Americana Catalogue 10.5.16 by Doyle

AMERICAN PAINTINGS, FURNITURE & DECORATIVE ARTS

Wednesday, October 5, 2016

NEW YORK

AMERICAN PAINTINGS, FURNTURE & DECORATIVE ARTS AUCTION Wednesday, October 5, 2016 at 10am

EXHIBITION Saturday, October 1, 10am – 5pm Sunday, October 2, 10am – 5pm Monday, October 3, 10am – 5pm Tuesday, October 4, 9am – Noon

LOCATION Doyle 175 East 87th Street New York City 212-427-2730 Doyle.com

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www.DoyleNewYork.com/BidLive

Doyle.com/BidLive Catalogue: $35

INCLUDING PROPERTY FROM THE ESTATES OF Donald Brenwasser Estate of Patricia M. De Bary Doris Tracy Driscoll Estate of Dorothy J. Henry Estate of Jane Kitselman A New York Estate A New York State Collection Shepherd Raimi Ruth Sternberg The Thurston Collection

INCLUDING PROPERTY FROM The Arts Students League, New York, to be Sold for the Benefit of the Institution The Collection of Dr. William H. Gerdts The Heckscher Foundation for Children, to be Sold for the Benefit of the Philanthropic Programs The High Museum of Art, Sold to Benefit Future Acquisitions Elizabeth Mankin, Kent, Connecticut The Metropolitan Museum of Art A Mid-Atlantic Museum to Benefit the Acquisitions Fund Sold to Benefit the Collection of the Morris-Jumel Mansion Museum A New England Collection The Collection of John R. and Anne J. Willis

CONTENTS Paintings 1-113 Prints 114-125 Furniture & Decorations 126-224 Silver 225-267 Furniture & Decorations 268-310 Carpets & Rugs 311-336 Glossary I Conditions of Sale II Terms of Guarantee IV Information on Sales & Use Tax V Buying at Doyle VI Selling at Doyle VIII Auction Schedule IX Company Directory X Absentee Bid Form XII

T he T hurston C ollection Doyle is honored to auction property from The Thurston Collection for the benefit of three charitable organizations in North Carolina. This remarkable collection was assembled by Stella Rutledge Thurston (1925-2015), who with her husband, Doc Jones Thurston, Jr. (1908-1993), was a prominent philanthropist in Charlotte, North Carolina. A captain of industry, Mr. Thurston established Thurston Motor Lines, which became a leader in the motor carrier field, and later expanded into aviation. Mrs. Thurston devoted herself to her philanthropic work, her carefully curated collections, and her elegant, gracious homes, where she entertained family and friends with warm Southern hospitality. The Thurston Collection comprises the contents of the Thurston’s home in Charlotte’s historic Eastover neighborhood and their Grandfather Mountain retreat. With a connoisseur’s eye, Mrs. Thurston amassed remarkable collections of important Georgian silver, fine porcelains, European and American paintings, and autograph documents and letters. Property from Mrs. Thurston’s collection comprises 54 lots offered throughout the sale. Proceeds from the sale of The Thurston Collection will benefit Charlotte Latin School, The Thurston Arthritis Research Center at UNC, Chapel Hill, and The Department of Nephrology and Hypertension at UNC, Chapel Hill. Stella Rutledge Thurston and her son, Doc Jones Thurston, III

AMERICAN PAINTINGS & PRINTS

Lot 13

2 Attributed to William Matthew Prior George Washington Reverse painting on glass Sight 21 1/2 x 17 5/8 inches C $400-600 3 After William Russell Birch and Thomas Birch City and Port of Philadelphia, on the River Delaware from Kensington Inscribed Great Shackamaxon Treaty Tree c. 1850 on an old label affixed to the reverse Oil on paper laid down on board 9 x 11 1/2 inches

1 1 Attributed to Jane Stuart, after Gilbert Stuart George Washington Oil on canvas 30 3/8 x 25 1/4 inches C The Thurston Collection $4,000-6,000 See Illustration

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The present work depicts the giant elm tree in an area of Philadelphia known as Shackamaxon (today Kensington), where William Penn is believed to have signed his first treaty with the Lenape people in 1682. It derives from an engraving by the same title from Birch’s Views of Philadelphia, an 1800 book of prints drawn and engraved by William Russell Birch (1755-1844) and his son Thomas Birch (1779-1851). It became an iconic image of Philadelphia. C Estate of Patricia M. De Bary $500-700 4 American School 19th Century Woman Holding a Young Child Oil on canvas 32 x 26 inches C $600-800

5 Orlando Hand Bears American, 1811-1851 Pair of Portraits of Eunice and Henry Harris, New London, CT, 1835 The first inscribed Eunice Harris wife of Henry Harris/ Aged 4... years Feb the 4th Day 1835 / Taken by O. H. Bears at the Same time on an old label affixed to the backing Each oil on canvas Each 34 x 28 inches Provenance: James Davidson, New London, CT Estate of James Davidson, New London, CT Lyman Allyn Museum, New London, CT, on loan from 1933-1935 pending settlement of the above estate, loan nos. 1933.570 and .571 John W. Bethell, South Essex, MA By descent in the family to the present owner Although Orlando Hand Bears is believed to have worked primarily in Sag Harbor, on the east end of Long Island, several portraits by the artist of Connecticut residents are included in public collections in the vicinity of New London and Norwich. Little is known of Eunice and Henry Harris. A Eunice Avery was born in Waterford, New London, CT in 1793 and married Henry Harris. Her birth date appears appropriate to the approximate age of Mrs. Harris as indicated on the partial label on the reverse of her likeness. C $7,000-9,000 See Illustrations

6 Attributed to Charles Willson Peale (i) Portrait of Richard Gibbs Inscribed Richard Gibbs / Grandfather Gibbs / on Mother Sweeneyâ&#x20AC;&#x2122;s Side on the reverse Oil on canvas, oval 10 3/4 x 8 1/2 inches (ii) Portrait of Margery Gibbs Inscribed Grandmother Gibbs on the reverse Oil on canvas, oval 10 3/4 x 8 1/2 inches The present works relate very closely to a pair of portraits depicting Richard and Margery Gibbs, attributed to Charles Willson Peale, that are included in the permanent collection of the Mercer Museum, Doylestown, PA. Those works, also ovals but slightly larger, measure 12 1/2 x 9 3/4 inches, and are similar in medium, oil on canvas backed by panel. The frames, too, are identical to those on the present works. C $500-700 See Illustrations 7 Emanuel Leutze American, 1816-1868 Bust of a Young Girl, 1839 Signed E. Leutze and dated 1839 (lr) Oil on canvas 20 x 16 3/4 inches C Property from a New York State Collection $2,500-3,500 See Illustration 7

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8 Gilbert Stuart American, 1755-1828 Portrait of Mrs. Luke White and Her Son, circa 1790 Oil on canvas, oval 30 x 24 5/8 inches Provenance: By descent in the White family in Ireland Scott & Fowles, New York, acquired from the above, 1920 Ehrich Galleries, New York, 1930 Mrs. James B. Higgin, New York, acquired from the above Wildenstein and Newhouse Gallery, New York, by 1932 Leroy Ireland, acquired at auction, circa 1940 Ernest Closuit, Fort Worth, Tx, acquired from the above, 1944 Southern Methodist University, Dallas, TX, acquired from the above, 1959 Morton A. Kornreich, Harrison, NY, by circa 1980

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Literature: Lawrence Park, Gilbert Stuart: An Illustrated Descriptive List of his Works, with an Account of his Life by John Hill Morgan and an Appreciation by Royal Cortissoz, New York, 1926, vol. II, p. 808, no. 904; vol. IV, p. 569, no. 904, illus.; lists the present work as a replica by Stuart after cat. no. 903, (which is today considered a copy after Stuart) Texas Monthly, Aug., 1976, p. 153, listing for Valley House Gallery, Dallas, TX, which appears to have exhibited the present work This beautiful double portrait depicts Elizabeth de la Mazière, of Dublin, who married Luke White in 1781. The identity of the small boy who tenderly embraces his mother, is uncertain. Tradition held that it depicted Mrs. White’s youngest son, Henry, who was created Baron Annaly in 1863, but the possibility exists that it may instead depict her second son, Samuel. A portrait described by Lawrence Park (no. 903, p. 569, vol. II) as the original from which Stuart painted the present work, presently in the permanent collection of the Toledo Museum of Art, is now believed to be a copy. It appears that the location of the original double portrait is unknown. C $20,000-40,000 See Illustration

9 Harrison Fisher American, 1875-1934 Young Woman with a Lace Hat in Profile Signed Harrison Fisher (lr); inscribed Harrison Fisher on the backing in a later hand Watercolor and gouache on card, oval 9 1/4 x 7 1/4 inches C $800-1,200

10 American School, 19th Century View in the Shawangunk Mountains Bears signature T. Cole (lr) Oil on canvas 15 x 20 inches C $1,000-1,500 See Illustration

11 Manner of Ferdinand Richardt 19th Century Pedestrian Bridge Oil on canvas 15 x 11 1/8 inches C $800-1,200 See Illustration

12 American School 19th Century Jones Woods, circa 1869 Bears signature AH Wyant and inscribed Jones Woods NY (lr) Oil on canvas laid to board 11 1/8 x 15 1/8 inches Provenance: Jay C. Coe, New York Acquired from the above, 1985 C The Thurston Collection $600-800 See Illustration

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13 Jasper Francis Cropsey American, 1823-1900 Autumn Landscape, 1879 Signed JF Cropsey and dated 1879 (ll) Oil on canvas 12 x 20 inches Provenance: Newhouse Galleries, New York, inv. no. 17323 In an email dated August 17, 2016, Dr. Kenneth W. Maddox wrote of the present work, “I suspect the scene can never be precisely identified, and may not be topographically accurate, but it is obviously inspired by Cropsey’s recollections of the Ramapo Valley near his summer home at Warwick. The decrepit bridge in the foreground, or variations of it, appear in over forty-five paintings by Cropsey. William Talbot termed it ‘the capriccio of the spindly bridge,’ a label I have adopted. Its origins came from the foreground bridge in Church’s New England Scenery (which Cropsey felt was overrated)—a painting which Cropsey utilized for his compositions of Summer, Lake Ontario. Cropsey incorporated in his compositions not only Church’s foreground bridge (without the covered wagon), the waterfall (without the mill), the church in the middle distance, the framing elm trees on the right, and even the distant spit of land, with trees and cattle. By 1862 when Cropsey was in England he used what was now his personal variation of the bridge for his painting Indian Summer on the Delaware River. The title is documented. Upon returning to America in 1863, beginning at the time he built his summer home, Aladdin, near Warwick, the spindly bridge was used as a motif in a series of paintings of the Ramapo River. There are a number of nineteenth-century stereoscopic views of the bridge, but it has not been located. In your painting the artist has reduced the size of the bridge and the scene does not portray the Ramapo River, but a waterfall. Your painting closely relates to Autumn Days, 1874, oil on canvas on board, NCF 1582; Autumn on the Wawayanda, (title inscribed on stretcher) 1877, oil on canvas, NCF 301; Late Fall Afternoon, 1875, NCF 679; and Autumn in the Warwick Valley, 1883, oil on canvas, NCF 874. Luckily, just before he died, Cropsey related in a letter dated 5 March 1900 [Collection, Newington-Cropsey Foundation] to his St. Louis dealer, M. Alfred Newhouse, purchaser of one of his The Mellow Autumn Time compositions, the significance to him of the Ramapo Valley bridges: ‘There was [sic] a number of old Rustic Bridges-built by the miners-to team their iron ore to the smelting mills: some were very picturesque-But in the Course of Time they have mostly passed away.’”

We are deeply grateful to Dr. Maddox, author of the catalogue raisonné of the artist’s work published by the Newington-Cropsey Foundation, for kindly confirming the attribution of this painting and for generously allowing us to share his comments. C Property from a New York State Collection $50,000-70,000 See Illustration

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14 David Johnson American, 1827-1908 A Scene in Connecticut Signed David Johnson and inscribed as titled and Fairfield Co. on the reverse Oil on board 17 3/8 x 21 3/4 inches C $10,000-20,000 See Illustration

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15 Arthur Fitzwilliam Tait American, 1819-1905 Solitude, Eagle Bay, Adirondacks, NY, 1883 Signed A. F. Tait. NA. and dated N.Y. 83 (lr); inscribed as titled on the backing Oil on canvas 20 x 30 inches Provenance: Kennedy Galleries, New York; inv. A12862 Herbert Shuttleworth, Amsterdam, NY Thence by descent to the present owner

Upper and Lower Chateaugay Lakes in the northern Adirondacks by 1852 and around Raquette Lake in Hamilton County by the early 1870s, just north of Old Forge in Herkimer County, NY, Eagle Bay is roughly thirty-five miles from South Pond.

Considered one of America’s finest animal painters, Arthur Fitzwilliam Tait made his first trip to the Adirondacks in 1852. An enthusiastic sportsman, outdoorsman and amateur naturalist, he was inspired by the rustic terrain of the Adirondacks well into the later years of his life, spending many summers painting and sketching there. He built a summer camp on South Pond near Long Lake, eventually establishing a year-round home there named Woodside. While Tait lived much of the time in the Adirondacks, he also maintained a studio in New York City and spent his last years in Yonkers, NY. He painted in and around

The panoramic view in the present work captures the majesty of the Adirondack region that so appealed to the artist. Perhaps pausing to drink in the pristine water, the three deer are rendered with the sensitivity characteristic of Tait’s paintings of wildlife. “America owes a heavy debt of gratitude to A. F. Tait,” wrote the editor of Antiques in 1933, “Though born an Englishman, he had lived in this country long enough, and loved it deeply enough, to record pictorially distinctive aspects of its life with penetrating sympathy and undeviating accuracy of detail.” C $30,000-50,000 See Illustration

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16 Homer Dodge Martin American, 1836-1897 (i) Glen Ellis, 1862 Signed H. D. Martin on rock (ll); dated Sept. 7, 1862 and inscribed as titled (lr) Graphite heightened with white on paper 16 1/2 x 12 1/2 inches Provenance: Donald Brenwasser, New York Estate of Donald Brenwasser, no. 513 (ii) River Landscape with Sail and Paddle Boats Graphite heightened with white on paper 10 3/8 x 16 1/2 inches Provenance: Donald Brenwasser, New York Estate of Donald Brenwasser, no. 536 C Estate of Donald Brenwasser $1,000-1,500 See Illustration of Part

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17 John Francis Murphy American, 1853-1921 North Jersey, 1876 Signed Drawing by J. F. Murphy and dated N Jersey 9/28/76 (lr) Graphite on paper 11 1/8 x 13 3/4 inches Provenance: The Old Print Shop, New York Donald Brenwasser, New York, acquired from the above, 1964 Estate of Donald Brenwasser, no. 322; Together with George Henry Smillie, American, 1840-1921, Meadow at Ridgefield, signed Geo. H. Smillie and inscribed Ridgefield, Conn. (lr); inscribed Meadow at Ridgefield and signed by George Smillie / NY on the reverse, watercolor on paper laid down on board, 10 1/4 x 14 1/4 inches, Provenance: The Old Print Shop, New York; Donald Brenwasser, New York, acquired from the above, 1965; Estate of Donald Brenwasser, no. 300 C Estate of Donald Brenwasser $800-1,200 See Illustration of Part 18 William Louis Sonntag American, 1822-1900 Sailboats at Sunset, 1875 Signed with conjoined initials and dated 1875 (ll) Oil on canvas 32 x 55 1/2 inches C The Thurston Collection $3,000-5,000 See Illustration

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19 Benjamin Champney American, 1817-1907 Birches in a Forest Clearing, 1889 Signed B. Champney and dated 89 (lr) Oil on canvas laid to Masonite 30 x 21 1/4 inches C $3,000-5,000 See Illustration 20 John Clinton Ogilvie American, 1838-1900 Near Jackson, White Mountains, 1885 Signed Clinton Ogilvie and dated 1885 (ll); signed Clinton Ogilvie, inscribed N.Y. and dated 1885 on the reverse Oil on canvas 16 1/4 x 26 1/4 inches Provenance: The artist Mrs. Clinton Ogilvie, by inheritance The Metropolitan Museum of Art, New York, gift of the above, 1919 C Property of The Metropolitan Museum of Art $6,000-8,000 See Illustration

21 Thomas Hewes Hinckley American, 1813-1896 (i) Bristol, Vermont, 1860 Inscribed as titled and dated 60 (lr) Graphite on paper 7 x 10 inches Unframed (ii) From the Piazza, Milton Graphite on paper 7 x 10 inches Unframed (iii) Forest Scene Graphite on paper 7 x 10 inches Unframed (iv) Baltimore, Forest Scene Graphite on paper 7 x 10 inches Unframed (v) Magnificent View Inscribed extensively in the lower register Graphite on paper 7 x 10 inches Provenance: Kennedy Galleries, Inc., New York C $700-900

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24 22 Thomas Hewes Hinckley American, 1813-1896 (i) Landscape with Stream Graphite on paper 5 1/2 x 8 7/8 inches Unframed (ii) Dartmouth Castle Inscribed as titled (lr) Graphite on paper 5 1/2 x 9 inches Unframed (iii) Fish Graphite on paper 5 1/4 x 9 1/4 inches Unframed (iv) Shell Studies Graphite on paper 9 1/2 x 11 3/4 inches Unframed (v) Rock Formation Graphite on paper 10 x 7 inches Unframed (vi) Devonshire Coast Near Torquay Graphite on paper 5 1/2 x 9 inches Unframed Provenance: Kennedy Galleries, Inc., New York C $800-1,200

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23 Charles DeWolf Brownell American, 1822-1909 (i) Essex, July ‘58 Graphite on paper 5 1/4 x 8 1/2 inches Unframed (ii) America, March 1, 1860 Inscribed extensively and titled (lr) Graphite on paper 6 1/2 x 9 inches Unframed (iii) Sumac Leaves Inscribed sumach dark green leaves vermillion berries/ . . . very light yellow green (lr) Graphite on paper 5 1/4 x 8 1/2 inches Unframed (iv) The Falls, Niagara Graphite on paper 5 x 8 1/2 inches Unframed (v) Gulf Sunset, November 3, 1858 Inscribed as titled (lr) Graphite on paper 5 1/4 x 8 1/2 inches Unframed (vi) Cardenas, May 3, 59 Inscribed as titled (ll) and Main - should be a trifle taller (lc) to (lr) Graphite on paper 9 x 6 1/2 inches Unframed Provenance: Kennedy Galleries, Inc., New York C $800-1,200

24 Frank Henry Shapleigh American, 1842-1906 Kennebunkport from Below the Bridge, 1881 Signed F. H. Shapleigh and dated 1881 (ll); inscribed Kennebunkport from Below the Bridge and signed by F. H. Shapleigh on the reverse Oil on canvas 10 x 16 inches C Property from a New York State Collection $5,000-7,000 See Illustration

25 Alfred Thompson Bricher American, 1837-1908 At Cuttyhunk [Boats and Lobster Pots, Cuttyhunk] Signed with conjoined first initials ATBricher and numbered 38 (lr); inscribed Boats & Lobsterpots, Cuttyhunk, Mass. on the reverse; inscribed At Cuttyhunk on the frame Watercolor and graphite on paper 16 x 30 inches C Estate of Doris Tracy Driscoll $1,200-1,800 See Illustration

26 Alfred Thompson Bricher American, 1837-1908 The Old House Signed with conjoined first initials ATBricher and numbered 3 (lr); inscribed indistinctly The Old House in ... on the mat Watercolor on paper 18 x 23 7/8 inches C Estate of Doris Tracy Driscoll $1,200-1,800 See Illustration

27 Alfred Thompson Bricher American, 1837-1908 Log and Fish House, Maine Signed with conjoined first initials ATBricher and numbered 6 (ll); inscribed O... Main... / Log & Fish House on the mat Watercolor on paper laid down on board 15 x 21 inches C Estate of Doris Tracy Driscoll $1,000-1,500 See Illustration

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28 Hermann Ottomar Herzog American, 1832-1932 Florida Swamp Signed H. Herzog (lr) Oil on canvas 20 1/2 x 16 1/2 inches C Property from a New York State Collection $20,000-30,000 See Illustration

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29 William J. Forsyth American, 1854-1935 Irvington, Indiana Signed W Forsyth (lr); inscribed as titled on an old label affixed to the backing Oil on board 18 x 24 inches Provenance: Eckert Fine Art & Antiques, Westfield, IN David Findlay Jr Gallery, New York C $2,500-4,500 See Illustration

30 John J. Zang American, b. 1859 Hikers in the Valley Signed J. Zang (ll); inscribed as titled on an old label affixed to the reverse Oil on canvas 40 x 32 inches Provenance: Maxwell Galleries, San Francisco, CA Jay C. Coe, New York Acquired from the above, 1984 C The Thurston Collection $2,000-3,000 See Illustration

30 31 Harvey Otis Young American, 1840-1901 Home Steaders, 1873 Signed Harvey Young and dated 73 (lr) Oil on canvas 26 1/2 x 50 inches C Estate of Jane Kitselman $4,000-6,000 See Illustration

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32 Fidelia Bridges American, 1834-1923 Chipmunk by a Forest Pool, 1884 Signed Fidelia Bridges and dated 1864 (lr); inscribed Mrs. C. Clark on the reverse Oil on millboard, with an arched top 8 5/8 x 12 1/8 inches Provenance: Mrs. C. Clark (possibly) C Property of Elizabeth Mankin, Kent, Connecticut $3,000-5,000 See Illustration

33 Otto Sommer American, 1811-1911 Deer Family in a Forest Clearing Signed Otto Sommer N.Y. (lr) Oil on board 14 x 12 inches C The Thurston Collection $700-900 34 Wakeman Holberton American, 1839-1898 Woodcock Signed W. Holberton (ll) Oil on canvas 10 3/4 x 13 1/2 inches C $700-900

