A few examples of appraisal values for
GRAND ANTIQUE

• Jean-Pierre Masier (French,
  Jean-Pierre Masier (French, 1878-1957), pair of patinated bronze figures of young ballet dancers in tutus, second quarter 20th century, presented on matching polished black and white Grand Antique marble bases of disc form, each signed at the rear edge of the swirled bronze plinth \"Masier\", h. 12-3/4\".
• Follower of Pierre-Jules Mene
  Follower of Pierre-Jules Mene (French, 1800-1879), large and attractive patinated bronze figure of a stallion, presented on an oblong black-patinated bronze plinth surmounting a conforming satin-polished Grand Antique marble base, h. 13-1/2\", w. 13-1/2\", d. 7\".
• American Antique-Gilded Brass and
  American Antique-Gilded Brass and Grand Antique Marble Candelabrum Floor Lamp, in the neoclassical taste, the four candlearms fitted with short antique-ivory faux candles enframing a white opal glass luminaire, h. 60\", w. 10\", d. 10\".
• Attractive Pair of French
  Attractive Pair of French Gilt-Brass-Mounted Grand Antique Marble Columnar Pedestals, in the Napoleon III style, the shafts ribbed and having brass Corinthian capitals, the bases of stepped square section pedestal form and centered with gilt-brass mounts at each facade, h. 44-1/2\", w. 11\", d. 11\".
• After Frederic Sackrider
  After Frederic Sackrider Remington (American, 1861-1909) \"The Wicked Pony\", a large patinated bronze group of a fiercely bucking pony and its unseated rider, signed left facade edge Frederic \"Remington\" and having an engraved gilt-brass title plaque at the center of the conforming satin-polished Grand Antique marble base, h. 21\", w. 19\".
• Continental Grand Antique
  Continental Grand Antique Marble-Based Patinated Brass and Cut Glass \"Eros Armed\" Centerpiece Bowl, second quarter 20th century, the bowl \"Leaf and Dart\" cut, the standard modeled as a figure of the bow-bearing Eros surmounting an acanthus-leaf circular base, h. 17\", dia. 8-1/4\".
• After James Earle Fraser (American,
  After James Earle Fraser (American, 1876-1953) \"The End of the Trail\", a patinated bronze equestrian group of a despondent Native American brave, presented on a stepped elliptical polished Grand Antique marble base, h. 14\", w. 11\", d. 5-1/2\".
• Two Grand Antique Marble Obelisks,
  Two Grand Antique Marble Obelisks, one a large French polished Grand Antique marble obelisks in the Louis XVI style, h. 19\", the other a matching, slightly smaller Grand antique marble obelisk, h. 17\".
• Large Pair of French Polished Grand
  Large Pair of French Polished Grand Antique Marble Garniture Obelisks, in the Louis XVI style, h. 29\".
• French Patinated Bronze Figure of a
  French Patinated Bronze Figure of a Young Stallion, presented on an integral oblong bronze plinth surmounting an oblong Grand Antique marble base, h. 13-1/2", w. 13-1/2", d. 7".
• Pair of French Parcel-Gilt
  Pair of French Parcel-Gilt Patinated Bronze and Polished "Grand Antique" Marble Two-Light Putto Candelabra, in the Louis XVI style of Claude Michel (French, 1738-1814), called Clodion, mounted as table lamps with gilt-brass "Collector's" standards, and fitted with custom and paneled pleated silk and embossed linen shades, h. 27", w. 16".
• French Brass-Mounted Kingwood and
  French Brass-Mounted Kingwood and Marquetry Bowfront Salon Vitrine, first quarter 20th century, in the Transitional style, the conforming marble top of Grand Antique marble, the interior lined in pin-dot celadon damask, fitted with a pair of conforming plate glass shelves, h. 59-3/4", w. 31-1/8", d. 16-1/4".
• Follower of Antoine-Louis Barye
  Follower of Antoine-Louis Barye (French, 1795-1875), gilded and bronze-patinated cast-iron figure of a Napoleonic eagle perched on a rocky crag, first quarter 20th century, the surface newly cleaned and waxed, presented on a circular satin-polished Grand Antique marble base, h. 8", w. 8-1/2", d. 4".
