Kocian DePasqua Antiques

Kocian DePasqua Antiques Kocian Depasqua Antiques is open 11am-5:00 carrying an inventory of fine art and antiques. We are open Wed-Sun 11am-5pm or by appointment, please call ahead.

Visit us here anytime, any hours of the day.

A country pine sideboard or hunt board. A vernacular piece of furniture retaining its original green painted surface wit...
09/05/2026

A country pine sideboard or hunt board. A vernacular piece of furniture retaining its original green painted surface with wonderful aesthetics and visually appealing dimensions. 18” deep c 33 1/2” high x 84” long. Ca. 1860-70 New England

Eastern White Pine throughout with mortise and tenon joinery, and pegged top boards. The apron contains two drawers. Overall a sought after piece of American country furniture with desirability of form and function.

19th Century, Italian ca. 1890Solid bronze bust classical period. A bronze bust of an idealized youthful male, probably ...
09/04/2026

19th Century, Italian ca. 1890
Solid bronze bust classical period.

A bronze bust of an idealized youthful male, probably representing Augustus, the first Roman emperor. Presented in the abbreviated herm-like format characteristic of classical portrait sculpture, with the head turned slightly to one side above a broad, elegantly modeled neck and truncated shoulders.

The hollow eye sockets, an intentional feature derived from ancient bronze sculpture, in which separately applied eyes of glass, stone, ivory, or other materials were frequently employed. The absence of the original inserts gives the bust an archaeological character and emphasizes the sculptural treatment of the surrounding face.

The bronze retains an exceptional variegated surface, in which which irregularity of the patina contributes substantially to its visual appeal.

Dimensions 22” high x 8 1/2” x 8 1/2”

Remains in excellent original condition, mounted on a later black-painted square plinth.

A Favorite…I bought this chest of drawers a few weeks ago from a lady who was selling it for her brother. It’s an import...
08/29/2026

A Favorite…
I bought this chest of drawers a few weeks ago from a lady who was selling it for her brother.
It’s an important Western New York Classical period bird’s-eye maple chest of drawers, probably Buffalo, circa 1838–1842, with documented descent in the Potter–Babcock family of Niagara Square.
Completely original top to bottom; Retaining the Original bird’s-eye maple veneers throughout in a mellow old surface. Secondary woods are poplar and beechwood. Original wooden k***s and excellent proportions. Documented ownership from the time of manufacture. Provenance to one of Buffalo’s founding families and a likely connection to the remarkable growth of Buffalo during the Erie Canal era. It also contains a secret drawer hidden in the bottom molding, which has a funny story with it that the sister conveyed to me when I picked up the chest from her..

The sister of the 90plus year old owner told me that none of the family knew about the secret drawer in the bottom…They had cleaned out the chest, then decided to move it to the storage facility. At which time someone decided that removing the drawers would make it lighter. After removing what they thought were ALL the drawers they looked down and their surprise, discovered an additional bottom drawer hidden in the molding. In this bottom drawer were miscellaneous items of value and a stash of $500 in cash!

Dimensions: 41 inches wide by 19 inches deep by 38 inches high

A Peter Hunt paint decorated chest of drawers. Featuring Hunt’s iconic whimsical hearts and a choir instrumental group, ...
08/28/2026

A Peter Hunt paint decorated chest of drawers. Featuring Hunt’s iconic whimsical hearts and a choir instrumental group, above which is the Proverb “Quien canta, sus males espanta” — “He who sings drives away his sorrows.”
Painted in Hunt’s vibrant period of the 1940’s showing a strong sense of whimsy.

Peter Hunt (1896-1967) was an American folk artist, furniture decorator, located on Cape Cod Ma. Best known for his brilliantly painted, whimsical furniture created in Provincetown, Massachusetts. Born Frederick Lowe Schnitzer in East Orange, New Jersey, in 1896, he served as an ambulance driver in Europe during World War I, where he encountered the Italian, French, Spanish, and other European folk traditions that would profoundly influence his decorative vocabulary. He later adopted the surname Hunt.

Hunt settled in Provincetown in the early 1920s and initially operated an antiques business. In the late 1920s he began transforming ordinary and second-hand furniture with exuberant hand-painted decoration. His compositions incorporated hearts, flowers, birds, animals, human figures, musical motifs, folk sayings, and European peasant imagery, executed in vivid colors with deliberately naïve, vigorous brushwork. He called his approach “transformagic.”

During the 1930s and 1940s, Hunt’s reputation grew rapidly among wealthy clients in New York, Boston, and Cape Cod. He established Peter Hunt’s Peasant Village in Provincetown, a collection of workshops and shops producing painted furniture and other handicrafts. Hunt employed numerous apprentices and decorators, helping to spread his distinctive decorative style throughout the country.

Hunt continued working in Provincetown until his death in 1967. Today his painted furniture is regarded as an important expression of 20th-century American folk and decorative art, and examples are preserved in institutional collections including the Smithsonian’s Archives of American Art.

Richard Dölker (1896–1955), I.C.S. (Industria Ceramica Salernitana), Vietri sul Mare, Italy, circa 1927–1930.Hand-painte...
08/28/2026

Richard Dölker (1896–1955), I.C.S. (Industria Ceramica Salernitana), Vietri sul Mare, Italy, circa 1927–1930.
Hand-painted glazed maiolica plate, 9¼ inches diameter, with stylized figural decoration of two lovers. Polychrome geometric/lattice border, bearing Dölker’s characteristic emblem and “ITALY” to the reverse.

Dölker is actually one of the foundational figures behind the style that later became associated with Guido Gambone.

