A few examples of appraisal values for
FLAMBEAUX

• AGATHON LEONARD (AFTER), GILT
  AGATHON LEONARD (AFTER), GILT BRONZE SCULPTURE After Agathon Leonard (French,1841-1923), Danseuse aux Flambeaux, signed verso 'A Leonard sclp' and Susse Freres foundry seal, and 'M', casting date unknown (possibly posthumous), inventory label to underside, 24"h x 13"w x 9"d
• Pair of French Cast-Brass
  Pair of French Cast-Brass Single-Light Appliques, of pendant flambeaux form in the Beaux-Arts style, electrified, h. 16\", w. 5\", d. 5\".
• Near-Pair of French
  Near-Pair of French Bronze-Patinated Spelter Hall Lamps, featuring running putti holding flambeaux in the manner of Emile Bruchon, fourth quarter 19th century, one putto standing atop a butterfly-winged wheel, with a tiled plaque of \"L\'amour Vainquerr\", the other standing atop a celestial globe, both presented on verde antico marble bases of disc form, with a matching plaque of \"L\'Amour Vagabond\", the blown glass shades lacking, h. 20\".
• Good Pair of Christian Nonna,
  Good Pair of Christian Nonna, Volkstedt, Two-Handled Porcelain Cachepots, in the Louis XVI taste, fourth quarter 19th century, each with a broad frieze of putti seated on clouds and bearing, respectively, floral wreaths, flambeaux, arrows, quivers, garlands and lyres, each marked in overglaze blue with the overglaze blue Volkstedt stylized swords, h. 8\".
• Pair of Gilded Spelter and Brass
  Pair of Gilded Spelter and Brass Putto Accent Lamps, in the Baroque taste, first quarter 20th century, modeled as standing putti bearing flambeaux from which emanate the bulb sockets, one example fitted with a gilt-brass harp ad finial, the other with a brass shade ring, the gilded quatrepodal bases of waisted cushion form, h. 27\".
• ART NOUVEAU BRONZE SCULPTURE, LOONY
  ART NOUVEAU BRONZE SCULPTURE, LOONY SONG BY JEF LAMBEAU...Monumental group, artist signed JEF LAMBEAUX. Neoclassical motifs. #ArtNouveau #Bronzes #Sculptures #JefLambeaux #BelleEpoque Artist: Jef Lambeaux Issued: c. 1900 Dimensions: 24"H x 15"W Manufacturer: H. Luppens & Cie Country of Origin: Belgium
• A FRENCH PROVINCIAL CARVED WAXED
  A FRENCH PROVINCIAL CARVED WAXED PINE ARMOIRE, FIRST HA...A FRENCH PROVINCIAL CARVED WAXED PINE ARMOIRE, FIRST HALF 19TH CENTURY, the egg and dart arched cornice above a conforming plain frieze over a reticulated floral wreath pendant of paired doves and a crossed quiver of arrows and torch en flambeaux flanked by blossoming branches in relief on serpentine paneled doors divided by floral sprays flanking a ribbon and rod oval reserve enclosing a musical trophy on a shaped skirt rail centering a circular stylized star, raised on short scrolling legs. Height: 86" Width: 56 1/2" Depth: 22 5/8"
• EDOUARD DROUOT "SALOME" BRONZE
  EDOUARD DROUOT "SALOME" BRONZE SCULPTURE Edouard Drouot (French, 1859-1945) "Salome" patinated bronze sculpture depicting the female figure standing atop a rocky base and wearing a diadem, snake form cuff bracelets, and gilt bronze earring, a column beside her surmounted by a gilded flambeaux flame, signed to base. 19" H x 13" W x 6.5" D.
• EDWARDIAN BRITISH ORMOLU MOUNTED
  EDWARDIAN BRITISH ORMOLU MOUNTED PEDESTALS, PR Pair of Edwardian British wood stands mounted with gilt bronze accents comprising a cat tail motif and floral rosettes encircling the table top and three legs joined by a flaming torch flambeaux. 35.25" H x 10" diameter. Provenance: Property from a private estate in Boynton Beach, Florida.
• GRAND TOUR BRONZE FLAMBEAUX
  GRAND TOUR BRONZE FLAMBEAUX TRIPOD URNS, PAIR Pair of French Grand Tour verdigris bronze covered tripod urn vessels or garden ornaments with flambeaux flame form lids, the bowls cast with fish scale decoration, upon three claw feet, struck with "DLANDRI (?) Dessinateur PARIS" marks to lips. 21" H x 9.5" diameter.
• Robert M. Rucker
  Robert M. Rucker (American/Louisiana 1932-2001) "Night Parade (Mardi Gras parade through the French Quarter)" oil on canvas signed lower right title label en verso 26 in. x 40 in. in a gilt wood frame. Note: The flambeaux light the way for a Mardi Gras parade as it winds its way through the streets of the historic French Quarter in this delightful painting by Robert Rucker. In 1972 the city of New Orleans deemed that large parades through the French Quarter were unsafe and banned them.
