16th Century French Renaissance Bronze Pricket Candlesticks Circa 1600
Item History & Price
Rare 16" pair of late16th century French Renaissance bronze pricket candlesticks, circa 1600We purchase collections of Continental lighting, metalwork, ceramics, glass & textiles, enabling me to offer a quantity of rareantiques. Please register my store/page in your favorites, for a fine range of 14th to 19th century period metalwork, lighting& other pieces, all guaranteed, as to age, condition & origin. Ihave far more than I can possibly keep up with, as to eBay – and, i...nternationalbuyers cannot otherwise "see" pieces listed on eBay UK. Text, formatting & images © 2019 – R. JosefBurdett-Williamson – all rights reserved.Breveté, 2019, par M. R. Josef Burdett-Williamson. ATTENTION – défense de reproduction ! We are veryserious, as to Intellectual Property rights – any violations are reported toeBay,
and our Intellectual Properties attorneys in Leeds & Paris. Please readall my terms of sale carefully!I request your understanding in case of delays due to:extremeweather, health, or computer problems.Elly BurdettThis pair is in France.Pieces in the group photo are for scale.You are only buying the featured pair.Free collection by appt. is possible:my collections & some of Elly’s many new arrivals can be viewed. Please note: For those not familiar with my eBay store, you are dealing with 2different people in England & France. I’m an antiques dealer, & exhibitat UK antiques shows; my associate in France is an expat American historian ofEuropean Decorative Arts & guest museum curator, with 44 years of advancedexperience.In both countries, we are frequently visited bycurators, collectors, dealers & auctioneers who buy: if you are seriously interested in any auction or BIN listing, do not wait – they end because they selldirectly to visitors. Auction pieces will not be ended, IF they have abid. Sincerely, ETBurdett Dear friends & clients: We have more Fine Arts & Antiques than we can beginto keep up with, as to eBay – at least 4, 000 period pieces. I have recently been seriously ill – shipping delays wereunavoidable. Group photos will give you a slight idea of the depthof my collections, and Elly's inventory - keep watching this page. R.Josef
The antiques trade is rife withperpetuated errors, and moving to France 25+ years ago meant that I hadto unlearn more than a few. One of the most annoying and widespread is that all pricket candlesticks (and larger mid-drips) areecclesiastical. This has been thoroughly disproven, from early inventories, woodcuts and paintings, and in-situresearch – I own several non-ecclesiastical French wrought iron pricket beamcandlesticks. The “ecclesiastical assumption” also totally ignores the fact of the enormous size of theRenaissance and later Continental architecture of the wealthy merchant classand aristocracy across Europe – the larger early secular pricket or mid-dripcandlesticks (of which we have owned dozens - andhave more on hand) were often for use in truly enormous rooms, and on furniture thatwas proportionally massive.My reference library on earlyContinental metalwork & lighting is about as good as it gets – there areperhaps half a dozen books I’m still searching for, but by and large it’s verycomprehensive. Even so, I don’t know of a single volume in any language thathas even begun to correctly tackle the very complex history of either mid-dripsocket candlesticks, or secular pricket candlesticks. Elly has sold far inexcess of 100; I’ve handled manymore, and currently have 25 or so lurking about my house. This pair wasrecently acquired from a collector/dealer in central France – based on theappearance of the form in Holland, Germany and France, I am quite sure that thedesign was very popular in the period, and was made in at least 4 countries.However, I’ve seen quite a few others of the same form (including some thatwere dated) in France more often than in any other country. The onlydefinitive way to get to the bottom of origins is by sampling a very large number of early Continentalpieces using XRF technology (which is something I’ve been doing for nearly 8years).This is one of the earlier anddefinitively French pair of pricket candlesticks we’ve been able to buy forresale; the only English language point of reference I have that will be usefulis Old Domestic base-Metal Candlesticks (pub. 1978) by Ronald Michaelis – which is still thebest technical reference on base-metal lighting or brass. Michaelis’work is generically superior; in the 1970’s, he was the only author to get it right, as to the attribution