Frederic and Lorenzo Antiques

Learn to look not just with your eyes, but with your heart. Find the things that connect with you.
How else will you know how to design your home

Kelly Hoppen

Frederic and Lorenzo Antiques

A room should feel collected, not decorated

Charlotte Moss

Frederic and Lorenzo Antiques

If the architecture is any good, a person who
looks & listens will feel it’s good effects without noticing

Carlo Scarpa

Regency period

The components of Regency Period furniture include the selection of wood and the use of metals for accents. Mahogany remained the dominant wood for furniture design, while exotic wood like ebony was featured in many high-end pieces. Additionally, veneers of rosewood and zebrawood added visually striking surfaces or features to the clean lines of the style.

The addition of metal accents, however, gave Regency Period furniture its ornate elegance. Furniture makers primarily used brass, while occasionally including bronze or ormolu, an imitation gold. Brass inlays, accents along corners and legs, handles, and hinges, were popular. Of note, brass rosettes or lions’ heads to hold rings on cabinet doors and drawers decorated many pieces, while the bases of furniture legs were often animal feet made of brass. Glass insets on cabinet doors would also be covered and protected by brass grills in lattice patterns or scrollwork designs.

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What is an antique?

An antique is usually an item that is collected or desirable because of its age, beauty, rarity, condition, utility, personal emotional connection, and/or other unique features. It is an object that represents a previous era or time period in human history.

Tamara de Lempicka

Tamara de Lempicka cultivated her image as an exotic aristocrat-émigré

Details about Lempicka’s early years are sketchy. What we do know is that she was born in 1898 into a family of Russo-Polish aristocrats and went to boarding school in Lausanne. In 1917 she and her husband Tadeusz were forced to flee St Petersburg and the Russian Revolution, and headed for Paris.

In the French capital she studied painting in the ateliers of Maurice Denis and André Lhote, and quickly found success. By the early 1920s her works were appearing in major Paris exhibitions, such as the Salon d’Automne and the Salon des Tuileries.

Lempicka was a canny operator. She cultivated a public image for herself as flawless as the surface of her paintings: that of an exotic aristocrat-émigré, who threw lavish parties in her three-storey apartment on rue Méchain in which the furniture was monogrammed with her initials.

Lempicka’s paintings were frequently reproduced in fashion magazines

‘Technically, Tamara de Lempicka was a very fine painter,’ says Gill. ‘Her striking use of light and shadow; the way her backgrounds complement the gorgeous fabric worn by her subjects; the attention she gave to lips, hands and hair. In this way, her paintings almost have the feel of fashion photography from that time.’

It’s perhaps no coincidence that the last time Portrait of Marjorie Ferry  came to auction — in 2009, when it fetched a then record price of $4.9 million — the seller was fashion designer Wolfgang Joop.

Lempicka’s paintings were frequently reproduced in fashion magazines, such as Harper’s Bazaar  and Die Dame  in Germany. Her canvas La Musicienne — featuring her lover Ira Perrot, in a long blue dress playing a mandolin — appeared on the cover of the latter in April 1930. In November 2018, La Musicienne  broke the artist’s auction record when it fetched $9.1 million at Christie’s in New York.

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Frederic and Lorenzo Antiques

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