32 35 Andrew John Henry Way American, 1826-1888 Red Grapes and Green Grapes: Two Each signed A J H Way (lr) Each oil on canvas Each 20 x 14 inches Provenance: Dr. William H. Gerdts, New York, acquired before 1975 These paintings were acquired as a pair by the current owner. They were likely painted as a pair, intended to be hung together, perhaps in the dining room of a private home. C Property from the Collection of Dr. William H. Gerdts $4,000-6,000 See Illustrations

36 Jonas Joseph LaValley American, 1858-1930 Peaches Signed J. J. LaValley (ll) Oil on canvas 11 x 17 5/8 inches C Property of Elizabeth Mankin, Kent, Connecticut $1,200-1,800 See Illustration

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37 John Ross Key American, 1837-1920 Goldenrod and Other Wild Flowers and Lilacs and Other Garden Flowers: A Pair, 1882 Each signed John Ross Key and dated 1882 (lr) Each oil on canvas Each 36 x 21 inches C Estate of Jane Kitselman $3,000-5,000 See Illustrations

38 Raoul Maucherat De Longpré French, 1855-1911 Lilacs Signed M de Longpré fils (lr) Gouache on paper Sight 27 1/4 x 18 3/4 inches C Estate of Jane Kitselman $5,000-7,000 See Illustration

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39 Claude (Claudine) Raguet Hirst American, 1855-1942 A Corner of Grandpa’s Study, 1895 Signed Claude Raguet Hirst N.Y. (lr) Watercolor on paper laid down on board 9 3/4 x 14 3/4 inches Provenance: Clausen Art Rooms, New York Bob Sweeney, Los Angeles, CA, acquired from the above as a wedding gift for his fiancée, Beverly, 1945 Collection of Bridget Sweeney, Los Angeles, CA Exhibited: Boston, MA, Boston Art Club, 1895, no. 135 Philadelphia, PA, Sixth Annual Exhibition of Water Colors at the Art Club of Philadelphia, 1896, no. 112 Literature: Arthur M. Hoeber, “My Pet Subject,” Quarterly Illustrator 2, Apr. 1895 , illus. p. 229 (as A Corner in Grandpa’s Study) Martha M. Evans, Claude Raguet Hirst: Transforming the American Still Life, Columbus Museum of Art and Hudson Hills Press, 2004, p. 55, illus, fig. 35; cat. no. 41 (as location unknown) 39

Martha M. Evans has observed that by the mid-1890s, “the open book had emerged as the primary visual marker in Hirst’s work.... She was also beginning to receive some critical acclaim for her emphasis on old books as well as for her work in general.” [Martha M. Evans, Claude Raguet Hirst: Transforming the American Still Life, Columbus Museum of Art and Hudson Hills Press, 2004, p. 55] C $1,200-1,800 See Illustration 40 Thomas Hovenden American, 1840-1895 Female Nude Study Graphite and black chalk on paper 23 3/4 x 17 3/4 inches Provenance: Kennedy Galleries, New York Donald Brenwasser, New York, acquired from the above, 1962 Estate of Donald Brenwasser, no. 231 C Estate of Donald Brenwasser $800-1,200 See Illustration

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41 Arthur Burdett Frost, Sr. American, 1851-1928 He Got Madder and Madder and Madder: Six The sixth signed A. B. Frost (lr); each titled on the mat Each ink on paper Sight of each 7 1/8 x 9 inches; Together with After Arthur Burdett Frost, Sr., HE GOT MADDER AND MADDER AND MADDER, engraving, sight 9 3/8 x 7 1/4 inches, Provenance: W. Russell Button, Inc., Chicago, IL C $3,000-5,000

42 42 Carleton Wiggins American, 1848-1932 River Landscape, 1873 Signed J. C. Wiggins and dated 73 (lr); inscribed indistinctly Painted by J. C. Wiggins 73 on the stretcher Oil on canvas 12 x 20 inches C Estate of Jane Kitselman $2,000-3,000 See Illustration 43 William Hart American, 1823-1894 Cows in a Landscape, 1886 Signed Wm. Hart and dated 1886 (ll) Oil on canvas 19 x 14 5/8 inches Provenance J. J. Gillespie Company, Pittsburgh (possibly) Sale: Sotheby Parke-Bernet, American Paintings and Drawings, May 13, 1966, lot 24 C Property from a New York State Collection $1,800-2,200

44 Thomas Bigelow Craig American, 1849-1924 Fall Landscape with Cows Signed Thos. B. Craig A.N.A. (ll) Oil on canvas 24 x 34 1/8 inches C Property from a New York State Collection $2,000-4,000 45 Hermann Ottomar Herzog American, 1832-1932 Wooded Landscape with Pool, circa 1880 Oil on canvas 30 x 24 1/8 inches Provenance: Louis T. Baine, Atlanta, GA High Museum of Art, gift of the above, 1994 C Property from the High Museum of Art, Sold to Benefit Future Acquisitions $4,000-6,000 See Illustration

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46 John Joseph Enneking American, 1841-1916 On the Way Home at Sunset, 1887 Signed Enneking and dated 87 (lr) Oil on canvas 10 x 14 inches C $2,500-3,500 See Illustration

47 François B. De Blois American/Canadian, 1829-1913 Port City, 1876 Signed B. de Blois and dated 1876 (lr) Oil on canvas 13 1/8 x 26 inches C $3,000-5,000 See Illustration

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48 48 John Stobart American/British, b. 1929 Hannibal, Missouri, 1979 Signed Stobart, dated 1979 and copyrighted (lr) Oil on canvas 24 x 36 inches Provenance: Kennedy Galleries, Inc., New York, inv. 219005.150 C $20,000-40,000 See Illustration

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49 49 Horatio Walker Canadian/American, 1858-1938 The Sheepfold, 1890 Signed Horatio Walker and dated 1890 (ll); inscribed as titled on an old label affixed to the stretcher Oil on canvas 20 x 28 1/8 inches Provenance: George A. Hearn, New York The Metropolitan Museum of Art, New York, 06.1301, gift of the above, 1906 Exhibited: Toronto, The Art Gallery of Toronto, 1940 (possibly) C Property of The Metropolitan Museum of Art $3,000-5,000 See Illustration

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50 Frederick Simpson Coburn Canadian, 1871-1960 On the Richmond Road, Melbourne Signed F.S. Coburn and dated indistinctly ...4 (lr); inscribed as titled on a fragmentary label from The Watson Art Galleries on the reverse Oil on canvas 11 1/8 x 14 1/4 inches Provenance: Watson Art Galleries, Montreal Frederick Simpson Coburn’s reputation as a painter was built on his winter landscapes with horses pulling sleighs or hauling logs, a subject that had fascinated him since childhood. He painted these scenes in the Laurentian Mountains and the Eastern Townships after returning to Quebec in 1916. C Property from a New York State Collection $4,000-6,000 See Illustration

51 Albert Babb Insley American, 1842-1937 Autumnal Landscape Signed Albert Insley (ll) Oil on canvas 12 x 17 1/2 inches C $800-1,200 52 Samuel Harkness McCrea American, 1867-1941 Spring Landscape with Rocks Signed S. Harkness Mc... indistinctly; numbered 20 on the stretcher Oil on canvas 20 x 24 inches C $1,200-1,800 53 Samuel Harkness McCrea American, 1867-1941 Spring Landscape with Footpath Signed S. Harkness McCrea (lr) Oil on canvas 24 x 20 inches C $1,200-1,800

55 George Gardner Symons American, 1863-1930 Snow on the Stream Signed Symons (ll) Oil on prepared board 8 x 10 inches C Property from a New York State Collection $2,000-3,000 See Illustration 56 George J. Stengel American, 1872-1937 The Ledge Signed G. J. Stengel. (lr); inscribed as titled and signed G. J. Stengel. on the stretcher Oil on canvas 24 x 30 inches Provenance: Grace V. Stengel, the artistâ&#x20AC;&#x2122;s widow By gift to the current owner, 1944 C Property of a Mid-Atlantic Museum to Benefit the Acquisitions Fund $2,500-3,500 See Illustration

54 Attributed to Henry Ward Ranger Birches in a Sunlit Glade Inscribed Birch... on a paper fragment affixed to the upper stretcher; inscribed as titled Birches in Sunlit Glade on an old label affixed to the reverse Oil on board 12 x 16 inches Provenance: M. R. Schweitzer Gallery, New York Donald Brenwasser, New York, acquired from the above, 1966 Estate of Donald Brenwasser, no. 414 C Estate of Donald Brenwasser $800-1,200

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57 George J. Stengel American, 1872-1937 Monhegan, Maine Inscribed as titled on the stretcher Oil on canvas 24 1/8 x 30 inches Provenance: Grace V. Stengel, the artist’s widow By gift to the current owner, 1944 C Property of a Mid-Atlantic Museum to Benefit the Acquisitions Fund $2,000-3,000 See Illustration 58 George J. Stengel American, 1872-1937 Monhegan, Pine #1 Inscribed as titled on stretcher Oil on canvas 30 x 24 inches Provenance: Grace V. Stengel, the artist’s widow By gift to the current owner, 1944 C Property of a Mid-Atlantic Museum to Benefit the Acquisitions Fund $2,000-3,000 See Illustration

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59 Walter Koeniger American, 1881-1943 White Mountain Scene with Brook Signed ...Koen...ger (lr) Oil on canvas 28 1/4 x 39 1/8 inches Provenance: Private collection, Manchester, VT C $2,500-4,500

60 Mauritz Frederik Hendrick de Haas American/Dutch, 1832-1895 Boats in Choppy Water Offshore, 1865 Signed MFH de Haas and dated 1865 (lr) Oil on canvas 37 1/2 x 60 1/2 inches C The Thurston Collection $10,000-20,000 See Illustration

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61 61 Laurits Bernhard Holst Danish/American, 1848-1934 Shipping Off Gibraltar, 1904 Signed L. Holst and dated 1904 (ll) Oil on canvas 23 1/2 x 39 1/2 inches Provenance: South Audley Art Galleries Ltd, London, UK Acquired from the above, 1984 C The Thurston Collection $1,500-2,500 See Illustration 62 James Gale Tyler American, 1855-1931 Sailboat at Dusk Signed James Gale Tyler (ll) Oil on canvas 30 x 25 inches C The Thurston Collection $600-800

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63 Antonio Nicolo Gasparo Jacobsen American/Danish, 1850-1921 The Steamsailer Lahn Oil on canvas 22 x 36 inches Provenance: Estate of Henrietta R. Long, Grosse Point, MI Sale: William Doyle Galleries, New York, Nov. 19, 1980, lot 79 Literature: Harold Sniffen, Antonio Jacobsen—The Checklist, The Mariners’ Museum, Newport, 1984, p. 179, no. 25 (as at William Doyle Galleries) The present work is one of six portraits of the steamsailer Lahn included in Harold Sniffen’s catalogue raisonné of the work of Antonio Jacobsen. An early sketch of the boat is owned by the Mariner’s Museum. This version shows the vessel with sails furled, while the other documented portraits of the Lahn show the sailes unfurled. A passenger ship built in 1887, the Lahn was one of four steel ocean liners belonging to the Rivers class of the Norddeutscher Lloyd (NDL). They were known for their speed, and were named for rivers in Germany. C Property to be Sold for the Benefit of the Philanthropic Programs of the Heckscher Foundation for Children $2,000-4,000 See Illustration

64 Henry Mosler American, 1841-1920 Young Girl, Capri Signed Henry Mosler and inscribed Capri (ul) Oil on panel 9 1/2 x 7 1/8 inches C Property of Elizabeth Mankin, Kent, Connecticut $1,500-2,500 See Illustration

65 Walter Satterlee American, 1844-1908 Fisherwomen by the Sea Signed W. Satterlee (lr) Watercolor, gouache and graphite on paper Sight 14 x 20 inches C Property of Elizabeth Mankin, Kent, Connecticut $1,200-1,800 See Illustration

66 Samuel Lancaster Gerry American, 1813-1891 In the Valley of Chamounix (From Nature) Signed indistinctly ...G; signed S. L. Gerry and inscribed In the Valley of Chamounix / from nature on the reverse Oil on prepared board 6 x 10 inches

Samuel Gerry traveled abroad on three occasions, the longest being a sojourn from 1837 to 1849, during which he visited England, France, Switzerland and Italy. These trips would have a lasting influence on the self-taught artist, who, along with other American painters, was inspired by the beauty of the Swiss Alps. Gerry showed Swiss landscapes at the 1851 exhibition of the New England Art Union, and at the Boston Art Club in 1876. The Indiana University Art Museum includes in its permanent collection an Alpine landscape dating from Gerryâ&#x20AC;&#x2122;s second European visit in the early 1850s. C Property from a New York State Collection $1,200-1,800 See Illustration

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67 Alfred Wordsworth Thompson American, 1840-1896 In the Italian Alps, 1891 Signed with conjoined first initials AWordsworth Thompson and dated 1891 (lc) Oil on canvas 29 x 54 inches C $15,000-25,000 See Illustration

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68 Harry Humphrey Moore American, 1844-1926 Blind Musician Signed H. Humphrey Moore (ll); numbered 2 on the reverse; inscribed no. 2 / Blind Musician on an old label affixed to the reverse Oil on panel 7 3/4 inches x 5 1/16 inches Provenance: The artist By descent to his wife, Maria Moore, 1926 Gift of the above to Mr. and Mrs. P. Ohanian, New York, circa 1950 Thence by descent to the present owner C $800-1,200 See Illustration

69 Harry Humphrey Moore American, 1844-1926 Kitchen in the Chief Hotel in Yokohama, 1881 Signed H. Humphrey Moore and dated 81; numbered 38 and initialed E.N. on the reverse; inscribed 38 / Kitchen in the Chief Hotel in Yokohama on an old label affixed to the reverse Oil on panel 10 7/8 x 6 5/16 inches Provenance: The artist By descent to his wife, Maria Moore, 1926 Gift of the above to Mr. and Mrs. P. Ohanian, New York, circa 1950 Thence by descent to the present owner C $1,200-1,800 See Illustration

70 Harry Humphrey Moore American, 1844-1926 On the Way to the Well, 1881 Signed H. Humphrey Moore and dated 81 (lr); numbered 8 on the reverse; inscribed No. 8 / On the Way to the Well on an old label affixed to the reverse Oil on panel 7 3/4 x 5 1/4 inches Provenance: The artist By descent to his wife, Maria Moore, 1926 Gift of the above to Mr. and Mrs. P. Ohanian, New York, circa 1950 Thence by descent to the present owner C $1,500-2,500 See Illustration

Arriving in Japan in 1881, Hubert Humphrey Moore was among the first artists to visit. Painted the year of his arrival, On the Way to the Well, as well as Kitchen in the Chief Hotel in Yokohama, document some of the artistâ&#x20AC;&#x2122;s initial impressions of the country. Over the course of his sojourn in Japan, Moore painted seventy paintings, which he later hung in a tightly configured grouping in his Paris home. 70 VIEW THE FULLY ILLUSTRATED CATALOGUE AND BID ONLINE AT DOYLE.COM 33

71 71 Frank (Francis) Crawford Penfold American, 1842-1921 Peasants on Market Day, Pont-Aven, France Signed Frank C. Penfold and inscribed Bretagne, Finistere (ll) Oil on canvas 38 1/8 x 35 1/8 inches Exhibited: New York, Beacon Hill Fine Art, American Painters on the French Scene: 1874-1914, Apr. 23-Jul. 12, 1996 Literature: David Sellin, American Painters on the French Scene: 1874-1914, Beacon Hill Fine Art, New York, p. 11, 45, cat. 48, illus. C Property from the Estate of Ruth Sternberg $9,000-11,000 See Illustration

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72 part 72 Joseph Pennell American, 1857-1926 Thames by Moonlight (Westminster Bridge) Signed with conjoined first initials JPennell (lr) Watercolor and colored pencil on paper Sight 8 3/4 x 14 1/4 inches Provenance: Donald Brenwasser, New York Estate of Donald Brenwasser, no. 255; Together with Richard Hayley Lever, American, 1876-1958, Dredging the Thames, signed Hayley Lever (lr), watercolor and graphite on paper, sight 9 1/2 x 13 1/2 inches, Provenance: Donald Brenwasser, New York; Estate of Donald Brenwasser, no. 440 C Estate of Donald Brenwasser $1,500-2,000 See Illustration of Part

73 Richard Hayley Lever American, 1876-1958 (i) Thames at Nightâ&#x20AC;&#x201D;Waterloo Bridge with Two Boats Signed Hayley Lever (lr) Watercolor and graphite on paper 7 5/8 x 11 1/8 inches (ii) Waterloo Bridge at Night Watercolor and gouache on paper 7 1/4 x 10 1/2 inches Provenance: Braverman Gallery, New York Donald Brenwasser, New York, acquired from the above, 1962 Estate of Donald Brenwasser, 1965, no. 432 and 431, respectively C Estate of Donald Brenwasser $1,200-1,800 See Illustration of Part

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74 Daniel Huntington American, 1816-1906 The Counterfeit Note, 1858 Signed D. Huntington and dated 1858 (ll) Oil on canvas 30 1/8 x 25 1/8 inches Provenance: R. M. Olyphant, New York, by 1867 Sale: Somerville Art Gallery, Mr. Robert M. Olyphant’s Collection of Paintings by American Artists, Dec. 18, 1877, no. 68 J. F. Swift, acquired at the above for $475 Henry Richards McLane, Millbrook, NY and New York Huntington McLane, Millbrook, NY, by descent, 1922 Thence by descent in the family to the present owner, 1976 Exhibited: London, UK, The Royal Academy New York, National Academy of Design, 1859, no. 257 Philadelphia, PA, 39th Annual Exhibition of the Pennsylvania Academy of the Fine Arts, 1862, no. 51 (as For sale) New York, National Academy of Design, Exhibition of Mr. Robert M. Olyphant’s Collection of Paintings by American Artists, Dec. 1877 The Counterfeit Note by Daniel Huntington is a tour de force for an artist today remembered chiefly for his portraits. One of two genre scenes completed by Daniel Huntington during a European sojourn in 1857-58, it is an opulent picture, so rich in visual detail that it is a feast for the eyes. The variety shop is stocked floor to ceiling with inventory: baskets and buckets, brushes and cookware, straw hats and bright shawls hanging on rods up to the rafters, and bolts of vivid fabrics stacked neatly on shelves. Huntington must have delighted in the diversity of colors and textures as much as the challenge presented by so complex a composition. And in executing the painting, whether consciously or unconsciously, he incorporated elements from work he must have seen while traveling abroad. A young woman at the rear of the shop, her back to the viewer, is softly illuminated by a filtered light evocative of Vermeer. The polished tin cookware and basket of fresh flowers recall Dutch still life, and the scene itself is Hogarthian. When The Counterfeit Note was exhibited for the third time in 1862, at The Pennsylvania Academy of the Fine Arts, Huntington indicated that the work was for sale. By 1867, in his extensive discussion of the work in Book of the Artists: American Artist-Life, Henry Tuckerman wrote that it was owned by R. M. Olyphant (a noted collector of American paintings). A decade later, Olyphant’s collection was sold by Somerville Art Gallery, and the work was acquired by J.F. Swift. From that moment on, the painting disappeared from the public eye, but eventually was acquired by Henry Richards McLane, whose wife, Ann Huntington McLane was a cousin of Daniel Huntington. It has been owned by members of the McLane family ever since. Tuckerman praised The Counterfeit Note and described it at length, writing that it “was commended at the Royal Academy Exhibition. The figures are of cabinet size; the interior of an English shop, with its assortment of dry goods, is painted with the finish and well-contrasted color that distinguish the best Flemish still-life execution; in the background, through an open door, we have a glimpse of the cozy ‘parlor behind the shop,’ so characteristic of the old-fashioned style of convenient ‘variety store;’ at an angle between the two stands a foreign-looking man, in dress, expression, and air, typical of the roguish adventurer; he has evidently made a purchase and tendered a large bank-note in payment; this note the old shop-keeper is inspecting behind the counter, while his shrewd wife whispers her suspicions in his ear, and points significantly over her shoulder at the strange customer, who, with assumed indifference but cunning glances, awaits the result. So far, the picture, while remarkable for execution and expression, only tells a story of common life and rascality; 36 DOYLE • OCTOBER 5, 2016 • NEW YORK

Literature: The London Illustrated Times, Jul. 23, 1859, p. 57, identifies the present work as The Doubtful Note (illustrated by the engraving) The Crayon, Sep. 1859, p. 281 Henry T. Tuckerman, Book of the Artists: American Artist-Life, New York: G. P. Putnam & Son, 1867, pp 322-3 Frederic Fairchild Sherman, Early American Painting, The Century Company, London, 1932, p. 267: “Besides Daniel Huntington’s numerous historical compositions and portraits, two genre paintings from his hand are recorded by Henry T. Tuckerman, The Counterfeit Note and A Bar-room Politician”. Catalogue, Mr. Robert M. Olyphant’s Collection of Paintings by American Artists, Somerville Art Gallery, 1877, no. 68 The Annual Exhibition Record of the Pennsylvania Academy of the Fine Arts, 1907-1870, Soundview Press, 1988, p. 106, no. 51 David Bernard Dearinger, Paintings and Sculpture in the Collection of the National Academy of Design: 1826-1925, New York: Hudson Hills Press, 2004, p. 295, describes The Counterfeit Note as unlocated Stephen Mihm, <I>A Nation of Counterfeiters, Harvard University Press, 2009, p. 229; the related engraving illus, p. 230 C $35,000-55,000 See Illustration and Front Cover but to redeem this, with consummate taste, the artist has thrown rays of true poetry athwart the material scene; outside the counter sits a beautiful girl, dressed with a taste so appropriate, that we should think her costume alone would win scores of admirers; unconscious of what is going on she is ostensibly occupied in examining the quality of a fabric before her; but her air of refinement, the pure intellectuality of her countenance, and a certain superiority to the people and the scene around her, impress the spectator the more from the contrast; a lovely and tasteful English girl, she throws a beautiful charm over the whole; a vase of fresh flowers, exquisitively [sic] painted, is the only object that seems in affinity with her, and the two give a poetic interest to the clever delineation of the entire scene, which, in color, finish, and expression, is an evidence of facility rare in pictorial art.” Of course, Tuckerman’s lavish description of the “tasteful English girl” prompts the question: is she indeed a symbol of virtue as contrasted to the criminal attempting to pass a counterfeit bill? Or is she, as suggested by Stephen Mihm, an accomplice intended to distract the dubious shopkeepers? He writes “Critics had different interpretations of the work when it was unveiled in the 1850s, but they generally agreed on one thing: the genteel bespectacled man with the walking cane (itself a totem of respectability) was trying to pass a counterfeit note. The shover, equal parts gentleman and confidence man, looks out of the corner of his eyes, a faint smile playing on his lips. As for the well-dressed woman seated in front, she too may be in on the fraud: note that her glove has been dropped in a most unladylike fashion on the floor. In the subtle vocabulary of genre painting, as among the appearance-obsessed middle classes, such details mattered. Perhaps she is his accomplice, trying to distract the storekeeper. An opening gambit like this helped set the stage for the opening act in this theatre of exchange: the passing of the counterfeit note.” Mihm based his observations upon an engraving of The Counterfeit Note, reproduced as fig. 20 in his text (Courtesy Newberry Library), mentioning that Huntington’s painting “of the same name, . . . has disappeared.” The engraving itself was published in The London Illustrated Times in 1859. The dropped glove in the engraving to which Stephen Mihm refers does not appear in the painting (it replaces the dog seen in the foreground of Huntington’s composition), which leaves the story line all the more ambiguous. Although this tantalizing question can likely never be resolved, The Counterfeit Note is a masterpiece, a vibrant work informed with sympathy and humor, that has been missing from the public eye since 1877.

