DOCSLIB.ORG

Mayer Fabric Grading

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Mayer Fabric Grading MAYER FABRIC GRADING Pattern Name Price Grade Pattern Name Price Grade Pattern Name Price Grade Pattern Name Price Grade Abbey ...............................................4 Debonair .......................................... 5 Huipil ................................................ 5 Nirvana .............................................6 Abstract ........................................... 5 Debut ................................................6 Images .............................................. 3 Noble ................................................ 2 Acclaim ............................................4 Destiny ........................................ 3 Imprint ............................................. 2 Nostalgia .........................................4 Acuco ...............................................6 Destiny plus NanoGuard .............4 Infinity .............................................. 5 Nylon-Stat ESD.............................. 5 Align ................................................. 3 Detail ................................................ 5 Interlace ...........................................4 Obi .....................................................6 All Seasons FR ............................... 2 Disco ................................................. 3 Interlochen ......................................4 Obsession ........................................6 Amadeus .........................................6 Dublin Tweed FR ...........................4 Interlude (Panel Fabric) .............. 2 Odessa .............................................4 Anasazi (Panel Fabric) ................ 3 Durango ........................................... 3 Intrigue............................................. 3 Optic 10 ............................................ 2 Ankara .............................................. 5 Duraweave® 10 ................................ 1 Jekyll & Hyde ................................. 3 Orbit ................................................ 3 Antique ............................................ 3 Echo ..................................................4 Jitterbug .......................................... 3 Origami ............................................6 Apex.................................................. 3 Ecosphere ...................................... 5 Jive .................................................... 2 Outback ........................................... 3 Apollo Silicone ...............................6 Element .......................................... 2 Journey ............................................ 3 Oxen SP Black ................................. 1 Arabesque ....................................... 3 Elevation ..........................................4 Jubilee .............................................. 3 Palermo............................................4 Aristocrat ......................................... 3 Engrave ............................................ 2 Kantha ..............................................6 Paparazzi .........................................6 Array .................................................4 Entourage........................................6 Karma .............................................. 5 Paragon (Panel Fabric) ............... 3 Ascension ........................................ 5 Entwine ............................................ 3 Katagami .........................................6 Parallel.............................................. 2 Atomic .............................................. 3 Ephesus ........................................... 5 Kensington ......................................4 Pastime ............................................ 5 Aurora ..............................................6 Equal (Panel Fabric) ................... 2 Key Largo ........................................ 2 Patio .................................................. 3 Avenue ............................................. 5 Equation ......................................... 3 Kobe.................................................. 3 Pebble Beach (Panel Fabric) ..... 2 Balance ............................................ 5 Esprit ............................................... 3 Labyrinth .........................................6 Peerless ............................................ 3 Bali .................................................... 2 Essence ............................................4 Landscape ....................................... 5 Phoenix ............................................ 3 Basic (Panel Fabric) ...................... 1 Etch ................................................... 2 Laredo .............................................. 5 Plaza ................................................. 5 Batik .................................................. 3 Europa ............................................. 3 Laser ................................................. 2 Polygon ............................................ 3 Big Top ............................................. 5 Evolve ...............................................6 Latitude............................................4 Positive Thoughts .........................6 Blueprint (Panel Fabric)............... 1 Facets ............................................... 5 Lavish ...............................................4 Primo ................................................4 Bolero ...............................................4 Fairy Tales .......................................6 Links ..................................................4 Prism 10 ........................................... 2 Boro ..................................................6 Fanfare .............................................6 Locomotion .................................... 2 Proportion ....................................... 5 Botanica ........................................... 5 Fedora .............................................. 2 London .............................................4 Puno ..................................................6 Botany .............................................. 5 Fiji ...................................................... 2 Longhorn .........................................4 Quattro ............................................. 2 Boteh ................................................ 7 Finale ................................................4 Longitude ........................................ 