NAPLESArt, Antique

& Jewelry Show

FEBRUARY 6-10, 2014

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February 6-1 0, 2014

2014 Show Catalogue

NAPLESArt, Antique &Jewelry Show

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From The Organizers,

Welcome to the Third Annual Naples Art, Antique & Jewelry Show – a prestigious event featuring the world-class collections of more than 60 internationally acclaimed exhibitors. It is with great pleasure that we return this year to the picturesque resort destination of Naples, Florida.

The Naples Art, Antique & Jewelry Show features the world’s most beautiful and coveted treasures of the last several thousand years, including major works of art, antique and estate jewelry, furniture, Asian antiquities, American and European silver, glass, textiles, sculpture, contemporary art and more.

This year, we are excited to add one of Naples’ most prominent charities, the David Lawrence Center and Foundation, as the beneficiary of the Opening Night Preview Party. We are thankful and delighted to welcome their supporters and to help raise funds for such a great cause.

A show of this magnitude presents exciting challenges and requires a coordinated effort from a myriad of people. We would like to show our gratitude by congratulating everyone involved in making the Naples Art, Antique & Jewelry Show a success. It is truly a team effort that requires seamless production from our hardworking office staff to our technical and creative personnel that bring this event to life.

We would also like to thank UBS and Stephens Group at UBS for believing our vision and helping to make this show special.

Most importantly, we would like to give a special thanks to our exhibitors from around the world who travel here so that we may enjoy spectacular works of art, rare antiques and timeless treasures. To each participant, we offer our deep appreciation and gratitude.

To our visitors, we extend our warmest welcome, and invite you to take advantage of this cultural experience and the opportunity to meet many of the worlds most renowned and respected jewelry, fine art and antique dealers who are eager to share their knowledge and treasures with you. We are also pleased to welcome you to other Palm Beach Show Group events:

Chicago International Art, Antique & Jewelry Show, April 24-28, 2014Baltimore Summer Antiques Show, August 21-24, 2014

Art Baltimore, August 21-24, 2014New York Art, Antique & Jewelry Show, September 17-21, 2014

Dallas International Art, Antique & Jewelry Show, November 6-10, 2014Palm Beach Jewelry & Watch Show, November 13-16, 2014

LA Art Show, January 14-18, 2015Los Angeles Jewelry, Antique & Design Show, January 14-18, 2015

Naples Art, Antique & Jewelry Show, February 5-9, 2015Palm Beach Jewelry, Art & Antique Show February 13-17, 2015

“It would take a lifetime of travel to experience all that the Palm Beach Show Group has to offer.”

Enjoy the Show!

Scott Diament Robert Samuels

Scott Diament, GG, G.I.A Robert Samuels, GG, G.I.A

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Opening night preview party

Thursday, February 6 5:00 pm-9:00 pmBenefitingDavid Lawrence Center & Foundation

Friday February 7 10:00 am-6:00 pmSaturday February 8 10:00 am-6:00 pmSunday February 9 1 1:00 am-5:00 pmMonday February 10 1 1:00 am-5:00 pm

ShOw hOurS

PAlm BEAch Show GRoUPPresident/CEO ...................................................................Scott Diament, GG G.I.A. Vice President .......................................................................Rob Samuels, GG G.I.A.Chief Operating Officer ......................................................................Dale Chlumsky

EvEnt mAnAGEmEntExecutive Show Coordinator ....................................................................Kellie RossExecutive Exhibitor Development Manager ................................Jaime MosesShow Director, Chicago...................................................................Laurette LutigerShow Director, New York .............................................................Barbara GoodwinShow Production Assistant .................................................................... Nikki TorresAdministrative Assistant .......................................................................... Vanya Allen

commUnicAtionSExecutive Director of Communications .........................................Laurie GreenCommunications Assistant .........................................................Danielle Hamilton Art Director ................................................................................................Hanna IsotaloLead Graphic Designer ................................................................. Shelley O’Connor

AccoUntinGExecutive Finance Manager .........................................Lisa Solomon WeissmanAssistant Bookkeeper ..........................................................................Chere Morales

oPERAtionSLogistics Consultant ................................................................................Robert HahnLogistics Coordinator .................................................................................. Luis AlfaroBooth Design ...............................................................................................Chris Bowes

February 6, 2014

Dear Friends,

It is my pleasure to welcome all attending the Naples Art, Antique & Jewelry Show. Florida is proud to host this event, which draws visitors from throughout the United States and around the world.

As you enjoy the show, our scenic beauty, and friendly businesses, I also invite you to learn more about what we are doing to make Florida the best place for businesses to succeed. As a lifelong entrepreneur, I understand what it takes to grow a business. That is why during the three years since I took office, we have reduced the size, cost, and scope of government in order to expand opportunities for entrepreneurs, and Florida’s increased rate of private-sector job creation indicates that our strategy is working.

To that end, I am focused on three goals for our state: making Florida the No. 1 place for businesses to succeed, keeping the cost of living low for families and businesses, and making sure our schools prepare students for the career of college of their dreams. As a result, Florida’s economy is moving in the right direction because we have the right strategies in place.

You have my best wishes for a memorable and successful show, and I hope each of you will visit Florida often.

Sincerely,

Rick Scott Governor

C City of Naples

JOHN F. SOREY III MAYOR

735 8th Street South, Naples, Florida 34102

Telephone: (239) 213-1000 Fax: (239) 213-1010 Email: Mayor@naplesgov.com

February 6, 2014

Welcome to the Naples Art, Antique and Jewelry Show!

Naples is proud to host this art show for the third year which will feature the ravishing collections of more than 75 internationally acclaimed artists and exhibitors. Guests will feast their eyes on some of the world’s most radiant and unique pieces around today, including works of art, antique finds, estate jewelry, furniture, porcelain, Asian antiquities, American and European silver, glass, textiles, sculptures, contemporary art and so much more.

Since Naples was founded in 1886, people have been drawn to our seven miles of beaches, balmy breezes, cultural activities, great shopping and terrific dining in a pristine tropical setting. We have enticed 22,000 people to take up residence full-time, and another 12,000 to come for the winter months from throughout the USA, Canada, Europe, and South America.

The City of Naples has so much to offer our visiting guests, especially its friendly hospitality and neighborly residents. From our rich history, art, culture, recreation, special events, and our locals, Naples is no longer just a great place to visit; it is a great place to live, work, and play. Naples is the crown jewel of Southwest Florida. We hope you will come back to visit us soon.

Sincerely,

John F. Sorey III, Mayor

Welcome to Florida’s Paradise Coast, On behalf of the Naples, Marco Island, Everglades Convention & Visitors Bureau, we warmly welcome each visitor, guest and exhibitor to the prestigious Naples Art, Antique & Jewelry Show. It is a privilege to host this event showcasing over 200 international exhibitors in the height of our busy season. With great enthusiasm we applaud the show organizers Scott Diament and Rob Samuels for presenting this extraordinary caliber show experience at the 50,000 sq. ft. Naples Exhibition Center. This magnificent collection of international exhibitors and collectors distinguishes Florida’s Paradise Coast with a highly vetted array of fine art, jewelry and important antique dealers from all parts of the globe. Once you have perused the extraordinary exhibits, we encourage you to experience the beauty and charm of our little slice of Paradise here in Naples. We encourage you to visit our restaurants and attractions, delight in our nightlife and historic sites, stroll our avenue shops, bask in the glow of our colorful sunsets, and explore the pristine nature of the Gulf Coast Everglades region, with endless adventures awaiting you whether on foot, paddling a kayak or exploring this pristine watery ecosystem by boat. Most of all we invite you to come back and visit us often! Sincerely,

Jack Wert Executive Director

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TO SUBSCRIBE, CALL (239) 213-6000

After witnessing the unthinkable at 12 years old – her mother shot at the hands of her stepfather – Velma quit school and started picking in the fields of Immokalee to support her brothers and sisters.