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75 George Henry Boughton American, 1883-1905 Twilight Conversation Signed Bought... (ll) Oil on canvas, with an arched top 21 x 19 inches Provenance: Jay C. Coe, New York Acquired from the above, 1984 C The Thurston Collection $2,000-3,000 See Illustration

76 Louis Henry Charles Moeller American, 1855-1930 Two Gentlemen in Conversation Oil on canvas 10 x 8 inches Provenance: Possibly American Art Association (1920s) Richard J. Currier, New York Private collection, Roxboro, NC Sale: Doyle New York, American Furniture and Decorative Arts, Apr. 7, 2009, lot 29 Private collection C $2,000-3,000 See Illustration

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77 Louis Charles Moeller American, 1855-1930 Caught Napping Signed Louis Moeller (lr) Oil on canvas 10 1/4 x 14 1/2 inches C Property from a New York State Collection $3,500-5,500 See Illustration 78 Hermann Ottomar Herzog American/German, 1832-1932 Riding Home in a Shower Signed H. Herzog (lr) Oil on canvas 15 x 12 inches C $3,000-5,000 See Illustration

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79 Thomas Hicks American, 1823-1890 Edwin Booth as Iago, 1864 Signed T. Hicks and dated 1864 (lr) Oil on canvas 14 x 10 inches Provenance: The artist Edwin Booth, acquired from the above, 1864 Adelson Galleries, Inc., Boston, MA, inv. no. A1576 Private collection, acquired from the above, 1971 Literature: The Magazine Antiques, Mar. 1968, p. 272, illus. Letha Clair Robertson, The Art of Thomas Hicks and Celebrity Culture in Mid-Nineteenth-Century New York, doctoral dissertation, University of Kansas, 2010, p. 142 C Property from a New York State Collection $2,500-4,500 See Illustration This painting is accompanied by a photocopy The work was praised by critics as a faithful of a receipt dated July 20, 1864 from depiction of the actor’s theatrical brilliance. Thomas Hicks, provided to Edwin Booth in The artist subsequently made at least four smaller payment of $217 for A cabinet copy of the copies. The version owned by the National Iago, in frame. Portrait Gallery (dated 1863) is the largest, measuring 31 1/2 inches in height. The three In her doctoral dissertation, Letha Clair extant replicas all appear to be identical in size, Robertson describes the present work as measuring 14 x 10 inches. One version of this unlocated,and writes that it is reputed to cabinet size is owned by the Hampden-Booth have hung in Booth’s home, today the home Theatre Library in New York; another was sold of the Player’s Club, which was founded by at Sotheby Parke-Bernet in 1974. the actor. While celebrating Booth’s accomplishments, On December 15, 1860, Edwin Booth his full length likeness also enhanced Hicks’s appeared to great acclaim in the role of Iago own reputation as a portraitist. Hicks retained at the Winter Garden Theatre in New York. the painting during his lifetime, exhibiting it Five months later, Thomas Hicks painted a in Philadelphia and New York in promotion full-length, life-sized portrait of the actor in of upcoming performances by his friend. that role. It was not a commissioned portrait; Upon the artist’s death in 1890, his widow donatthe two men enjoyed a close friendship. ed it to the Century Association in New York. Indeed, the Abraham Lincoln Presidential Library and Museum includes in its collection That work, which had measured 7 1/2 x 4 feet, was cut down in size by a conservator in 1969, a lengthy letter from Booth to Hicks, written while it was on loan to The Player’s Club, so on December 9, 1861, on the occasion of the full-length portrait survives only in the the birth of Booth’s daughter, in which he replicas in smaller scale made by Hicks. also discusses the portrait. 80 Attributed to Frederick William MacMonnies Portrait of Charles Schieren, Mayor of Brooklyn, 1902 Oil on canvas 80 x 37 7/8 inches Provenance: Kennedy Galleries, New York (possibly) Literature: Mary Smart and Adina Gordon, A Flight with Fame: The Life and Art of Frederick MacMonnies, 1863-1937, Madison, CT: Sound View Press, 1996, p. 325, no. 51 C $3,000-5,000 See Illustration This unsigned and unfinished portrait of Charles Schieren relates closely to one described but not reproduced in A Flight with Fame: The Life and Art of Frederick MacMonnies, p. 51. Schieren “is presented full-length, with three quarter view to the right. MacMonnies posed the Mayor on a platform, with glass of water on a table and the U.S. flag draped behind, as if he were about to make a speech. However, because the former Mayor never gave his friend MacMonnies sufficient time at sittings, the portrait remained unfinished.” The only element missing in the present work is the glass of water, which may conceivably have been painted out by the artist.

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The painting was begun in 1902, the same year that Schieren attended a dinner at the Montauk Club in Brooklyn in honor of the sculptor.

Around the same time, MacMonnies took a ten year lease on a studio in Gramercy Park, where he intended to devote himself to painting portraits, in a departure from the Beaux Arts sculpture that had established his reputation. A member of the board of trustees of the Brooklyn Museum, Schieren later sat to Irving Ramsay Wiles for another portrait. That work, completed in 1911, shows a seated, older subject, less vibrant than the individual depicted in the present work. It is part of the collection of Borough Hall, Brooklyn. This portrait is attributed to Frederick MacMonnies, as stated by the MacMonnies expert and scholar, E. Adina Gordon, Ph.D. We thank Dr. Gordon for her very kind assistance in cataloguing this lot.

81 Kenyon C. Cox American, 1856-1919 The Education of Cupid, 1917 Signed Kenyon Cox and dated 1917 (lr); inscribed as titled and By Kenyon Cox 1917 on the reverse Oil on canvas 23 x 46 3/4 inches Provenance: The artist By descent to his niece, Jeanette Prentiss Cox (Mrs. Gordon Niles Morrill), Cleveland, OH By descent to F. Gordon Morrill, Delray Beach, FL By gift to his nephew, Michael Hunter, Palm Beach, FL Exhibited: New York, National Academy of Design, Winter Exhibition, Dec. 15, 1917-Jan. 13, 1918, no. 194 Literature: The Sun, Dec. 15, 1917, p. 9 American Art News, vol. 16, no. 12, p. 2 Kenyon Cox and Howard Wayne Morgan, An Artist of the American Renaissance: The Letters of Kenyon Cox, 1883-1919, Kent University Press, 1995, p. 179

In 1917, Kenyon Cox wrote to his son, Allyn, “Is this light-minded enough for you? [Sketch] The Education of Cupid. Venus teaching cupid how to shoot. Target hung on terminal statue with a pure Cornish landscape background, the extreme distance being Platt’s riverview. Such is to be my next picture. I’ve been working at the sketch all the time your mother was in Boston. There’s such a bully chance in it for serious study of action that even your mother doesn’t object to the playfulness of the motive. To me it is a kind of relief from the horrid seriousness of reality just now. It’s only in pleasant and peaceful times that one wants to be ultra-serious in art. Caroline [the artist’s daughter] is going to pose for Venus — white and gorgeous piece of brilliant rose stuff, a brand new material, which is the most glittery and amazing thing you can imagine.” [Kenyon Cox and Howard Wayne Morgan, An Artist of the American Renaissance: The Letters of Kenyon Cox, 1883-1919, Kent University Press, 1995, p. 179 ] When exhibited in the 1917 Winter Exhibition at the National Academy of Design, The Education of Cupid was praised by a reviewer from American Art News for being “bright and light-spirited.” A critic for The Sun wrote of the work more extensively, “Mr. Cox’s effort is The Education of Cupid, in which every touch is worked out with clear, intellectual and perhaps cold precision. Venus, according to Mr. Cox, is an American lady, but Cupid, properly enough, bears a strong facial resemblance to the heroines of Sir Peter Lely, who, if history be credited, did indeed live in a time of instructed Cupids.” Painted as a respite from the horrors of a world at war, The Education of Cupid remained in Cox’s family until now; it continues to delight today. C $18,000-22,000 See Illustration and Inside Front Cover

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82 Robert Henri American, 1865-1929 McSorley’s Bar Stamped with the artist’s initials RH (ll) Ink and wash on paper 5 3/4 x 8 7/8 inches Provenance: Hirschl & Adler Galleries, New York Donald Brenwasser, New York, acquired from the above Estate of Donald Brenwasser, no. 276 C Estate of Donald Brenwasser $800-1,200 See Illustration 83 Jerome Myers American, 1867-1940 East Side Group, 1892 Signed Jerome Myers and dated 92 (ll); inscribed East Side Group on the stretcher and on the backing Oil on canvas 16 x 12 inches Provenance: George C. Lay family collection, CT until circa 1970s C $2,000-4,000 See Illustration

84 Ethel Myers American, 1881-1969 Five Figures – Green Hat Graphite and pastel on paper 20 x 16 inches Provenance: Kraushaar Galleries, New York C A New England Collection $600-800

85 Louis Michel Eilshemius American, 1864-1941 Sunlight Mount Signed Eilshemius (lr); inscribed 57.103 on the verso Oil on card 8 5/8 x 12 inches Provenance: The artist Julius Zirinsky, New York, acquired directly from the artist in 1936 Herman J. Williams, Jr. (possibly) Exhibited: Washington, D.C., Corcoran Gallery of Art C $1,200-1,800 86 Louis Michel Eilshemius American, 1864-1941 Sailboat in Landscape at Dusk, 1919 Signed Eilshemius (lr) and dated 1919 (ll) Oil on board laid to Masonite 8 x 12 1/2 inches Provenance: Nicholas Burliuk Art Gallery, Hampton Bays, NY Holt Burliuk Art Gallery, Cornwall, ON C $1,200-1,800 87 Louis Michel Eilshemius American, 1864-1941 Landscape with Windmill Signed Eilshemius (ll); inscribed as titled on an old label affixed to the reverse; numbered 7377 Graham on the backing Oil on heavy card 8 5/8 x 15 3/4 inches C $800-1,200 88 Allen Tucker American, 1866-1939 Cape Ann Signed Allen Tucker (lr); inscribed as titled on the reverse Oil on canvas 20 x 23 7/8 inches C $2,000-4,000 See Illustration

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89 89 Allen Tucker American, 1866-1939 Miss Raphaella Ottiano, 1925 Signed Allen Tucker and dated 1925 (lr); inscribed as titled and numbered 11 on a card affixed to the stretcher Oil on canvas 26 x 22 inches Provenance: Estate of the artist Bequest of the artist’s estate to be sold for the benefit of the institution Exhibited: New York, Whitney Museum of American Art, Allen Tucker Memorial Exhibition, Dec. 6, 1939-Jan. 3, 1940, no. 38 (possibly) Cleveland, OH, Cleveland Museum of Art, Allen Tucker Memorial Exhibition, Dec. 17, 1940 - Jan. 1941 Literature: Allen Tucker Memorial Exhibition, Whitney Museum of American Art, New York, 1929, no. 38 (possibly) Rafaella Ottiano was an Italian-born stage and movie actress, who specialized in playing sinister roles. A portrait of her by Tucker, Head of Raphaella Ottiano, 1925, 24 x 20 inches, is number 38 in the catalogue for a memorial exhibition organized by the Whitney Museum. It was lent by Mrs. Allen Tucker. Despite a minor discrepancy in dimensions, it is likely the present work. Here, Tucker depicts his subject as a regal figure in profile, with a fillet around her brow. The Whitney exhibition was circulated by the American Federation of arts, and it is possible that the Cleveland Museum may simply have been a venue for that show. C Property of the Art Students League, New York, to be sold for the benefit of the Institution $2,000-3,000 See Illustration

90 90 Allen Tucker American, 1866-1939 Striped Sweater, 1927 Signed Allen Tucker and dated 1927 (ll); numbered 48 on the reverse Oil on board 23 7/8 x 20 inches Provenance: The artist Estate of the artist Bequest of the artist’s estate to be sold for the benefit of the institution C Property of the Art Students League, New York, to be sold for the benefit of the Institution $2,500-3,500 See Illustration 91 Allen Tucker American, 1866-1939 Rose and Green, 1921 Signed Allen Tucker and dated 1921 (ll); inscribed as titled on an artist’s card affixed to the stretcher and numbered 23; also inscribed indistinctly in graphite on the reverse and on the lower stretcher Oil on canvas 72 x 25 inches Provenance: Estate of the artist Bequest of the artist’s estate to be sold for the benefit of the institution C Property of the Art Students League, New York, to be sold for the benefit of the Institution $2,000-4,000 See Illustration

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92 James Henry Daugherty American, 1889-1974 Food, circa 1925-27 Estate stamped James Daugherty (lr); also estate stamped on the stretcher and on the wax lining on the reverse Oil on canvas 38 x 48 1/2 inches Provenance: Forum Gallery, New York, inv. CG 4617 Private collection, acquired from the above, Mar. 1, 2007 Exhibited: New York, Forum Gallery, American Social Realism: 1920-1950, Jan. 18 - Feb. 24, 2007 C A New England Collection $3,000-5,000 See Illustration 93 James Henry Daugherty American, 1889-1974 Home Life #2 Pastel on brown paper laid down on heavy paper Stamped James Daughterty and estate stamped on the verso Image 21 x 22 3/4 inches Provenance: Janet Marqusee Fine Arts Ltd., New York C A New England Collection $600-800

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94 Paul Cadmus People I’ve Met in the Newspapers, 1937 Signed Cadmus and dated 37 (lr); inscribed as titled (ll) Ink on paper 10 x 14 1/8 inches Provenance: Gift from the artist to Jon Anderson, his longtime companion DC Moore Gallery, New York Exhibited: New York, Midtown Payson Galleries, Paul Cadmus: Still Life, Portrait, Tableaux, Nov. 11 - Dec. 30, 1994 New York, Whitney Museum of American Art, Collection in Context: Paul Cadmus, The Sailor Trilogy, Jun. 1 - Sept. 1, 1996 New York, DC Moore Gallery, Paul Cadmus: 90 Years of Drawing, May 5 - Jun. 19, 1998, no. 21 Literature: Guy Davenport, The Drawings of Paul Cadmus, New York, 1989, p. 23, illus. C A New England Collection $1,500-2,500

95 George Biddle American, 1885-1973 (i) The Outing, Charleston, SC, 1930 Signed Biddle. and dated 1930. (ll) Ink, watercolor and graphite on paper 9 x 12 inches Provenance: Susan Teller Gallery, New York Exhibited: New York, Susan Teller Gallery, Special Occasions: A Tenth Anniversary Exhibition, Oct. 1998 (ii) Club European, Salon Royal, 1934 Signed Geo Biddle. and dated 1934 (lr) Ink and graphite on paper Sight 12 x 8 7/8 inches Provenance: Susan Teller Gallery, New York C A New England Collection $1,000-1,500

96 George Biddle American, 1885-1973 “Pop’s in Bed with His Britches On” (Jazz Musicians), 1943 Signed George Biddle and inscribed as titled and Mateur [Tunisia] (ll) Brown ink and reddish-brown wash on paper 8 7/8 x 12 inches Provenance: Susan Teller Gallery, New York Private collection, acquired from the above, Feb. 24, 2000 Exhibited: New York, Susan Teller Gallery, George Biddle, An American Conscience: Prints and Unique Works on Paper from the 1920s to the 1950s, Dec. 3-30, 1999 George Biddle traveled through Italy, Algeria, and Tunisia with the Third Infantry Division during World War II, producing works that documented that unit’s activities. He later published a book on his war travels, Artist at War: Tunisia, Sicily, Italy (Viking Press, 1944). C A New England Collection $700-900

97 Adolf Arthur Dehn American, 1895-1968 Dance in Harlem, 1942 Signed Adolf Dehn and dated 42 (lr) Watercolor and lithographic crayon over charcoal on paper 20 1/2 x 29 1/4 inches Provenance: Mary Ryan Gallery, New York Private collection, acquired from the above, Feb. 14, 1997 C A New England Collection $2,000-3,000 See Illustration 98 Mitchell Siporin American, 1910-1976 (i) George Rogers Clark and Daniel Boone: Study for a Mural, 1940 Tempera on paper 4 1/2 x 14 inches (ii) Discovery and Colonization: Study for a Mural, 1940 Tempera on paper 4 1/2 x 14 inches Provenance: Babcock Galleries, New York Susan Teller Gallery, New York C A New England Collection $600-800

99 Mitchell Siporin American, 1910-1976 Studies for a Mural: Two The first inscribed Mitchell Siporin (J.S.) (lr), ink and graphite on paper, sight 7 1/2 x 21 1/8 inches; the second tempera on paper, sight 6 x 19 3/4 inches Provenance: Babcock Galleries, New York C A New England Collection $600-800 100 Mitchell Siporin American, 1910-1976 (i) Civil War: Study for a Mural, 1940 Tempera on paper 4 1/4 x 14 inches (ii) Reconstruction: Study for a Mural, 1940 Tempera on paper 4 1/4 x 14 inches Provenance: Babcock Galleries, New York C A New England Collection $600-800

101 James Henry Daugherty American, 1889-1974 Capital Storm #2, 1935 Estate stamped on the verso Conte crayon heightened with white on green paper Sight 9 7/8 x 15 7/8 inches Provenance: Estate of the artist Janet Marqusee Fine Arts Ltd., New York Susan Teller Gallery, New York Exhibited: New York, Susan Teller Gallery, American Mural Studies, 1935-1962, Aug. 18 Sep. 25, 2004 C A New England Collection $600-800

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102 102 Reynolds Beal American, 1866-1951 (i) Gorham Brothers Circus [Circus Elephants], 1934 Signed Reynolds Beal, inscribed Gorham Bros. Circus and dated 1934 (lc) Watercolor and colored pencil on paper 11 1/8 x 14 3/4 inches (ii) Gorham Brothers Circus [Circus Flags], 1936 Signed Reynolds Beal, dated 1936 and inscribed Gorham Bros. Circus (ll) Watercolor and colored pencil on paper 13 3/4 x 14 7/8 inches Provenance: Ellen Berenson Antiques, New York Private collector, New York, acquired from the above, circa 2001 C $2,000-4,000 See Illustrations

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103 Frank Raubicheck American, 1857-1952 The Carousel Estate stamped on the reverse Oil on canvas 24 3/4 x 20 3/4 inches Provenance: The artist By descent in the artist’s family to the present owner C $1,000-2,000 104 Reginald Marsh American, 1898-1954 Pennsylvania Loco Signed REGINALD MARSH, dated 1938 and inscribed as titled (lr) Watercolor on paper 14 x 20 inches C A New England Collection $4,000-6,000 See Illustration

104

105 105 Anna Mary Robertson Moses (Grandma Moses) American, 1860-1961 My Horse, 1953 Signed Moses and copyrighted (lr); bears an original Grandma Moses label on the reverse, with the title as indicated, the date Feb. 13, 1953, and the number 1571 Oil on panel 18 x 24 inches Provenance: Hammer Galleries, New York, inv. 24129-11 William P. Hutchison, Portland, OR, acquired from the above, 1960 Thence by descent in the family to the present owner, 1989 Literature: Otto Kallir, Grandma Moses, New York, 1973, p. 312, no. 1081, illus., Grandma Moses no. 1571, Record Book p. 59, executed Feb. 13, 1953 Copyright reserved to Grandma Moses Properties Co., New York C $30,000-50,000 See Illustration

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106 106 Anna Mary Robertson Moses (Grandma Moses) American, 1860-1961 Untitled [Sunset at the Lake], circa 1951 Signed Moses (lr); on the reverse is a photocopied signed note by Forrest Moses dated Nov. 21, 1969, describing the provenance of the present work, and signed again in ink and dated Oct. 1, 1972 Oil on Masonite 15 3/8 x 20 inches Provenance: The artist Gift of the artist to the Eagle Bridge Community Club, Eagle Bridge, NY Frank W. Pekins, Salem, NY Private Collection, NY and FL The present work has been assigned the catalogue raisonné number 1020a and will be added to a future supplement to the “Catalogue of the Works” in Otto Kallir, Grandma Moses (New York: Harry N. Abrams, 1973). Copyright reserved to Grandma Moses Properties Co., New York C $12,000-18,000 See Illustration

