A few examples of appraisal values for
TENDERLY

• TENDERNESS 1001527 - LLADRO
  TENDERNESS 1001527 - LLADRO PORCELAIN FIGUREA mother tenderly holds her tiny daughter. No box. Issued: 1987 Dimensions: 8.75"H x 5.5"W Manufacturer: Lladro Country of Origin: Spain
• TENDERNESS 1001527 - LLADRO
  TENDERNESS 1001527 - LLADRO PORCELAIN FIGURINEGlazed; A mother tenderly holds her tiny daughter. With original box. Lladro backstamp. Artist: Juan Huerta Issued: 1987 Dimensions: 8.75"H x 5.5"W Manufacturer: Lladro Country of Origin: Spain
• TENDERNESS 1001527 - LLADRO
  TENDERNESS 1001527 - LLADRO PORCELAIN FIGURINEA mother tenderly holds her tiny daughter. Comes with original box. Lladro backstamp. Glazed finish. Good condition. Artist: Juan Huerta Issued: 1987 - 2004 Dimensions: 8.75"H x 5.5"W Manufacturer: Lladro Country of Origin: Spain Condition: Good condition.
• SIGNED ITALIAN PORCELAIN
  SIGNED ITALIAN PORCELAIN FIGUREDESCRIPTION: Signed Italian porcelain figure of mother reclining with child. Mother is wearing dress with floral pattern and tenderly touching baby on pillow. Engravings on back of dress give artist's signature and say "MADE IN ITALY". CIRCA: 20th Century. ORIGIN: Italy DIMENSIONS: L: 16.75" W: 9" H: 7.75". Have a similar item to sell? Contact: Info@Akibaantiques.com. CONDITION: Piece has significant chip/crack on underside at ruffles of dress. See lot description for details on item condition. More detailed condition requests can be obtained via email (info@akibaantiques.com) or SMS(305)-332-9274. Any condition statement given, as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Akiba Antiques shall have no responsibility for any error or omission.
• SPLENDID ROMAN MARBLE STATUETTE
  SPLENDID ROMAN MARBLE STATUETTE NUDE VENUS PUDICARoman, Imperial Period, ca. 1st to 3rd century CE. What a knockout! Finely carved in the round, a marble sculpture of Venus, the Roman goddess of love, sensitively depicted in the Pudica stance, similar to that of the Capitoline Venus yet with a striking, doe-eyed expression. The graceful deity stands contrapposto with her weight shifted to her left leg and her right knee gently bent as she tenderly turns to her left. Hair centrally parted and pulled back in a low-set chignon, her sweet visage is comprised of huge, amygdaloid eyes with prominent lids, a naturalistic nose, full lips, and a narrow chin, all crowned by a braided headband with a frontal bow. Shown nude, her soft flesh is smoothly rendered, displaying the voluptuous curves of her hourglass figure with shapely thighs, broad hips, and ample breasts. However, the youthful beauty strives to cover herself, holding her right hand over her breast and her left at her pudenda; a pose that simultaneously shields and highlights her bareness. A truly stunning embodiment of the Classical aesthetic! Size: 2.5" W x 7.3" H (6.4 cm x 18.5 cm); 9.6" H (24.4 cm) on included custom stand. This type of sensuous pose had been favored by earlier Hellenistic sculptors, i.e., Alexandros of Antioch's "Venus de Milo" (130 to 100 BCE) thought to be inspired by Praxiteles' entirely nude the "Aphrodite of Knidos" (ca. 360 to 330 BCE). Indeed, nude or partially nude statues of Venus/Aphrodite made quite a statement in their day (as well as beyond) because they were among the first sculptures to portray a goddess in the nude, a practice that previously had only been reserved for males. Women had been depicted in the nude on earlier Greek pottery paintings; however, those women were typically slave girls or courtesans rather than deities. As an image of a sensual Venus, this example would have been regarded as quite erotic during antiquity. Speaking of the Aphrodite of Knidos for example, Pliny observed that some men were "overcome with love for the statue." Venus/Aphrodite has inspired countless seductive sculptural masterworks throughout art history, among the most famous, Attic sculptor Praxiteles's "Aphrodite of Knidos" (ca. 360 to 330 BCE), "Lely's Venus" (ca. 100 to 199 CE), a Roman copy of a Greek original which is now lost) named for the painter Sir Peter Lily, and Alexandros of Antioch's "Venus de Milo" (130 to 100 BCE). Cf. Metropolitan Museum of Art, 1995.539.14. Provenance: private New York, New York, USA collection; ex-private Ohio, USA collection, 1990s All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. PLEASE NOTE: Due to recent increases of shipments being seized by Australian & German customs (even for items with pre-UNESCO provenance), we will no longer ship most antiquities and ancient Chinese art to Australia & Germany. For categories of items that are acceptable to ship to Australia or Germany, please contact us directly or work with your local customs brokerage firm. Display stands not described as included/custom in the item description are for photography purposes only and will not be included with the item upon shipping. #171616 Condition: Missing both feet. Petite chip to proper left side of nose. Surface wear as shown with some minor nicks to legs, arms, and torso. Otherwise, excellent with impressive preservation of detail and nice earthen deposits in recessed areas.