3 Rain Dance ...................................... 3 Caressa FR ...................................... 3 Finesse ............................................. 3 Lotus .................................................6 Ranchero .......................................... 1 Cascade ...........................................4 Flair (Panel Fabric) ....................... 2 Luminary (Panel Fabric) ............ 2 Reflector ..........................................6 Catwalk ............................................4 Florentino ........................................ 2 Madras .............................................. 3 Refuge .............................................. 5 Celtic ................................................. 3 Flower Power ................................. 3 Madrid SP Black ............................. 1 Rejuvenate ......................................6 Chaps FR ......................................... 3 Form ................................................. 5 Malibu ...............................................4 Relativity .........................................6 Charette ........................................... 3 Forte .................................................. 1 Mandala ........................................... 7 Replay .............................................. 5 Chequers ......................................... 5 Foundation 10 ................................ 2 Marmara ...........................................4 Reveal ...............................................4 Cipher (Panel Fabric) .................... 1 Fresco (Panel Fabric).................... 1 Matka ................................................ 3 Reverb .............................................. 3 Circuit ...............................................6 Fretwork ..........................................6 Matrix ...............................................6 Rift .....................................................4 Circumference ................................6 Function ...........................................4 Matter ............................................... 5 Round ‘N Round ............................ 5 Cirque ...............................................4 Gala .................................................4 Maverick........................................... 2 Rumba .............................................. 2 Code (Panel Fabric) ...................... 1 Galveston ........................................4 Mayfair ............................................. 5 Sakura ..............................................6 Collage ............................................. 7 Geisha ............................................... 7 Meander ........................................... 3 Samba .............................................. 2 Comalapa ........................................6 Gem................................................... 2 Melange (Panel Fabric) .............. 2 Samurai ............................................6 Contempo ......................................
Load more

Recommended publications
  • About a Type of Islamic Incense Burner 29
    ABOUT A TYPE OF ISLAMIC INCENSE BURNER MEHMET AGA-OGLU NCENSE burners were no novel vessels produced to usheredinto a chamberand served a meal, after which the meet the specific needs of Islamic social life. The ori- incense burnerswere brought so that the guests could per- gin of thurification with various aromatic substances fume themselves before entering the caliph's presence.5 for magical, religious, or social occasions,and the devising The amount of aromatic substances,particularly aloes and of special vessels for the purpose,go far back to the histori- certain varieties of sandalwoods, used for thurification in cal beginnings of the Near Eastern peoples.1 Islam, al- the households of caliphs and dignitaries, must have been though in principle opposed to luxurious ways of life, did enormous. We are informed by al-Tabari, for example, not prevent the use of incense and perfumes. The popu- that Amr ibn al-Laith, the founder of the Saffarid dynasty larity of perfumes during the first centuries is best illus- of Eastern Iran, sent to Caliphal-Mu'tamid in the year 268 trated by the lengthy legistic opinions expressed in the (881/82) 200 minas of aloes wood which he had confis- Hadith literature,2and, among others, by a chapter in the cated from a grandson of Abu Dulaf.6 Among the proper- manual for elegant manners "of a man of polite education," ties left after his death in 301 (913), by Abu'l-Husayn written by Abu'l-Tayyib Muhammad ibn Ishaq al-Wash- Ali ibn Ahmad al-Rasibi, the 'Abbasid governor of Khu- sha.' zistan and neighboring territories,were great numbers of Historicalsources are extremely generous with accounts gold and silver vessels, perfumes, and other valuables, as on the subject.' A few examples can be cited here, and well as 4,420 mithkals of aloes wood for thurification.7 others will be presentedelsewhere.
    [Show full text]
  • Bijildings on the West Side of the Ag-Ora
    BIJILDINGS ON THE WEST SIDE OF THE AG-ORA PLATES I-VITI INTRODUCTION' The region to the north of the Areopagus and to the east of Kolonos Agoraios had many natural advantages to recommend it as the site for thZecentral public place of the com- munity (Fig. 1). It was the most open and level area of any extent beneath the immediate shelter of the Acropolis. Along its southern edge a series of springs bubbled out from the foot of the Areopagus, so abundant as to have formed the principal source of drinking water in the city throughout antiquity. A gentle slope toward the north guaranteed adequate natural drainage, desirable for private habitation and essential for the construc- tion of large public buildings. The region lay, moreover, on the direct route between the Acropolis and the Dipylon, the principal gate of the city, and so was conveniently situated alike for residents and visitors. Actual habitation in the area can now be shown to extend at least well back into the second millennium B.C. Scattered fragments of household pottery of typical Middle Helladic types, Gray Minyan and Matt-painted wares, have appeared above bedrock along the north foot of the Areopagus, along the east slope and foot of Kolonos and even at the north foot of Kolonos. A simple shaft burial not later than this period was made near the mid point of the east foot of the latter hill 2 (Fig. 64, Section C-C). Practically no house- hold pottery of Late Helladic times has been found in the area so that there is no direct evidence for habitation in this period.