of Nurembergcandlesticks – and, correctly question the time constraints placed onHeemskerks by others. However, his dating of Franco-Flemish candlesticks is notalways accurate, and others bear erroneous attributions – the 3 candlesticks inFigure 170, page 116, are in fact all French, late 16th century, andnot 1st quarter, 18th century.The Appendix on page 137 of Michaeliscontains a somewhat useful, but hopelessly out-dated and rudimentarymetallurgical chart on base-metal candlesticks.More recent published references using XRF analysis are equally unreliable, dueto errors in attributions of candlesticks, or woefully inadequate numbers ofpieces sampled. As with any other truly accurate and scientific survey, a verywide range and large number of examples is an absolute necessity.Michaelis does devote a brief chapter tothe pricket form, but did not have as much experience as I have, withspecifically Continental (and especially French) origins of pricket or mid-dripcandlesticks; he does not always provide accurate commentaries. In this case, his book is quite useful, in that it illustrates a pricket candlestick with verysimilar turnings; Figure 19 on Page 35. However, I place this pair at aslightly later date, based on the feet. One of numerous important points that Michaelis at least mentions is casting defects.The frequency with which casting defects– including mold under-fills – dating from thetime of fabrication, appear inBritish, French & other Continental metalwork is worthy of a long article.Prior to the mid-19th century, they are found in amazingquantity, largely on formal pieces intended to be gilded or silvered. Michaelisvery precisely comments on this, on page 22 - and later illustrates a trumpet 'stick with a visible casting patch – Ihave seen hundreds, if not indeed in excess of 1, 000, and on virtually allforms of metalwork. They are extremely common on formal lamps, candlesticks, sconces and candelabra, etc. – Iowned a circa 1560 French bronze lamp with at least 3 separate defects, and acirca 1620 Franco-Flemish bronze pricket candlestick which also had several, and have more in my collection.When present in the feet, or other turned elements ofan object, there is a very simple way to determine if they areoriginal to the piece – or are a later repair. If the originallathe/turning lines (or, in the case of earlier pieces, rougher skimming lines, or untouched surfaces)go over the area – as they do with thispair - it is very clearly a casting defect or under-fill, pieced-in orfilled at the time of fabrication. Yet another indication of this is the condition of the exterior surface –original repairs to casting defects or mold under-fills share an identical, continuous surface with the rest of the immediate area, and very often have thesame traces of gilding or silvering present.There are at least two other reasons for suchirregularities: 1. Metal – and particularly copper – bubbles when heated, andcan generate a very irregular surface, often requiring attention at the time offabrication, unless it is not too serious, and will be filled by gilding orsilvering. 2. Impurities (including iron or lead) – and sometimes fairly largelumps - can often be seen in early metalwork; they were occasionally leftalone, when present beneath the feet, but otherwise required attention; theywere also usually masked by silver or gilding.And, you don't have to take my word forit – this can be confirmed by numerous curators, advanced collectors, andprobably every competent restorer of early Continental metal. Re-gilding orsilvering might render some of these defects invisible, but most curators &advanced collectors I know don't bother, partly due to the technical &historical interest of such defects, which are very much a part of thelegitimate history of the object.Both feet have a molded casting defect in thesame place that has been filled with solder (see photos 8 through 10) – and itwas completely unnecessary. As can be seen in the close-ups under thefeet, the original, and heavily patinated surfaces of the feet are undisturbed, with no holes. One base has two additional minor casting defects that werefilled at the time of fabrication, but have been exposed by polishing – the baseof the shaft of the same ‘stick also has a couple of visible (but very minor)casting defects or exposed impurities in the metal. One shaft must have beenloose – it has glued underneath (again, see photo 10) – this is superior tohaving been soldered, which is the more-usual treatment of loosened peaning orstripped threading. I’d recommend that the solder be removed from