• Italian "Grand Tour" Patinated
  Italian "Grand Tour" Patinated Bronze Figure of a Saluting Nude Male Athlete, fourth quarter 19th century, after the antique, presented on an oblong polished Grand Antique marble base, h. 11-1/2", w. 4", l. 9-5/8".
• Continental late 18th/early 19th c.
  Continental late 18th/early 19th c. "A Large Octastyle Circular Tempietto of the Tuscan Order Inlaid with Specimen Marbles" height 17 1/2 in. diameter 14 in. Note: This superb invention is ultimately based on the monumental Tempietto at S. Pietro in Montorio Rome (1502) by the great Italian Renaissance architect Donato Bramante erected in the courtyard of the Spanish National Church by Ferdinand and Isabella of Spain as an offering for the 10 year anniversary of Columbus' discovery of America. From that very celebrated prototype - often taken as the paradigmatic structure of the High Renaissance in Italy - this large table-top "model" takes the forms of its external and internal steps its Doric (or more properly "Tuscan") Order and its general proportions. Elements more characteristic of its Grand Tour pedigree however are its inlaid marbles (Bramante's Tempietto is uniform greystone) its removable saucer dome and its open colonnade (the Roman Tempietto is a functioning chapel and has an internal wall). These last characteristics are also shared by a grander and somewhat later prototype the colossal "Mausoleum" at Castle Howard North Yorkshire the last work by the famous English baroque architect Nicholas Hawksmoor (1662-1736). Castle Howard's immense Mausoleum for the Carlisle family was begun by Hawksmoor in 1729 but only completed after his death in 1742. It is very much larger than Bramante's Tempietto and has many more columns (also of Tuscan order); but its proportions are somewhat closer to the present work which has the following marble inlays: The two shallow steps of the Eubea; the tall inlaid step above them is faced with Verde Patricia from Val d'Aosta Piedmonte. The plinth zone is inlaid apparently with Spanish Sarrancolin from Navarre which may be the facing also used in the cornice. The column shafts are a tawny yellow-brown Breccia probably either "Marseilles Rose" or "Yellow Benou" from the Pyrenees; their bases and caps are a simple type of bloodstone (probably a Red Quartzite) which is also employed in four segments near the center of the floor; the alternating four segments are a standard Verde Antico from Greece. The uniformly inlaid circle outside them (nearest the columns) is Antin or Byrede Sarrancolin from the Pyrenees; the innermost darker circle is the famous Grand Antique from Saint-Grôns in France. The steps of the dome and the cupola itself are a standard highly-figured white marble from Carrara or one of the quarries nearby. A finial of Red Quartzite and gemstone such as chalcedony crown the whole. Inside the Tempietto is a gilded bronze figure of an Emperor on a Red Quartzite base.
• Attractive French Patinated
  Attractive French Patinated Bronze Animalier Group, depicting a mare about to nuzzle her recumbent colt, presented on an oval Grand Antique marble base, h. 10", w. 14", d. 8-1/2".
• French Patinated Bronze
  French Patinated Bronze Abstracted Figure, depicting a nude dancer stretching, presented on a cubical satin-polished Grand Antique marble base, h. 21".
• After Gian Lorenzo Bernini
  After Gian Lorenzo Bernini (Italian, 1598-1680) "Orpheus and Eurydice with Cerberus at the Gates of Hell", a large patinated bronze group, first quarter 20th century, signed in script "Bernini" at one corner of the bronze base, presented on a square polished Grand Antique marble base, h. 21-1/4", w. 9-1/2", d. 8-1/2".
• German Art Deco
  German Art Deco Hematite-Patinated Bronze Figure Group, second quarter 20th century, depicting a well-muscled athlete carrying his victorious team mate on his shoulders, presented on a stepped polished Grand Antique marble base, h. 14-1/2", w. 4-3/4", d. 3".