Velma remained upbeat and had a family of her own, but then experienced multiple, devastating losses and trauma and was diagnosed with a debilitating health issue. She felt suicide was the only way to escape her sadness, fear and pain. For her children’s sake, she finally asked for help from the David Lawrence Center.

Here she found hope, healing and tools to cope with her mental and physical health problems by working with a case manager, therapist, and utilizing the Center’s new, innovative telemedicine technology to meet routinely with her psychiatrist in Naples remotely from the Immokalee office.

Velma is among one in four in Collier County who suffer from a mental illness. One in nine of us will experience some form of substance abuse. When a family member, friend or coworker battles a mental health or substance abuse problem, we suffer with them. Thankfully, David Lawrence Center is here for our community. A not-for-profit organization founded and still governed by community leaders, the David Lawrence Center is the behavioral health component of our community’s healthcare network. A true local resource, it relies on donations, fees and grants to invest in the health, safety and wellbeing of our community. When you or someone you love needs help, call on the highly compassionate, committed and competent professionals of the David Lawrence Center to inspire you to move beyond the crisis towards life-changing wellness.

Mental health is a community issue.Fortunately, there’s a community solution.

Her Mind is Our Concern.

DavidLawrenceCenter.org Naples 239-455-8500 immokalee 239-657-4434

fo r menta l We l l nes s

F o R m e N T a l W e l l N e s s

f o r Me n t a l We l l n e s s

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ContentsShow hours & Preview Party .................................................................... 7

letters of Greeting ....................................................................................... 8

maine Sublime ............................................................................................... 15by John Wilmerding the world at Your Fingertips ................................................................. 25by Caroline Wallrock of Wick Antiques

Participating Exhibitors ........................................................................... 30

index of Exhibitors ...................................................................................... 78

Advertisements ........................................................................................... 80

COverBuccellati, One of a Kind 18K Yellow Gold Cuff with ~1.76 Carats of Diamonds.

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The Stephens GroupPrivate Wealth Management

UBS Financial Services Inc.

801 Laurel Oak Drive, Suite 708Naples, FL 34108

239-254-7145 888-565-9124jason.stephens@ubs.com

ubs.com/team/stephensgroup

We are proud to be the presenting sponsor of the Naples Art,

Antique & Jewelry Show.

©UBS 2013. All rights reserved. UBS Financial Services Inc. is a subsidiary of UBS AG. Member FINRA/SIPC. 7.00_Ad_9x10.875_2T1206_stephensgroup

We will not rest

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Maine SublimeFrederic Edwin Church’s Landscapes

of Mount Desert and Mount K atahdin

by John WiLMErDing

Fig. 1: Frederic edwin Church (1826–1900) Twilight in the Wilderness, 1860 Oil on canvas, 40 x 64 inches the Cleveland Museum of art Mr. and Mrs. william h. Marlatt Fund (1965.233)image © the Cleveland Museum of art

We now recognize Frederic Edwin Church (1826–1900) as one of America’s great artists of the nineteenth century. Further, many believe his work done in Maine includes some of his most important images, with Twilight in the Wilderness (Fig. 1), based on a sunset he had sketched at bar harbor, Maine, a few years earlier, ranking among the dozen greatest paintings in the history of American art.

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Church was a public and a private artist. his paintings address both history and autobiography. The work done in Maine during the 1850s and early 1860s, primarily at Mount Desert, embodied sentiments of increasing national strife, in symbolic and suggestive ways, while

his career of the later 1860s and into the 1880s was devoted more to Church’s personal time in inland Maine around Mount Katahdin. Where his earlier production was extroverted and exclamatory, the latter was often nostalgic and withdrawn. over the thirty-year period, Church made more than a dozen trips to Maine, nearly half to Mount Desert during the 1850s and the remainder to the Katahdin region mostly in the two decades following.

how Church came to travel to Maine relates to his initial artistic training. From 1844 to 1846 Church studied with Thomas Cole (1801–1848), the foremost landscape artist of the day, in Catskill, new york. in 1844 Cole decided to make an excursion to the Maine coast and Mount Desert island, where he filled his sketchbook with more than a dozen pencil drawings of the surrounding area as well as panoramic views

of and from the island itself. over the next year he created at least three canvases based on his trip, including View across Frenchman’s

Fig. 3: Frederic edwin Church (1826–1900) Granite Cliffs, Mount Desert Island, ca. august 1850 graphite on light brown paper, 1013⁄16 x 15 inches Olana, OL (1977.112)

Fig. 2: Frederic edwin Church (1826–1900) The Wreck, 1852 Oil on canvas, 30 x 46 inches James M. Cowan Collection of american art the parthenon, nashville, tennessee (29.2.14) image © 1929 the parthenon Museum, nashville, tennessee

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Fig. 4: Frederic edwin Church (1826–1900) Lumber Mill, Mount Desert Island, ca. 1850 Oil on canvas, 14 x 20 inches private collection. image courtesy David Stansbury

Bay from Mt. Desert Island, After a Squall (Cincinnati Art Museum, Cincinnati).

After Cole’s death in 1848, Church’s maturing style followed the evolving taste toward a more exacting and explicit recording of sites, but his teacher’s work in that exotic coastal wilderness obviously impressed him deeply.

At the same time, several other artistic and literary forces then coming to fruition—Andreas Achenbach (1815–1910), Fitz henry Lane (1804–1865), and new England author henry David Thoreau (1817–1862)—shaped Church’s ambition to try new subjects along the Maine coast. in the exclamatory language of the sublime, these influential artists celebrated nature’s dual pastoral and awesome, even destructive, elements. Church would tackle a similar subject when he painted The Wreck (Fig. 2) at Mount Desert.

on his first trip to Maine in 1850, Church was eager to visit particular views his mentor Cole had sketched. Granite Cliffs, Mount Desert Island (Fig. 3) is a close-up sketch of the compressed cubic

blocks of quartz and granite across the rock face of otter Cliffs. Birch Tree Struck by Lightning (olana, hudson, new york) executed in the manner of Cole, suggests god’s hand in the life of nature, but Church’s sketches were far more specific and identifiable in their execution than Cole’s.

Church found the lumber mills, either under construction or in operation around the island, a lively subject to sketch, later producing the finished oil painting Lumber Mill, Mount Desert Island, circa 1850 (Fig. 4).

During his first trip Church also undertook several drawings of newport Mountain from varying distances and slightly different angles, almost as if he were photographing it with changing zoom and wide-angle lenses. in his new york studio later that fall, he began to compose a large canvas of the view (Fig. 5), synthesizing selected aspects he had recorded by pencil on separate sheets. Featuring a man in the foreground pulling in over the rocks the remains of a wrecked vessel, the sky is a crisp deep blue and autumn colors dot the forests, but it is the turbulent surf and looming mountainside that address nature’s more awesome character.

in october 1851, Church returned to Mount Desert, actively painting and sketching, gathering material for The Wreck (see fig. 2).

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Fig. 5: Frederic edwin Church (1826–1900) Newport Mountain, Mount Desert, 1851 Oil on canvas, 21¼ x 31¼ inches private collection, promised gift national gallery of art, washington, D.C.

This canvas shows some crucial changes in Church’s work: no human figures are present, and an old schooner forced onto the rocks now occupies the foreground. its aft mast is broken, but the one forward with its cross bar above forms a clearly silhouetted cross against the sky in an image of salvation.1 brilliant afternoon sunlight breaks through the stormy clouds to illuminate the horizon line with its redemptive force. With this work Church decisively turned his attention to the evening hours, whose expressive colors he would explore in shifting ways over the rest of the decade.

in 1852 Church made his first excursion to Mount Katahdin. Far fewer sketches survive from this trip, but the great northern peak clearly possessed his attention. A powerful oil study depicts the mountain silhouetted at twilight (Fig. 6). The artist envisioned Katahdin as a sublime continental complement to the coastal positioning of Mount Desert.