    [Show full text]
  • Gold Jewellery in Ptolemaic, Roman and Byzantine Egypt. Jack M
    Gold Jewellery in Ptolemaic, Roman and Byzantine Egypt. Jack M. Ogden ABSTRACT This study deals with the gold jewellery made and worn in Egypt during the millennium between Alexander the Great's invasion of Egypt and the Arab conquest. Funerary jewellery is largely ignored as are ornaments in the traditional, older Egyptian styles. The work draws upon a wide variety of evidence, in particular the style, composition and construction of surviving jewellery, the many repre- sentations of jewellery in wear, such as funerary portraits, and the numerous literary references from the papyri and from Classical and early Christian writers. Egypt, during the period considered, has provided a greater wealth of such information than anywhere else in the ancient or medieval world and this allows a broadly based study of jewellery in a single ancient society. The individual chapters deal with a brief historical background; the information available from papyri and other literary sources; the sources, distribution, composition and value of gold; the origins and use of mineral and organic gem materials; the economic and social organisation of the goldsmiths' trade; and the individual jewellery types, their chronology, manufacture and significance. This last section is covered in four chapters which deal respectively with rings, earrings, necklets and pendants, and bracelets and armiets. These nine chapters are followed by a detailed bibliography and a list of the 511 illustrations. Gold Jewellery in Ptolemaic, Roman and Byzantine Egypt. In two volumes Volume 1 - Text. Jack M. Ogden Ph.D. Thesis Universtity of Durham, Department of Oriental Studies. © 1990 The copyright of this thesis rests with the author.
    [Show full text]
  • Attic Pottery of the Later Fifth Century from the Athenian Agora
    ATTIC POTTERY OF THE LATER FIFTH CENTURY FROM THE ATHENIAN AGORA (PLATES 73-103) THE 1937 campaign of the American excavations in the Athenian Agora included work on the Kolonos Agoraios. One of the most interesting results was the discovery and clearing of a well 1 whose contents proved to be of considerable value for the study of Attic pottery. For this reason it has seemed desirable to present the material as a whole.2 The well is situated on the southern slopes of the Kolonos. The diameter of the shaft at the mouth is 1.14 metres; it was cleared to the bottom, 17.80 metres below the surface. The modern water-level is 11 metres down. I quote the description from the excavator's notebook: The well-shaft, unusually wide and rather well cut widens towards the bottom to a diameter of ca. 1.50 m. There were great quantities of pot- tery, mostly coarse; this pottery seems to be all of the same period . and joins In addition to the normal abbreviations for periodicals the following are used: A.B.C. A n tiquites du Bosphore Cimmerien. Anz. ArchaiologischerAnzeiger. Deubner Deubner, Attische Feste. FR. Furtwangler-Reichhold, Griechische Vasenmxlerei. Kekule Kekule, Die Reliefs an der Balustrade der Athena Nike. Kraiker Kraiker,Die rotfigurigenattischen Vasen (Collectionof the ArchaeologicalIn- stitute of Heidelberg). Langlotz Langlotz, Griechische Vasen in Wiirzburg. ML. Monumenti Antichi Pu'bblicatiper Cura della Reale Accadenia dei Lincei. Rendiconti Rendiconti della Reale Accademia dei Lincei. Richter and Hall Richter and Hall, Red-Figured Athenian Vases in the Metropolitan Museum of Art.