• Jean-Pierre Masier (French,
  Jean-Pierre Masier (French, 1878-1957), pair of patinated bronze figures of young ballet dancers in tutus, 20th century, presented on matching polished black and white Grand Antique marble bases of disc form, each signed at the rear edge of the swirled bronze plinth "Masier", h. 12-3/4".
• Large French Patinated Bronze
  Large French Patinated Bronze Figure of a Gamboling Goat, in the manner of Isidore Bonheur (French, 1827-1901), the coat of the goat elaborately chased, presented on an oblong polished Grand Antique marble base, h. 16", w. 13", d. 6-1/2".
• After Dimitri Chiparus (Rumanian,
  After Dimitri Chiparus (Rumanian, 1888-1950, Worked in Paris), an Art Deco patinated bronze figure of an exotically clad dancer, presented on a satin-polished Grand Antique marble and black slate base of truncated pyramidal form, the base of the bronze signed at the proper left rear corner "D. Chiparus", h. 25-1/2", w. 8", d. 5".
• Pair of French Gilt-Brass-Mounted
  Pair of French Gilt-Brass-Mounted Ribbed Glass Table Lamps, of campana form in the Baccarat style, each mounted on a polished square base of "Grand Antique" marble and presented with a custom pleated monk's-cloth shade in warm taupe h. 37".
• French Gilt-Brass-Mounted Grand
  French Gilt-Brass-Mounted Grand Antique Marble Mantel Clock, first quarter 20th century, of "portico" form in the Louis XVI taste, the interior backplate touchmarked "Ch. Hur France", the circular dial enameled with a scalloped floral garland beneath black chapters, the glass dial cover convex, h. 16-1/2", w. 9-1/4", d. 4".
• Tall Pair of French Fruitwood and
  Tall Pair of French Fruitwood and Black Faux-Grand Antique Marble Obelisks, in the Directoire style, mounted on square faux-marbre wooden bases, h. 25-1/4", w. 4-1/2", d. 4".
• Diminutive Pair of English
  Diminutive Pair of English Regency-Style Sphinx Candlesticks, third quarter 19th century, composed of gilt-brass-mounted alabaster and Grand Antique marble, the alabaster slab pedestal bases surmounted by dark verdigris-patinated brass seated sphinxes supporting gilded candlesockets on their heads, h. 9".
• Pair of French Silverplate
  Pair of French Silverplate Candlestick Table Lamps, of columnar form in the neoclassical style, each on a satin-polished Grand Antique marble base and fitted with a custom white linen shallow drum shade, h. 23".
• French Gilt-Bronze Figure of a
  French Gilt-Bronze Figure of a Seated Troubadour, second quarter 19th century, in the 16th-century style, presented on a later beige and Grand Antique marble base, h. 8".
• After Ferdinand Pautrot (French,
  After Ferdinand Pautrot (French, 1832-1874), "Deux Faisans" (Pair of Pheasants), a patinated bronze group, third quarter 19th century, signed "Pautrot" at the front left edge of the plinth, presented on an elliptical polished Grand Antique marble base, h. 13-1/2", w. 18-1/2", d. 4-1/2".
• "Grand Tour" Cast Composition Head,
  "Grand Tour" Cast Composition Head, depicting a woman after the Antique, presented on a cubical Grand Antique marble base, the head finished to look like ancient Paros marble, h. 15", w. 7", d. 8".
• Stately French
  Stately French Gilt-Bronze-Mounted Grand Antique Marble Vasiform Table Lamp, first quarter 20th century, in the Louis XVI taste, the gilt-bronze handles modeled as female masques, the body with gilt-bronze floral festoons, h. 20" (33-1/2" to finial), w. 8-1/2".
• French Patinated Bronze Equine
  French Patinated Bronze Equine Group of a Stallion and Colt, in the manner of Pierre-Jules Mene (French, 1800-1879), presented on a conforming oblong base of Grand Antique marble, h. 13-1/2", l. 15-1/2".
• French Patinated Bronze Animalier
  French Patinated Bronze Animalier Group, depicting a bull and a recumbent cow in the manner of Isidore Bonheur (French, 1827-1901), presented on an elliptical satin-polished Grand Antique marble base, h. 11-1/2", w. 12".