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  • A Roman Numeral Clock with Urn, flanked by two putto. Height:20 inches Width: 15 inches AC16000 F-1195 / 1196
  • Pair of Louis XVI Style Gilt-Bronze Mounted Porcelain Urn Form Candelabra, late 19th Century. Height: 31 inches. BBJUN2402-7362 AC11750 Made Set with Clock. F-1068
  • A Champlevé & Gilt-Bronze Clock Garniture (Set of 3 Pieces). Paris, circa 1880. The clock with Roman numeral dial above a glazed panel enclosing a stylized dark and light blue and white enamel foliate design, surmounted by a covered urn and flanked by putti upholding torches, on a shaped rectangular base and toupee feet. The clock dial is signed, E. Henry Paris; flanked by a pair of covered urn of ovoid form with handles in the form of Elizabethan maiden’s heads, on square bases and disc feet, the movement stamped 24568, striking on a bell. Clock Height: 18 ½ inches Vase Height (2): 11 inches SSP2999-353 AC43989 F-376
  • An English Egyptian Revival Gilt-Bronze and Porcelain Clock Garniture, by Miller & Sons, London. Circa 1851. Comprising a clock and a pair of three-light candelabra; the clock surmounted by an urn, the triangular case centered to the front by a circular dial inscribed Miller & Sons London, flanked to each side by a seated lion, each with a pharaoh’s, on a rectangular base, on four scroll feet, each headed by a lion mask; the candelabra en suite. Height of Clock: 19 inches Height of Candelabra: 23 inches CL100102-376 AC40000 F-1168
  • Louis XVI Style Ormolu Three-Piece Clock Garniture, 19th Century. The architectural clock case surmounted by a Grecian urn and set with a circular dial with enameled Roman chapters &twin-barrel movement, inscribed F16A/F.Gautier & J.Albinet/Rue D’Abo – NO. 3, flanked by volutes, on a breakfront base with toupee feet, the candelabra each with a tapering pedestal upright issuing the five scrolled candelabra arms& flambeau finial. Height of Clock: 16 ½ inches Height of Candelabra: 20 ½ inches CN101702-6 AC11950 F-1213
  • A Louis XVI Style Ormolu and Sevres Style Porcelain-Mounted Mantel Clock, circa 1880-1890. The Urn surmount with a framed portrait of a beauty flanked by swags, the architectural case with arched pediment set with a trellis and a flower-painted panel, the enamel dial inscribed, Gleizes / A Paris / Place Vendome N3, with twin-train movement, flanked by two-further portraits, above a frieze emblematic of fleeting Love, the rounded sides each with a trellis and flower plaque, on a shaped paneled plinth and toupie feet. Height: 19 ½ inches. CN042402-413 AC15296 F-992
  • Clock Set in Louis XVI Ormolu and Sevres Porcelain-Mounted Style with Roman numeral dial, with four-light candelabra.
  • A French Gilt-Bronze Clock Garniture. By Cotlin, Paris, Circa 1880. Comprising a mantel clock and a pair of ten-light candelabra; the clock surmounted by an urn with four monopodiae feet, the circular white enamel dial inscribed R. Cotlin Paris, the movement inscribed to the reverse RC and numbered 116, flanked to the sides by scrolling mounts, on acanthus feet; the candelabra en suite. Clock Dimensions: Height of 29 ½ inches, Width of 17 ¾ inches, and 9 inches deep. F-1170
  • A Pair of Gilt and Patinated Bronze 3-light candelabra, late 19th Century. Each putto supporting foliate branches. Height: 22 inches. Clock: Jean-Francois & Guillaume Deniere Fl. 1820-1901 A Louis XVI-Style Gilt and Patinated Bronze Clock. Paris, circa 1880. The Dial is inscribed with DENIERE/Ft de Bronzes/Paris and numbered 315. Bronze and Marble. Height: 16 ½ inches. SMR0696-1-19 AC13800 F-42
  • A Gilt Bronze and Marble Mantel Clock, French, circa 1850. Twelve-Piece Enamel Cartouche Dial (4 ½in.), bell striking movement with early spring suspension, the case surmounted by a flower urn flanked by two recumbent putti and raised on an elaborate break front plinth inset with marble panels applied with gilt mounts. This lot was hired for the filming of: Live and Let Die (1973) Restoration (1995) Height: 17 ¼ inches. SLMAR1302-412 AC10400 F-941
  • A Napoleon III Ormolu- Mounted Carrara Marble Figural Mantel Clock, circa 1870. Modeled as scantily-clad baccante standing beside an ormolu ewer on a rectangular plinth, centered with an enameled dial inscribed […]/a Paris, the twin-train movement by JapyFreres, the movement door engraved to the reverse Repaired by/Blaine Jewelers/Newport R.I. / 9-29-54/11-1-61/9-13-77, on rectangular naturalistic base and bleu turquin marble plinth. Height: 25 inches CNYAPR2401-169 AC17000 F-798