the sides ofthe feet, but the glue is inoffensive…The pair is intact, and with noreplacements, except that both prickets have been extended with lapped sheetbrass caps, presumably because the end of one or both prickets had been broken.The only way to find out is to heat one up & take it off – it might havebeen unnecessary. The undersides of the drip pans where they join the shafts are flawless –if you zoom in on the shafts, some very minor casting defects or impurities inthe metal will become apparent – which is an extremely common occurrence before1700. Michaelis was also the onlyauthor I know of who correctly addressed irregularities in either metal color, or details in early, generally pre-1700 pairs ofcandlesticks. He comes through on these obscure technical points, and coversthem most specifically, on pages 34-35. It is not so unusual to see onecandlestick of a pair that is marginally taller, often due to the pricketlength, and the feet can also be slightly wider. However, close comparisonsmake it obvious that turnings are generally a perfect match, and that drip pandiameters are usually the same: in the case of this very fine pair, virtuallyall details are identical.After about 1700, standards of workmanship seem to have becomesufficiently established, such that visible variations in turnings, castings orother details were no longer tolerated. A close parallel can be found in 17thcentury and earlier German Bellarmine stoneware jug production – “bearded man”witch bottles prior to about 1700display a truly amazing quantity of firing defects that are rarely found onlater pieces.We are independently listed with the NewEngland Appraisers Association, for France or England.Under France, you will find me listed twice – the first time isas the founder of record of the New EnglandAppraisers Association.Condition: as-seen, and as described above. The pair otherwise has the normal wear and veryminor dings that can be expected on early metalwork. Photos are highresolution – use magnification for viewing details. Pleaseask, if you wish additional photos.© R. JosefBurdett-Williamson Certified expert & appraiser, New England Appraisers Association.FoundingTrustee, NewBedford Museum of Glass.Height – 15 & 3/4” (40 cm ): drip pandiameter: 3 & 1/2"(18.9 cm.):foot width – 5 & 7/8" (14.9 cm.). Total weight – 3.6 kilos, notincluding packaging.Insuredmailing within France is 14 Euros; to the UK & EU is 24 Euros– to North America is56 Euros.We don't charge for packing & handling, & always offer grouped rate posting, with no time limits.We ship from both France & the UK– please read listings carefully – rates& conditions are substantially different.Important!We usually mailwithin 3 to 7 working days from clearance of payment: but request that buyers be understanding of delays due to illness, severe weather, or computer problems: this is strictly a small business, with noemployees! Intolerantbuyers, or those leaving less than 5-star feedback (no longer invisible) willbe permanently black-listed. This is not a"decorator" shop - eBay’s Consumer Goods-generated “Hassle-freereturns” policy does not apply to arbitrary whim, or unqualifiedopinion! Returns areaccepted - if: there is amajor problem with the age, condition or origin of a piece as described;and this is confirmed by aqualified expert with professionalcredentials. Copyright violations, defamation, or attempts at fraud will be dealt with in a legal manner, inNorth America, the UK, or France.Photographs of anyalleged damage are required - they are mandatory for insurance claims.What you pay for shippingis our actual cost – despite lowered fuel costs, international shipping is stupidlyexpensive - we have absolutely no control over rates – and even so, lose 4% to PayPal, and often absorb extra costs, such as double-boxing.International buyers – please inquire, as to mailing costs!Note:Our independent certifications withthe New England Appraisers Association (in both France & England) expedite Customsclearances, and prevent duties being incorrectly imposed on antiques conformingto the 100 years legal dateline, thus saving buyers 10% to 43% in relevant countries. From France, the postalsystem is fast, efficient, flexible, & based on weight; rates haverecently changed, but often remain less than those of the UK. Up to 2 kilos to North America costs 36Euros; up to 5 kilos to North America costs 53 Euros; up to 10 kilosis 100 Euros, & 20 kilos is 160 Euros – plus 1 Euro per 100 Euros insurance coverage, to a maximumof 1, 000 Euros. Buyers can lowercosts on grouped purchases, depending on the size of the