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107 107 Ogden Minton Pleissner American, 1905-1983 Red Factory, Winchendon, Massachusetts Signed Pleissner (ll); inscribed as titled on the reverse Watercolor and graphite on paper 15 5/8 x 22 5/8 inches Unframed Another extant watercolor by Ogden Pleissner, depicting a mill in Winchendon, Massachusetts, is dated 1960; it is possible that the present work may date from roughly the same period. C $3,000-5,000 See Illustration 108 Ogden Minton Pleissner American, 1905-1983 Justice Signed Pleissner (lr) Watercolor and graphite on paper 30 x 20 3/4 inches Unframed In an email dated Aug. 26, 2016, Peter Bergh, author of The Art of Ogden M. Pleissner observed, â&#x20AC;&#x153;Ogden had a fondness for the piece; and I recall seeing it in his studio in Manchester, Vermont where it hung in a prominent location. â&#x20AC;&#x153; C $1,500-2,500 See Illustration

108

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109 Elbert McGran Jackson American, 1896-1962 Broadcasting Studio Signed A. M. Jackson (ll) Oil on canvas 33 x 22 inches C $3,000-5,000 See Illustration

110 Peggy (Margaret) Brook Bacon American, 1895-1987 The Estuary, 1971 Signed Peggy Bacon, inscribed as titled and dated 1971 (lr) Ink, watercolor, gouache and graphite on paper 14 1/2 x 20 1/2 inches The figure depicted is thought possibly to represent the artist herself. C Property of Elizabeth Mankin, Kent, Connecticut $700-900

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111 Bernard (Bernie) Fuchs American, 1932-2009 Illustration for Sports Illustrated Signed with conjoined initials BF (lr) Oil on canvas 16 x 43 inches Provenance: Gift of the artist to the present owner Literature: Frank Deford, “The Best Against the Best,” Sports Illustrated, Jul. 14, 1986, vol. 65, no. 2, p. 68, illus. The present work depicts the greens at Turnberry, the famous golf course in South Ayrshire, Scotland, commissioned by the Marquess of Ailsa in 1902. During the Second World War, the Turnberry Hotel was converted into a hospital, and the fairways served as runways for the Royal Air Force, as seen here. A copy of the Sports Illustrated issue in which the work was reproduced accompanies the lot. C $2,000-4,000 See Illustration

113

112 Ernest Berke American, 1921-2010 Communing with the Great Spirit, 1961 Signed Ernest Berke and dated 1961 (lr); inscribed EB #5 on the stretcher Oil on canvas 30 x 24 inches C $800-1,200

113 Johann Berthelsen Grand Army Plaza and the Plaza Hotel Signed Johann Berthelsen (lr) Oil on canvas 22 x 28 inches Provenance: Private collection, New York By inheritance to the current owner C $5,000-7,000 See Illustration

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114 part

116 part

115 part

Prints 114 After Thomas Davies A NORTH WEST VIEW OF THE COHOES, OR GREAT CATARACT OF THE MOHAWK RIVER, IN THE PROVINCE OF NEW YORK IN NORTH AMERICA Engraving; Together with After Paul Sandby A VIEW OF THE GREAT COHOES FALLS ON THE MOHAWK RIVER, engraving by William Elliot, the first trimmed to the platemark, the second with good margins. Plate of larger 14 3/8 x 21 inches C Estate of Donald Brenwasser $800-1,200 See Illustration of Part 52 DOYLE • OCTOBER 5, 2016 • NEW YORK

115 Mark Catesby WAMPUM SNAKE AND WHITE LILY; THE GREEN LIZARD OF CAROLINA Two hand-colored engravings, plates 58 and 66 from The Natural History of Carolina, Florida and the Bahama Islands, London, 1731-43, with good or full margins, framed. Larger 13 3/4 x 10 1/4 inches C Estate of Shepherd Raimi $600-800 See Illustration

116 After George Brookshaw POLINAC; SCARLET FLESH ROMANA; WHITE CANDIA; [PLUMS] Four hand-colored color aquatints and stipple engravings, from Pomona Britannica, published by G. Brookshaw, London, 1804-1812, with good or full margins, framed. Sight of each sheet approximately 19 x 15 inches C Estate of Dorothy J. Henry $4,000-6,000 See Illustration of Part

119

117 part

118 part

117 After George Brookshaw [FRUIT STUDIES] Four hand-colored color aquatints and stipple engravings, from Pomona Britannica, published by G. Brookshaw, London, 1804-1812, with good or full margins, framed. Sight of each sheet 19 x 15 inches C Estate of Dorothy J. Henry $1,200-1,800 See Illustration

118 McKenney & Hall APP-PA-NOO-SE; TAH-COL-O-QUOIT; WA-PEL-LA; WAR DANCE OF THE SAUKS AND FOXES Four hand-colored lithographs, from The History of the Indian Tribes of North America, with good or full margins, one framed. Sheet of first 20 x 13 3/4 inches C Estate of Donald Brenwasser $600-800 See Illustration of Part

119 After Karl Bodmer PEHRISKA-RUHPA Hand-colored aquatint, engraving and roulette by Paul Legrand, with the artist’s blindstamp, plate 17 from Prince Maximilian zu Wied’s Travels in the Interior of North America, London, Paris and Coblenz, circa 1839-42, with margins, framed. Plate 20 1/4 x 14 5/8 inches C Estate of Donald Brenwasser $1,500-2,500 See Illustration

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120 part

121 part

123 part

122 part

120 After John James Audubon LONG-LEGGED SANDPIPER; WORM WOOD HARE Hand-colored engraving and aquatint by R. Havell and a hand-colored lithograph by J.T. Bowen, 1836 and 1846, respectively, the first plate CCCXVIV from The Birds of America, the second plate LXXXVIII from The Viviparous Quadrupeds of North America the first trimmed to the platemark at top and with otherwise small margins, the second with full margins, framed. Sheet of larger 21 x 27 1/4 inches C Estate of Donald Brenwasser $1,000-1,500 See Illustration 121 After John James Audubon THE WOLVERINE; COLLARD PECCARY Two hand-colored lithographs by J.T. Bowen, 1843 and 1844, respectively, plates XXVI and XXXI from The Viviparous Quadrupeds of North America, with full margins, framed. Sheet of each 20 7/8 x 27 1/2 inches C $2,000-3,000 See Illustration 54 DOYLE • OCTOBER 5, 2016 • NEW YORK

122 After Daniel Giraud Elliot AEGIALITIS MONTANUS; COCK OF THE PLAINS (2); FRANKLIN’S GROUSE; PARUS OCCIDENTALIS Five hand-colored lithographs by Bowen & Co., Philadelphia, with good or full margins, framed. Sight of largest sheet 17 3/4 x 22 3/4 inches C Estate of Donald Brenwasser $600-800 See Illustration of Part 123 Currier & Ives, publishers IDLEWILD-ON THE HUDSON; WESTERN RIVER SCENERY (CONNINGHAM 3026; 6620) Two hand-colored lithographs the second 1866, with margins, framed. Image of larger 11 3/8 x 16 5/8 inches Sheet of larger 15 3/8 x 19 7/8 inches C Estate of Donald Brenwasser $400-600 See Illustration of Part

124 After John George Brown THE SIDEWALK DANCE Engraving by George Mercier, 1894, signed by both the artist and the engraver in pencil, published by Fischl, Adler & Schwartz, New York, with good or full margins, framed. Plate 19 3/8 x 29 3/8 inches C $400-600 125 Artist Unknown HARRINGTON RICHARDSON ARMS CO. Chromolithograph. Sheet 20 x 14 3/4 inches C The Thurston Collection $200-300

FURNITURE & DECORATIONS

Lot 279

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126 Chippendale Cherry Bow Front Chest of Drawers New England With four long drawers, raised on claw and ball feet. Height 34 inches, width 39 5/8 inches, depth 21 inches. C $800-1,200 See Illustration 127 Chippendale Cherry Fold-Over Card Table Possibly Connecticut, late 18th century The serpentine top above a straight frieze drawer and dentilated apron, raised on molded straight legs, with typed label GRIFFIN BEQUEST...7/15/68. Height 28 1/2 inches, width 34 inches, depth 16 3/4 inches. C $1,500-2,000 See Illustration 128 Pair of Spode Stone China Transfer Decorated Ship Pattern Platters 19th Century Each decorated in the Famille Rose style with two figures and a ship in the distance. Length 12 1/2 inches; Together with a Pair of English Blue and White Transfer Decorated Pottery Soup Bowls. Each decorated with a lion, figures, etc. in a landscape. C $200-300 129 Yellow Painted Wall Cupboard 19th Century With paneled sides and doors, the interior with cubbyholes and a door enclosing small drawers. Height 29 1/2 inches, width 19 1/4 inches, depth 13 1/2 inches. C $300-400

127 130 Chinese Export Porcelain Famille Rose Tureen Stand and Platter en Suite Each oblong with canted corners, painted with flowers and exotic birds. Lengths 14 3/4 inches and 11 1/4 inches, respectively. C $300-500 131 Federal Brass Mounted Mahogany Tall Case Clock New England, early 19th century The arched fretwork crest with three brass finials, above a glazed door enclosing a painted dial, moon phase indicator and a subsidiary seconds dial, the case with fluted corner columns, raised on a plain base ending in ogee bracket feet. Height 8 feet 1/4 inches, width 20 inches, depth 10 1/2 inches. Provenance: Handwritten label dated 1901, titled Bailey Clock, desc. from Wm Bailey - Aug 26, 1768. Possession of Joseph I. Bailey Then descended from family above C $1,000-2,000 132 Three Painted Windsor Armchairs Early 19th century Comprising a fan back, sack back and rod back example; Together with a Painted and Decorated Arrowback Side Chair. C $700-1,000 133 Pair of Cast Iron Hessian Soldier Andirons Height 20 3/8 inches; Together with a Copper and Wood Bedwarmer. C Sold to Benefit the Collection of the Morris-Jumel Mansion Museum $150-250

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134 George III Style Inlaid Mahogany Fold-Over Card Table 19th Century The rectangular top above a long frieze drawer, raised on square tapering legs. Height 28 1/2 inches, width 36 1/2 inches, depth 16 3/4 inches. C $300-400 135 Queen Anne Mahogany Dressing Table Possibly Southern States, 18th century The rectangular top with a molded edge above five small drawers above a shaped arched apron, raised on cabriole legs. Height 29 inches, width 33 1/2 inches, depth 21 1/8 inches. C The Thurston Collection $1,500-2,500 See Illustration 136 Two Reverse Painted Glass Portraits of George Washington; Together with a Portrait of a Gentleman 19th Century Height overall of larger 16 inches, width 12 3/4 inches. C $200-300 137 George III Mahogany Chest of Drawers 18th Century The molded dentilated cornice above two short and three long graduated drawers between canted fluted stiles, raised on ogee bracket feet. Height 43 inches, width 45 inches, depth 22 inches. C The Thurston Collection $400-600 138 George III Mahogany Fold-Over Games Table Of demilune form, raised on patera inlaid square tapering legs. Height 29 1/2 inches, width 35 3/4 inches, depth 17 5/8 inches. C $600-900 139 George III Style Mahogany Bookcase Cabinet The scrolled pierced pediment centering a brass eagle finial, above two glazed doors, the lower section with two drawers over two paneled doors, raised on bracket feet. Height 7 Feet 6 inches, width 50 1/2 inches, depth 18 inches. C The Thurston Collection $800-1,200

140 Group of Seven Chinese Export Porcelain Mugs 18th/19th Century Each of cylindrical form, comprising an assembled set of three graduated mugs, decorated with a flower draped urn, height of tallest 6 inches; an example with shaped reserves of figures, flowers or landscapes; and three Rose Medallion examples. C The Thurston Collection $800-1,200 See Illustration 141 Group of Chinese Export Porcelain Articles Primarily 18th century Comprising set of six octagonal soup plates, each decorated with two sunfaces and a mountain within a cartouche; pair of famille rose molded and painted plates; pair of Imari plates, diameter 11 inches; figure decorated dish; and blue and white plate. C $600-800

140

142 Miscellaneous Group of Ceramic Table Articles Comprising an English blue and white pearlware basket stand, pink lustre cup and two saucers, and a porcelain toy tea set, approximately twenty-two pieces. C Sold to Benefit the Collection of the Morris-Jumel Mansion Museum $80-120 143 Chippendale Style Mahogany Reverse Serpentine Chest of Drawers The molded top above four long drawers, raised on ogee bracket feet. Height 33 1/2 inches, width 36 1/4 inches, depth 21 1/4 inches. C $500-700 144 George III Serpentine Side Table With a long cockbeaded frieze drawer, raised on square tapering legs ending in spade feet. Height 33 inches, width 30 inches, depth 17 1/2 inches. C $300-500

135

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145 145 Coney Island Style Carved Wood Carousel Horse Inset with colored ‘gems’. Height 62 inches, width 62 inches, depth 13 inches. C $2,000-3,000 See Illustration 146 Classical Giltwood Convex Mirror Height 34 1/2 inches, width 22 1/2 inches. C $600-900 147 Federal Style Inlaid Mahogany Serpentine Card Table Raised on reeded legs. Height 30 1/4 inches, width 37 inches, depth 18 1/2 inches. C $400-600 148 Empire Giltwood Overmantel Mirror First half of the 19th century The rectangular cove molding ornamented with palmettes and foliage. Height 34 inches, width 31 inches. acc. 1985.02.1 C Sold to Benefit the Collection of the Morris-Jumel Mansion Museum $400-600 58 DOYLE • OCTOBER 5, 2016 • NEW YORK

149 Set of Four George III Style Mahogany Side Chairs 19th Century Each with a carved crest and splat above a needlepoint seat, raised on straight legs joined by pierced stretchers. Height 37 1/2 inches, width 22 inches, depth 18 1/4 inches. C Sold to Benefit the Collection of the Morris-Jumel Mansion Museum $400-600 150 Group of Nine Painted Tin Table Articles Including a tray painted by Frank Neal, 17 1/2 x 24 inches; boxes; dustpan; and wood brush, etc. Frank Neal is described in his New York Times obituary, May 11, 1955 as a dancer, choreographer and painter. He was founder, president and chief designer of Tray House in Merchantville, New Jersey. He is listed in Who Was Who in American Art, and in Cederholm, African-American Artists C $400-600

151 Federal Inlaid Mahogany Tilt-Top Tripod Stand Early 19th century The oblong top with canted corners and inset oval panel, above turned and fluted baluster standard on a tripod base ending in spade feet. Height 28 1/2 inches, width 19 3/4 inches, depth 14 1/4 inches. Provenance: Gift of Mrs. Russell Sage, 1909, acc. 10.125.152 C Property of The Metropolitan Museum of Art $200-300 152 Group of Ten Metal and Wood Candlesticks and Lighting Devices Heights 4-9 1/2 inches. C $300-500 153 Chippendale Inlaid Mahogany Serpentine Chest of Drawers Probably English With three short and three long drawers above a serpentine apron, raised on ogee bracket feet. Height 37 inches, width 41 3/4 inches, depth 24 inches. C Property from a New York Estate $1,500-2,500

154 part 154 Carved and Painted Jumper Carousel Horse Attributed to Herschell-Spillman Now mounted on a brass pole stand. Height 77 inches, width 51 inches; Together with a Ringling Bros. and Barnum & Bailey Circus Poster. C $1,000-1,500 See Illustration of Part 155 George II Mahogany Tilt-Top Tripod Stand The dished circular top above a baluster standard continuing to cabriole legs. Height 29 inches (73.7 cm), diameter 25 3/4 inches (65.4 cm). C $500-700 156 Pair of George III Mahogany Backstools Each with nailhead trim, raised on straight legs joined by stretchers. Height 38 inches, width 21 inches, depth 19 inches. C $400-600

157 Federal Style Mahogany Double-Pedestal Dining Table Part 19th century The top with rounded ends and a reeded edge, above a conforming frieze, raised on reeded baluster standards with waterleaf carved sabre legs ending in brass paw casters, one leaf. Height 29 1/2 inches, width 6 feet, depth 57 inches. acc. 18.16 C Property of The Metropolitan Museum of Art $800-1,200 158 Pair of Canton Famille Rose Medallion Porcelain Hexagonal Jardinieres and Stands 19th Century Decorated with figures. Height 6 5/8 inches; Together with a Canton Rose Medallion Guglet Bottle. Height 12 1/4 inches; Pair of Candlesticks and Two Cylindrical Jars. C The Thurston Collection $400-600 159 Federal Inlaid Mahogany Fold-Over Card Table With serpentine sides and bowed front, raised on square tapering legs. Height 29 inches, width 36 inches, depth 17 inches. Provenance: Bequest of May Blackstone Huntington, 1938, acc. 39.148.5 C Property of The Metropolitan Museum of Art $400-600

160 Six Daguerreotype Portraits 19th Century Height of largest 3 1/2 inches, width 3 3/4 inches. C $80-120 161 Classical Style Giltwood and Eglomise Pier Mirror Height 49 inches, width 29 inches. C $200-300 162 Group of Canton Rose Medallion and Famille Rose Porcelain Table Articles Primarily 19th century Comprising a rectangular covered dish, length 10 1/2 inches; two-handled covered bowl; lozenge-form dish; rectangular dish; drum-form teapot; two plates; quatrefoil dish; sauce tureen and stand and two-handled dish. C The Thurston Collection $400-600

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163 George III Upholstered Mahogany Wing Armchair Mounted with a pair of brass scrolling candlearms and raised on square tapering legs ending in brass capped feet. Height 43 inches, width across arms 34 inches, depth at seat 26 inches. C The Thurston Collection $500-700 See Illustration 164 Painted Dressing Table 19th Century With two short drawers above a rectangular top and a long frieze drawer, raised on turned legs. Height 35 inches, width 30 1/4 inches, depth 17 1/4 inches; Together with a Maple Work Table. 19th Century C $200-300

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165 Regency Inlaid Figured Mahogany Tilt-Top Breakfast Table 19th Century The rectangular top with rounded corners, raised on a ring turned columnar standard continuing to splayed legs ending in brass cap casters. Height 28 1/2 inches, width 50 inches, depth 38 inches. C $2,000-3,000 166 Mahogany and Eglomise Banjo Clock 19th Century Height 33 1/2 inches. C $400-600 167 Federal Figured Maple and Grain Painted Slant Front Desk Circa 1825 The interior with a prospect door enclosing valenced pigeonholes, flanked by small drawers and valenced pigeonholes, the case with four graduated cockbeaded drawers, with paneled sides and a shaped apron, raised on turned legs. Height 44 inches, width 40 1/2 inches, depth 20 3/4 inches. C $600-900 See Illustration 168 Pair of Staffordshire Pottery Figures of Reclining Lions Height 9 3/8 inches, width 12 inches. C The Thurston Collection $250-450

167

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169 Federal Pine Cupboard Hackensack, New Jersey, early 19th century In two parts, the molded cornice above a reeded frieze and panelled pilasters flanking two glazed doors, the lower section with reeded drawers over two paneled doors and reeded paneled pilasters, raised on bracket feet. Height 6 feet 8 inches, width 48 inches, depth 17 1/4 inches. C $2,500-3,500 See Illustration 170 George III Inlaid Mahogany Chest on Chest Late 18th century The molded cornice above a shell and rosette inlaid frieze, over two short and three long drawers, the lower section with three long drawers, raised on bracket feet. Height 6 feet 1 1/4 inches, width 40 inches, depth 22 inches. C $1,200-2,000 171 George III Mahogany Chest of Drawers With three graduated drawers, raised on bracket feet. Height 32 inches, width 40 inches, depth 20 1/2 inches. C The Thurston Collection $400-600 172 Colonial Revival Mahogany Four-Post Bedstead With spiral foliate carved posts and a scrolling arched headboard. Height 7 feet 5 inches, width 67 inches, depth 7 feet 6 inches. C The Thurston Collection $400-600 173 George III Mahogany Bow Front Chest of Drawers Late 18th century With four graduated drawers inlaid with fan spandrels, above a serpentine apron inlaid with a patera, raised on splayed bracket feet. Height 41 inches, width 42 inches, depth 21 inches. C The Thurston Collection $600-900 174 Leather Clad Glass Hip Flask Inscribed Capt. L.T. Waldron 45th Coast Artillery Ft. DuPont. Height 5 3/4 inches; Together with an English Painted Tole Powder Flask and a Brass and Wood Postage Scale. C The Thurston Collection $50-100

169

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175 175 Canton Rose Medallion Porcelain Soup Tureen, Cover and Stand 19th Century Of oval bombe form. Length 15 inches; Together with a Pair of Canton Rose Medallion Porcelain Bough Pots. 19th Century. Each applied with squirrels and small fruit. Height 9 1/2 inches. C $1,000-1,500 See Illustration

179 Chippendale Style Benchmade Walnut Tall Chest In the Delaware Valley Manner The molded dentilated cornice above an incised frieze, over three short and six long graduated drawers between fluted corner columns, raised on ogee bracket feet. Height 62 inches, width 45 inches, depth 23 inches. C The Thurston Collection $500-700

181 Chippendale Style Benchmade Walnut Tall Chest In the Delaware Valley Manner The molded dentilated cornice above an incised frieze, over three short and six long graduated drawers between fluted corner columns, raised on ogee bracket feet. Height 62 inches, width 45 inches, depth 23 inches. C The Thurston Collection $500-700

176 Group of Chinese Export Famille Rose Porcelain Articles 18th/19th Century Comprising a shaped rectangular platter, length 13 3/8 inches; pair of bird and flower decorated plates; pair of cockerel decorated plates; and a pair of vase decorated plates; Together with a Chinese Blue and White Porcelain Dish. C $600-800