Further trips to Mount Desert island produced a variety of sensational sunsets (Figs. 7 and 8). one of Church’s traveling

companions recorded, “Mr. Church says this island is remarkable for fine sunsets; and our stay here is daily proving impressions just.” 2

Church painted his greatest Maine sunset in 1860, when the nation was on the threshold of civil war, and almost all scholarship on Church sees Twilight in the Wilderness (see fig. 1) as emblematic of this explosive moment. Three aspects dominate this pivotal picture: the meteorological, the spiritual, and the national. The cloud formation reflecting the setting sun is several thousand feet high in the atmosphere—what weather reporters today would describe as a sharp front about to bring impending change— is depicted in a preliminary sketch (Fig. 9). Tied to the meteorological display is the artist’s strong religious faith. he presents the landscape as a day of judgment. on the right, three trees appear in various stages of decay and collapse, signifying the cycle of time. Church also universalized the setting: it remains a Maine subject, but it is also a continental landscape, pertinent to the state of the nation and the impending civil war.

in 1860, Church’s personal life and energies shifted. he purchased a farm near hudson, new york, where soon after marrying isabel Carnes he built a cottage. Family affairs seized his attention with the birth of his first two children, born in 1862 and late 1864. in celebration of their births, he painted small companion

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Fig. 6: Frederic edwin Church (1826–1900) Twilight Mount Ktaadn [sic], ca. 1858–60 Oil on paper mounted on board, 10½ x 13⅝ inches private collection

canvases, Sunrise and Moonrise (both at olana, hudson, new york). his joy was dashed the following year with the deaths of both from diphtheria; this was a moment in his art of turning from public to personal meanings.

Four more children were born over the next few years, as domestic life took hold. Church added to and landscaped his hudson property, and in 1867 purchased the hilltop with the intent of building a new home. Construction of the Persian villa was under way between 1870 and 1872 (Fig. 10). Church blended eastern and western elements into its detailing and designed the views from major windows and balconies to frame living landscape compositions. The house and 250-acre designed landscape, later named olana, are a work of art in their own right. Thus domestic life and space drew his principal emotional and creative drives during these years.

in 1878, the artist purchased the fifty-acre Stevens Farm on the south shore of Millinocket Lake, which brought him back to Maine for successive stays in the years following. The property gave him unobstructed views across the water to the mountain, and he repeatedly sketched it and the surrounding woods in pencil and oil studies (Fig. 11). Many of these are beautiful and technically precise vignettes, but they seldom led to singular completed projects as they had earlier at Mount Desert.

After his final visit, in1881, Church continued to paint occasional canvases of Mount Katahdin, some of good size. Very different from the visual exultations he recorded on his first visits, these are calm and reflective, often bathed in pink light. The foregrounds are mostly empty and often in shadow, the peak reached across an expanse of flat open water. The mood seems wistful and elegiac. rather than inviting, these works were a meditation on something enduring at a great distance away. Debilitated by arthritis, Church’s last dated canvas was Mount Katahdin from Millinocket Camp,

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Fig. 7: Frederic edwin Church (1826–1900) Sunset, Bar Harbor, ca. September 1854 Oil on paper mounted on canvas, 10⅛ x 17¼ inches Olana, OL (1981.72)

Fig. 8: Frederic edwin Church (1826–1900) Maine Sunset, ca. 1856 Oil on paper mounted on canvas, 10 x 17½ inches Olana, OL (1980.1889)

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Fig. 9: Frederic edwin Church (1826–1900) Twilight, a Sketch, 1858 Oil on canvas, 8¼ x 12¼ inches Olana, OL (1981.8)

Fig. 10. peter aaron, View across the Lake, Olana, photograph, 2010 (2010a53.442). © peter aaron/OttO. all rights reserved.

painted in 1895 (Fig. 12), which he presented to his wife, isabel, as a birthday gift. his accompanying note read, “your old guide is paddling his canoe in the shadow, but he knows that the glories of the heavens and the earth are seen more appreciatively when the observer rests in the shade.” 3 he had been painting the great summits of Maine for forty-five years, from 1850 to 1895, expressing the most public and personal themes of his lifetime.

John Wilmerding is Sarofim Professor of American art, emeritus, at Princeton University and a noted scholar of American art and cultural studies. Formerly, he was a visiting curator in the Department of American art at The Metropolitan Museum of Art and served as Senior Curator and Deputy Director of the National Gallery of Art in Washington.

1. Charles Colbert, haunted Visions: Spiritualism and American Art (Philadelphia: University of Pennsylvania Press, 2011), 117.

2. Anne Mazlish, ed., The Tracy Log book, 1855, A Month in Summer bar harbor, Maine (bar harbor: Acadia Publishing Company, 1997), 57. in August

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Fig. 12: Frederic edwin Church (1826–1900) Mount Katahdin from Millinocket Camp, 1895 Oil on canvas, 26½ x 42¼ inches portland Museum of art, Maine, gift of Owen w. and anna h. wells in memory of elizabeth B. noyce (1998.96)

Fig. 11: Frederic edwin Church (1826–1900) Wood Interior Near Mount Katahdin, ca. 1877 Oil on paper mounted on canvas, 125⁄16 x 171⁄16 inches Olana, OL (1980.1871)

The olana Partnership and the new york State office of Parks, recreation and historic Preservation present Maine Sublime: Frederic Edwin Church’s Landscapes of Mount Desert and Mount Katahdin, a traveling exhibition, exploring the almost half-century during which Frederic Edwin Church traveled to and was inspired by the landscapes of Maine. guest curated by John Wilmerding, the exhibition was most recently on view at the Evelyn and Maurice Sharp gallery at olana, hudson, new york. A companion catalogue is available that includes a more comprehensive version of this essay. The exhibition will next be on view at the Cleveland Museum of Art from June 8 – September 21, 2014. For more details, call 518.828.0135 or visit www.olana.org or www.clevelandart.org.

and September of 1855 Church was part of a large vacationing group of family and friends organized by Charles Tracy of new york (who later became the father-in-law of J. Pierpont Morgan). Tracy kept a lively diary of their time on the island, which provides us with a glimpse of the artist’s congenial side, as he was known to sing and play the piano, tell stories, fish, and cook for the group.

3. Frederic Church to isabel Church, november 10, 1895.

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nowadays it might seem incred-ible that, as late as the 1300s, Man believed the world was

flat and that sailors departing for the un-known might drop off the end. brave, en-quiring minds were persecuted and even put to death for daring to think other-wise, despite the fact that the first known globe was made by Crates of Mallus in the 2nd century bC and Aristotle proved the world was round over 2,000 years ago by noticing the round shadow of the earth during an eclipse of the moon. in 1492 Martin behaim of nuremberg made the oldest western globe still in existence to-day but there were large expanses of sea to the West. Coincidentally Christopher Columbus and Amerigo Vespucci voyaged to the new World in that same year, al-though they initially hoped they had ar-rived in the orient, and gradually some of the gaps in the known world’s surface were filled in.

This heralded the beginning of the

The WorldAristotle proved the world

was round over 2,000 years ago by noticing the round

shadow of the earth during an eclipse of the moon

ARTICLE BY CAROLINE WALLROCK OF WICK ANTIquES

AT YOuR FINGERTIPS

golden age of sail where immense politi-cal power, sovereign territorial gain and untold wealth would be concentrated in the hands of those who controlled the high seas, especially the routes to the West; Portugal, Spain, the netherlands, France and britain. The dawn of maritime domi-nance coincided with the development of the printing press and immediately posed the challenge of producing a constantly changing world in the round. Monarchs and statesmen, explorers and buccaneers, clergymen and merchants all wanted the most up-to-date information. in addition, alongside their charts and hand-held in-struments, navigators needed a different set of maps - those of the stars.

Enter the globe makers. The earliest globes were hand drawn or sometimes in-cised by cartographers directly onto metal

spheres, often silver or gold. These were very costly, the preserve of royalty or the nobility. As demand grew scholars, sci-entists, engravers, printers and craftsmen combined to create a complex series of gores or elliptical strips of paper which could be printed in the flat, hand coloured and then carefully trimmed and pasted onto a globe which in turn was set into a stand which not only allowed it to be spun on its axis but also revolved to show both hemispheres. Meanwhile astrono-mers captured the scatter of constellations across the skies and translated it onto a corresponding sphere; initially these were concave to mirror the heavens as seen from earth.