    [Show full text]
  • A98deutsch English Svenska Français Italiano Español Polski 54 Ablauf
    page (42015)+A98deutsch english svenska français italiano español polski corrected by Julia Finch and by Patrik Aström corrected by Baudouin Van by Marilena Maniaci by Marta Pavón Ramírez by Joanna Fronska Martin Roland - including lists den Abeele (including terms from: by Susan L'Engle and Patricia Ostos/Pardo/Rodriguez, Stirnemann/Marie-Thérèse Vocabulario de codicología, Gousset Madrid 1997) 54 Ablauf, Abschluss, -motiv finial, termination avslut, avsluting, -smotiv about, terminaison terminazione, terminale terminación zakooczenie, koocówka 79 Ädikula aedicula edikula, ädikula édicule edicola edículo edikula 85–86 Akanthus acanthus akantus acanthe acanto acanto akant 91 Akanthusfries acanthus frieze akantusfris frise d’acanthe fryz akantowy 92 Akanthusranke acanthus vine akantusranka rinceau d’acanthe ornament akantowy/ wid akantowa 86 Akanthusrosette acanthus rosette akantusrosett rosette d’acanthe rozeta akanowa / "weißer Akanthus" white acanthus sprays “biały akant” 79 Akroter acroterion akroterion acrotère acroter(i)o acrótera akroterion 154 Allerheiligenlitanei litany of the Saints allhelgonlitania litanie de tous les Saints litanie di tutti i Santi Letanía de los Santos litania do świętych 20 anikonisch aniconic anikonisk aniconique aniconico anicónico anikoniczny 168 Annalen annals annaler annales annali anales annał/annały 20 anthropomorph anthropomorphic antropomorf anthropomorphe antropomorfo antropomorfo antropomorficzny 146 Antiphonar, -ale antiphonal antifonarium antiphonaire antifonario, -ale antifonario, libro antifonal
    [Show full text]
  • Art Concepts
    ANCIENT ART - Greece Acropolis Greek, “high city.” In ancient Greece, usually the site of the city’s most important temple(s). Amphora A two-handled jar used for general storage purposes, usually to hold wine or oil. Archaic Smile In Archaic Greek sculpture, the smile sculptors represented on faces as a way of indicating that the person portrayed is alive. Atlant (Atlas) A male figure that functions as a supporting column. Black-Figure In early Greek pottery, the silhouetting of dark Painting figures against a light background of natural, reddish clay, with linear details incised through the silhouettes. Capital The uppermost member of a column, serving as a transition from the shaft to the lintel. In classical architecture, the form of the capital varies with the order. Caryatid A female figure that functions as a supporting column. Cella The chamber at the center of an ancient temple; in a classical temple, the room (Greek, naos) in which the cult statue usually stood. ANCIENT ART - Greece Centaur In ancient Greek mythology, a fantastical creature, with the front or top half of a human and the back or bottom half of a horse. Contrapposto The disposition of the human figure in which one part is turned in opposition to another part (usually hips and legs one way, shoulders and chest another), creating a counterpositioning of the body about its central axis. Sometimes called “weight shift” because the weight of the body tends to be thrown to one foot, creating tension on one side and relaxation on the other. Corinthian Corinthian columns are the latest of the three Greek styles and show the influence of Egyptian columns in their capitals, which are shaped like inverted bells.
    [Show full text]
  • A Reassessment of the Early Medieval Stone Crosses and Related Sculpture of O Aly, Kilkenny and Tipperary
    Durham E-Theses A reassessment of the early medieval stone crosses and related sculpture of oaly, Kilkenny and Tipperary Edwards, Nancy How to cite: Edwards, Nancy (1982) A reassessment of the early medieval stone crosses and related sculpture of oaly, Kilkenny and Tipperary, Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/7418/ Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in Durham E-Theses • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full Durham E-Theses policy for further details. Academic Support Oce, Durham University, University Oce, Old Elvet, Durham DH1 3HP e-mail: [email protected] Tel: +44 0191 334 6107 http://etheses.dur.ac.uk 2 a Reassessment op tbe ecmly raeofeoat stone cRosses ariO ReLateo scaLptciRe of offaly kilkenny ano tfppeRciR^y nancy efocoa&os Abstract This study is concerned with the Early Medieval freestanding stone crosses and related sculpture of three Irish counties, Offaly, Kilkenny and Tipperary. These monuments are recorded both descriptively and photographically and particular emphasis has been placed on a detailed analysis of the Hiberno-Saxon abstract ornament, the patterns used and, where possible, the way in which they were constructed.