He arrived in Vietri sul Mare in 1923, and in 1927 Max Melamerson appointed him to direct the artistic production of I.C.S. — Industria Ceramica Salernitana.

His work introduced a radically simplified, primitive/modernist vocabulary to Vietri ceramics. The Italian national cultural catalog describes his work as drawing strongly upon pre-Renaissance/medieval imagery, with extremely simplified forms and strong contrasts.

Oil on canvas by Trevor James depicting the schooner Sappho in the inaugural Cape May 1871. “Rounding the mark”-The Cape...
08/28/2026

Oil on canvas by Trevor James depicting the schooner Sappho in the inaugural Cape May 1871. “Rounding the mark”

-The Cape May Cup Race 1871-

The most sought-after artworks emerge from depictions of American racing yachts going head to head in the major regattas and cup races of their heyday. One of these was the subject of this painting- the Cape May Cup Race, a $1,000 prize match co-sponsored by the New York Yacht Club as a precursor to the America’s Cup later in the season.
The inaugural event on July 5th, 1871 saw 12 schooners and three sloops sail, the race having been delayed due to fog on the intended Independence Day start the day before. The racers started at a point off hotels on the Iron Pier at Cape May, then raced to the Five Fathom Lightship, then to a stake boat and buoy, finishing up back at the starting line.
The artists focus here is on the race’s top three finishers –the large center yacht is the race’s winner, schooner SAPPHO. To her left, the sloop GRACIE, and to her right, schooner DAUNTLESS. As the yachts set sail, their crews navigated the unpredictable winds, currents, and waves that characterized the course. The race was as much a test of strategy and seamanship as it was a demonstration of technological prowess.
Portrayed magnificently, with crews active on all three ships with outstanding details throughout but with SAPPHO’s crew on center stage, hard at work to adjust sails and rigging to take best advantage of the winds.
SAPPHO crossed the 39 mile course in slightly over six hours, securing her lead a notable seven minutes ahead of the infamous DAUNTLESS, owned by J. Gordon Bennett. The race’s popularity prompted the introduction of a formal cup in the subsequent season. It also contributed to the establishment of the Corinthian Yacht Club in Cape May, in conjunction with its Philadelphia counterpart. This era in yacht racing history carries immense significance, and only a handful of artists properly document its history.
Dimensions: 23“ x 43” overall
16 1/2“ x 36“ sight size

An early 19th c Sheraton Walnut two drawer stand ca. 1800-1810. An elevated country stand with book-matched and quartere...
08/15/2026

An early 19th c Sheraton Walnut two drawer stand ca. 1800-1810. An elevated country stand with book-matched and quartered sections of figured walnut, star inlayed top and drawer pulls, and banded top of chevron inlays. A visually captivating stand most likely made by a country craftsman showing his skills and artistic abilities.

A 19th-century Regency period giltwood over mantel mirror flanked by reeded colonnades. The top section of the mirror is...
08/09/2026

A 19th-century Regency period giltwood over mantel mirror flanked by reeded colonnades. The top section of the mirror is decorated with floral motifs and a central carved shell, the cornice is decorated with evenly spaced gold spherules. Ca. 1810 England
Dimensions 44” long x 25” high

A Tiffany Studios three light “Newel Post” table lamp. Circuit 1900 to 1920 featuring three Favril glass pulled feather ...
08/08/2026

A Tiffany Studios three light “Newel Post” table lamp. Circuit 1900 to 1920 featuring three Favril glass pulled feather leaf pattern shades by Quezal art glass of Brooklyn New York, 1901 to 1924. The base signed Tiffany Studios, New York and the shades etched Quezal.

The Newel Post designation comes from the distinctive central bronze form: a ribbed circular foot, tall central post, and three organically curving arms, with the decorative finial at the top. It is one of Tiffany Studios’ most recognizable early table-lamp forms.

The Quezal Art Glass and Decorating Company was organized by Martin Bach, Sr., and Thomas Johnson in February 1901. Bach, a French immigrant, had been a formula mixer for Louis Comfort Tiffany’s Corona, New York, glass factory. Johnson, a skilled glassblower, had also been employed by Tiffany. The separate departures of the two men from Tiffany were due to their individual difficulties with the management. It took the knowledge and expertise of both men to form their new glass factory, located on Fresh Pond Road and Metropolitan Avenue in Brooklyn, New York.

The name “Quezal” was registered as a trademark on October 28, 1902. Quezal is actually an alternate spelling for the name of the Guatemalan sun bird, the quetzal. The quetzal bird has plumage of brilliant metallic green, with a crimson breast and a crown of iridescent yellow and green. The legendary bird, whose feathers had once decorated the ceremonial robes of the Aztecs, was illustrated on Quezal’s letterhead as the company trademark and utilized in advertising, which stated, “all our product is reproduced in the beautiful colorings of the Quezal Bird.”

The bronze Tiffany studios lamp retains its original patinated surface and is properly rewired.

The BEST 18th century Tiger Maple Desk I’ve had in a loooong time! Scroll to the last slide for a video (complete with t...
07/14/2026

The BEST 18th century Tiger Maple Desk I’ve had in a loooong time! Scroll to the last slide for a video (complete with the creaky floors in my shop lol) 🔴Sold

Chippendale New England Slant Lid Desk in Tiger Maple with old crusty surface. Ca. 1760-1780 New England. Brains and Beauty packaged in a 36” case width and fabulous interior.

Dimensions: 36 inches wide by 18 1/2 inches deep by 40 1/2 inches high.
Open: 31 inches deep by 30 1/2 inch writing height.

Address

451 Main Street S
Woodbury, CT
06798

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(203) 394-8196

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