180 Chinese Export Lacquered Center/Games Table 19th Century The shaped top with concave sides, raised on a molded columnar standard over a concave base and faux bamboo legs. Height 26 1/4 inches, width 33 1/2 inches, depth 29 1/2 inches. C $800-1,200 See Illustration

182 Federal Mahogany Pembroke Table Possibly English The rectangular top and leaves with rounded corners, above a frieze drawer, raised on square tapering legs. Height 28 inches, width 37 1/2 inches, depth 20 inches. C The Thurston Collection $400-600

177 Federal Mahogany Drop-Leaf Table Early 19th century Raised on reeded legs. Height 29 1/2 inches, width 46 3/4 inches, depth 19 1/2 inches. C $200-300 178 Group of Four Pewter Articles 19th Century Including a jug marked R. DUNHAM. Height 7 inches; Together with a Tin Coffee Pot and Four Copper Lustre Articles. C $200-300

180

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183 Classical Giltwood Convex Girandole Mirror 19th Century The circular mirror plate within a frame decorated with acorns, surmounted by an eagle-form crest flanked by cornucopias and issuing two-light wire branches above an oak leaf and acorn apron. Height 53 inches, diameter 31 1/2 inches. C $2,000-4,000 See Illustration 184 Reverse Painted Print 19th Century Depicting allegorical figures of Europe and Asia. Height overall 12 3/4 inches, width 17 inches; Together with a Reverse Painted Print. Depicting Croton Fountain, New York; and an Eglomise Inset Wood Courting Mirror. 18th/19th Century, C $150-250 185 Queen Anne Maple High Chest New England The molded cornice above five graduated drawers, the lower section with three drawers and a shaped apron, raised on cabriole legs. Height 70 inches, width 37 1/2 inches, depth 20 inches. C $800-1,200

189 George III Mahogany Bow Fronted Chest of Drawers Early 19th century With two short and three long drawers with inlaid fan spandrels, above a patera inlaid serpentine apron, raised on bracket feet. Height of larger 41 inches, width 49 inches, depth 23 inches. C The Thurston Collection $400-600 190 Pair of Canton Rose Medallion Porcelain Vases and Covers Each mounted as a lamp, on a wood base. Height 17 1/2 inches. C $800-1,200 191 Queen Anne Cherry Tripod Stand The circular top on a baluster standard and three downswept legs. Height 25 1/2 inches, diameter 15 inches; Together with a Wrought Iron Adjustable Candle Holder. On a tripod base. Height 36 1/4 inches. C $300-400

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186 Turned Oak and Maple Rush Seat Armchair New England; Together with a Painted Slat Back Armchair and a Rocking Chair. C Sold to Benefit the Collection of the Morris-Jumel Mansion Museum $200-300 187 Federal Figured Maple Bowfront Chest Possibly New Hampshire, early 19th century With four graduated banded drawers above a tablet apron, raised on bracket feet. Height 39 1/2 inches, width 38 inches, depth 21 inches. C The Thurston Collection $800-1,200 See Illustration 188 Blue Painted Corner Cupboard 19th Century With a molded cornice above a paneled door opening to a shelved interior. Height 35 3/4 inches, width 32 1/2 inches, depth 18 inches. C $200-300

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192 Federal Inlaid Walnut Tall Case Clock New England, early 19th century The arched hood with scrolled cresting and three brass finials, enclosing a painted dial inscribed Osborne, and with subsidiary seconds dial and day of month aperture, the case with a molded door with star and fan inlays, flanked by stop fluted corner columns above a circular fan inlay, raised on ogee bracket feet. Height 7 feet 6 inches, width 21 1/4 inches, depth 11 inches. C $2,500-3,500 See Illustration

193 Group of Canton Rose Medallion Porcelain Articles 19th Century Comprising a charger, diameter 15 inches; platter, vegetable dish and a dessert plate. C $600-900 194 Assembled Wedgwood Pottery Part Table Service 19th/20th Century Comprising a pair of plates, diameter 9 3/4 inches, two bowls and four cups with saucers. C $200-300 195 George III Inlaid Mahogany Bow Front Chest of Drawers With two short above three long graduated drawers, raised on bracket feet. Height 37 1/2 inches, width 41 inches, depth 19 inches. C The Thurston Collection $500-700 196 George III Mahogany Tilt-Top Tea Table 18th Century The circular top raised on a spiral fluted baluster standard continuing to a tripod base. Height 27 1/2 inches, diameter 30 inches. C The Thurston Collection $300-400

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197 Grain Painted Blanket Chest 19th Century With an interior till and one long drawer, raised on bracket feet. Height 26 3/4 inches, width 40 inches, depth 16 1/2 inches. C $400-600 198 George III Mahogany Chest on Chest The molded dentilated cornice above two short and three long drawers, over a lower section with two short and three long drawers, raised on bracket feet. Height 76 1/2 inches, width 45 inches, depth 21 inches. C The Thurston Collection $500-700 199 Painted and Decorated Wood and Leather Bellows; Together with a Pair of Wrought Iron Tongs, Wrought Iron Shovel and Wrought Iron Bootscraper Length of first 18 inches. C $250-350

200 Chippendale Mahogany Reverse Serpentine Slant Front Desk Massachusetts, late 18th century The interior with a prospect door enclosing two small drawers and flanked by small drawers and valenced pigeonholes, above a blocked frieze drawer over three long drawers, raised on ogee bracket feet. Height 43 1/2 inches, width 41 1/4 inches, depth 23 inches. C The Thurston Collection $1,200-1,800 See Illustration 201 Classical Gold Painted and Eglomise Mirror 19th Century Height 25 1/2 inches, width 13 1/4 inches. C $100-150 202 Painted Trundle Bed 19th Century Height 19 inches, width 47 inches, depth 68 inches; Together with an Applique Cotton Quilt and Two Woven Coverlets. C $200-300 203 Set of Twelve Chippendale Style Mahogany Dining Chairs 20th Century In the Philadelphia manner Including two armchairs. C The Thurston Collection $1,000-1,500

200

204 American or English Wine Glass Late 18th/early 19th century In a fitted leatherette case with an inscription. Height of glass 4 1/2 inches; Together with a Framed Photostat of a Typed Letter by William Lanier Washington. April 30, 1917. The letter discusses the purported provenance from George Washington. William Lanier Washington (1865-1933) was a noted consignor to auction of numerous articles said to have descended to him from George Washington. The provenance does not hold up to modern scholarship and standards of proof. C The Thurston Collection $200-300 See Illustration 205 Federal Style Inlaid Mahogany Serpentine Sideboard With a frieze drawer above a pair of cupboard doors, flanked by cupboard doors, raised on square tapering legs. Height 40 1/4 inches, width 6 feet 1/4 inch, depth 26 1/8 inches. Provenance: Bequest of Adeline R. Brown, 1947, acc. 48.135.96 C Property of The Metropolitan Museum of Art $800-1,200 206 Four Cobalt Decorated Salt Glazed Stoneware Jars 19th Century Heights 7 3/4-14 1/4 inches. C $200-300 207 Group of Eleven American Hooked Rugs United States, early 20th century Ranging in size from 3 feet 3 inches x 1 foot 9 inches to 5 feet 10 inches x 4 feet 7 inches. C $600-900

208 Chippendale Style Mahogany Tilt-Top Tripod Stand With an octagonal top. Height 27 3/4 inches, diameter 19 3/4 inches; Together with a Queen Anne Cherry Tripod Stand. Late 18th/early 19th century. With a circular top. C Sold to Benefit the Collection of the Morris-Jumel Mansion Museum $200-300 209 Queen Anne Cherry High Chest Base Height 32 inches, width 42 inches, depth 22 inches. C $400-600

204

210 Windsor Comb Back Armchair Pennsylvania, last quarter of the 18th century The serpentine crest with scrolled ears above a nine-spindle back, the shaped arms on baluster supports, raised on turned legs joined by conforming stretchers. Height 43 inches, width 23 1/2 inches, depth 17 inches. Provenance: Gift of Mrs. Russell Sage, 1909, acc. 10.125.270 C Property of The Metropolitan Museum of Art $700-1,000 See Illustration 211 Pair of Chippendale Style Brass Andirons Each baluster standard surmounted by an urn finial. Height 24 inches. C The Thurston Collection $150-250 212 Mahogany Tripod Stand 19th Century With a bird cage mechanism. Height 31 inches, width 23 inches Together with a George III Style Mahogany Tilt-Top Tripod Stand. Height 28 1/2 inches, diameter 19 3/4 inches. acc. 1996.4.1; 1982.4.1 C Sold to Benefit the Collection of the Morris-Jumel Mansion Museum $200-300

210

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213 George II Giltwood Mirror 18th Century The upright rectangular plate within an openwork frame carved with C-scrolls and foliage. Height 41 inches, width 24 1/2 inches. Provenance: Bequest of Adeline R. Brown, 1947, acc. 48.135.102 C Property of The Metropolitan Museum of Art $1,000-2,000 214 Group of Glass Articles Primarily 19th century Including decanters, beakers, bottles and a jug, etc., approximately sixteen pieces. Heights 3 1/8 - 10 1/2 inches. C $500-700 215 Classical Mahogany Center Table 19th Century The octagonal top above a molded frieze, raised on a foliate carved standard continuing to three foliate carved legs ending in paw casters. Height 28 1/2 inches, diameter 37 inches. C $800-1,200 216 Upholstered Mahogany Curule Stool 19th Century; Together with a Mahogany Bedsteps. Lengths 20 1/2 and 22 1/2 inches, respectively. Bedsteps acc. 1980.41.1 C Sold to Benefit the Collection of the Morris-Jumel Mansion Museum $150-250

217 Group of Eleven Brass Candlesticks Including three pairs. Height of tallest 13 1/2 inches. C Sold to Benefit the Collection of the Morris-Jumel Mansion Museum $150-250 218 Federal Mahogany Fold-Over Card Table New York, early 19th century The D-shaped top above a conforming frieze, raised on five reeded tapering legs. Height 28 1/2 inches, width 36 inches, depth 17 1/2 inches. C $700-1,000 219 Federal Inlaid Mahogany Fold-Over Games Table Mid Atlantic States, early 19th century The serpentine top above a conforming lozenge and book inlaid frieze, raised on square tapering legs. Height 29 inches, width 36 inches, depth 17 3/4 inches. C $1,500-2,500 See Illustration 220 American Mahogany Shelf Clock 19th Century With a carved eagle crest. Height 34 1/2 inches, width 18 1/4 inches, depth 5 1/2 inches. acc. 1986.15.1 C Sold to Benefit the Collection of the Morris-Jumel Mansion Museum $100-200

219

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221 Carved Wood and Cork Duck Decoy David B. Ward, Connecticut Inscribed DBW 82. Length 18 1/8 inches; Together with Three Carved and Painted Shore Bird Decoys. C $800-1,200 222 American School 19th Century Canandaigua Academy Graphite on paper Sight 11 3/4 x 15 1/2 inches Framed C $200-300 223 Two Dutch Delft Blue and White Faience Chargers and a Dutch Delft Faience Polychrome Charger Diameters 12 3/4 inches and 14 1/2 inches. C $200-300 224 Pair of Canton Blue and White Porcelain Scalloped Dishes 19th Century Diameter of larger 8 3/4 inches. C $150-250

Silver

226

225 Set of Six American Coin Silver Tablespoons of Southern Interest Andrew E. Warner, Baltimore, circa 1805; Together with Six Miscellaneous Silver Spoons. Total approximately 21 ounces. C $400-600 226 American Coin Silver Tea Service Taylor & Hinsdale, New York, circa 1810 Comprising a teapot, cream jug and covered sugar bowl, each ovoid body with foliate grape joins, with bands of applied floral decorated at the waist and rim, the spout with mask, on claw and ball feet, the cover with bouquet finial. Length of teapot 12 1/2 inches, total approximately 85 ounces. C $1,200-1,800 See Illustration

227 American Coin Silver Teapot Benjamin C. Frobisher, Boston, circa 1825 The lobed body on pedestal support with applied bands of foliate scrolls, with eagle spout mask. Height 9 3/4 inches, approximately 32 ounces. C $500-700

229 Group of American Coin Silver Flatware Various makers, 19th century Approximately fifty-nine pieces, total. Total approximately 62 ounces. C $400-600

228 American Coin Silver Tea Service Peter Chitry, New York, circa 1825 Comprising a teapot, cream jug, sugar bowl and a covered sugar bowl, each part lobed body with applied bands of foliage, the domed cover with a blossom finial, the teapot with mask spout. Length of teapot 12 1/4 inches, total approximately 60 ounces. C $700-1,000

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230 Group of American Coin Silver Child’s Mugs Comprising a Gorham example, circa 1870, with a figure of a dog on the handle; Stebbins & Co. example; and a Wood & Hughes example, circa 1860; Together with a Coin Silver Presentation Goblet. Dated 1853. Height of largest 5 3/4 inches, total approximately 19 ounces. • $400-600 231 American Coin Silver Water Pitcher Thomas Fletcher, Philadelphia, circa 1825 The vasiform body chased with acanthus, with applied band of foliate scrolls at the waist and neck, on a circular pedestal foot. Height 15 1/2 inches, approximately 50 ounces. C $1,500-2,000

232 Assembled Set of Six American Coin Silver Wheat Sheaf Pattern Tablespoons Three Benjamin C. Frobisher, Boston, circa 1835; three marked C&N, circa 1830; Together with a Pair of Sugar Tongs. C. Brewer & Co., Middletown, Ct., circa 1815. Total approximately 4 ounces. C $300-400 233 American Coin Silver Cream Jug and Covered Sugar Bowl Willis & Geilston, New York, circa 1840 Each part lobed body with a band of foliate decoration and leaf capped handles. Length of sugar bowl across handles 8 inches, total approximately 24 ounces. C $200-300

234 Two American Coin Silver Serving Spoons George Sharp, Philadelphia, circa 1860, retailed by Bailey & Co. Total approximately 6 ounces. C The Thurston Collection $100-200 235 Group of American Silver Serving Utensils 19th Century Comprising: soup ladle in the Fiddle pattern, Wood & Hughes, a gravy ladle R.GATT, a strainer ladle Wood & Hughes, and three pastry servers. Length of soup ladle 12 1/2 inches, total approximately 20 ounces. • $400-600

236 part

236 S. Kirk & Son Sterling Silver Mayflower Pattern Flatware Service Comprising twenty-four dinner forks, twenty-eight luncheon forks, fifty-five salad forks, twelve cocktail forks, twelve ice cream forks, eleven oval soup spoons, eleven round soup spoons, twenty-five iced tea spoons, twenty-seven dessert spoons, twelve fruit spoons, forty-three teaspoons, thirty-six demitasse spoons, twelve salt spoons, twenty-five dinner knives, twenty-eight luncheon knives, twenty-seven steak knives, twenty-four butter knives, pair of ice tongs, master butter knife, two pierced flat lifters, two jam spoons, five serving spoons in sizes, two lemon forks, two sugar shells, berry spoon, two salad servers with wood tines, cake knife, six pate knives, two two-piece poultry carving sets, two child’s spoons, two food pushers, child’s fork, two gravy ladles, two sauce ladles, seven pierced spoons in sizes, flat lifter, six serving forks in sizes, pickle fork, two tea caddy spoons, two paper knives, bread knife, three pie servers and two two-piece carving sets. Total approximately 459 ounces, weighable. C The Thurston Collection $8,000-12,000 See Illustration of Part

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236 part

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240

237 S. Kirk & Son Sterling Silver Gilt Water Pitcher Height 10 3/4 inches, approximately 39 ounces. C Estate of Dorothy J. Henry $800-1,200 238 Assembled S. Kirk & Son Sterling Silver Repousse Pattern Flatware Service Comprising twenty-eight dinner forks, twenty luncheon forks, twenty-seven salad forks, eight cocktail forks, twelve iced tea spoons, eighteen gumbo spoons, twelve soup spoons, twelve dessert spoons, twelve large teaspoons, twelve teaspoons, twenty-two demitasse spoons, eleven dinner knives, twelve luncheon knives, fifteen butter knives, fifteen fruit knives, three-piece carving set, pie server, three berry spoons, gravy ladle, stuffing spoon, master butter knife, six serving spoons, tomato server, pierced serving spoon, two serving forks, two sauce ladles, pair of sugar tongs, jelly spoon, pate knife, cheese scoop, sugar spoon, caddy spoon, two lemon forks and three salt spoons; Together with a Set of Twelve Dinner Knives. Total approximately 324 ounces, weighable C $4,000-6,000 70 DOYLE â&#x20AC;˘ OCTOBER 5, 2016 â&#x20AC;˘ NEW YORK

239 American Sterling Silver Centerpiece Bowl Braverman & Levy, San Francisco, circa 1860 Of circular form with bands of foliate decoration, the two loop handles pierced with foliate scrolls, on a pedestal foot. Length across handles 13 inches, approximately 22 ounces. C $500-700 240 Tiffany & Co. Sterling Silver Covered Soup Tureen Circa 1890 The oval body hand hammered overall, with acid etched monogram, loop handles and finial, on a spreading oval foot. Length over handles 12 1/4 inches (30.1 cm), approximately 44 ounces. C $3,000-4,000 See Illustration

242

241 Gorham Sterling Silver Mounted Green Overlay Glass Bowl 1898 Cut with spiral fluting, flowers and foliage, the silver rim with pierced openwork scrolls. Diameter 9 1/2 inches. C $800-1,200 242 Gorham Sterling Silver Footed Cake Stand Circular with a border of applied flowers and foliage. Diameter 12 inches, approximately 44 ounces. C $1,500-2,500 See Illustration

246

243 Gorham Sterling Silver Centerpiece Bowl Oval with pierced foliate rim, the field engraved with foliate scrolls. Length 14 inches, approximately 33 ounces. C $1,200-1,800 244 George Shiebler Sterling Silver and 14Kt. Gold Mounted Cut Glass Scent Flask Circa 1900 The globular body with silver neck and stopper applied with gold flowers. Height 7 1/4 inches; Together With a George Shiebler Sterling Silver Mounted Cut Glass Inkwell. C $600-900

245 Tiffany & Co. Sterling Silver Mounted Glass Claret Jug Circa 1900 The spiral cut body with a silver collar with pendant grape and floral clusters. Height 13 inches. C $600-900 246 Baltimore Silversmith Mfg. Co. Sterling Silver Water Pitcher Circa 1905 Of baluster form, chased overall with floral repousse. Height 10 1/4 inches, approximately 33 ounces. C $1,000-1,500 See Illustration

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247 247 Tiffany & Co. Sterling Silver Tea and Coffee Service 1907-1930 Comprising a teapot, coffee pot, cream jug, covered sugar bowl, hot milk pot, kettle on stand and a two-handled tray, each of fluted vasiform with engraved floral swags and bands of flowers and foliage, the cover with urn-form finials. Height of coffee pot 10 3/4 inches, length of tray over handles 27 inches, total approximately 272 ounces, all in. C $7,000-10,000 See Illustration

248 part

248 detail

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248 International Sterling Silver Fontaine Pattern Flatware Service Comprising fourteen dinner forks, twelve salad forks, six soup spoon, seven cream soup spoons, eight dessert spoons, eight iced tea spoons, five bouillon spoons, six demitasse spoons, five sorbet spoons, two teaspoons, fourteen dinner knives, nine butter knives, six fruit knives, two serving spoons, jelly spoon, sauce ladle, gravy ladle, meat fork, berry spoon, tomato server, pie server, lemon fork, pickle fork and three piece carving set. Total approximately 146 ounces, weighable. C $1,200-1,800 See Illustration of Part

249

251

249 Two American Sterling Silver Covered Entree Dishes One marked A.G. Schultz & Co., one marked Stieff Each of oval form, chased allover with floral repousse. Length of larger 11 inches, total approximately 73 ounces. C $1,500-2,500 See Illustration

250 Group of Six Kirk Sterling Silver Table Articles Comprising two-handled bread tray, footed salver, two meat platters, circular tray and bread tray, each with floral repousse border. Length of largest 15 inches, total approximately 122 ounces. C $2,500-3,500

251 J.E. Caldwell & Co. Sterling Silver Tea and Coffee Service In the Federal style, comprising a teapot, coffee pot, cream jug, covered sugar bowl, waste bowl, kettle on stand and two-handled tray, each oval body with a reeded band at the rim and foot, the cover with an urn finial. Length of coffee pot 12 inches (30.4 cm), length over handles of tray 25 3/4 inches (60.5 cm), total approximately 224 ounces, all in. C $4,000-6,000 See Illustration

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252 part

252 S. Kirk & Son Sterling Silver Mayflower Pattern Flatware Service 1932-1961 Comprising eighteen luncheon forks, thirty salad forks, twelve cocktail forks, twelve round soup spoons, twelve iced tea spoons, eighteen dessert spoons, eighteen teaspoons, eighteen luncheon knives, twelve steak knives, twenty butter knives, two serving spoons, gravy ladle, meat fork, pierced flat lifter, carving knife, pierced serving spoon, sugar shell, pair of ice tongs, three pate knives and pie server. Total approximately 88 ounces, weighable. C The Thurston Collection $3,000-5,000 See Illustration of Part 74 DOYLE â&#x20AC;˘ OCTOBER 5, 2016 â&#x20AC;˘ NEW YORK

253 Pair of Reed & Barton Sterling Silver Francis I Pattern Open Vegetable Dishes Length 12 1/2 inches, total approximately 36 ounces. C Estate of Dorothy J. Henry $500-700 254 Gorham Sterling Silver Covered Soup Tureen 1953 Of bombe form, chased with flowers and foliage. Length 14 inches, total approximately 42 ounces. C Estate of Dorothy J. Henry $800-1,200