• KPM PORCELAIN PLAQUE THE FINDING OF
  KPM PORCELAIN PLAQUE THE FINDING OF MOSES, SIGNED Late 19th century, hand-painted interpretation of the Pharaoh's daughter tenderly and furtively removing the baby Moses from an elaborately woven basket, bulrushes and approaching women, possibly Miriam among them, in the background. Signed "Bauer?" to lower right, the back with impressed KPM scepter mark. Housed in a later gilt and wood stepped frame.
• ALDO LUONGO (B.1941): TIERNAMENTE
  ALDO LUONGO (B.1941): TIERNAMENTE (TENDERLY)Aldo Luongo, 1941 Tiernamente (Tenderly), serigraph signed lower right, edition HC 45/50 lower left serigraph Dimensions: Sight: 29 1/4 x 35 3/4 in. (74.3 x 90.8 cm.), Frame: 37 3/4 x 44 3/8 in. (95.9 x 112.7 cm.) Condition: Matted, framed and glazed.
• Audio component and classic
  Audio component and classic 33-1/3 vinyl LP lot c/o Toshiba Model SA-725 stereo receiver, JVC LA11 auto-return turntable; pr. EPICURE Products Inc. Model 110C speakers; (14) classic vinyl 33-1/3 rpm LPs - Herb Alpert & The Tijuana Brass: Herb Alpert's Ninth, Whipped Cream and Other Delights; Baha Marimba Band "Heads Up"; Brazil's Super Hits Atlantic 8167; Doors "13"; Eagles "The Long Run"; Tommy Garrett "The Fabulous 50 Guitars of Tommy Garrett"; The Police "Ghost in the Machine"; Sarah Vaughan "The New Scene", The Fabulous Sarah" & "Tenderly"; Stevie Wonder "Looking Back", "Fulfillingness' First Finale"
• POLYCHROME STUCCO FIGURE GROUP OF
  POLYCHROME STUCCO FIGURE GROUP OF THE MADONNA AND CHILD FROM THE WORKSHOP OF ANTONIO ROSSELLINO CIRCA 1450 the Virgin depicted wearing a red gown and blue mantle with a white headcovering edged in ochre, her dark blond curls emerging from underneath, her head turned slightly downwards and to the left; the infant Christ seated in her left arm, his left arm raised with the hand placed at the base of her neck, his left foot held tenderly in her right hand; on a polychromed and gilt hexagonal wood base58cm highProvenance:D'Arcy Osborne, 12th Duke of LeedsBardrochat House, South AyrshireNote: A note on the back states that this Madonna and Child was identified as coming from the workshop of Jacopo della Guercia [sic] circa 1450: that the identification was made by a ‘Professor Pollack’ and that the group was a gift to a member of the vendor’s family from D’Arcy Osborne, the 12th Duke of Leeds [1884-1964] - who served as Ambassador to the Holy See from 1936-1947.The unusual spelling of the ‘surname’ of Jacopo as Guercia is now actually believed to be correct, meaning that the sculptor was son of a woman with a squint, rather than -more romantically - ‘of the oak-tree’ (Quercia). ‘Professor Pollack’ in Rome at this period must mean the connoisseur-dealer Lodovico [Ludwig] Pollak, author of the de luxeCatalogue of Italian Bronzes in the Barsanti Collection, Rome, 1922. The attribution was at the time, therefore, authoritative: by dating it c.1450, and giving it to ‘the workshop’, Pollak meant to exclude it from being autograph, for he must have known that the sculptor died twelve years earlier.The Duke of Leeds, KCMG (1884-1964), a British diplomat known between 1943 and 1963 as Sir D’Arcy Osborne [Wikipedia] seems to be just the sort of - more or less ‘ex-pat’ Catholic gentleman - of high diplomatic standing in the Vatican, who might have managed to obtain a genuine example of 15th century sculpture. When Italy declared war on the UK in 1940, Osborne, accredited to the Holy See but living in Italian territory, moved inside the Vatican according to arrangements made under the Lateran Treaty and would be immured inside the Vatican until the liberation of Rome in 1944. There he was creditably involved with helping to save around 4,000 Jewish refugees and Allied POW