    [Show full text]
  • Hyperseeingthe Publication of the International Society of the Arts, Mathematics, and Architecture SPRING 2010 Totem 2, a Sculpture by Carlo H
    HYPERSEEINGThe Publication of the International Society of the Arts, Mathematics, and Architecture SPRING 2010 www.isama.org Totem 2, A Sculpture by Carlo H. Séquin, A 2, Totem (ABS plastic) Articles Exhibits Resources Cartoons Books News IIlustrations Announcements Communications Articles Exhibits Resources Cartoons Books News IIlustrations ISAMA The International Society of the Arts, Mathematics, and Architecture www.isama.org BECOME A MEMBER ISAMA Membership Registration Membership in ISAMA is free. Membership implies you will receive all ISAMA email announcements concerning conferences and other news items of interest. Name…………………………………………………………………………………………………………………. Address……………………………………………………………………………………………………………………………………… …………………………………………………………………………………………………………………………………………………… …………………………………………………………………………………………………………………………………………………… …………………………………………………………………………………………………………………………………………………… …………………………………………………………………………………………………………………………………………………… Email address……………………………………………………………………………………………………………………………. Interests……………………………………………………………………………………………………………………………………… …………………………………………………………………………………………………………………………………………………… …………………………………………………………………………………………………………………………………………………… …………………………………………………………………………………………………………………………………………………… …………………………………………………………………………………………………………………………………………………… …………………………………………………………………………………………………………………………………………………… Please email completed form to Nat Friedman at [email protected] ISAMA HYPERSEEING Editors. Ergun Akleman, Nat Friedman. Associate Editors. Javier Barrallo, Anna Campbell Bliss, Claude
    [Show full text]
  • Corpus Vasorum Antiquorum, Fascicule 5
    CORPVS VASORVM ANTIQVORVM UNITED STATES OF AMERICA • FASCICULE 29 The J. Paul Getty Museum, Malibu, Fascicule 5 This page intentionally left blank UNION ACADÉMIQUE INTERNATIONALE CORPVS VASORVM ANTIQVORVM THE J. PAUL GETTY MUSEUM • MALIBU Molly and Walter Bareiss Collection Mycenaean, Faience, East Greek, Proto-Corinthian, Corinthian, Laconian, Euboean, Chalcidian, Attic geometric, Attic black-figure, Attic network, Attic black body, Attic black glaze, Apulian, Gnathia, Daunian, Lucanian, Campanian, Sicilian, Lead glaze, and Arretine MARIT R. JENTOFT-NILSEN in collaboration with A. D. TRENDALL THE J. PAUL GETTY MUSEUM FASCICULE 5 • [U.S.A. FASCICULE 29] 1994 LIBRARY OF CONGRESS CATALOGING-IN-PUBLICATION DATA Corpus vasorum antiquorum. [United States of America.] The J. Paul Getty Museum, Malibu. (Corpus vasorum antiquorum. United States of America; fasc. 23, 29) At head of title : Union académique internationale. Includes bibliographical references and indexes. Contents: fasc. 1. Molly and Walter Bareiss Collection: Attic black-figured amphorae, neck-amphorae, kraters, stamnos, hydriai, and fragments of undetermined closed shapes / Andrew J. Clark—[etc.]— fasc. 5. Molly and Walter Bareiss Collection: Mycenaean, Faience, East Greek, Proto-Corinthian, Corinthian, Laconian, Euboean, Chalcidian, Attic geometric, Attic black-figure, Attic network, Attic black body, Attic black glaze, Apulian, Gnathia, Daunian, Lucanian, Campanian, Sicilian, Lead glaze and Arretine/ Marit R. Jentoft-Nilsen in collaboration with A. D. Trendall. 1. Vases, Greek—Catalogs. 2. Bareiss, Molly—Art collections—Catalogs. 3. Bareiss, Walter—Art collections—Catalogs. 4. Vases—Private collections— California—Malibu—Catalogs. 5. Vases—California— Malibu— Catalogs. I.J. Paul Getty Museum—Catalogs. II. Clark, Andrew J., 1949- III. Jentoft-Nilsen, Marit R., 1938- . IV.
    [Show full text]
  • Two Centujries of Hellenistic Pottery
    TWO CENTUJRIES OF HELLENISTIC POTTERY PLATE III INTRODUCTION' TIuE object of this study is to clarify and amplify that chapter in the ceramic history of Athens which covers the time betweeni the end of the fourth and the end of the second century B.c. The two intervening, centuries constitute a definite period in the development of Athenian potterv. From the end of the sixth down to the closing years of the fourth century, Athenian potters had concentrated on the decoration of their finer wares in the red-figure style. In the course of those two centuries the style had developed, had realized its fullest possibilities, and, in the natural course of events, had gone to seed. Among the most vigorous of the seedlings, was a style of ceramic (lecoration known as that of "West Slope Ware." It will be well representied in the groups to be discussed below. 'We shall find reason to believe that this new style sprang up in the closing years of the fourth century and flourished during the following two centuries and more. To a time but little later than that of the origin of " West Slope Ware " we mnust assign the beginning of the Atheniian mranufacture of " Mecarian Bowls," 2 These rapidly assumed such popularity as to becomne the typical finer ware amnong the deposits of habitation accu- mulated during those same two centuries. The beginning of the new era in ceramnic history was marked further by an increased rea(diness on the part of the worker in 1 The ciretumstances in which thIe paper was written have made imnpossible extensive study of com- parative material in otlher collections, and even exhaustive bibliographical references.