255 Set of Twelve American Sterling Silver Goblets Manchester Silver Company Height 6 3/4 inches, total approximately 58 ounces. C Estate of Dorothy J. Henry $800-1,200 256 Set of Twelve American Sterling Silver Chargers Bailey Banks and Biddle, 20th century Diameter 10 1/2 inches, total approximately 127 ounces. C Estate of Dorothy J. Henry $2,000-3,000

257 Reed & Barton Sterling Silver Burgundy Pattern Flatware Service Comprising twelve dinner forks, twelve luncheon forks, ten cocktail forks, twelve salad forks, twelve dessert spoons, sixteen teaspoons, seven demitasse spoons, twelve iced teaspoons, twelve round soup spoons, eleven dinner knives, fourteen luncheon knives, nine steak knives, nine butter spreaders and three piece carving set, poultry shears, two serving spoons, two pierced serving spoons, four tablespoons, two serving forks, pie server, tomato server, sauce ladle, gravy ladle, pate knife, jelly knife, master butter spreader, two lemon forks. Total approximately 205 ounces, weighable. C Estate of Dorothy J. Henry $5,000-6,000 See Illustration of Part

257 part

258 Reed & Barton Sterling Silver Burgundy Pattern Tea and Coffee Service Comprising a teapot, coffee pot, cream jug, covered sugar, waste bowl, kettle on stand, two-handled tray and a water pitcher ensuite. Height of coffee pot 10 inches, total approximately 359 ounces, all in. C Estate of Dorothy J. Henry $4,000-6,000 See Illustration

257 detail

258 part

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259 part

259 detail

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259 Gorham Sterling Silver Mythologique Pattern Flatware Service Comprising eleven dinner forks, twelve luncheon forks, twelve salad forks, twelve fish forks, nine cocktail forks, twelve cake forks, eight strawberry forks, twenty-four game forks, twelve round soup spoons, twelve bouillon spoons, eighteen dessert spoons, twelve fruit spoons, twelve sorbet spoons, twenty teaspoons, twelve coffee spoons, eleven demitasse spoons, eleven dinner knives, twelve luncheon knives, eleven butter knives, twelve fish knives, twelve dessert knives, twenty-three game knives, five piece carving set, asparagus server, two salad servers, two serving spoons, pierced flat server, two pierced serving spoons, two serving forks, cheese scoop, pie server, gravy ladle, cake server, cake knife, sardine fork, mustard ladle, three bonbon servers, total approximately 345 ounces, weighable. C $7,000-9,000 See Illustration of Part

262 260 Group of Sterling Silver Flatware Including partial sets, comprising set of six dinner forks and seven luncheon forks, Worcester Silver Co. Inc., London 1965; set of five dinner forks, three luncheon forks and four dessert spoons, Sheffield, 1959; George I tablespoon, Richard Scarlett, London, 1721; and teaspoon, Whiting; Together with a Group of Coin Silver Flatware. Comprising tablespoon, Wm. Forbes, New York, circa 1830; tablespoon, probably Barnard Wenman, New York, circa 1800; and five teaspoons. Total approximately 56 ounces. C Sold to Benefit the Collection of the Morris-Jumel Mansion Museum $500-700 261 Poole Sterling Silver Old English Pattern Two-Handled Tray Length 29 inches, approximately 135 ounces. C Estate of Dorothy J. Henry $1,500-2,500 262 Gorham Sterling Silver Punch Service Comprising a Revere style bowl, diameter 14 inches; ladle; and twelve cups. Total approximately 134 ounces. C Estate of Dorothy J. Henry $2,000-4,000 See Illustration

262

263 Two Tiffany & Co. Sterling Silver Italian Pattern Serving Pieces Comprising a gravy ladle and a spoon. Total approximately 4 ounces. • $200-300 264 Three Tiffany & Co. Sterling Silver Strawberry Pattern Serving Spoons Total approximately 12 ounces. • $400-600 265 Tiffany & Co. Sterling Silver Custom Engraved Pattern Parcel Gilt Cake Knife Approximately 8 ounces. • $300-500 266 Two Tiffany & Co. Sterling Silver Olympian Pattern Serving Pieces Comprising a pierced flat server and a spoon. Total approximately 9 ounces. • $400-600 267 Two Tiffany & Co. Sterling Silver Vine Pattern Serving Articles Comprising an asparagus fork and a spoon. Total approximately 9 ounces. • $500-700

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Furniture & Decorations

268 268 Pair of Chippendale Mahogany Side Chairs New York, circa 1775 Each serpentine crest carved at the center with foliage and shellwork, above a pierced shellwork carved and Gothic arched splat, over a slip seat raised on straight legs joined by H-stretchers. Height 37 1/2 inches, width 21 3/4 inches, depth 18 inches. Provenance: Adeline R. Brown, St. Albans, Long Island, New York Gift of the above, acc. 48.135.94, 95 Literature: Heckscher, Morrison H., American Furniture in the Metropolitan Museum of Art Late Colonial Period: Queen Anne and Chippendale Styles, 1985, illus. p. 74, fig. 33 C Property of The Metropolitan Museum of Art $1,200-2,000 See Illustration

269

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269 Chippendale Mahogany Side Chair New York, last quarter of the 18th century The serpentine crest with molded ears above a pierced lozenge splat and a molded shoe, the slip seat raised on cabriole legs ending in claw and ball feet. Height 38 1/2 inches, width 21 1/2 inches, depth 17 inches. Provenance: Bequest of W. Gedney Beatty, 1941, acc. 41.160.637 C Property of The Metropolitan Museum of Art $800-1,200 See Illustration

270 Chippendale Mahogany Side Chair Philadelphia, last quarter of the 18th century The serpentine crest above a pierced splat and a molded shoe, the slip seat raised on cabriole legs ending in claw and ball feet. Height 39 inches, width 21 1/2 inches, depth 17 1/4 inches. Provenance: Bequest of W. Gedney Beatty, 1941, acc. 41.160.395 C Property of The Metropolitan Museum of Art $600-900 See Illustration

271

271 Chinese Export Porcelain Punch Bowl Early 19th century Decorated with multiple horizontal bands and scattered flowers and gilt butterflies. Diameter 15 3/4 inches. C Estate of Dorothy J. Henry $1,200-1,800 See Illustration

270

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272

272 Matched Pair of Canton Rose Medallion Porcelain Soup Tureens 19th Century Each of oval bombe form, decorated with reserves of flowers, birds and butterflies, on a gilt ground. Lengths 15 inches. C The Thurston Collection $800-1,200 See Illustration

273 Classical Brass Mounted Mahogany Drop-Leaf Table New York, second quarter of the 19th century With an arched apron, raised on a ring turned and foliate carved standard continuing to four foliate carved legs ending in paw feet. Height 30 inches, width 39 inches. C $600-900 274 Set of Twelve George II Style Mahogany Dining Chairs Including two armchairs, each with a spooned back. C The Thurston Collection $700-1,000

275 Empire Gilt-Bronze Mounted Mahogany Miniature Commode 19th Century The rectangular marble top above three drawers and engaged columns, raised on cup feet. Height 14 3/4 inches, width 17 1/2 inches, depth 11 inches. C $800-1,200 See Illustration 276 George III Mahogany Side Chair With a pierced splat. Height 37 inches, width 21 1/4 inches, depth 18 inches; Together with a George III Mahogany Side Chair. With a rectangular slatted back. C Sold to Benefit the Collection of the Morris-Jumel Mansion Museum $150-250 277 Empire Gilt-Bronze Mounted Mahogany Side Cabinet Early 19th century The rectangular marble top above a pair of set back doors between freestanding columns, raised on turned feet. Height 33 inches, width 42 1/2 inches, depth 18 inches. C $800-1,200 278 Pine Cradle Together with a Spinning Wheel Height of cradle 22 inches, width 49 inches, depth 19 3/4 inches. acc. 1980.111.1.130; 1980.447.1.54 C Sold to Benefit the Collection of the Morris-Jumel Mansion Museum $100-150

275

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279

279 Carved Mahogany Cake Board John Conger, New York, second quarter of the 19th century Carved in the center with a soldier holding a child and a sword, flanked by churches, with flower above and grapes below; a flower filled vase and a figure of Liberty flanking, impressed J. CONGER on each end. Height 13 1/2 inches, width 23 1/2 inches, depth 7/8 inch. Embossing or impressing designs into New Yearâ&#x20AC;&#x2122;s cakes or gingerbread is a tradition brought to this country by German and Dutch immigrants. The most celebrated mold maker is John Conger of New York, whose cake boards are often elaborately carved. Large signed cake boards such as the example offered here are rare, and may have been used by professional bakers who displayed them in shop windows. C $5,000-8,000 See Illustration

280 Group of Brass and Copper Articles Including a pair of George III columnar candlestick lamps, height 13 inches; pair of brass baluster candlesticks; three powder flasks; four wall pockets, etc., approximately fourteen pieces. â&#x20AC;˘ $150-250

282 Pair of Grain Painted Rush Seat Fancy Chairs 19th Century; Together with Another Fancy Chair. acc. 1980.86.1.51; 1980.86.2.51; 1980.104.1.51 C Sold to Benefit the Collection of the Morris-Jumel Mansion Museum $75-125

281 Group of Chinese Export Famille Rose Porcelain Articles 19th Century Comprising a lozenge-form footed stand, length 14 3/8 inches; pair of crested soup plates; and two pairs of small plates. C $600-800

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283

283 Classical Rosewood Grained Gilt Stenciled and Gilt-Metal Mounted Recamier Second quarter of the 19th century With a scrolled back and armrests, pierced scrolled slat, the scrolled end mounted with gilt spherules, painted rush seat, raised on scroll legs ending in ball feet. Height 33 inches, width 6 feet 6 inches, depth 22 inches. C Property from the Collection of John R. and Anne J. Willis $1,500-2,500 See Illustration 284 Federal Style Inlaid Mahogany Serpentine Sideboard With three frieze drawers above inset cupboard doors and bottle drawers flanked by cupboard doors, raised on square tapering legs. Height 39 inches, width 6 feet 1 inch, depth 24 inches. C The Thurston Collection $400-600 285 Pair of Canton Rose Medallion Porcelain Vases Each mounted as a lamp, applied with fu dogs and kylins; Together with a Canton Rose Medallion Vase. Mounted as a lamp. Heights 19 inches and 9 3/4 inches, respectively. C The Thurston Collection $500-700

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286 American Mahogany Etagere Second quarter of the 19th century With shelves over a drawer, on double-baluster supports and raised on casters. Height 69 1/2 inches, width 22 inches, depth 15 inches. C $700-1,000 See Illustration 287 Classical Upholstered Mahogany Recamier 19th Century With scrolled back and sides, raised on paw feet carved with fruit and foliage and ending in casters. Height 28 1/2 inches, width 67 inches, depth 21 1/2 inches. C Property from the Collection of John R. and Anne J. Willis $500-800 288 Regency Style Green Patinated Cast Iron Bootscraper C $100-150

289 Classical Rosewood and Marble Center Table New York, second quarter of the 19th century The circular marble top above a frieze with a molded edge, raised on a marble columnar standard with gilt-bronze collar, over a tripartite base ending in casters. Height 30 inches, diameter 36 inches. C $1,000-1,500 See Illustration 290 Group of Six Chinese Export Porcelain Mugs Second half of the 18th century Each of cylindrical form, with figural and other reserves and some with underglaze blue decoration. Height of tallest 5 1/8 inches; Together with a Spode Stone China Transfer Decorated Mug. Decorated in the Imari palette. 19th Century. C The Thurston Collection $800-1,200

291 Classical Mahogany Secretary Bookcase Second quarter of the 19th century With two glazed doors above a fall front with a fitted interior, the lower section with two short drawers over two inset long drawers between engaged columns, raised on paw feet. Height 7 feet 5 inches, width 51 1/2 inches, depth 23 inches. C $800-1,200 See Illustration 292 Pair of Bennington Type Brown Glazed Figures of Seated Spaniels Height 11 1/4 inches. C The Thurston Collection $250-450

293 Cased Photgraphic Portrait of a Man in Uniform and of a Woman 19th Century Height 3 3/4 inches, width 3 3/8 inches. C The Thurston Collection $40-50 294 Mahogany Wall Shelf 19th Century With four molded shelves and scrolled sides. Height 39 1/4 inches, width 30 1/4 inches, depth 8 inches. C $300-400

295 Chinese Export Famille Rose Porcelain Platter 19th Century Length 13 1/4 inches; Together with a Pair of Chamberlain’s Worcester Dessert Plates; and a Set of Three Porcelain Dessert Plates. • $150-250 296 Chinese Export Porcelain Mandarin Palette Bowl Last quarter of the 18th century Decorated with gatherings of figures. Diameter 11 1/4 inches. • $200-300

289 291

VIEW THE FULLY ILLUSTRATED CATALOGUE AND BID ONLINE AT DOYLE.COM 83

297 Painted Birch Bark Covered Basket Of stitched construction and decorated with clover leaves; Together with a Group of Baskets. Including two lidded examples. Heights 9 - 25 inches. C $300-400 298 Bronze Bust of George Armstrong Custer James Gruzalski, b. 1938 Inscribed CUSTER© 3/30 Gruzalski. Height 17 3/4 inches, width16 inches. C The Thurston Collection $1,000-1,500 See Illustration 299 Old Town Wood Canoe Circa 1926, serial no. 88980 Red Western cedar, spruce and ash, the exterior painted green. Length 16 feet. C $1,000-1,500 See Illustration

298

299

84 DOYLE • OCTOBER 5, 2016 • NEW YORK

300 Haida Argillite Totem Pole Height 11 1/4 inches. C $1,200-2,000 See Illustration 301 Southwestern Painted Pottery Olla Decorated with stylized birds. Height 9 1/2 inches; Together with a Southwestern Painted Pottery Two-Handled Bowl. C $150-250 302 Group of Native American Flint Arrowheads Various locations, including North Carolina C The Thurston Collection $100-200

303 Group of Five Native American Beaded, Quilled and Feathered Hide Garments Plains Indian, 20th century Comprising shirts, pants and jackets. C The Thurston Collection $600-800 304 Beaded Breast Plate Plains Indian, 20th century Decorated with gun shells, glass trade beads and hide tassels, in a glazed case. Height 18 inches, width 12 inches. C The Thurston Collection $200-300 305 Native American Wood and Iron Tomahawk Plains Indian, 20th century In a glazed case. Length 27 inches. C The Thurston Collection $600-900

306 Group of Five Native American Beaded, Quilled and Feathered Hide Garments Plains Indian, 20th century Comprising a headdress, shirts, pants and jackets. C The Thurston Collection $600-900

309 Two Southeast Native American Hide Drums Each painted with animals and other images. Height of tallest 10 1/2 inches; Together with a Dance Drum; And a Bow. C The Thurston Collection $300-500

307 Group of Ten Native American Beaded Hide Accessories Plains Indian, 20th century Comprising a headdress, pouches, etc., some examples decorated with feathers, metal, metal dangles and hide tassels. Length of largest 21 inches. C The Thurston Collection $500-700

310 Native American Painted Hide Robe Plains Indian, 20th century With polychrome decoration, depicting a bust of a male wearing a headdress, tomahawks, bag, bow and other images, in a glazed frame. 5 x 4 Feet. C The Thurston Collection $500-800

300

308 Group of Ten Native American Beaded and Hide Accessories Plains Indians, 20th century Comprising a holster, gun sheath, bags, etc. Length of largest 26 inches. C The Thurston Collection $500-700 VIEW THE FULLY ILLUSTRATED CATALOGUE AND BID ONLINE AT DOYLE.COM 85

Rugs & Carpets 311 Guendje Rug Southwest Caucasus, early 20th century Five stylized floral medallions on the russet field are within a midnight blue rosette border. Approximately 8 feet 3 inches x 4 feet 8 inches. Partial end border, foldwear. C $500-700 312 Yomoud Carpet Afghanistan, mid 20th century The allover pattern of polychrome dyrnak guls on the plum field is within an ivory serrated leaf and vine border. Approximately 11 feet 7 inches x 6 feet 10 inches. Small hole, small restored area. C $800-1,200 313 Heriz Carpet Northwest Iran, contemporary The ivory field with a central polychrome rosette flanked by angular stylized vinery is within a rust palmette and vine border. Approximately 12 feet 7 inches x 10 feet 1 inch. Minor losses to one end. C $2,000-3,000 314 Star Oushak Carpet West Turkey, first half of the 19th century The central star medallion on the madder field is within an indigo cloud band border. Approximately 18 feet 7 inches x 10 feet 4 inches. Large areas of wear and restoration, possibly reduced in length. C $4,000-6,000 315 Indo-Heriz Carpet India, contemporary The central polychrome geometric medallion on the madder field flanked by ivory spandrels is within a rosette and serrated leaf border. Approximately 13 feet 11 inches x 9 feet 9 inches. C $1,000-2,000

86 DOYLE • OCTOBER 5, 2016 • NEW YORK

316 Jejim Carpet Central Turkey, mid 20th century Having a stripe pattern rendered in madder, sky blue, indigo, camel and ivory. Approximately 11 feet 4 inches x 6 feet 10 inches. C $800-1,200 317 Heriz Carpet Northwest Persia, last quarter of the 19th century The central polychrome geometric medallion on the madder field flanked by ivory spandrels is within a rosette and serrated leaf border. Approximately 12 feet 5 inches x 9 feet 9 inches. Partial ends, areas of wear, 3 inches x 2 feet 5 inches reinforcement strip on one end. C $3,000-5,000 318 Shirvan Kilim East Caucasus, early 20th century The allover pattern of horizontal panels containing polychrome geometric medallions is on an ivory field. Approximately 10 feet x 5 feet 3 inches. 15 Inch sewn seam, patch, holes, oxidized browns. C $600-900 319 Serab Runner Northwest Persia, last quarter of the 19th century Three hexagonal pole medallions on the ivory field are within a plain camel outer border. Approximately 12 feet 10 inches x 3 feet 9 inches. Minor repiling, cashmere repairs, oxidized blacks, crude repairs. C $1,200-1,800 320 Soumac Rug Southwest Caucasus, last quarter of the 19th century The madder field with an allover ascending stylized floral pattern is within a running dog outer border. Approximately 5 feet 6 inches x 4 feet 10 inches. Areas of wear, hole, stains, area missing from one end. C $500-700

321 Tabriz Carpet Northwest Persia, circa 1930 The allover polychrome vase pattern on the cranberry field is within a midnight blue palmette and vine border. Approximately 12 feet 7 inches x 9 feet 2 inches. Partial ends and sides, reselvedged. C $1,000-2,000 322 Karabagh Runner Southwest Caucasus, first quarter of 20th century Three polychrome geometric medallions on the midnight blue field are within a slate meandering vine border. Approximately 9 feet 11 inches x 3 feet 11 inches. Fraying to edges, small areas of minor wear. C $500-700 323 Perepedil Kuba Rug Northeast Caucasus, last quarter of the 19th century The ivory field with stylized rosettes flanked by ram’s horn motifs overall is within a charcoal border. Approximately 4 feet 2 inches x 3 feet 2 inches. Overall wear, 2 holes, fraying to edges. C $300-500 324 Joshaghan Carpet Central Persia, second quarter of the 20th century The madder field with an overall pattern of polychrome shrubs and stylized flora is within an indigo palmette and vine border. Approximately 11 feet 10 inches x 8 feet 8 inches. Areas of minor wear. C $600-900 325 Heriz Style Carpet Pakistan, contemporary The rust field with an allover pattern of rosettes flanked by serrated leaves is within a buff floral vinery border. Approximately 16 feet 7 inches x 12 feet 1 inch. C $1,500-2,500

326 Kurdish Runner North Iran, last quarter of the 19th century Six polychrome geometric medallions on the camel field are within an indigo border. Approximately 10 feet 4 inches x 3 feet 4 inches. Partial ends and sides, areas of wear, restorations. C $600-900 327 Lavar Kirman Carpet Southeast Persia, late 19th century Two polychrome floral medallions on the ivory field are within a plum palmette and leafy vine border. Approximately 10 feet 8 inches x 7 feet 11 inches. Overall even wear, tinted areas. C $1,000-1,500 328 Heriz Carpet Northwest Persia, last quarter of the 19th century The madder field with a central polychrome geometric medallion flanked by ivory spandrels is within a palmette and vine border. Approximately 14 feet 1 inch x 9 feet 9 inches. Minor losses to ends, stains, glue residue on reverse. C $4,000-6,000 329 Melas Prayer Rug Southwest Anatolia, circa 1875 The madder field with three diamond medallions beneath an angular niche and ivory spandrels is within a saffron rosette border. Approximately 5 feet x 3 feet 9 inches. Areas of wear, stains, losses to perimeter. C $400-600 330 Bidjar Gallery Carpet North Persia, dated 1322 AH/1905 AD The midnight blue field with five ascending columns of polychrome shrubs is within a madder rosette and serrated leaf border, cotton foundation. Approximately 15 feet 4 inches x 6 feet 4 inches. Partial ends, minor wear. C $2,000-3,000

331 Two Kuba Rugs Northeast Caucasus, first quarter of the 20th century Approximately 5 feet 8 inches x 3 feet 10 inches and 3 feet 7 inches x 2 feet 7 inches. C $500-700 332 Guendje Runner Southwest Caucasus, late 19th century The saffron field with an allover pattern of rosettes in a hexagonal lattice is within an indigo border. Approximately 11 feet 2 inches x 3 feet 9 inches. Restorations, re-piled areas, reselvedged, small areas of minor wear. C $1,000-2,000

336 Mahal Carpet Central Persia, circa 1935 The allover polychrome Mina Khani pattern on the madder field is within an indigo palmette and vine border. Approximately 17 feet 10 inches x 10 feet 6 inches. Thin areas. C $2,000-3,000

End of Sale

333 Melayir Rug Northwest Persia, circa 1925 The allover polychrome boteh pattern on the ivory field flanked by madder spandrels is within a meandering vine border. Approximately 6 feet x 5 feet 2 inches. Partial ends, minor wear. C $400-600 334 Yuruk Prayer Rug East Anatolia, late 19th century The cranberry field filled with stylized flora beneath a stepped arch and midnight blue spandrels is within five narrow stripe borders. Approximately 4 feet 7 inches x 3 feet 5 inches. C $300-500 335 Two Tekke Rugs West Turkestan, circa 1900 Approximately 5 feet 2 inches x 3 feet 3 inches and 3 feet 7 inches x 3 feet 4 inches. C $500-700

VIEW THE FULLY ILLUSTRATED CATALOGUE AND BID ONLINE AT DOYLE.COM 87

Triple Mint 2 Bedroom, 2.5 Bath with 2 Terraces High floor, light-filled. The Harrison, West 76th full service condominium. $4.25M. Web 14927476. Inez Wade 212.452.4439/Catherine Harding 212.452.4367

Classic Candela 6 with Views of Sutton Place

Bay Ridge 11 Room House with Wrap Porch

Chelsea 2 Bedroom, 2 Bath Co-op Loft

30 foot paneled LR w WBFP, formal DR, 2BRs, 3 baths, butler’s pantry, EIK, library. New windows. FS co-op. $2.45M. Web 15061394. Robin von Raab 212.452.4438

Italianate style, hi ceils, stained glass, WBFP, chef’s kit, laundry rm, 7BRs, 4 bths, garage, gardens. $2.5M. Web 15229071. Violette Tonuzi 718.208.1925/Joseph Vassallo 718.208.1916

Custom kitchen, private terrace, new baths, exposed brick, W/D. $2.195M. Web 14819468. Susan Wires 646.613.2785/Amy Bergman Bonomi 917.833.7659

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GLOSSARY The following examples define some of the terms used in this catalogue. The reader is reminded that all of the terms and descriptions used in this catalogue as to authorship, period, culture, source or origin for any property are made and used as qualified statements and opinions only, and are subject to the Conditions of Sale and the Terms of Guarantee. In connection with the attribution of authorship, as described in paragraph 2 of the Terms of Guarantee, the following terms are used in this catalogue, and are defined as follows:

FURNITURE AND DECORATIONS REGENCY ROSEWOOD SOFA TABLE First quarter of the 19th century. This heading with the date included means that the piece is, in our best judgment, of the period indicated with no major alterations or restorations. REGENCY ROSEWOOD SOFA TABLE This heading without inclusion of a date indicates that in our best judgment, the piece, while basically of the period, has been substantially altered or restored and in some cases it may also indicate that the piece has been constructed from old parts. REGENCY STYLE SOFA TABLE The inclusion of the word “style” in the heading indicates that, in our opinion, the piece is an intentional copy or reproduction of an earlier work or style of works.