  • CLOCK (F-785): A Louis XVI Style Ormolu-mounted Carrara Marble Mantel Clock, circa 1890. The circular enamel dial surmounted by a cloud borne Cupid, on rectangular pedestal flanked by classically-draped caryatids issuing scrolling and fruiting foliage, above a shaped rectangular plinth mounted with -urn en flambeau finials supported on triple ram’s head monopodiae and inset to the front with a cockerel, on toupie feet, the dial inscribed […]/240 RUE RIVOLI/A PARIS 21 ¼ inches Candelabra: A Pair of Gilt-Bronze and Onyx Candelabra. Each base has malachite square on the front and Putto holding a Five-Light branch stem. Height: 23 inches. (AC10000) CNYAPR2401-121 AC19740 F-785 / F-64
  • John Edumondo Califano 1862-1946 Landscape Oil on wood 8 ½” x 10 ½’ Worth 1,000 @AC-NB
  • Seascape Oil on canvas 15 x 9 inches @AC-NB
  • Portrait Oil on canvas 25 ½” x 31 ¾” @AC-NB
  • American School “Portrait of Gentleman”- Estate of Lincoln Isham Oil on canvas 25” x 30” Provenance: Park Bernet 3/30/72 @AC-NB
  • Carl D’Albert Landscape Oil on canvas 8 ¼” x 9 ¼” AC5200 @AC-NB
  • Follower of John Crome Landscape @AC-NB
  • Dunlavy Portrait Former Property of Great Grandson of A. Lincoln Oil on canvas 9 ½ x 13 inches @AC-NB
  • William Edward Norton Landscape Oil on canvas 1840-1896 AC5000 @AC-Albertson
  • George Peter Alexander Healy Portrait Oil on canvas 23” x 17 ½” @AC-NB
  • A Louis XVI Style Ormolu and White Marble Mantel Clock, circa 1880. The enameled dial with twin-train movement, within a square marble case surmounted by Cupid and flanked by Venus and a cherub, above a relief-inset marble plinth and toupee feet, on a marble base. Height: 19 inches Width: 19 ½ inches A pair of Louis XVI style ormolu and white marble figural six-light candelabra. Late 19th century. Each modeled as aputto supporting a floral-garlanded vase issuing acanthus-sheathed scrolled branches, on laurel-cast base, shaped plinth and tapering foliate-cast feet, now mounted as lamps. 26 ¾ in. (67.8cm) high, excluding fitting. CEMAR2701-100 AC15040 F-760 Candelabra: CEMAR2701-124 AC11280 F-763
  • Henri Martin (French, 1860-1943) “Orphee” Oil on canvas 21 ¼” x 32” Signed lower right COA by David Roy Henri-Jean Guillaume Martin (5 August 1860 – 12 November 1943) was a renowned French impressionist painter.  Born in Toulouse to a French cabinet maker and a mother of Italian descent, Martin successfully persuaded his father to permit him to become an artist. He began his career in 1877 at the Toulouse School of the Fine Arts, where he was under the tutelage of Jules Garipuy (he was also a pupil of Henry-Eugéne Delacroix). In 1879, Martin relocated to Paris and with the help of a scholarship, was able to study in Jean-Paul Laurens' studio. Four years later, he received his first medal at the Paris Salon, where he would hold his first exhibition three years later in 1886. The year after he won his first medal, Martin was awarded a scholarship for a tour in Italy, where he studied the work of veterans such as Giotto and Masaccio. His 1889 canvas submission to the Salon earned him the gold medal for work that has been described as Pointillist. That same year he became a member of the Legion of Honour. At the 1900 World Fair, he was awarded the Grand Prize for his work. During this period, he became friends with Auguste Rodin.  Although Martin's work as a neo-impressionist is not considered groundbreaking, his work was rather well-received, and has been associated with world-class symbolist painter, Puvis de Chavannes. Due to his introverted temperament, Martin decided to move away from Paris. After a decade of searching for an ideal home, Martin bought Marquayrol, a mansion overlooking La Bastide du Vert, near Cahors. He performed his best work in the new tranquil environment, and died there in 1943. Martin also taught; among his pupils was the American painter Nellie Ellen Shepherd.
  • Armand Guillaumin (French, 1841-1927) “Agay, les roches rouges” Oil on canvas 21 5/8” x 25 ¾” Painted circa 1918 Signed lower right PROVENANCE: Dr. G. Pautet, Paris Galerie Visconti, Paris Yvonne Rocchia, New York Parke-Bernet Galeries NY David Borowitz EXHIBITED: NY HammerGalleries, Guillaumin, 1961, # 23