parcel, &insurance coverage - several pieces in one parcel are usually lessexpensive, as to per-item shipping cost – but do ask first!From the UK - Royal Mail can only be used for internationalparcels under 2kilos; measuring less than 90 centimeters total, and with a maximum insurance value of £250 (a recent, &exceedingly dumb decision): FedEx or UPS shipping is largelyvolumetric – the cost of sending a 5-kilo parcel is only marginally higher than1 or 2 kilos – 5 kilos toNorth America can be as little as £50 - versus £28 to £32 for 1 kilo – depending on the size of the parcel, & insurance coverage. Buyers can usually lower shippingcosts on grouped purchases – but again, please ask first. Payments:PayPal, French or UK checks, or bank drafts, & all banktransfers accepted. We areobliged to accept PayPal, but prefer bank transfers, or UK or French checks -PayPal takes a 4% bite out of all transactions - including shipping costs.Please feel free to contact us for grouped rates, andcommissioned, or guided buying in France - including partial or completecontainers, with related services. For period furniture (which we also collect, buy & sell) & other bulk shipping from France to Western Europe &the UK, we can arrange low-cost transport (depending on destination) via bonded& insured shippers.My business associate is an expatriate American historian ofDecorative Arts, a published antiques editor & writer, guest curator, certified appraiser, & internationally respected authority in early glass, lighting, metalwork, sculpture, period furniture & other categories. He hasplaced pieces with French & US museums, including the Smithsonian, &assists me with acquisitions, research & texts. You can buy from me, withconfidence in your purchases. We are separate and private, academic collectors, looking to defray the costs of advancing with our own collections. R. Josef is the only EuropeanDecorative Arts specialist for the NewEngland Appraisers Association residing in theEuropean Union, and is available for expertise or arbitration. We areindependently listed with the New EnglandAppraisers Association, forFrance or the UK – or see my professional contact details, as provided beneath eBayUK listings. ET BurdettDear buyers – apologies for the intrusive copyrightlines, but they are there because R. Josef is an extensively published expertwith ongoing academic & commercial commissions, including forthcomingbooks. Listings often contain original research & information that has notappeared before; several British & Continental eBay sellers have beenreported for plagiarizing formatting & texts. Theiraccounts were canceled – we fiercely protectour Intellectual Property rights – and in court, when necessary.
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and our Intellectual Properties attorneys in Leeds & Paris. Please readall my terms of sale carefully!I request your understanding in case of delays due to:extremeweather, health, or computer problems.Elly BurdettThis pair is in France.Pieces in the group photo are for scale.You are only buying the featured pair.Free collection by appt. is possible:my collections & some of Elly’s many new arrivals can be viewed. Please note: For those not familiar with my eBay store, you are dealing with 2different people in England & France. I’m an antiques dealer, & exhibitat UK antiques shows; my associate in France is an expat American historian ofEuropean Decorative Arts & guest museum curator, with 44 years of advancedexperience.In both countries, we are frequently visited bycurators, collectors, dealers & auctioneers who buy: if you are seriously interested in any auction or BIN listing, do not wait – they end because they selldirectly to visitors. Auction pieces will not be ended, IF they have abid. Sincerely, ETBurdett Dear friends & clients: We have more Fine Arts & Antiques than we can beginto keep up with, as to eBay – at least 4, 000 period pieces. I have recently been seriously ill – shipping delays wereunavoidable. Group photos will give you a slight idea of the depthof my collections, and Elly's inventory - keep watching this page. R.Josef