For the next 400 years returning ex-plorers and sea captains would provide globe makers with their ships’ logs and de-tailed diaries leading to proud declarations of up-to-the minute papers for example “compiled from the most recent authen-tic surveys of british and foreign naviga-tors and travellers,” or “all the Fixed Stars, nebulae and Clusters ….together with the additional Stars noticed in the recent Cat-alogue of the british Association”, or “with

Fig 5. ‘Philips’ Thirty-Inch Globe, Rand McNally & Company, San Francisco, Chicago, New York. Circa 1910. (Photograph courtesy of Wick Antiques)

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new Discoveries and Political Alterations down to the present period” and so on.

Political and cultural developments dictated the changing centres for globe production. As we have seen above, the first centre of excellence was nuremberg where Johann Schöner (1477-1547), a priest, teacher of mathematics and printer who cut his own wood blocks for his first set of gores, is credited with being the first person to make a pair of corresponding ce-lestial and terrestrial globes.

in the next century successful Dutch expeditions round the Cape of good hope (1595), to Australia (1620) and new Zea-land (1642-44) together with the grant-ing of a monopoly to trade in Asia to the

Dutch East india Company (V.o.C.) in 1602 combined to shift the focus of globe making to Amsterdam. Petrus Planicus, preacher, scientist, astronomer and car-tographer added stars from the Southern hemisphere including Crux (the Southern Cross) and Triangulum Australe with 135 further stars grouped into 12 constella-tions named after creatures from Asia and the West indies; Chamaeleon, Apus (bird of Paradise), Tucana, and so on.

by the late 17th century fashion was changing. globes were status symbols for emperors and kings. They had to be splen-did as well as scientifically accurate. in 1683 an italian called Vincenzo Coronelli made the massive 3.85m ‘Marly’ globes

for Louis XiV and the die was cast. They were so popular that Coronelli founded his workshop in Venice to produce 3-foot printed globes for nobility, archbishops, cardinals, ambassadors and scientists right across northern Europe. Such valuable show-pieces were often set into ornate frames, for example a pair, now in brus-sels, were supported by carved, painted and gilded allegorical figures of the Four Continents and the Four Elements.

Meanwhile French scientific and astro-nomical expeditions to far-flung Peking, Peru and Lapland combined with more reliable clocks, stronger telescopes in the newly founded Paris observatory, 1666 and a study of the moons of the planet Jupiter led to the more accurate determi-nation of longitude on French maps and globes. in London, around 1680, Joseph Moxon started a trend for pocket globes which were to become so popular and af-fordable that they were soon being mass produced.

Like their European counterparts, british globe-makers benefitted from the scientific advances and explorations of their compatriots. The greatest of these was Sir isaac newton. his extraordinary new revelations about the earth and the planets led to an explosion in commercial instrument manufacture around 1700. Master craftsmen, unfettered by protec-tionist craft guilds like those in France, were able to meet the demand for ‘or-reries’ (complicated mechanical models of the movement of planets round the sun), ‘planetaria’ ‘cometaria’, ‘lunaesolar-ia’, mathematical instruments, armillary spheres and of course globes. nathaniel

Figure 1. Newton Handbill.(Photograph courtesy of Wick Antiques)

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hill, globe maker, advertises his shop thus ‘Makes and Sells all Sorts of Mathemati-cal instruments in Silver, brass, ivory or Wood, very curious, and true graduated both for Sea and Land with books of their Use and the best black-Lead Pencils. new and Correct gLobES of 3.9.12 & 15 inches diameter.” (Fig. 1) george Adams based his celestial globes on the recent ‘star catalogue’ of John Flamstead, the royal Astronomer at greenwich and his later globes featured the discoveries of Captain James Cook’s three voyages of 1768-80.

now we enter the heyday of british globe manufacturing centred on Lon-don. The roll call includes Leonard and richard Cushee, John Senex, the Adams family, James Ferguson, Malby and Sons and Charles Smith and Sons. The giants among them however, were bardin and Son, newtons and the Carys. These firms dominated globe production well into the 19th century.

The celebrated Cary family of cartogra-phers and globe makers produced some of the greatest late georgian globes. The firm was started in London in the late 18th century by John Cary (cl 1754-1835), an engraver and dealer in maps who often worked in partnership with his broth-er William Cary (cl 760-1825), a scien-tific instrument maker. John concentrated on geographical excellence rather than on decoration. in about 1820 the Cary broth-ers moved their business to 86 St. James's Street, leaving the premises at 181 Strand to John Cary's sons george (c. 1788-1859) and John Jr. (1791 - 1852) who traded as g. & J. Cary until about 1850.

Figure 2 shows a pair of Cary's 21-inch Library globes purchased from the Free-mason’s hall in bournemouth, England. Each globe is surmounted by a brass scale in a circular mahogany stand with four arched supports on a baluster and ring-turned column. one is inscribed "Cary's new Terrestrial globe exhibiting the tracks and discoveries made by Captain Cook.... together with every other improvement collected from various navigators to the present time""London, made and sold by J & W Cary Strand, March 1st 1815, with additions and corrections to 1823”

and the other "Cary's new and improved Celestial globe on which is carefully laid down the whole of the stars and nebulae... adapted to the year 1800."

Equally the newton family were ranked among the leading English globe makers of the early 19th century. John newton (1759-1844) trained un-der Thomas bateman before founding his own company in 1780. in the early 1800s, John and his second son William (1786-1861) relocated to 97 Chancery Lane and traded under the name J & W newton. From 1831 to 1841 another partner was

Figure 2. A pair of Cary's 21-inch Library Globes

(Photograph courtesy of Wick Antiques)

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added, civil engineer Miles berry, and the company became newton, Son and berry. After 1841 ownership passed to the eldest son William Edward newton (1818-79).but what was happening on the other side of the Atlantic? initially Americans relied on English maps and globes, but in-dependence and also greater mapping of central and western n. America required a domestic product. James Wilson (1763-1855) started the ball rolling, literally, with solid wood spheres covered in papers he researched in the Encyclopaedia britan-nica. having taught himself every aspect of globe making and even having made all the machines required, Wilson made his first “new American Thirteen inch globe” in 1810 and was running a full factory by 1815. incidentally this was also the year in which harvard College first listed a knowledge of geography as an entry re-quirement. his globes charted the steady increase of States seeking entry into the Union and some have the prime meridian running through Washington. So now globes had evolved from luxury status symbols to classroom essentials and educational tools. Two boston booksell-ers, Joseph Loring and gilman Joslin (Fig-ures 3 & 4) seized the chance to market globes alongside their printed maps and atlases and rose to such prominence that the former was awarded a silver medal in 1838 (although the globes themselves were made and engraved by W. Annin and g.Smith.) by 1872, in Chicago, rand Mcnally were cutting production and labour costs, by using full colour printing and cerography,

Figure 3. Detail of a Celestial Globe by Loring and Joslin. (Photograph courtesy of Wick Antiques)

29

an innovative wax-engraving print tech-nique, so successfully that they quickly became, and remain to this day, one of the best known map publishing companies in the United States. Figure 5 shows a very impressive ‘Philips’ 30-inch terrestrial globe c1910 in a walnut stand with four fluted columns joined by shaped stretchers carved with bold acanthus scrolls. America also produced the first female globe innovator. in 1875 governess Ellen Eliza Fitz obtained a patent for a globe stand which was able to show the position of the sun and the length of days, nights, and even twilight for the whole year.Cook’s voyages completed the gaps in our knowledge of the Earth’s coastlines. The great 19th century explorers filled in the blank spaces of central Africa and the Polar regions and by the 20th century scientists and explorers were turning their energies to the moon, nearby planets and distant galaxies. global satellite navigation sys-tems and the internet have replaced globes as a means of navigation and education but the allure of these spheres as snapshots of a different era still remains. it is fasci-nating to find a globe where Australia is new holland or there is no Lake Victoria. The rise and fall of nations and Empires are mapped out in changing names and borders, when did the indian Territory become Eastern oklahoma or newfound-land and Labrador join Canada. When did yugoslavia disappear or Myanmar emerge? great milestones in our development are often noted on globes, sometimes by hand; like the position of the first trans-atlantic telegraphic cable, the flights of

the graf Zeppelin and the Lindbergh, the construction of the Suez and Panama canals and even man-made islands in the shape of palm trees. Likewise as symbols of wealth and good taste, as examples of timeless elegance reflecting the style and fashions of bygone eras, globes have re-tained their cachet.if you want to touch the stars, if you want

Figure 4. A pair of Loring and Gilman globes on unusual tripod stands.

