an internal courtyard, is reached via the mid­dle door (on the left) of the Salon. The large crystal chandelier and the gilded eighteenth century wall sconces complete the decorations.

The fresco, painted by Alessandro Gherardini between 1695 and 1696 is set in a plasterwork frame enhanced with flowers and two scrolls. In the mid­dle of the composition in Aurora’s chariot drawn by Pegasus. The goddess of dawn, sister of Helios, the sun god, is surrounded by three maidens, the Hours, one of whom is holding a floral crown, while a Putto holding a torch, symbol of the goddess, precedes the chariot. On one edge of the fre­sco, Gherardini painted the Kingdom of Flora, with Zephyr, the young god with butterfly wings and some nymphs accompanying the goddess. On the oppo­site side is the Triumph of Galatea: the sea nymph is on a shell drawn by dolphins, and Polyphemus with his heard is in front of her, playing a love song on his pipe. The care the artist dedicated to the fresco is the fur­ther enhanced by the decorative elements he added: four vases in the cor­ners of the arch; those near the Kingdom of Flora are decorated with gar­lands of flowers, the other two with sea creature and fish. It can be easily said that this fresco is the finest decorative work in the entire Palace.

During the Antiques Fair, the padded and lined with precious silk seats will be removed to protect their integrity.

Dan Morphy, CEO of Morphy Auctions, will be taking his experts on the road in July to visit with collectors at antiques and collectibles shows from coast to coast. Morphy Auctions image.

DENVER, Pa. – Dan Morphy, CEO of Morphy Auctions, and several of his on-staff experts will be visiting antique shows this month, with stops planned for Portland, Seattle, Allentown, Pa., and Anaheim, California.

Morphy and his team have issued an open invitation to collectors who may have an interest in obtaining a free evaluation of their collection and learning how to consign to a future auction. Visits can be arranged at collectors’ homes or wherever else their articles may be kept.

“There is no obligation whatsoever, and all visits are kept strictly confidential,” said Morphy.

Morphy’s July event schedule includes the following stops:

July 8-10 – Dan Morphy and Brian Estepp at the Portland Expo Antiques & Collectibles Show in Portland, Oregon

July 15-16 – Brian Estepp at the Seattle Marble Show in Seattle, Washington

July 16-17 – Mike Landis at the Allentown Paper Show in Allentown, Pennsylvania

July 28-30 – Dan Morphy at the UFDC Doll Convention in Anaheim, California

Morphy’s is known for its high-profile auctions of toys, banks, antique advertising, mechanical/coin-op and gambling machines; fine and decorative art; clocks and Americana. The company holds the world record for the highest-grossing one-day auction of a single-owner toy collection: $7.7 million achieved with the 2007 sale of the Stephen and Marilyn Steckbeck collection of antique mechanical banks.

To make an appointment to meet with Morphy Auctions team members during their July show tour, please e-mail dan@morphyauctions.com.

Military firearms are highly collectible antiques that peak a lot of buyers interests. One rare antique that fits this category is the matchlock weapon. The matchlock first came into existence in the 14th century. The significance of the matchlock was that it had a mechanism or “lock” invented to facilitate the firing of a hand-held firearm. Its design removed the need to lower by hand a lit match into the weapon’s flash pan. The matchlock also made it possible to have both hands free to keep a firm grip on the weapon at the moment of firing, and, more importantly, to keep both eyes on the target.

The classic European matchlock gun held a burning match in a gun that was known as the serpentine. A variety of matchlock was also developed called the snapping matchlock, in which the serpentine was spring-loaded and released by pressing a button, pulling a trigger, or pulling a short string passing into the mechanism. This type fell out of favor with soldiers, but was often used in fine target weapons. One weakness of the matchlock was the necessity of keeping the match lit. The sole source of ignition for the powder was the match. If the match was not lit, then the mechanism was useless and the gun became little more than an expensive club. This was mainly a problem in wet weather for the matchlock gun. It became an issue when the damp match cord was difficult to light and to keep burning. Another drawback was the burning match itself. At night, the match would glow in the dark, possibly revealing the carrier’s position. The distinctive smell of a burning match-cord was also a dead giveaway of a musketeer’s position. This was one reason why soldiers in charge of transporting and guarding ammunition were amongst the first to be issued self-igniting guns like the wheel lock and snaphance. The matchlock was also uneconomical to keep ready for long periods of time. The matchlock first appeared in Europe in the middle of the 15th century. By the 16th century, the matchlock was universally sold everywhere. The Janissary corps of the Ottoman army adopted matchlock arms from Hungary gradually from the 1440s onwards. Improved versions of the musket were transported to India by Babur in 1526 and then to Japan by the Chinese. The Japanese were technically able to produce tempered steel such as swords and blades. However, they preferred to use work-hardened brass springs in their matchlocks. The low cost of production, simplicity, and high availability of the matchlock kept it in use in European armies until about 1720. Both the Qing Dynasty and the Joseon Dynasty used matchlock arms as late as the 1850s and 1870s. They used these during the Second Opium War and the United States expedition to Korea. Improvised matchlock guns were last used by pro-Indonesia Timor Leste militias in the 1999 conflict.