PAINTINGS NICOLAES MAES In our best judgment the work is by the named artist. This is our highest category of authenticity in the present catalogue. ATTRIBUTED TO NICOLAES MAES In our best judgment, while the work is of the period of the named artist, and on the basis of style can be ascribed to him, we cannot state with certainty that it is by him. SCHOOL OF NICOLAES MAES In our best judgment, the work is of the period of the named artist, by a pupil or close follower of the artist, but is not by the artist.

SIGNED NICOLAES MAES In our best judgment, the signature, monogram, initials or other similar indicia of authorship is a recognized signature of the artist and appears in one of the six areas of the painting designated as follows: (u.l.) Upper left (l.l.) Lower left (u.r.) Upper right (l.r.) Lower right (u.c.) Upper center (l.c.) Lower center BEARS SIGNATURE, NICOLAES MAES In our best judgment, the signature, monogram, initials or other similar indicia of authorship is not that of the artist and may have been added at a later date. DATED In our best judgment, the date indicated on the work is the date the work was executed. DATED (FOR BRONZES) In our best judgment, the date indicated when the original model was executed. Since the exact date of the casting of a bronze sculpture is often unknown and illustrations in reference books may not specify which particular cast is discussed or illustrated, it should be pointed out that dates of execution and entries listed under Literature in the individual catalogue entries do not necessarily refer to the castings included in the sale.

PRINTS

EDITION Information regarding the size of the edition is given when possible. SIGNATURE Only manuscript signatures of the artists are indicated. Signatures “in the plate” are not mentioned since they are considered part of the image. QUALITY AND CONDITION An attempt has been made to give relevant information concerning the quality of the impression, the size of the margins and the condition of the prints when possible. These descriptions are qualified statements or opinions only, and are made subject to the Conditions of Sale and Terms of Guarantee. The print sleeves are the property of Doyle New York and are not included in the sale. MEASUREMENTS As with any description in this catalogue, measurements are qualified statements or opinions and are subject to the Conditions of Sale and Terms of Guarantee. Doyle New York shall not be liable for any mistakes in measurements. Measurements have been made to the best of our ability, and are given in inches to the nearest 1/4 inch and millimeters, height before width. Unless otherwise indicated, etchings and engravings are measured by the dimensions of the plate marks.Woodcuts, lithographs and silkscreens are measured by the dimensions of the images. All pictures are framed unless otherwise noted in this catalogue.

NAME OF THE ARTIST Subject to the Conditions of Sale and Terms of Guarantee set forth in this catalogue, and except where stated as being “after” or “attributed to” an artist, each lot is by the artist appearing at the head of the lot, except in the case of lots containing works by more than one artist. TITLE If there is a generally accepted title for the print, that title is given in upper case at the beginning of the lot description. If the work has no title or the title is unknown to us, a descriptive title is given in brackets. REFERENCES Information from the standard catalogues of the artists’ works is cited when possible following the title.

CIRCLE OF NICOLAES MAES In our best judgment, the work is of the period of the named artist and closely related to his style.

MEDIUM The mediums are described as fully as possible, although secondary techniques may not be listed.

MANNER OF NICOLAES MAES OR AFTER NICOLAES MAES OR FOLLOWER OF NICOLAES MAES In our best judgment, although the work is in the style of or a copy of a work by the named artist, it is of a later period.

DATE The date given is that of the original plate, block, stone or screen. It is not necessarily the date at which the impression offered for sale was printed.

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CONDITIONS OF SALE 1. BINDING TERMS The lots listed in this catalogue will be offered by Doyle New York as owner or as agent for consignor subject to the following terms and conditions. Where Doyle is agent, the contract is between seller and buyer. The following Conditions of Sale and Terms of Guarantee constitute the entire agreement with the purchaser relative to the property listed in this catalogue. By bidding at auction you agree to be bound by these terms:

2. AS IS All lots are sold “AS IS” and without recourse and neither Doyle New York nor its consignor makes any warranties or representations, express or implied, with respect to such lots, except for the limited warranties expressly stated in the Terms of Guarantee section of this catalogue. Prospective buyers are strongly advised to examine personally any property in which they are interested, before the auction takes place, to determine its condition, size, and whether or not it has been repaired or restored. Except as otherwise expressly and specifically provided in the Terms of Guarantee, neither Doyle New York nor its consignor makes any express or implied warranty or representation of any kind or nature with respect to merchantability, fitness for purpose, correctness of the catalogue or other description of the physical condition, size, quality, rarity, importance, medium, material, genuineness, attribution, provenance, period, culture, source, origin, exhibitions, literature or historical significance of any lot sold. The absence of any reference to the condition of a lot does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging; nor does a reference to particular defects imply the absence of others. References in the catalogue entry or the condition report to damage or restoration are for guidance only and should be evaluated by personal inspection by the bidder or a knowledgeable representative. The Terms of Guarantee are controlling, and no statement, whether written or oral, and whether made in this catalogue, an advertisement, a bill of sale, a salesroom posting or announcement, the remarks of an auctioneer, or otherwise, shall be deemed to create any warranty, representation or assumption of liability. All statements by Doyle New York in the catalogue entry for the property or in the condition report, or made orally or in writing elsewhere, are statements of opinion and are not to be relied on as statements of fact. Except as stated in the Terms of Guarantee, neither Doyle New York nor the seller is responsible in any way for errors or omissions in the catalogue or any supplemental material. Buyers are responsible for satisfying themselves concerning the condition of the property and the matters referred to in the catalogue entry. Doyle New York and its consignor make no warranty or representation, express or implied, that the purchaser will acquire any copyright or reproduction rights to any lot sold. Doyle New York expressly reserves the right to reproduce any image of the lots sold in this catalogue.

The copyright in all images, illustrations and written material produced by or for Doyle New York relating to a lot, including the contents of this catalogue, is, and shall remain at all times, the property of Doyle New York and shall not be used by the buyer, nor by anyone else, without our prior written consent.

3. WITHDRAWAL Doyle New York reserves the right to withdraw any lot at any time prior to the commencement of bidding for such lot and shall have no liability whatsoever for such withdrawal.

4. RESERVES If the auctioneer decides that any opening bid is below the value of the lot offered, the auctioneer may reject that bid and withdraw the lot from sale; and if, having acknowledged an opening bid, he decides that any advance thereafter is insufficient, he may reject that advance. Unless otherwise indicated, all lots are offered subject to a reserve, which is the confidential minimum price below which such lot will not be sold. No reserve will exceed the low estimate of the lot. Reserves are agreed upon with the consignor or, in the absence thereof, in the absolute discretion of Doyle New York. Unless otherwise announced by the auctioneer, all bids are per lot as numbered in the catalogue. Lots marked C preceding the estimate are consigned and reserved. Those marked • are reserved property in which Doyle New York has an interest. Doyle New York on occasion makes loans or advances funds to consignors. The auctioneer may implement the reserve by opening bidding on any lot by placing a bid on behalf of the seller. The auctioneer will not specifically identify bids placed on behalf of the seller. The auctioneer may further bid on behalf of the seller, up to the amount of the reserve, by placing successive or consecutive bids for a lot or by placing bids in response to other bidders. Unless otherwise noted in the catalogue or by an announcement at the auction, Doyle New York acts as agent on behalf of the seller and does not permit the seller to bid on his or her own property.

5. ESTIMATES Each lot in the catalogue is given a low and high estimate representing that range which, in the opinion of Doyle New York, represents a fair and probable auction value. When possible, the estimate is based on previous auction records of comparable property, condition, rarity, quality and provenances. The estimates are often determined several months before a sale and are therefore subject to change upon further research of the property, or to reflect market conditions or currency fluctuations. Estimates are subject to revision. Actual prices realized for items can fall below or above this range. An estimate of the selling price should not be relied on as a statement that this is the price at which

the item will sell or its value for any other purpose. Estimates do not include the buyer’s premium. Where “Estimate on Request” appears, please contact the Specialist Department for further information.

6. BIDDING Doyle New York reserves the right, at our complete discretion, to refuse admission to the premises or participation in any auction and to reject any bid, as well as the right to refuse to acknowledge any bidder. The highest bidder acknowledged by the auctioneer will be the purchaser. The auctioneer has the right at his absolute and sole discretion to advance the bidding in such a manner as he may decide, to withdraw or divide any lot, and to combine any two or more lots. In the event of error or dispute between bidders, or in the event of doubt on our part as to the validity of any bid, whether during or after the sale, the auctioneer has final discretion to determine the successful bidder, to continue the bidding, to cancel the sale, or to reoffer and resell the lot in dispute. If any dispute arises after the sale, the Doyle New York sale record shall be conclusive.

7. PURCHASER’S RESPONSIBILITY Title passes upon the fall of the auctioneer’s hammer to the highest acknowledged bidder, subject to the conditions of sale set forth herein. Such bidder there upon assumes full risk and responsibility there for (including, without limitation, liability for or damage to frames and glass covering prints, paintings or other works). Although in our discretion we will execute orders or absentee bids or accept telephone bids as a convenience to clients who are not present at auctions, we are not responsible for any errors or omissions in connection therewith. When making a bid, a bidder is accepting personal liability to pay the purchase price as follows, unless it has been explicitly agreed in writing with Doyle New York before the commencement of the sale that the bidder is acting as agent on behalf of an identified third party acceptable to Doyle New York, and that Doyle New York will look only to the principal for payment: The total purchase price to be paid by purchaser is the amount of the successful bid price plus a premium of 25% on the first 200,000 of the hammer price of each lot, 20% on the portion from $200,001 through $3,000,000, and 12% on that portion of the hammer price exceeding $2,000,000. Payment shall be made as follows: A cash deposit of not less than 25% of the purchase price (unless the whole purchase price is required at the sole discretion of Doyle New York) will be paid on the day of the auction. Deposits shall apply to all purchases made at this sale and not to any one particular lot.

RARE BOOKS, AUTOGRAPHS, MAPS & PHOTOGRAPHS

Part of The Dr. Julius Dintenfass Autograph Collection

Nov 22

NEW YORK

WASHINGTON, GEORGE, Three language shipâ&#x20AC;&#x2122;s papers signed by George Washington as our first President and Thomas Jefferson as Secretary of State, the document allowing the Brigantine Pallas of Boston passage to Cadiz, 1793. 16 x 12 3/4 inches. Maritime documents on paper rarely survive in such condition due to heavy use on ship. Estimate $15,000-20,000

212 - 427- 2730 DOYLE.COM

CONDITIONS OF SALE CONTINUED Prior to the sale, the buyer must provide us with his or her name and permanent address and, if so requested, details of the bank from which payment will be made. The balance of the purchase price, if any, will be paid not later than 5 pm one (1) day following the day of the auction. Such payment shall be made in U.S. dollars by certified or cashier check drawn on a U.S. bank unless other arrangements are made with Doyle New York. The buyer will not acquire title to the lot until we have received all amounts due to us from the buyer in good cleared funds even in circumstances where we have released the lot to the buyer. Doyle New York reserves the right to hold merchandise purchased by personal check until the check has cleared the bank. The purchaser agrees to pay Doyle New York a handling charge of $35 for any check dishonored by the drawee. At some auctions there may be a video or digital screen. Errors may occur in its operation and in the quality of the image, and Doyle New York does not accept liability for such errors. Any objects offered at this auction which contain materials from a species that is endangered or protected, including, but not limited to, ivory, coral and tortoiseshell, may require a license or certificate prior to exportation from the United States or an individual state and additional certificates or licenses for importation into another state or country. Some materials may not be exported, imported into other states or countries or resold. It is the purchaser’s responsibility to be aware of applicable laws and regulations and to obtain any required export or import licenses or certificates and any other required documentation. Further, the purchaser shall be responsible for on-time payment of the full purchase price of the lot, even if the obtaining of any such license is denied or delayed. Doyle assumes no liability for failing to identify materials from endangered or protected species or for incorrectly identifying such materials.

8. REMEDIES AVAILABLE TO DOYLE NEW YORK In addition to the other remedies available to us by law, we reserve the right to impose a late charge of 1 1/2% per month of the total purchase price if payment is not made in accordance with the conditions set forth herein. All property must be removed from our premises by the purchaser at their expense not later than (2) business days following its sale and, if it is not removed, Doyle New York reserves the right to charge a minimum storage fee of $5 per lot per day or to deliver the property to a public warehouse for storage at the purchaser’s expense, to be released only after payment in full of all removal, storage, handling, insurance and any other costs incurred, together with payment of all other amounts due to us. Doyle New York shall have no liability for any damage to property left on its premises for more than (2) days following the sale.

If any applicable conditions herein are not complied with by the purchaser, in addition to other remedies available to us and the consignor by law, including without limitation the right to hold the purchaser liable for the total purchase price, including all fees, charges and expenses more fully set forth herein, we shall be entitled in our absolute discretion to exercise one or more of the following rights or remedies: a) To charge interest at such rate as we shall reasonably select; b) To hold the defaulting buyer liable for the total amount due and to commence legal proceedings for its recovery together with interest, legal fees and costs to the fullest extent permitted under applicable law; c) Cancel the sale of that, or any other lot or lots sold to the defaulting purchaser at the same or any other auction, retaining as liquidated damages all payments made by the purchaser; d) Resell the property whether at private sale or public auction without reserve, and the purchaser will be liable for any deficiency, cost, including handling charges, the expenses of both sales, our commission on both sales at our regular rate, all other charges due hereunder and incidental damages; e) To set off the outstanding amount remaining unpaid by the buyer against any amounts which we may owe the buyer in any other transactions; f) Where several amounts are owed by the buyer to us, in respect of different transactions, to apply any amount paid to discharge any amount owed in respect of any particular transaction, whether or not the buyer so directs; g) To reject at any future auction any bids made by or on behalf of the buyer or to require a deposit from the buyer before accepting any bids;

9. LIMITED LIABILITY If for any cause a purchased lot cannot be delivered in as good condition as at the time of sale, or should any purchased lot be stolen or mis-delivered or lost prior to delivery, Doyle New York shall not be liable for any amount in excess of that paid by the purchaser. We are not responsible for the acts or omissions of carriers or packers of purchased lots, whether or not recommended by us. Packing and handling of purchased lots by us is at the entire risk of the purchaser and Doyle New York will have no liability for any loss or damage to such items.

10. DOYLE NEW YORK EMPLOYEES Employees of Doyle New York are not prohibited from bidding on property. In the course of their employment it is possible that they may have access to information not available to the public.

11. WAIVER OF CONDITIONS Any and all of these conditions may be waived or modified in the sole discretion of Doyle New York. The Conditions of Sale, Terms of Guarantee, the glossary, if any, and all other contents of this catalogue are subject to amendment by us by oral announcements made during the sale. Salesroom notices amend the catalogue description of a lot after our catalogue has gone to press. They are posted in the viewing galleries and salesroom or are announced by the auctioneer. Please take note of them.

12. All measurements and weight are approximate. Doyle New York is not responsible for damage of glass covering paintings, drawings, other works or frames and lamp shades regardless of cause. 13. If any part of these Conditions of Sale is found

h) To take such other actions as we deem necessary or appropriate; or

by any court to be invalid, illegal or unenforceable, the balance of the conditions shall continue to be valid to the fullest extent permitted by law.

i) To effect any combination thereof.

14. The rights and obligations of the parties with

In addition, a defaulting purchaser will be deemed to have granted and assigned to us a continuing security interest of first priority in, and we may retain as collateral security for such purchaser’s obligations to us, any property or money of or owing to such purchaser in our possession. We shall have all of the rights accorded a secured party under the New York Uniform Commercial Code with respect to such property and we may apply against such obligations all monies held or received by us for the account of, or due from us, to such purchaser. At our option, payment will not be deemed to have been made in full until we have collected funds represented by checks, or in the case of bank or cashier’s checks, we have confirmed their authenticity. In the event the purchaser fails to pay any or all of the total purchaser price for any lot and Doyle New York nonetheless elects to pay the consignor any portion of the sale proceeds, the purchaser acknowledges that Doyle New York shall have all of the rights of the consignor to pursue the purchaser for any amounts paid to the consignor, whether at law, in equity, or under these Conditions of Sale.

respect to these Conditions of Sale and Terms of Guarantee, as well as the purchaser’s and our respective rights and obligations hereunder, the conduct of the auction and any matters connected with any of the foregoing, shall be governed and interpreted by the laws of the State of New York. By bidding at auction, whether present in person or by agent, by written bid, telephone or other means, the buyer shall be deemed to have submitted, for the benefit of Doyle New York, to the exclusive jurisdiction of the federal or state courts located in the state and county of New York and waives any objection to the jurisdiction and venue of any such court.

III

Majestic Home In North Caldwell, New Jersey

2,590,000

This majestic, custom home is located in North Caldwell, New Jersey, a highly desirable area for NYC commuters. The entire home has been updated and renovated with new windows, steel beams, and hardwood floors. The gourmet kitchen features a professional range and oven, two islands, and over-sized refrigerator and freezer. The finished basement boasts a wine cellar, professional bar, golf pro screen with additional movie screen, exercise room, and ample storage. The master suite is fit for royalty with a warm and inviting fireplace in the bedroom and timeless finishes in the spa-like bath. Take a tour at: www.HamiltonDriveHaven.com For more information about this property please contact:

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Berkshire Hathaway HomeServices New Jersey Properties Caldwell Office

Office: 973-228-5525 Cell: 973-868-2931 Maria.Rampinelli@BHHSNJ.com www.FineHomesNJ.com

14 Forest Avenue, Caldwell, NJ 07006

ÂŠ2016 BHH Affiliates, LLC. An independently owned and operated franchisee of BHH Affiliates, LLC. Berkshire Hathaway HomeServices and the Berkshire Hathaway HomeServices symbol are registered service marks of HomeServices of America, Inc.ÂŽ Equal Housing Opportunity.

TERMS OF GUARANTEE Doyle New York warrants the authenticity of authorship of each lot contained in this catalogue solely and expressly subject to the terms and conditions set forth below.

1. DEFINITION OF AUTHORSHIP “Authorship” is defined as the artist, artisan, workshop, designer, school, period, culture, or source of origin, as applicable and indicated in the description of the lot. The warranted information appears in bold print immediately following the individual lot number; no other language in the catalogue is warranted, including any supplemental material which appears below the bold print headings. Doyle New York is not responsible for any errors or omissions in any material, which appears below the bold print headings. The description of authorship in this catalogue may be amended by a supplement to the catalogue, or by notices or announcements at the time and place of the auction sale. This catalogue may contain one or more glossaries explaining the terminology used in the catalogue. All terminology used in this catalogue, including the contents of the glossaries, are merely qualified statements or opinions and are not intended or made as warranted statements or representations under these Terms of Guarantee. Doyle New York makes no warranties whatsoever, express or implied, with respect to any material in the catalogue, except as set forth in bold print headings following individual lot numbers in this catalogue and subject to the exclusions set forth below.

2. COVERAGE UNDER THE GUARANTEE Subject to the exclusions set forth below in paragraphs 5 and 6, Doyle New York warrants the authorship (as that term is defined above) of each lot in this catalogue for a period of five years from the date of the sale of the lot. The guarantee is made only to the original purchaser of record at the auction, and only the registered bidder for the lot at the auction will be considered as the original purchaser. The buyer must give written notice of claim within five years from the date of the auction. Doyle New York may require, at its option, to have the purchaser obtain at the purchaser’s expense the opinion of two recognized experts (approved by Doyle New York) in the field relating to the item in question, before Doyle New York determines whether to rescind a sale under the above warranty. Upon request, Doyle New York will provide the purchaser with the names of acceptable experts.