Circa 1875 (Photograph courtesy of Wick Antiques)

the world at your fingertips, invest in a globe. n

Wick Antiques stock a whole host of globes, all shapes and sizes. Please enquire for more details. Find us at: www.wickantiques.co.uk +44 (0)7768 877 069Charles@wickantiques.co.ukhttps://www.facebook.com/Wickantiques

30

ARt link intERnAtionAlFinE ARt PAintinGS & GlASS

contact: Howard Brassner & Barbara Womelsdorf809 Lucerne Ave.Lake Worth, FLtel: 561-493-1162

email: barbara@artlinkinternational.comwebsite: www.artlinkinternational.com

Carlos Merida (1891 - 1984)Dos Personajes

Acrylic on Handmade Paper, 23 1/4” x 20”, 1958 Certificate of Authenticity from Alma Merida (his daughter) date October 31, 1984

31

32

cAvAliER GAllERiEScontEmPoRARY ARt, PAintinG, ScUlPtURE, And PhotoGRAPhY

contact: Ron CavalierGreenwich, New York, Nantucket

tel: 203-869-3664 212-570-4696 508-325-4405email: art@cavaliergalleries.com

website: www.cavaliergalleries.com

Jim Rennert“Decisions, decisions”

26 1/2 x 14 x 9

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In 1908 Gustav Klimt released Das Werks, a 300 - edition folio containing fifty collotypes - including: “TheKiss.” Klimt supervised the production and applied a signet to each piece as signature and approval seal.

This masterpiece represents the mystical union of spiritual and erotic love, merging the individual with eternal cosmos.

Chicago & Los Angelestel: 312-617-8711

email: chicago@centuryguild.netwebsite: www.centuryguild.net

ARt noUvEAU, SYmBoliSt & SEcESSion lithoGRAPhS FRom GERmAnY, AUStRiA, FRAncE & itAlY FRom 1880-1925

cEntURY GUild

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chAcE AlExAndER GAllERY119 Australian Avenue

West Palm Beach, FL 33480tel: 561-267-0217

email: jckkjr@gmail.com

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chARAmondE JEwElERSFinE EStAtE JEwElRY

contact: Kris Charamonde500 North Dixie Highway

Lake Worth, FL 33460tel: 561-245-0333

email: charamonde@aol.com

Collection of Kieselstein - Cord Jewelry

36

chARlES l. wAShBURnE AntiqUES

P.O. Box 486Solebury, PA 18963

tel: 215.794.7584website: www.majolica.net

Rare George Jones Majolica Dressing Table Set Tulip Candlestick with Butterflies, England, Circa 1870

victoRiAn mAJolicA SPEciAliSt

37

Ken Hamilton (Irish, 1956- )“Girl in a Kimono”oil on artist board

10” x 8”Monogrammed

colm RowAn FinE ARt

contact: Colm RowanPhiladelphia, Pennsylvania uSA

tel: 610-256-3256email: rowan.colm@gmail.comwebsite: www.colmrowan.com

thE mAStERwoRkS oF kEn hAmiltonScUlPtURE BY nnAmdi okonkwo

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dAvid dAvid GAllERYAmERicAn & EURoPEAn PAintinGS, wAtERcoloRS,

dRAwinGS & ScUlPtURES FRom thE 17th-21St cEntURY

260 S. 18th StreetPhiladelphia, PA 19103

tel: 215-735-2922 fax: 215-735-4244email: info@daviddavidgallery.com, daviddavidgal@mindspring.com

website: www.daviddavidgallery.com

“Ladies Knitting”Martha Walter (American 1875-1976)

Signed lower leftPainted Circa 1920

Size 40” x 48”Oil on canvas

Excellent conditionProvenance: Estate Of The Artist/David David Gallery/Private Collection

Illustrated: Illustrated, “Martha Walter” by Carl David, American Art Review, May 1978

39

“Pearamid” 2013 Oil on Board 32 X 22” by Eric Forstmann. Eckert Fine Art is the exclusive representative of Forstmann.

According to Art News “Forstmann brings insouciance and rumpled informality to the tradition of trompe l’oeil still life paintings. His self- deprecating humor adds the likeable Everyman persona that comes across in his work”

EckERt FinE ARt nY

34 Main Street Millerton, NY 12546Coats Wright Art & Design at the Indiana Design Center

200 S. Rangeline Road, Suite 122 Carmel, IN 46032tel: 518-592-1330 (NY) 317-569-5980 (IN)

email: janneckert@aol.com, dwright@coatswright.comwebsite: www.eckertfineart.com

SPEciAlizES in PoSt-wAR And contEmPoRARY ARtiStS SUch AS RoBERt RAUSchEnBERG, RoY lichtEnStEin, Jim dinE, And thE REAliSt PAintER ERic FoRStmAnn

40

“American Vitamin, (Runt)” 2007 Pigment Transfer on Polylaminate 61 X 73-1/2” by Robert Rauschenberg. Rauschenberg, considered one of the world’s greatest artists, has a long history with Southwestern Florida

through having a studio on Captiva Island since 1970. Time Magazine wrote after the artist’s death, “What made Rauschenberg a great American artist? His embrace of just about everything.”

EckERt FinE ARt nY

34 Main Street Millerton, NY 12546Coats Wright Art & Design at the Indiana Design Center

200 S. Rangeline Road, Suite 122 Carmel, IN 46032tel: 518-592-1330 (NY) 317-569-5980 (IN)

email: janneckert@aol.com, dwright@coatswright.comwebsite: www.eckertfineart.com

SPEciAlizES in PoSt-wAR And contEmPoRARY ARtiStS SUch AS RoBERt RAUSchEnBERG, RoY lichtEnStEin, Jim dinE, And thE REAliSt PAintER ERic FoRStmAnn

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Ed wEiSSmAn AntiqUESAmERicAn, EnGliSh & continEntAl FURnitURE PRioR to 1830, 19th & 20th cEntURY PAintinGS,

17th - mid 19th cEntURY dEcoRAtivE ARtS

110 Chapel StreetPortsmouth, NH 03801

tel: 603-431-7575, 239-450-5585email: margaret@edweissmanantiques.com

website: www.edweissmanantiques.com

19th century American Birth Recordof the Augustus Hemenway Family of Salem/Boston

in the form of a Silver “Mermaid Rattle”

42

Anshelm Schultzberg (1862-1945)“Sunset on the Mountains”

Signed Oil on Canvas, Circa 191040 x 53 inches framed

thE EnGliShmAn FinE ARt

1190 Third Street SouthNaples, FL 34102

tel: 239-649-8088email: info@theenglishmanusa.com

website: www.theenglishmanusa.com

ninEtEEnth And EARlY twEntiEth cEntURY PAintinGS

43

EvE StonE AntiqUES, ltd.contact: Susan Stone - Eve Stone

Woodbridge, CTtel: 203-466-6665

email: sstone@evestoneantiques.comwebsite: www.evestoneantiques.com

French, brass, repousse, magnificent wine cooler with masked creatures at each side. circa 1760