John Taylor Arms’s “Stokesay Castle”, is a world famous historical antique. Arms created this etching and work of art in 1942. It is printed on black on blue-green handmade laid paper. The image presents a side view of the famed thirteenth-century fortified manor house located in Shropshire, England. The scene shows the castle and adjoined church next to it. It is pencil signed and dated the year 1942. The print is titled and inscribed “To my friends Mr. and Mrs. Robert D. Smith with Best wishes from John Taylor Arms 1942.” The technique used is engraving. Overall, this exquisite print is inexpensive and in very good condition.

From the Norman Conquest until 1241, the area was held by the Lacy family, a powerful dynasty with lands in the Welsh Marches. Stokesay Castle is a fortified manor house in Shropshire, England. It was built in the late 13th century. Stokesay Castle is a grade 1 listed building, which means it has been placed on the Statutory List of Buildings of Special Architectural or Historic Interest. This gigantic fortress was owned by the Lacy family. On the death of the last male heir, Walter de Lacy, it was left to the husbands of his two granddaughters to divide the family estates. The Stokesay Castle manner went to John de Verdon. Verdon went on a crusade leaving his property to a tenant. This tenant sold the manor in 1281 to Laurence of Ludlow. The main construction of Stokesay Castle was undertaken by Ludlow, the richest local wool merchant of his generation. Extensive research done on Stokesay Castle’s structure was done and concluded that virtually the whole present structure was completed before 1291. One of the oldest elements of Stokesay Castle is the lower two story’s of the north tower. One of Stokesay Castle’s most magnificent features is its great slate-roofed hall, which stands thirty-four feet high. The original wooden staircase also remains intact today. The Elizabethan gatehouse, added in the 16th century, is also half-timbered and is decorated with elegant carvings. The interior of the castle contains a selection of rare wall paintings from the medieval period.

During the reign of King Charles I, Stokesay’s Castle fell into the ownership of a different family and was used for a supply base for the King’s forces in the area, in the early stages of the English Civil War. The manor was used as a farmhouse and a barn until the early nineteenth century. In 1869, it was purchased by John Derby Allcroft. Allcroft, realizing the historical significance of Stokesay’s Castle, set about to restore and maintain it. He also had Stokesay’s Court built nearby. Stokesay’s Castle is currently in the guardianship of the English heritage, which provides a recorded audio tour of the entire premises for visitors. This is a print that will add nicely to an antique collection for any collector.

Jacobean furniture dates all the way back to the year 1600. The revival of this style lasted for almost a century. The period represents the growth of foreign influence and the passing of the oak styles. The Jacobean style was made popular during the reign of James the first and was also popular under his son Charles the second.

The earliest Jacobean furniture was influenced mainly by Elizabethan (1603 -1688) styled furniture. During this time the furniture took on different styles. Early Jacobean furniture was somewhat inward looking, not fully embracing exotic influences that were more ornate. Colonial Americans copied the early styles of the furniture as best as they could since they did not have skilled furniture makers.

Commonwealth Style (1649-1660) marks the middle of the Jacobean Period, when the furniture was of simpler design and undecorated. The late Jacobean Period is that of the Carolean period, named for King Charles II. Charles the first was more cultured than his father and took much care and interest in the furnishings of his palaces and mansions and especially in the collection of great art and paintings. During Charles’s reign over England, he paid more attention to domestic comfort with much more use of padded upholstery, carpets instead of rush mats, and finer embroidery. The Latin name for James is Jacobus. The English style in vogue beginning with James I’s reign is referred to as “Jacobean”. The Jacobean, or Jacobethan, era was another phase of English Renaissance architecture, theatre, and decoration and formed a continuation, begun in the Elizabethan age, of the Renaissance’s penetration into England. In America, Jacobean style furniture is synonymous with Pilgrim style because the early English settlements in America took place during the Jacobean era.  Very little American furniture of the earlier part of the Jacobean period is still surviving; but later pieces, from about 1670, are more numerous. Most of the American primitive furniture was produced during this period by colonists to make do, because there were few skilled cabinetmakers in the colonies.