The antiques trade is rife withperpetuated errors, and moving to France 25+ years ago meant that I hadto unlearn more than a few. One of the most annoying and widespread is that all pricket candlesticks (and larger mid-drips) areecclesiastical. This has been thoroughly disproven, from early inventories, woodcuts and paintings, and in-situresearch – I own several non-ecclesiastical French wrought iron pricket beamcandlesticks. The “ecclesiastical assumption” also totally ignores the fact of the enormous size of theRenaissance and later Continental architecture of the wealthy merchant classand aristocracy across Europe – the larger early secular pricket or mid-dripcandlesticks (of which we have owned dozens - andhave more on hand) were often for use in truly enormous rooms, and on furniture thatwas proportionally massive.My reference library on earlyContinental metalwork & lighting is about as good as it gets – there areperhaps half a dozen books I’m still searching for, but by and large it’s verycomprehensive. Even so, I don’t know of a single volume in any language thathas even begun to correctly tackle the very complex history of either mid-dripsocket candlesticks, or secular pricket candlesticks. Elly has sold far inexcess of 100; I’ve handled manymore, and currently have 25 or so lurking about my house. This pair wasrecently acquired from a collector/dealer in central France – based on theappearance of the form in Holland, Germany and France, I am quite sure that thedesign was very popular in the period, and was made in at least 4 countries.However, I’ve seen quite a few others of the same form (including some thatwere dated) in France more often than in any other country. The onlydefinitive way to get to the bottom of origins is by sampling a very large number of early Continentalpieces using XRF technology (which is something I’ve been doing for nearly 8years).This is one of the earlier anddefinitively French pair of pricket candlesticks we’ve been able to buy forresale; the only English language point of reference I have that will be usefulis Old Domestic base-Metal Candlesticks (pub. 1978) by Ronald Michaelis – which is still thebest technical reference on base-metal lighting or brass. Michaelis’work is generically superior; in the 1970’s, he was the only author to get it right, as to the attribution of Nurembergcandlesticks – and, correctly question the time constraints placed onHeemskerks by others. However, his dating of Franco-Flemish candlesticks is notalways accurate, and others bear erroneous attributions – the 3 candlesticks inFigure 170, page 116, are in fact all French, late 16th century, andnot 1st quarter, 18th century.The Appendix on page 137 of Michaeliscontains a somewhat useful, but hopelessly out-dated and rudimentarymetallurgical chart on base-metal candlesticks.More recent published references using XRF analysis are equally unreliable, dueto errors in attributions of candlesticks, or woefully inadequate numbers ofpieces sampled. As with any other truly accurate and scientific survey, a verywide range and large number of examples is an absolute necessity.Michaelis does devote a brief chapter tothe pricket form, but did not have as much experience as I have, withspecifically Continental (and especially French) origins of pricket or mid-dripcandlesticks; he does not always provide accurate commentaries. In this case, his book is quite useful, in that it illustrates a pricket candlestick with verysimilar turnings; Figure 19 on Page 35. However, I place this pair at aslightly later date, based on the feet. One of numerous important points that Michaelis at least mentions is casting defects.The frequency with which casting defects– including mold under-fills – dating from thetime of fabrication, appear inBritish, French & other Continental metalwork is worthy of a long article.Prior to the mid-19th century, they are found in amazingquantity, largely on formal pieces intended to be gilded or silvered. Michaelisvery precisely comments on this, on page 22 - and later illustrates a trumpet 'stick with a visible casting patch – Ihave seen hundreds, if not indeed in excess of 1, 000, and on virtually allforms of metalwork. They are extremely common on formal lamps, candlesticks, sconces and candelabra, etc. – Iowned a circa 1560 French bronze lamp with at least 3 separate defects, and acirca 1620 Franco-Flemish bronze pricket candlestick which also had several, and have more in my collection.When present in the feet, or other turned elements ofan object, there is a very simple way to determine if they areoriginal to the piece – or are a later repair. If the originallathe/turning lines (or, in the case of earlier pieces, rougher skimming lines, or untouched surfaces)go over the area – as they do with thispair - it is very clearly a casting defect or under-fill, pieced-in orfilled at the time of fabrication. Yet another indication of this is the condition of the exterior surface –original repairs to casting defects or mold under-fills share an identical, continuous surface with the rest of the immediate area, and very often have thesame traces of gilding or silvering present.There are at least two other reasons for suchirregularities: 1. Metal – and particularly copper – bubbles when heated, andcan generate a very irregular surface, often requiring attention at the time offabrication, unless it is not too serious, and will be filled by gilding orsilvering. 