44

contEmPoRARY ARt, ScUlPtURES in BRonzE, PhotoS & oRiGinAl PAintinGS

GAllERY FREdERic Got

35 Rue de Seine75006 Paris, France tel: +33 635423215

email: gallerygot@gmail.com

Name of artist : Jacques LebescondName of sculpture : Epsilon

Media : bronze , limited editionYear 2012

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thE GAllERY At FoUR indiA

contact: Kathleen Knight4 India Street

Nantucket, MA 02554Private viewings available by appointment in Lyme, Connecticut

tel: 508-228-8509email: gallerynantucket@gmail.com website: www.galleryfourindia.com

Henry St. Clair (French, 1899-1990)"The Board Walk"

Oil on Painter's Board 27 x 29½ inchesA collection of oil paintings from the Estate of the Artist, Henry St. Clair c. 1925-1950. anda special exhibit of Sailor Valentine’s by awarded artists Sandy Moran and Judy Dinnick

19th-21St cEntURY AmERicAn & FREnch PAintinGS, ScUlPtURES, SAiloR vAlEntinES And collEctiBlES FRom tRAditionAl to contEmPoRARY FinE ARt

46

GAllERY oF AmAzinG thinGS50 million-YEAR-old StonE FoSSil mURAlS And ScUlPtURES

contact: Arron Rimpley, Gregg Whittecar481 South Federal Highway

Dania Beach, FL 33004tel: 954-654-7739 fax: 786-464-1950

email: info@galleryamazing.com website: www.galleryamazing.com

A 71 million year old Ammonite fossil found in Alberta, Canada. As rare as they are beautiful, all Ammonite fossils are one of a kind—unique in brilliance and color.

These exceptionally scarce specimens are sought after by museums and private collectors the world over. Size: 47”H x 57”W

47

A large pair of “Fungi” lamps in hand blown fume glass, Murano, Italy signed BAROVIER, 1930.

iSABEllA m. vintAGE And intERioRS

hAnd Blown itAliAn mURAno GlASS liGhtinG And oBJEctS, 1920-1960

Venice, Saint Tropez, Dallastel: France +33 494 63890 +33 687 114785 Dallas 214-741-9858

email: isabella.muratori@isabellam.com, scottrome@aol.comwebsite: www.isabellam.com

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18 Karat Gold, Onyx and Diamond Bangle Bracelet and Ring by Boucheron, France, circa 1960’s

J.S. FEARnlEYFinE & EStAtE JEwElRY

contact: Steven Fearnley or David McKeone87 West Paces Ferry Road, Suite 2

Atlanta, GA 30305tel: 404-812-6464

email: steven@jsfearnley.com, david@jsfearnley.com, alexander@jsfearnley.comwebsite: www.jsfearnley.com

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A Russian silver and shaded cloisonné enamel Imperial presentation bread and salt set, by the 6th Artel, Moscow, circa 1912; originally presented to the British Ambassador Sir George Buchanan.

Tray diameter: 7 1/8”; Cup height: 1 1/8”.

John AtzBAchFABERGE & imPERiAl RUSSiAn AntiqUES

15127 NE 24th St. Ste. 118Redmond, WA 98052

tel: 425-271-8950 cell: 206-618-2684 fax: 425-271-8940email: john@atzbach.com

website: www.atzbach.com

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Augustus Saint-Gaudens (1848 - 1907), Bronze scuplture ofNike Eirene (Head of Victory). From the collection of Hyatt Lemoine of New Haven, CT.

kAminSkiAUctionS, APPRAiSAlS & FinE ARt

Beverly, Massachusetts, San Diego, Beverly Hills, Palm Springs, California, New Yorktel: 978-927-2223

email: auctions@kaminskiauctions.com, consignments@kaminskiauctions.comwebsite: www.kaminskiauctions.com

51

An exceptional matching pair of Russian Orthodox icons in gilded silver, cloisonné enamel, and pearl cover by maker Pavel Ovchinnikov.

Ca. 1900, Moscow.

mAdE in RUSSiASincE 1994 A lEAdinG PURvEYoR oF FinE RUSSiAn oRthodox iconS, cAtholic REliqUARiES, And othER chRiStiAn REliGioUS ARtiFicAtS

contact: Dennis EasterPalm Beach, FL New York, NY

tel: 561-723-3131email: dennis@russianstore.comwebsite: www.russianstore.com

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UnEARth RARE oBJEctS with thE PASSion oF ARt

mARc RAvEt

Francetel: +33 674 061 194

email: anticravet@orange.fr

Outstanding and rare chest of drawers interim Louis the 15th Louis the 16th period with 2 drawers without crosstie bearing the cabinetmaker’s mark: Pierre Henry MEWESEN (1766).

53

SPEciAlizinG in 19th, 20th & 21St cEntURY oRiGinAl PAintinGS, cUStom FRAminG & REStoRAtion & APPRAiSAlS

mARY RAn GAllERY

3668 Erie AvenueCincinnati, OH 45208

tel: 513-871-5604email: mrangallery@aol.com

website: www.maryrangallery.com

Edward Henry Potthast (1857-1927)“Beach Scene”oil on canvas

30 x 40 inches

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Ian Marion, Monument Valley,

Oil on canvas, 38 x 51.75 inches, 42.25 x 56.25 inches framed,

Signature: lower right, IM

mccoll FinE ARtFinE AmERicAn And EURoPEAn PAintinGS FRom thE 19th And EARlY 20th cEntURiES

AS wEll AS clASSicAl contEmPoRARY woRkS oF ARt

126 Cottage PlaceCharlotte, NC 28207tel: 704-333-5983

email: info@mccollfineart.comwebsite: www.mccollfineart.com

55

A fantastic selection of our snake bangles, showing examples of the differing styles and techniques, featuring enamelled, scale and woven designs, set with gemstones.

moiRA oF nEw Bond StREEt

11 New Bond StreetLondon, W1S 3SR, united Kingdom

tel: +44 20 7629 0160 fax: 44 20 7495 3343email: simon@moira-jewels.comwebsite: www.moira-jewels.com

thE RARESt JEwElS, thE FinESt AntiqUES

56

nUlA thAnhAUSERARt noUvEAU, ARt dEco And ASiAn tExtilE AntiqUE PURSES, SiGnAtURE dESiGnER &

cUStom BAGS, AS wEll AS PERiod FRAmES in BAkElitE, cEllUloid And PREcioUS mEtAlS

East Hampton, NY • By appointment onlytel: 215-266-2888

email: Nula@NulaThanhauser.comwebsite: www.NulaThanhauser.com

Embroidered purse depicting Shiva, an auspicious Hindu deity, encased in a jade surround, circa 1900, probably English.

57

Hermès 35 cm PorosusCrocodile Birkin in “Cassis”

onlY AUthEnticSchAnEl, hERmÈS & loUiS vUitton FinE lUxURY AccESSoRiES,

vintAGE, RUnwAY & limitEd EditionS

New York, NYtel: 212-477-0116

email: charlesvirgil@gmail.comwebsite: www.onlyauthentics.com

58

Extravagant flower set creation designed by Patricia Robalino with a mix of London Blue Topaz, Green Garnet, and Diamonds set in 18K Gold. Handmade in Ecuador.

PAtRiciA RoBAlino dESiGnSSPEciAlizinG in 18k Gold JEwElRY with diAmondS, PREcioUS StonES,

And SEmi-PREcioUS StonES

Palm Beach, New York, Ecuadortel: 786-423-4766

email: probalin@patriciarobalino.comwebsite: www.patriciarobalino.com

59

60

PiRAnESi

An exquisite diamond and fancy yellow diamond pear shape necklace weighing a total of 19.67 carats in diamonds and 29.70 carats in fancy yellow diamonds. Fancy intense yellow cushion diamond ring weighing 12.32 carats SI2 Clarity with two trapezoid side stones

weighing a total of 2.03 carats. Round Diamond weighing 10.01 carats with round diamonds around and down the shank weighing a total of 1.27 carats.