There were many different features in the Jacobean furniture style. Oak was the chief wood and Ash and maple were used for turning and whittling. Using pine wood was also a popular method. There were also a few different types of Jacobean furniture.  This included turned chairs, highly carved mirror frames, footstools, and gateleg tables. Upholstery was used to improve chairs. Upholstery is the work of providing furniture, especially seats, with padding,springs,webbing and fabric covers. Materials such as silk, tapestries, crewelwork, linen, velvet, and even leather were used on various types of chairs. There were four different chair styles in the Jacobean era that included three-legged, carver, and Brewster. Almost all flat surfaces on chairs, chests, etc. are carved in low relief. Jacobean furniture was very sturdy, massive in size, notoriously uncomfortable, and made to last. The furniture pieces that were produced consisted mainly of chests, cupboards, trestle tables, wainscot chairs, and gate legged circular tables. Some veneering and inlay were used, and many pieces were painted. Spiral turning was also very popular. Tables were rectangular in shape, with small melon ball turning on the legs. As a rule, Jacobean furniture construction was simple. It was assembled with mortise and tenon joints, held together with pegs.

Jacobean period furniture can mainly be found in the auction houses of England. Being built to last, many pieces have not only survived, but are still in good condition. Understandably expensive, most “Jacobean antiques” available for sale are actually 19th century reproductions. Lines of furniture today have the same styles and will reference the Jacobean era.

Blue Onion is a popular china pattern that has been in use for hundreds of years, but did you know it was originally not an onion at all? European craftsmen in Meissen (outside of Dresden in Germany) interpreted the unidentifiable peaches and other fruit from older Chinese patterns. Before it was called the onion pattern, it was originally named the bulb pattern. The early patterns first produced were closely modeled by the Chinese in 1740. Blue Onion china was made into plates and bowls in the Meissen Factory that had a feel of one of a kind.  One of the early examples of this was the blue and white porcelains of the early, powerful Ming Dynasty in 1420. The colorful flowers and fruits pictured on the original Chinese pattern were unknown to the Meissen painters. Therefore, they created hybrids that were more familiar to Europeans.

The Blue Onion design most likely originated from an east Asian model, specifically Chinese. Its artistic style also demonstrates that Blue Onion derives also from European influence. The Blue Onion creative pattern was designed as a white ware decorated with cobalt blue. Some rare dishes have a green, red, pink, or black pattern instead of the more common cobalt blue. A very rare type is called red bud, because there are red accents on the blue-and-white dishes. Porcelain found in Europe with the onion pattern is manufactured in Czech Republic by the famous stock company Czech Porcelain.

A highly rare blue onion antique listed on antiques.com is the Meissen Blue Onion soup tureen that includes an under plate. This primitive antique is from 1920. In the images below, you will see the mark of Meissen printed out and this denotes a 20th century manufacture of this very popular Blue Onion pattern. This distinguished mark of the crossed swords dates back to circa 1800. The under plate measures 15″ X 10″ and the tureen is 16″ from handle to handle and the height of the tureen to the top of the finial on the cover is 10 1/2″. The opening of the tureen is 11″ X 8 3/4″. The antique is in relatively in good condition with the exceptions of a few scratches. No restoration is currently needed. This Blue Onion antique is a real collector’s treat as tureens with under plates are rare to find, even in 20th century manufacture. The opening on the cover is for a ladle. We have a non matching white ladle that we will include in the purchase of this tureen. This exquisite antique is a collector’s dream and will not disappoint!

Ivey-Selkirk Auctioneers’ May Jackson Rooms Auction is finally here!  You’ll see a variety of beautiful pieces – far too many to list here!  But here are a few of the many pieces available at this amazing auction:

• A Fine Selection of English Furniture and Decorative Art including a Harvest Table, Welsh Dresser, Pew, Cupboards, Bookcase, Terra Cotta Chimney Pots and Mirrors
• Exceptional Painted French Louis XV Style Armoire with Beveled Edge Mirrors, Louis XV style Marble Top Bombe Chest, Pair Louis XV Belle Epoque Armchairs and a Louis XV Belle Epoque Settee
• Antique American Bookcases, a Baker Armoire, China Cabinets, Contemporary Design Furniture and Wrought Iron and Patio Furniture and Outdoor Elements
• Oil Paintings and Prints including a large Floral Oil by Sebouten
• Asian Decorative Art, Lamps & Chandeliers
• Handwoven Carpets and Area Rugs, Sterling and Plated Silver
• Flo Blue, Ashworth Bros., Mottahedeh, Limoges, Staffordshire, Waterford, Baccarat and More
• Large Selection of Silver, Costume and 14k Gold Jewelry
• American Samplers and Longaberger Baskets
• Toys & Collectibles, Much More!