• Luis Graner y Arrufi
  Luis Graner y Arrufi (Spanish/American 1863-1929 active New Orleans c. 1914-22) "Mistick Krewe of Comus Parade at Night" 1917 oil on canvas signed inscribed and dated "N.O. February 20 1917" lower left 23 3/4 in. x 29 3/4 in. attractively framed. Note: A native of Barcelona Spain Luis Graner y Arrufi studied art in his hometown and in Paris where he exhibited at the Salon. He came to America in 1910 and spent the winters in New Orleans from 1914 to 1922. Already internationally known and exhibited Graner earned acclaim for his landscapes of the Louisiana countryside. Graner excelled at depicting nocturnal scenes a fine example of which is offered here. This exceedingly rare painting of a New Orleans French Quarter Carnival parade depicts the Mistick Krewe of Comus on Mardi Gras night February 20 1917. Organized in 1856 Comus is the oldest Carnival krewe currently in existence in New Orleans. The 1917 theme of the Mistick Krewe of Comus' tableau and parade was "Romantic Legends". The Queen of Comus was Elise Mason Smith and the maids were Marcelle Grima Lise Perrilliat Veva Penick and Mildred Bobb. As remains custom today the identity of Comus was secret. Comprising twenty floats float 15 was "The Dragon of Wantley " which appears to be depicted on the right side of this composition aglow with the light cast from the flambeaux. Graner creates a dramatic impressionistic scene: costumed and masked revelers dance in the foreground while throngs watch the majestic parade. Early paintings of Carnival parades are practically unknown; a specifically dated work which allows identification of its krewe and tableau is exceptionally rare and likely unique among Louisiana paintings. As Henri Schindler poetically writes in his book Mardi Gras: New Orleans (Flammarion 1997): The Mistick Krewe introduced spectacle to the streets of New Orleans and Carnival was forever changed. Comus would not only reappear every Mardi Gras night he would do so amid the flames and smoking flares of moving theater and each year he would present new visions to astonish a population long nourished on masquerades parades and stagecraft. With the advent of the Mistick Krewe of Comus the festivities of Mardi Gras were ended with public ceremony of pomp and bombast with mystery artistry and splendor. (p. 35.)
• PAIR OF LOUIS XVI STYLE BRONZE
  PAIR OF LOUIS XVI STYLE BRONZE ORMOLU AND MARBLE TWO-LIGHT CANDELABRA Each modeled as a cherub bearing aloft two flambeaux torches on cylindrical pedestal and square base. 18 x 7 1/2 in.
• PAIR OF LOUIS XVI STYLE GILT-BRONZE
  PAIR OF LOUIS XVI STYLE GILT-BRONZE CHENETS Each breakfront with metal-backed pierced scroll band and fitted with two flambeaux torches flanking love trophy on tapered leaf-banded feet. 11 1/2 x 14 x 3 3/8 in.
• [Mardi Gras] 19th/early 20th c. a
  [Mardi Gras] 19th/early 20th c. a pair of parade flambeaux metal on wood poles height 93 in.
• Pair of Russian Carved Lindenwood
  Pair of Russian Carved Lindenwood Candlesticks, fourth quarter 19th century, modeled as standing bears holding floriform flambeaux, both bearing the printed paper label of the London Shop, New Orleans, on the base, h. 10".
• Pair of French Parcel-Gilt and
  Pair of French Parcel-Gilt and Ivory-Painted Turned Wooden Table Lamps, second quarter 20th century, in the Restauration style, the pedestal base facades bearing gilded trophees of crossed flambeaux, fitted with bone-white fabric shades of truncated conical form, h. 27-1/2".
• Pair of Continental Carved,
  Pair of Continental Carved, Polychromed and Parcel-Gilt Wooden Accent Lamps, second quarter 20th century, featuring angels holding flambeaux aloft, the facades of the carved giltwood plinths fitted with diminutive up-lit bulb sockets, each flambeau fitted with an "old ivory" faux-wax candle and a diminutive bone-white linen dram shade, presented on square walnut block bases, h. 30".
• Italian Gilded Plaster
  Italian Gilded Plaster Supra-Porta Panel, modeled as two addorsed scroll-ended flambeaux flanking a central vasiform leafed element int he neoclassical style, third quarter 19th century, h. 14", w. 32", d. 4".
• Interesting Pair of Pendant
  Interesting Pair of Pendant Bronze Flambeaux, fourth quarter 19th century, in the Renaissance style, probably originally part of an altar, each example with a flammiform bronze finial, h. 17".
• Large and Striking Pair of
  Large and Striking Pair of Italian Art Deco Giltwood Appliques, second quarter 19th century, the candlearms modeled as fluted stylized flambeaux, the backplates as flaring ribbed sun rays, electrified, h. 38", w. 5", d. 6".
• Pair of Italian Carved Giltwood and
  Pair of Italian Carved Giltwood and Gilded Wrought-Iron Two-Light Appliques, second quarter 20th century, of flambeau form in the neoclassical taste, the flambeaux filled with giltwood foliage and a pair of carved flowerheads, the gilded wrought-iron candlearms fitted with floriform gilt bobeches below short faux candles, electrified, h. 22-3/4".
• Weighty Pair of French Gilt-Brass
  Weighty Pair of French Gilt-Brass and Matte Black Painted "Hand" Appliques, in the Napoleon III style, modeled as delicately cuffed black-painted lady's hands presenting spiraled cornucopia-form flambeaux, fitted for electricity and mounted with circular etched glass globes, h. 14".