PREcioUS JEwElS SincE 1845

592 Fifth Avenue 525 East Cooper Street New York, NY 10036 Aspen, Colorado 81611 212-332-7373 970-920-7777 piranesi@piranesi.com aspen@piranesi.com

website: www.piranesi.com

61

PRovidEnt JEwElRYWest Palm Beach tel: 561-833-7755

Jupiter tel: 561-747-4449Boca Raton tel: 561-488-7737

Naples I tel: 239-649-7737Naples II tel: 239-649-7200

Fort Myers tel: 239-274-7777website: www.providentjewelry.com

Stunning early 1900s platinum Art Deco wide diamond bracelet with ~60 carats of diamonds

62

qUEEn FinE ARtShiGh qUAlitY PAintinGS

Miamitel: 786-514-7417, 786-355-2344, 786-660-3106

email: sales@queenfinearts.comwebsite: www.queenfinearts.com

Mihail Chemiankin (b. 1943)Dreams of Nejinsky, 1992 100 x 80 cm (45 x 35” in)

Oil on CanvasSigned M. Chemiakin (lower left)

Signed, dated, titled and inscribed (verso)

63

Rare Akoya pearl and amber bead bracelet, with cabochon sapphire and diamond baguette spacers and clasp, signed Boucheron Paris, circa 1980’s

R & A intERnAtionAlcontact: Rosaria Varra36 NE 1st Street #365

Miami, FL 33132tel: 305-924-0122  fax: 305-532-1210

email: rnaintldesign@yahoo.comwebsite: rosariafinejewelry.com

64

m.S. RAU AntiqUESFinE ARt, RARE AntiqUES & imPoRtAnt JEwElRY

New Orleans, LAtel: 1-800-544-9440

email: info@rauantiques.comwebsite: www.rauantiques.com

Pierre-Auguste Renoir, Oedipus RexImpressionist master Pierre-Auguste Renoir captures Greek tragedy in this awe-inspiring composition. Entitled Oedipus Rex,

this exceptional painting depicts a pivotal scene from Sophocles’ iconic play. Imbued with intense energy and emotion, this intimate masterpiece displays Renoir’s uncanny ability to render life and movement with texture and color. Circa 1895.

Oil on canvas; stamp signed “Renoir.” Canvas: 13⅞”h x 13⅞”w Frame: 23”h x 23”w. #30-0961

65

A Van Cleef & Arpels Fancy Yellow Radiant Cut Diamond Engagement Ring.

RAYmond lEE JEwElERSAntiqUE And EStAtE JEwElRY, diAmondS And wAtchES

contact: Lee Josephson22191 Powerline Rd.

Boca Raton, FL 33433tel: 561-750-7808 fax: 561-750-8005email: info@raymondleejewelers.net

website: www.raymondleejewelers.net

66

REhS contEmPoRARY GAllERiESimPoRtAnt woRkS oF ARt

contact: Alyssa Rehs5 East 57th Street

New York, NY 10022tel: 212-355-5710 fax: 212-355-5742

email: alyssa@rehs.comwebsite: www.rehs.com

John Stobart(B. 1929)

Milwaukee: A View of the Inner Harbor in 1880 Oil on canvas23 x 36 inches

Signed and dated 1988

67

RoSEnBERG diAmondS & co.RARE And imPoRtAnt whitE & nAtURAl FAncY coloR diAmondS

And hiGh JEwElS

contact: David RosenbergBoca Raton, FL

tel: 561-477-5444 fax: 561-477-5222email: info@rosenbergdiamonds.com

website: www.rosenbergdiamonds.com

Shown above; 28.32ct Diamond earrings with alternating Fancy Intense yellow diamonds and collection white diamond. 42.57ct Diamond Necklace with alternating Fancy Intense Yellow Diamonds and Collection White Diamonds.

20.43ct Fancy Intense Yellow VVS1 Pear shape Diamond Ring. Diamond Bracelet with alternating Fancy Vivid Yellow Diamonds and Collection White 19.77ct.

68

ShERRY’Scontact: Sherry Fehr and Gail Fehr

21090 Saint Andrews Blvd., Boca Raton, FLtel: 561-338-9100

email: ijtman@aol.com

18k gold, diamonds, and green tourmaline necklace.

69

SoUthERn clASSic JEwElRY

Magnificent Sapphire & Diamond Earrings - featuring 5.42 ct TW of GIA certified Natural Sapphires surrounded by 2.18 ct TW of round brilliant diamonds, set in a 18 kt white gold setting

AntiqUE And EStAtE JEwElRY

250 Spring Street NW, Suite 6E109BAtlanta, GA 30303tel: 404-584-2422

email: info@southernclassicjewelry.comwebsite: southernclassicjewelry.com

70

StEPhEn kAlmS AntiqUESFinE AntiqUE SilvER

contact: Stephen KalmsVault 13 London Silver Vaults

53-64 Chancery LaneLondon WC2A1qS, united Kingdom

tel: + 44207 430 1254 cell: +447831 604 001email: stephen@kalmsantiques.comwebsite: www.kalmsantiques.com

A fabulous pair of Sterling silver wine coolers made in 1810 by Benjamin Smith in London, England

71

StEvEn nEckmAndiAmondS And EStAtE JEwElRY

contact: Steven Neckman36 NE 1st Street, Suite 1046

Miami, FL 33131tel: 305-755-9030

email: Steve@stevenneckman.comwebsite: www.stevenneckman.com

A fine and unusual 18K yellow gold single hinged textured gold cuff bracelet of bypass designSigned Webb for David Webb, N.Y

C 1970’s

72

toJ GAllERY

By Appointment420 Adams Street

Annapolis, MDtel: 410-626-0770 cell: 443-995-5377

email: susan@tojgallery.comwebsite: www.tojgallery.com

A rare pair of Boch Freres Keramis French craquele enamel vases created in 1934.

EURoPEAn cERAmicS And JAPAnESE woRkS oF ARt on PAPER

73

vAlERio ARt dEcoFREnch ARt dEco FURnitURE, ARt GlASS, ScUlPtURES, And JEwElRY

250 Valencia Ave. Coral Gables, FL 33134

tel: 305-448-6779 fax: 305-444-1634email: mail@valerioartdeco.com

website: www.valerioartdeco.com

Secretaire & table by Jacques Adnet, Bronze & Ivory Sculptures by Paul Philippe,

Enamel vases by Camile Faure, Crystal Coupe Riviera by Daum Nancy

74

vAlERio ARt dEcoFREnch ARt dEco FURnitURE, ARt GlASS, ScUlPtURES, And JEwElRY

250 Valencia Ave. Coral Gables, FL 33134

tel: 305-448-6779 fax: 305-444-1634email: mail@valerioartdeco.com

website: www.valerioartdeco.com

Oil on Canvas by Charles Nolhac, Sculpture by Guiraud-Riviere,

Small Cabinet & Daybed by DIM

75

vAlERio ARt dEcoFREnch ARt dEco FURnitURE, ARt GlASS, ScUlPtURES, And JEwElRY

250 Valencia Ave. Coral Gables, FL 33134

tel: 305-448-6779 fax: 305-444-1634email: mail@valerioartdeco.com

website: www.valerioartdeco.com

“Blackamoor Brooch” by NARDI-Venice Italy in 18K yellow gold and silver with multicolor sapphires and semi precious stones. Head in hand carved ebony with diamond earrings

76

TIFFANY & CO. Lapis Bangle and Earclip Suite,

circa 1980

vEndomEFinE SiGnEd 20th cEntURY EStAtE JEwElRY

contact: Deborah Wilson1187 Coast Village Road, #1-496

Santa Barbara, CA 93108tel: 805-969-5997 fax: 805-565-1112

email: vendomejewelry@cox.netwebsite: www.vendomeinc.com

77

C/Tapinería 39, 08002 Barcelona, SpainSloterweg 1210, 1066 CV Amsterdam, The Netherlands

tel: + 34 933103435email: info@villadelarte.com

website: www.villadelarte.com

A collEction oF conSiStEnt hiGh qUAlitY PAintinGS, ScUlPtURE And PhotoGRAPhY,ovER thiRtY SPAniSh And intERnAtionAl contEmPoRARY ARtiStS

villA dEl ARtE GAllERiES

HYBRID M.J1 | 170 x 170 cm| mixed media, cowhide and polyurethane Christiaan Lieverse’s Hybrids depict female faces by assembling different photographs, where Phi is used to create flawless proportions.