2. Impurities (including iron or lead) – and sometimes fairly largelumps - can often be seen in early metalwork; they were occasionally leftalone, when present beneath the feet, but otherwise required attention; theywere also usually masked by silver or gilding.And, you don't have to take my word forit – this can be confirmed by numerous curators, advanced collectors, andprobably every competent restorer of early Continental metal. Re-gilding orsilvering might render some of these defects invisible, but most curators &advanced collectors I know don't bother, partly due to the technical &historical interest of such defects, which are very much a part of thelegitimate history of the object.Both feet have a molded casting defect in thesame place that has been filled with solder (see photos 8 through 10) – and itwas completely unnecessary. As can be seen in the close-ups under thefeet, the original, and heavily patinated surfaces of the feet are undisturbed, with no holes. One base has two additional minor casting defects that werefilled at the time of fabrication, but have been exposed by polishing – the baseof the shaft of the same ‘stick also has a couple of visible (but very minor)casting defects or exposed impurities in the metal. One shaft must have beenloose – it has glued underneath (again, see photo 10) – this is superior tohaving been soldered, which is the more-usual treatment of loosened peaning orstripped threading. I’d recommend that the solder be removed from the sides ofthe feet, but the glue is inoffensive…The pair is intact, and with noreplacements, except that both prickets have been extended with lapped sheetbrass caps, presumably because the end of one or both prickets had been broken.The only way to find out is to heat one up & take it off – it might havebeen unnecessary. The undersides of the drip pans where they join the shafts are flawless –if you zoom in on the shafts, some very minor casting defects or impurities inthe metal will become apparent – which is an extremely common occurrence before1700. Michaelis was also the onlyauthor I know of who correctly addressed irregularities in either metal color, or details in early, generally pre-1700 pairs ofcandlesticks. He comes through on these obscure technical points, and coversthem most specifically, on pages 34-35. It is not so unusual to see onecandlestick of a pair that is marginally taller, often due to the pricketlength, and the feet can also be slightly wider. However, close comparisonsmake it obvious that turnings are generally a perfect match, and that drip pandiameters are usually the same: in the case of this very fine pair, virtuallyall details are identical.After about 1700, standards of workmanship seem to have becomesufficiently established, such that visible variations in turnings, castings orother details were no longer tolerated. A close parallel can be found in 17thcentury and earlier German Bellarmine stoneware jug production – “bearded man”witch bottles prior to about 1700display a truly amazing quantity of firing defects that are rarely found onlater pieces.We are independently listed with the NewEngland Appraisers Association, for France or England.Under France, you will find me listed twice – the first time isas the founder of record of the New EnglandAppraisers Association.Condition: as-seen, and as described above. The pair otherwise has the normal wear and veryminor dings that can be expected on early metalwork. Photos are highresolution – use magnification for viewing details. Pleaseask, if you wish additional photos.