escapees; as well as participating in a plot with some German generals to overthrow Hitler in 1940.The fact that the sculpture is made of plaster implies the existence of an ’original’ perhaps now lost, and probably modelled in terracotta and maybe even carved in the more demanding material of marble: like the present replica these would have been painted in pleasing natural colours. But ours is not to be found among the standard repertory of such Madonna reliefs, which were mandatory for private devotions in any middle- or upper- class lady’s bedchamber, in order to intercede for aid with conception and childbirth. The series started with alternative compositions by and after Ghiberti or Donatello. But, to modern eyes, the elegant, ‘fashionably’ elongated, oval face of this young lady, with her straight, Grecian nose, rosebud lips, high-arching eyebrows and very high forehead, framed in neatly curled ringlets of hair and a light veil, suggests an artist of the generation after them or Della Quercia, one that invented the ‘Sweet style’ of the mid-century (See Charles Avery, Florentine Renaissance Sculpture, London/New York, 1970, chapter 5). These pioneers were closely followed by Desiderio da Settignano and Antonio Rossellino; and it is with the latter that the closest analogies for the general style and particular features of the Leeds Madonna are to be found.Several of his Madonnas have survived in marble and the one in the chapel of the Cardinal of Portugal in San Miniato al Monte, Antonio’s masterpiece in this field, was completed in 1466.It is difficult to compare sculptures in crystalline, white marble with those that have been naturalistically painted and so a comparison is made here with a painted excerpt from the Portugal Madonna that had been acquired by Conte Umberto Serristori of Florence from an antique dealer in Perugia in 1915 (last sold by Sotheby’s, Florence, on 6 June 2007, lot 291).The ‘aristocratic’ facial type that Rossellino employed for the Queen of Heaven in that rendering is also to be found in a marble panel probably originating from the Medici collection, but since 1626 in Innsbruck and Vienna, and in the Leeds Madonna.- Dr Charles Avery, independent art historian and former Deputy Keeper of the Department of Sculpture at the V&A Museum
• IMPORTANT SOUTHERN GOTHIC REVIVAL
  IMPORTANT SOUTHERN GOTHIC REVIVAL WARDROBE, C.1840 Georgia, likely Athens, transitional American Classical/Gothic Revival country tulip poplar, and yellow pine armoire or wardrobe, circa 1850-1870, having an exaggerated carved cavetto cornice, double arched paneled doors, interior fitted with shelves and rod, two drawers below, and rising on turned feet, paper label with graphite notation to the back reading "G.T. Murrell/Winterville/GA". Note: This wardrobe was shown in the "Hidden Heritage: Recent Discoveries In Georgia Decorative Arts, 1733-1915", exhibition at the High Museum of Art, Atlanta, Georgia, August 25 - November 4, 1990 and is shown in Southern Accents, June 1991, Georgia Uncovers Its Heritage: Cabinetwork Tenderly Guarded For Generations, p. 28. In 1878 George Thomas Murrell (American 18484-1909) and his wife Leila Wade Morton (American 1854-1935) built a home near Athens in Murrell Station, later known as Winterville. The house, complete with its furnishings, descended in the family until they were dispersed at an estate sale in 1979. A photograph of the wardrobe in the exhibition as well as copies of Southern Accents accompanies this lot. Approx. h. 80.5", w. 78", d. 30.75".
• SABINA TEICHMAN (1905-1983):
  SABINA TEICHMAN (1905-1983): "TENDERLY AND WITH LOVE" Oil on canvas 26 x 32 in. signed. Provenance: Chrysler Museum of Art Norfolk Virginia proceeds to benefit the Acquisitions Fund.