The image is then created on cowhide to depict a ‘perfectly animal’ being, attractive and carnal at the same time.

ART LINk INTeRNATIoNAL Howard Brassner & Barbara Womelsdorf809 Lucerne Ave.Lake Worth, FL561-493-1162barbara@artlinkinternational.comartlinkinternational.com

BeNCHMARk oF PALM BeACH678 East Main StreetBlue Ridge, GA 30513800-790-9033benchmarkofpalmbeach@hotmail.combenchmarkofpalmbeach.com

CAvALIeR GALLeRIeSRon CavalierGreenwich, New York, Nantucket203-869-3664 art@cavaliergalleries.comcavaliergalleries.com

CeNTuRY GuILDChicago & Los Angeles312-617-8711chicago@centuryguild.netcenturyguild.net

CHACe ALexANDeR GALLeRY 119 Australian AvenueWest Palm Beach, FL 33480561-267-0217jckkjr@gmail.com

CHARAMoNDe JeweLeRSKris Charamonde500 North Dixie HighwayLake Worth, FL 33460561-245-0333charamonde@aol.com

CHARLeS L. wASHBuRNe ANTIqueS P.O. Box 486Solebury, PA 18963215.794.7584majolica.net

CoLM RowAN FINe ARTColm RowanPhiladelphia, Pennsylvania uSA610-256-3256rowan.colm@gmail.comcolmrowan.com

DAvID DAvID GALLeRY260 S. 18th StreetPhiladelphia, PA 19103215-735-2922 info@daviddavidgallery.comdaviddavidgallery.com

ALPHABETICAL LIST OF EXHIBITORSeCkeRT FINe ART NY34 Main Street Millerton, NY 12546518-592-1330 (NY) janneckert@aol.comeckertfineart.com

eD weISSMAN ANTIqueS110 Chapel StreetPortsmouth, NH 03801603-431-7575margaret@edweissmanantiques.comedweissmanantiques.com

THe eNGLISHMAN FINe ART 1190 Third Street SouthNaples, FL 34102239-649-8088info@theenglishmanusa.comtheenglishmanusa.com

eve SToNe ANTIqueS, LTD.Susan Stone - Eve StoneWoodbridge, CT203-466-6665sstone@evestoneantiques.comevestoneantiques.com

GALLeRY FReDeRIC GoT35 Rue de Seine75006 Paris, France+33 635423215gallerygot@gmail.com

THe GALLeRY AT FouR INDIAKathleen Knight4 India StreetNantucket, MA 02554508-228-8509gallerynantucket@gmail.comgalleryfourindia.com

GALLeRY oF AMAzING THINGSArron Rimpley, Gregg Whittecar481 South Federal HighwayDania Beach, FL 33004954-654-7739 info@galleryamazing.comgalleryamazing.com

ISABeLLA M. vINTAGe AND INTeRIoRSVenice, Saint Tropez, Dallas+33 494 63890, 214-741-9858isabella.muratori@isabellam.comisabellam.com

J.S. FeARNLeYSteven Fearnley 87 West Paces Ferry Road, Suite 2Atlanta, GA 30305404-812-6464steven@jsfearnley.comjsfearnley.com

JoHN ATzBACH15127 NE 24th St. Ste. 118Redmond, WA 98052425-271-8950 john@atzbach.comatzbach.com

kAMINSkIBeverly, Massachusetts, San Diego, Beverly Hills,Palm Springs, California, New York978-927-2223auctions@kaminskiauctions.comkaminskiauctions.com

MADe IN RuSSIADennis EasterPalm Beach, FL New York, NY561-723-3131dennis@russianstore.comrussianstore.com

MARC RAveTFrance+33 674 061 194anticravet@orange.fr

MARY RAN GALLeRY3668 Erie AvenueCincinnati, OH 45208513-871-5604mrangallery@aol.commaryrangallery.com

MCCoLL FINe ART 126 Cottage PlaceCharlotte, NC 28207tel: 704-333-5983info@mccollfineart.commccollfineart.com

MoIRA oF New BoND STReeT11 New Bond StreetLondon, W1S 3SR, united Kingdom+44 20 7629 0160 simon@moira-jewels.commoira-jewels.com

NuLA THANHAuSeREast Hampton, NY 215-266-2888Nula@NulaThanhauser.comNulaThanhauser.com

oNLY AuTHeNTICSNew York, NY212-477-0116charlesvirgil@gmail.comonlyauthentics.com

PATRICIA RoBALINo DeSIGNSPalm Beach, New York, Ecuador786-423-4766probalin@patriciarobalino.compatriciarobalino.com

PeRSIAN GALLeRIeS 375 Broad Ave SNaples, FL 34102239-263-3835pgknox@aol.compersiangalleries.com

PIRANeSINew York, NY; Aspen, CO212-332-7373, 970-920-7777Piranesi@piranesi.com, aspen@piranesi.comPiranesi.com

PRovIDeNT JeweLRYWest Palm Beach: 561-833-7755Jupiter: 561-747-4449Boca Raton: 561-488-7737Naples I: 239-649-7737Naples II: 239-649-7200Fort Myers: 239-274-7777providentjewelry.com

queeN FINe ARTSMiami786-514-7417sales@queenfinearts.comqueenfinearts.com

R&A INTeRNATIoNALRosaria Varra36 NE 1st Street #365Miami, FL 33132305-924-0122 rnaintldesign@yahoo.comrosariafinejewelry.com

M.S. RAu ANTIqueSNew Orleans, LA1-800-544-9440info@rauantiques.comrauantiques.com

RAYMoND Lee JeweLeRSLee Josephson22191 Powerline Rd.Boca Raton, FL 33433561-750-7808 info@raymondleejewelers.netraymondleejewelers.net

ReHS CoNTeMPoRARY GALLeRIeSAlyssa Rehs5 East 57th StreetNew York, NY 10022212-355-5710 alyssa@rehs.comRehs.com

RoSeNBeRG DIAMoNDS & Co.David RosenbergBoca Raton, FL561-477-5444 info@rosenbergdiamonds.comrosenbergdiamonds.com

SHeRRY’S Sherry Fehr and Gail Fehr21090 Saint Andrews Blvd.Boca Raton, FL561-338-9100ijtman@aol.com

SouTHeRN CLASSIC JeweLRY250 Spring Street NW, Suite 6E109BAtlanta, GA 30303404-584-2422info@southernclassicjewelry.comsouthernclassicjewelry.com

STePHeN kALMS ANTIqueS Stephen KalmsVault 13 London Silver Vaults53-64 Chancery LaneLondon WC2A1qS, united Kingdom+ 44207 430 1254 stephen@kalmsantiques.comkalmsantiques.com

STeveN NeCkMAN36 NE 1st Street, Suite 1046Miami, FL 33131305-755-9030Steve@stevenneckman.comstevenneckman.com

ToJ GALLeRY 420 Adams StreetAnnapolis, MD410-626-0770 susan@tojgallery.comtojgallery.com

vALeRIo ART DeCo250 Valencia Ave.Coral Gables, FL 33134305-448-6779 mail@valerioartdeco.comvalerioartdeco.com

veNDoMeDeborah Wilson1187 Coast Village Road, #1-496Santa Barbara, CA 93108805-969-5997 vendomejewelry@cox.netvendomeinc.com

vILLA DeL ARTe GALLeRIeSC/TapineriÅLa 39, 08002 Barcelona, SpainSloterweg 1210, 1066 CV Amsterdam, The Netherlands+ 34 933103435info@villadelarte.comvilladelarte.com

ALPHABETICAL LIST OF EXHIBITORS

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