© R. JosefBurdett-Williamson Certified expert & appraiser, New England Appraisers Association.FoundingTrustee, NewBedford Museum of Glass.Height – 15 & 3/4” (40 cm ): drip pandiameter: 3 & 1/2"(18.9 cm.):foot width – 5 & 7/8" (14.9 cm.). Total weight – 3.6 kilos, notincluding packaging.Insuredmailing within France is 14 Euros; to the UK & EU is 24 Euros– to North America is56 Euros.We don't charge for packing & handling, & always offer grouped rate posting, with no time limits.We ship from both France & the UK– please read listings carefully – rates& conditions are substantially different.Important!We usually mailwithin 3 to 7 working days from clearance of payment: but request that buyers be understanding of delays due to illness, severe weather, or computer problems: this is strictly a small business, with noemployees! Intolerantbuyers, or those leaving less than 5-star feedback (no longer invisible) willbe permanently black-listed. This is not a"decorator" shop - eBay’s Consumer Goods-generated “Hassle-freereturns” policy does not apply to arbitrary whim, or unqualifiedopinion! Returns areaccepted - if: there is amajor problem with the age, condition or origin of a piece as described;and this is confirmed by aqualified expert with professionalcredentials. Copyright violations, defamation, or attempts at fraud will be dealt with in a legal manner, inNorth America, the UK, or France.Photographs of anyalleged damage are required - they are mandatory for insurance claims.What you pay for shippingis our actual cost – despite lowered fuel costs, international shipping is stupidlyexpensive - we have absolutely no control over rates – and even so, lose 4% to PayPal, and often absorb extra costs, such as double-boxing.International buyers – please inquire, as to mailing costs!Note:Our independent certifications withthe New England Appraisers Association (in both France & England) expedite Customsclearances, and prevent duties being incorrectly imposed on antiques conformingto the 100 years legal dateline, thus saving buyers 10% to 43% in relevant countries. From France, the postalsystem is fast, efficient, flexible, & based on weight; rates haverecently changed, but often remain less than those of the UK. Up to 2 kilos to North America costs 36Euros; up to 5 kilos to North America costs 53 Euros; up to 10 kilosis 100 Euros, & 20 kilos is 160 Euros – plus 1 Euro per 100 Euros insurance coverage, to a maximumof 1, 000 Euros. Buyers can lowercosts on grouped purchases, depending on the size of the parcel, &insurance coverage - several pieces in one parcel are usually lessexpensive, as to per-item shipping cost – but do ask first!From the UK - Royal Mail can only be used for internationalparcels under 2kilos; measuring less than 90 centimeters total, and with a maximum insurance value of £250 (a recent, &exceedingly dumb decision): FedEx or UPS shipping is largelyvolumetric – the cost of sending a 5-kilo parcel is only marginally higher than1 or 2 kilos – 5 kilos toNorth America can be as little as £50 - versus £28 to £32 for 1 kilo – depending on the size of the parcel, & insurance coverage. Buyers can usually lower shippingcosts on grouped purchases – but again, please ask first. Payments:PayPal, French or UK checks, or bank drafts, & all banktransfers accepted. We areobliged to accept PayPal, but prefer bank transfers, or UK or French checks -PayPal takes a 4% bite out of all transactions - including shipping costs.Please feel free to contact us for grouped rates, andcommissioned, or guided buying in France - including partial or completecontainers, with related services. For period furniture (which we also collect, buy & sell) & other bulk shipping from France to Western Europe &the UK, we can arrange low-cost transport (depending on destination) via bonded& insured shippers.My business associate is an expatriate American historian ofDecorative Arts, a published antiques editor & writer, guest curator, certified appraiser, & internationally respected authority in early glass, lighting, metalwork, sculpture, period furniture & other categories. He hasplaced pieces with French & US museums, including the Smithsonian, &assists me with acquisitions, research & texts. You can buy from me, withconfidence in your purchases. We are separate and private, academic collectors, looking to defray the costs of advancing with our own collections. R. Josef is the only EuropeanDecorative Arts specialist for the NewEngland Appraisers Association residing in theEuropean Union, and is available for expertise or arbitration. We areindependently listed with the New EnglandAppraisers Association, forFrance or the UK – or see my professional contact details, as provided beneath eBayUK listings. ET BurdettDear buyers – apologies for the intrusive copyrightlines, but they are there because R. Josef is an extensively published expertwith ongoing academic & commercial commissions, including forthcomingbooks. Listings often contain original research & information that has notappeared before; several British & Continental eBay sellers have beenreported for plagiarizing formatting & texts. Theiraccounts were canceled – we fiercely protectour Intellectual Property rights – and in court, when necessary.
00414