    [Show full text]
  • Precise Patterns
    COMMON CORE CONNECTION: PRECISE PATTERNS WORKS OF ART ➊ Amphora with Funerary Scenes, Workshop of Painter of Athens, 720–710 BCE (Geometric) ➋ Herakles and the Erymanthian Boar, Greek, 520 BCE (Archaic) ➌ Red Figure Amphora with Musical Scene, Niobid Painter, ca. 460–450 BCE (Classical) COMMON CORE CONNECTION: Standards for Mathematical Practice: MP6—Attend to Precision OVERVIEW Students will learn about patterns used by ancient Greek artists. They will create their own patterns and calculate how to draw the patterns on an amphora. VOCABULARY Amphora a large Greek storage vase with an oval body usually tapering toward the base, and two handles extending from just below the lip to the shoulder; plural form is amphorae Circumference the outer boundary, especially of a circular area; perimeter Meander an interlaced, angular design; fretwork Palmette a motif in decorative art which resembles the fan-shaped leaves of a palm tree Pattern a discernible regularity in the world or in a manmade design; the units of a pattern repeat in a predictable manner Radius straight line extending from the center of a circle or sphere to the circumference or surface ACTIVITY ➊ Show students images of the amphorae (More examples and information about the amphorae included in this lesson are available at art.thewalters.org. Further examples are available at britishmuseum.org). Ask students: What do you think these objects are? How do you think they were used in ancient Greece? An amphora is a two-handled vessel used to store wine, oil, honey, or grain. Some highly decorative vases, which depict funerary scenes, were made for burial in tombs.
    [Show full text]
  • Catalogue 101 To
    Lots 101 - 110 Lot #101: TWO VICTORIAN PLUSH-UPHOLSTERED SOFAS Each with deep-buttoned and pleated back, one sofa on turned walnut legs; 32 x 83 x 30 in. and 36 x 84 x 33 in. Estimate: $ 1000.00 - $ 1500.00 Lot #102: RENAISSANCE REVIVAL CARVED GILTWOOD WINDOW CORNICE With arched pediment surmounted by palmette flanked by meander and scrolling leaves; 28 x 80 x 10 1/2 in. Estimate: $ 300.00 - $ 500.00 Lot #102A: PAIR OF VICTORIAN-STYLE LIGHT BLUE, DARK BLUE AND SILVER SILK BROCATELLE WINDOW CURTAINS Each panel approx. 10 ft. 4 in. x 5 ft. 2 in. Estimate: $ 200.00 - $ 400.00 Lot #103: ENGLISH VICTORIAN CARVED OAK LIBRARY TABLE, GILLOWS OF LANCASTER Bearing remnants of a paper label, the molded rectangular leather- inset top with rounded ends over conforming frieze, on gadrooned turned legs surmounted by console brackets; 30 x 14 ft. 1/2 in. x 60 1/2 in. Estimate: $ 1000.00 - $ 2000.00 Lot #104: PAIR OF SECOND EMPIRE CARVED GILTWOOD SIDE CHAIRS IN THE LOUIS XVI STYLE, CHARLES MUNIER Each with chapeau-de-gendarme crest rail over lyre-shaped splat flanked by fluted columnar stiles above deep-buttoned upholstered seat, on turned legs joined by stretchers, one chair with stenciled label on underside; 34 1/2 x 16 1/2 x 16 in. Estimate: $ 150.00 - $ 250.00 Lot #105: PAIR OF ITALIAN CARVED ALABASTER MANTEL URNS Each with bowl centered by Bacchante mask and with s-scroll grapevine handles, lobed roll-over rim, leafy stem and block base; 19 1/8 x 7 in.
    [Show full text]