3. NON-ASSIGNABILITY The benefits of this warranty are not assignable and shall be applicable only to the original purchaser of record (i.e., the registered bidder) and not to any subsequent owners (including, without limitation, donees, heirs, successors, beneficiaries or assigns) who have, or may acquire, an interest in any purchased property. The original buyer must have remained the owner of the lot without disposing of any interest in it to any third party.

4. SOLE REMEDY The purchaser agrees that in the case of a breach of warranty under these Terms of Guarantee, he shall have no remedy other than rescission of the sale and the refund of the original purchase price paid. The original purchase price paid is defined as the amount of the successful bid price, plus the buyer’s premium. No rescission and refund will be made unless the item is returned to Doyle New York at 175 East 87th Street, New York, NY 10128, in the same condition as at the time of sale. The remedy of rescission and refund is exclusive and the purchaser waives any other remedy which may be otherwise available in law or equity. Doyle New York shall not be liable for any special, consequential or incidental damages incurred or claimed including, without limitation, loss of profits or for interest.

5. EXCLUSIONS This warranty does not apply to: i. authorship of any paintings, drawings or sculpture created prior to 1870, unless the lot is determined to be a counterfeit which has a value at the date of the claim for rescission which is materially less than the purchase price paid for the lot; or ii. any catalogue description where it was specifically mentioned that there is a conflict of specialist opinion on the authorship of a lot; or iii. authorship which on the date of sale was in accordance with the then generally accepted opinion of scholars and specialists, despite the subsequent discovery of new information, whether historical or physical, concerning the artist or craftsman, his students, school, workshop or followers; or iv. the identification of periods or dates of execution which may be proven inaccurate by means of scientific processes not generally accepted for use until after publication of the catalogue, or which were unreasonably expensive or impractical to use at the time of publication of the catalogue. The term counterfeit is defined as a modern fake or forgery, made less than fifty years ago, and made with the intent to deceive. The authenticity of signatures, monograms, initials or other similar indications of authorship is expressly excluded as a controlling factor in determining whether a work is a counterfeit under the meaning of this Terms of Warranty.

6. LIMITED WARRANTY As stated in paragraph 2 of the Conditions of Sale, neither Doyle New York nor its consignor makes any express or implied representations or warranties whatsoever concerning any property in the catalogue, including without limitation, any warranty of merchantability or fitness for a particular purpose, except as specifically and expressly provided in these Terms of Guarantee.

A M E R I C A N PA I N T I N G S , F U R N I T U R E & D E C O R AT I V E A R T S

Invitation to Consign April 2017 NEW YORK Anne Cohen DePietro VP/Director, American Art 212–427–4141, ext 249 Paintings@Doyle.com Frederic Edwin Church, (American, 1826-1900), View of Baalbek, circa 1868, Oil and pencil on heavy card, 9 1/2 x 20 inches Sold for $353,000

212 - 427- 2730 DOYLE.COM

INFORMATION ON SALES AND USE TAX RELATED TO PURCHASES AT AUCTION To better assist our clients, we have prepared the following information on Sales and Use Tax related to property purchased at auction.

WHY DOYLE NEW YORK COLLECTS SALES TAX Virtually all State Sales Tax Laws require a corporation to register with the State’s Tax Authorities and collect and remit sales tax if the corporation maintains a presence within the state, such as offices. In the states that impose sales tax, Tax Laws require an auction house, with a presence in the state, to register as a sales tax collector, and remit sales taxcollected to the state. New York sales tax is charged on the hammer price, buyer’s premium and any other applicable charges on any property picked up or delivered in New York, regardless of the state or country in which the purchaser resides or does business.

WHERE DOYLE NEW YORK COLLECTS SALES TAX Doyle New York is currently registered to collect sales tax in the following states: New York and the District of Columbia. For any property collected or received by the purchaser in New York City, such property is subject to sales tax at the existing New York State and City rate of 8.875%.

WHERE DOYLE NEW YORK IS NOT REQUIRED TO COLLECT SALES TAX Doyle New York is not required to collect sales tax on property delivered to states other than those listed above. If the property is delivered to a state where Doyle New York is not required to collect sales tax, it is the responsibility of the purchaser to self-assess any sales or use tax and remit it to taxing authorities in that state. Doyle New York is not required to collect sales tax for property delivered to the purchaser outside of the United States.

RESTORATION AND OTHER SERVICES Regardless of where the property is subsequently transported, if any framing or restoration services are performed in New York, it is considered to be a delivery of the property to the purchaser in New York, and Doyle New York will be required to collect the 8.875% New York sales tax.

CERTAIN EXEMPTIONS Most states that impose sales taxes allow for specified exemptions to the tax. For example, a registered re-seller such as a registered art dealer may purchase without incurring a tax liability, and Doyle New York is not required to collect sales tax from such re-seller. The art dealer, when re-selling the property, may be required to charge sales tax to its client, or the client may be required to self-assess sales or use tax upon acquiring the property. If a not-for-profit or charitable organization is selling property through Doyle New York, it may be sold as a tax exempted purchase. The not-for-profit seller must be registered with the New York Department of Taxation and Finance as an exempt organization and the property must be picked up or delivered in New York. However, a compensating use tax is due from the buyer if any such lot is shipped to any of the states where Doyle New York maintains offices. It is the buyer’s responsibility to ascertain and pay all taxes due. Buyers claiming exemption from sales tax must have the appropriate documentation on file with Doyle New York prior to the release of the property.

LOCAL TAX ADVISORS As sales tax laws vary from state to state, Doyle New York recommends that clients with questions regarding the application of sales or use taxes to property purchased at auction seek tax advice form their local tax advisors.

If the property is delivered into any of the states in which Doyle New York is registered, Doyle New York is required by law to collect and remit the appropriate sales tax in effect in the state where the property is delivered. Property collected from Doyle New York premises by common carriers on behalf of the purchaser for delivery to the purchaser at his address outside of New York is not subject to New York Sales Tax. If it is delivered by the common carrier to any of the states where Doyle New York is required to collect sales tax, applicable tax will be added to the purchase price.

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ÂŠ2016 Berkshire Hathaway HomeServices California Properties (BHHSCP) is a member of the franchise system of BHH Affiliates LLC. BHH Affiliates LLC and BHHSCP do not guarantee accuracy of all data including measurements, conditions, and features of property. Information is obtained from various sources and will not be verified by broker or MLS. CalBRE 00559629 & 00671618

EXQUISITE

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BUYING AT DOYLE Since 1963, Doyle New York has built a worldwide reputation for expertise, integrity and service. In our New York salesrooms, we hold approximately forty auctions annually featuring fine art, jewelry, furniture, decorative arts, books, prints, couture and a variety of other categories. Our global audience of buyers and sellers know the quality of our sales and appreciate our standard of service. If you are new to the auction process, please take a moment to review the following information. The following will help in understanding the auction buying process. All bidders should read the Conditions of Sale and Terms of Guarantee in this catalogue, as well as the Glossary or any other notices. By bidding at auction, bidders are bound by the Conditions of Sale and Terms of Guarantee, as amended by oral announcements or posted notices, which together form the sale contract between the successful bidder (purchaser), Doyle New York and the seller (consignor) of the lot.

BEFORE YOU BID Doyle New York produces both printed and Internet auction catalogues that contain descriptions of the property being offered and the presale estimates and are available prior to the sale date. Our free Internet catalogues, available at Doyle.com, also provide illustrations, direct communication with our specialists, and the ability to leave online absentee bids and track lots. The catalogues will help familiarize you with property being offered at the designated auction. In addition, Doyle.com offers a free Internet Personal Shopper that allows collectors to enter keywords of objects they are seeking. As each Internet auction catalogue is posted online, the collector is notified by email of any matches. A prospective buyer must complete and sign a registration form and provide identification before bidding. We may require the production of bank or other financial references. PROVENANCE In certain circumstances, Doyle New York may print in the catalogue the history of ownership of a work of art if such information contributes to scholarship or is otherwise well known and assists in distinguishing the work of art. However, the identity of the seller or previous owners may not be disclosed for a variety of reasons. For example, such information may be excluded to accommodate a seller’s request for confidentiality or because the identity of prior owners is unknown given the age of the work of art. SPECIALIST’S ADVICE Prospective bidders may be interested in specific information not included in the catalogue description of a lot. For additional information please contact either a Doyle New York specialist or Doyle New York’s Client Services Department. You may also request a condition report from the specialist in charge.

BIDDING AT AUCTION Auctions are open to the public without any admission fee or obligation to bid. Pre-auction viewings are open to the public free of charge. Doyle New York’s specialists are available to give advice and condition reports at viewings or by appointment. The auctioneer introduces the objects for sale - known as “lots” in numerical order as listed in the catalogue. The auctioneer accepts bids from those present in the salesroom, from telephone bidders, from Internet bidders or by absentee written bids left with Doyle New York in advance of the auction. LIVE BIDDING The most exciting way to participate at auction is the traditional method of bidding live in the salesroom with an auction paddle. Buyers who would like to bid may register for a paddle on the day of the sale upon entering the salesroom at least 30 minutes before the sale. The paddle is numbered so as to identify you to the auctioneer. To register, you will need a form of identification such as a driver’s license or credit card. If you are a first-time bidder, you will also be asked for your address, phone number and signature and a bank reference in order to create your account. To avoid any delay in the release of purchases, please pre-arrange check or credit approval through Doyle New York’s Credit Department at 212-427-4141 ext. 205. If you are bidding for someone else, you will need to provide a letter from that person authorizing you to bid on that person’s behalf. Issuance of a bid paddle is in Doyle New York’s sole discretion. Once the first bid has been placed, the auctioneer asks for higher bids, in increments determined by the auctioneer. To place your bid, simply raise your paddle until the auctioneer acknowledges you. As a courtesy to bidders, a currency board may be operated. It displays the lot number and current bid in both U.S. dollars and foreign currency. Exchange rates are approximations based on recent exchange rate information and should not be relied upon as a precise invoice amount. Doyle New York assumes no responsibility for any error or omission in foreign or United States currency amounts shown. TELEPHONE BIDDING Clients unable to attend the sale may still participate live by bidding on the telephone with a trained staff member on the auction floor. The Telephone Bid Forms are available on our Web site, in our printed catalogue, and through our Client Services Department. Please contact the Bid Department prior to the sale to make arrangements or to answer any questions you may have. Telephone bids are accepted only at Doyle New York’s discretion and at the caller’s risk. Calls may also be recorded at Doyle New York’s discretion. By bidding on the telephone, prospective buyers consent thereto. Telephone bids cannot be accepted for lot estimated below $1,000. Arrangements must be confirmed with the Bid Department at least 24 hours prior to the auction at 212-427-4141 ext. 242. Arrangements to bid in languages other than English must be made well in advance of the sale date. Doyle New York offers all absentee and telephone bidding services as a convenience to our clients but will not be responsible for errors or failures to execute bids.

ABSENTEE BIDDING For buyers unable to participate live in the salesroom or on the telephone, Doyle offers the option of Absentee Bids. Absentee Bids work exactly as if the bidder were in the salesroom bidding up to a predetermined price limit, except that the price limit is given confidentially to Doyle ahead of time. Absentee Bid Forms are available on our Web site, in our printed catalogues, and through our Client Services Department. Return the completed Absentee Bid Form to Doyle New York either by mail or by fax. When the lot that you are interested in comes up for sale, a Doyle New York representative will execute the bid on your behalf, making every effort to purchase the item for as little as possible and never exceeding your limit. The auctioneer may execute absentee bids directly from the rostrum, identifying these as “absentee bids,” “book bids,” or “order bids.” This service is free and confidential. For detailed instructions and information, please see the Doyle New York Absentee Bid Form at the back of this catalogue or on our Web site. In the event that identical bids are submitted, the earliest will take precedence. INTERNET BIDDING Buyers may also conveniently leave bids on our Web site through our Internet catalogues. These bids are executed at the auction in the same fashion as an Absentee Bid. LIVE INTERNET BIDDING BidLive! with a click of your mouse! Bidders from around the world now can experience the excitement of bidding live at Doyle New York on their computers. Simply sign in at Doyle.com, then register to bid live in real time in an upcoming sale. It couldn’t be easier or more convenient! No increased Buyer’s Premium! Purchases made on BidLive! are subject to the identical buyer’s premium as purchases made through the saleroom bids, telephone bids and absentee bids. There are no additional fees! Bid throughout the sale! With BidLive! you may log in during the sale to bid on specific lots, or leave the bidding console open all day on your computer. Total convenience for a global clientele! In the past, foreign bidders often required the assistance of telephone clerks who spoke Spanish, German, French, Mandarin etc., in order to execute their bids. With BidLive’s clear numeric display, foreign buyers need no longer rely on bilingual telephone clerks to place their bids. MAC USERS: Please use Firefox browser (download). BidLive!, powered by Invaluable, does not support iPhone or iPad at this time. Doyle New York does not guarantee that live Internet bidding will be uninterrupted or without error, or that Internet bids will be received.

presents

THE VAULT 顯赫珍窖 PA RT 2 ONE CELLAR, TWO AUCTIONS. zachys.com/auctions

October 15, 2016 – n e w yo r k

zachys

® New York • Hong Kong • San Francisco • auction@zachys.com • zachys.com/auctions tel +1.914.448.3026 • tel +852.2530.1971 • fax +1.914.313.2350 • fax +852.3014.3838

BUYING AT DOYLE CONTINUED SUCCESSFUL BIDS Successful absentee bidders will be notified after the sale. Absentee bidders will receive a list of sale results if they enclose a stamped self-addressed envelope with their Absentee Bid Form. Printed lists of auction prices are available immediately after the sale on our Web site and at our galleries. While invoices are sent out by mail after the auction, we do not accept responsibility for notifying you of the result of your bids. Buyers are requested to contact us by telephone or in person as soon as possible after the sale to obtain details of the outcome of their bids to avoid incurring unnecessary storage charges.

AFTER THE AUCTION If your bid is successful, you can go directly to Purchaser Accounting to make payment arrangements. Otherwise, your invoice will be mailed to you. The final price is determined by adding the buyer’s premium to the hammer price on a per-lot basis. Sales tax, where applicable, will be charged on the entire amount. Payment is due in full immediately after the sale. However, under certain circumstances, and generally with the seller’s agreement, Doyle New York may offer buyers it deems creditworthy the option of an extended payment plan. Credit terms should be arranged prior to the sale. Please contact the Credit Department for information on credit arrangements for a particular lot. METHODS OF PAYMENT Accepted forms of payment include bank wire transfers, cash (in US currency up to $5,000), traveler’s check (in US currency up to $5,000), money orders (in US currency up to $5,000), or personal check made payable in US dollars drawn on a US bank, unless other arrangements are made with Purchaser Accounts. It is Doyle New York’s policy to request any new clients or purchasers preferring to make a cash payment to provide: verification of identity (by providing some form of government issued identification containing a photograph, such as a passport, identity card, or driver’s license), confirmation of permanent address and identification of the source of the funds. Invoices greater than $5,000 require payment by certified check, bank check or wire transfer. Credit cards are not accepted for payment of auction purchases.

To pay for a purchase by check, please see our cashier and fill out a Check Acceptance Account form. Until approved, you will not be permitted to remove purchases before the check has cleared. To avoid delivery delays, prospective buyers are encouraged to supply bank or other suitable references before the auction. Check acceptance privileges are reviewed from time to time by Doyle New York and may be granted or withdrawn at our sole discretion. Checks should be made payable to Doyle New York. Note that checks drawn on foreign banks may be accepted with the approval of the Credit Department, may not be accepted for values under $500, and that there is a $100 minimum collection charge on checks drawn on foreign banks located outside the U.S. Certified checks, banker’s drafts and cashier’s checks are accepted at Doyle New York’s discretion provided they are issued by a reputable financial institution governed by anti-money laundering laws. Instruments not meeting these requirements will be treatedas “cash equivalents” and subject to theconstraints noted above. Please direct inquiries regarding wire transfer or ACH credit to Steven L. Kuzio, 212.427.4141 ext. 202, steven.kuzio@doyle.com BUYER’S PREMIUM The invoice will include the successful hammer price of the item and the buyer’s premium. Doyle New York charges a premium to the buyer on the final bid price of each lot sold at the following rates: 25% on the first $200,000 of the hammer price of each lot, 20% on the portion of the hammer price from $200,001 through $3,000,000, and 12% thereafter. Applicable sales tax will also be added to the final total. New York Sales tax is charged on the hammer price, buyer’s premium and any other applicable charges on any property picked up or delivered in New York State, regardless of the state or country in which the purchaser resides or does business. Please refer to “Information on Sales and Use Tax Related to Purchases at Auction” in the back of the catalogue. All sales are final and subject to the Conditions of Sale. PICK-UPS Once your payment has been cleared, property may be released. Unless otherwise agreed by Doyle New York, auction purchases should be paid for and picked up at Doyle New York within 48 hours of the auction. Items left beyond the 48 hours may be subject to a storage fee (see below). Please note that the hours for removal of property are Monday through Friday from 8:15am until 4:45pm, except on auction days during which only purchases made that day may be picked up. As a courtesy to purchasers who come to Doyle New York to pick up property, Doyle New York will assist in the packing of lots, although Doyle New York may, in the case of fragile articles, choose not to pack or otherwise handle a purchase. Doyle New York will not be responsible or liable for damage to glass covering paintings, drawings or other works, or damage to frames, regardless of cause.

STORAGE FEES Pursuant to section 8 of our Conditions of Sale, we request that successful buyers collect their property within two business days following the sale. Should the property (except jewelry, coins, stamps or as announced by the auctioneer) remain on our premises for more than 31 days following a sale it will be transferred to an independent warehouse on the buyer’s behalf at the purchaser’s risk and subject to storage charges at the purchaser’s expense. As transferred property will no longer be in Doyle New York’s custody or care, Doyle New York will not be able to assist you with pick-up or shipping arrangements. To avoid storage charges, please arrange for the removal of your purchases as soon as possible. Please Note: Transfer to a Storage facility of uncollected purchases past the 31-day grace period will constitute delivery of the property to the buyer in New York State. As a result, buyer will be liable to pay New York State Sales Tax if not tax-exempt. The charges are payable to an outside Storage Company and therefore cannot be waived by Doyle New York. We encourage all buyers to collect purchased property within two business days following the sale. In order to collect property from Yorkville Van and Storage, buyers must present a copy of a paid invoice bearing a Yorkville warehouse release stamp. This warehouse release stamp can only be obtained from the cashier at Doyle New York’s main reception desk located at 175 East 87th St in Manhattan. SHIPPING Shipping is the responsibility of the buyer. Upon request, our Client Services Department will provide a list of shippers who deliver to destinations within the United States and overseas. Kindly disregard the sales tax if an I.C.C. licensed shipper will ship your purchases anywhere outside the state of New York or the District of Columbia. ENDANGERED SPECIES Certain property sold at auction, for example, items made of or incorporating plant or animal materials such as coral, crocodile, ivory, whalebone, tortoise shell, mother-of-pearl, etc., irrespective of age or value, may require a license or certificate prior to exportation and additional licenses or certificates upon importation to another country. Doyle New York suggests that buyers check on their government wildlife import requirements prior to placing a bid. Although licenses can be obtained to export some types of endangered species, other types may not be exported at all, and other types may not be resold in the United States.

VII

SELLING AT DOYLE At Doyle New York, we commit our expertise, experience, market knowledge and global outreach to every sale. The numerous auction records set in our salesrooms are testimony to the advantages of selling property at Doyle. To make the auction process as easy and convenient as possible, our team of dedicated professionals will guide you through the entire appraisal and auction procedure. As part of our commitment to providing comprehensive auction services to collectors, institutions and estates, Doyle New York offers several options to those seeking to sell their property: consignment of the objects to auction at Doyle, outright sale of the objects to Doyle, a combination of both, or referrals to other organizations.

OBTAINING AN APPRAISAL The first step in selling property at auction is to obtain a free informal appraisal of the item. The appraisal includes an estimated value, which is the specialist’s best judgement as to what the object will sell for at auction. The figure is based upon the specialist’s expertise and knowledge of what similar items are fetching in the current auction market. There are various ways to obtain appraisals. Information and appointments to view property in your home or in the gallery can be arranged through our Scheduling Department, an appropriate Specialist Department, or a Doyle New York Regional Representative. Once your property has been evaluated, Doyle New York representatives can then help you determine how to proceed with the auction process. They will provide information regarding sellers’ commission rates and other charges, auction timetable, shipping and any other further services you may require. SUBMITTING PHOTOGRAPHS We welcome photographs of property to evaluate for possible auction if the property is not portable, or if you are not able to visit our galleries. If you have a large collection, are presentative selection of photographs is acceptable. Please bring in the photographs or email photos of your objects to the Scheduling Department. You may also mail photographs to the Scheduling Department, or call them at 212-427-4141, ext. 260, to discuss your property and perhaps arrange an appointment with a specialist. Please be sure to include the dimensions, artist’s signature or maker’s mark, medium, physical condition, and any other relevant information. Our specialists will provide a free preliminary auction estimate subject to a final estimate upon first hand inspection.

VIII

REGIONAL APPRAISAL DAYS Doyle New York’s Regional Representatives host free appraisal days on a regular basis throughout Connecticut, the metropolitan Washington, DC area, as well as in other areas throughout the United States. These popular events provide ease and convenience for collectors outside of New York who wish to sell their property at Doyle. At these events, we accept property for upcoming auctions in our New York salesrooms through both consignment and outright purchase.

SELLING YOUR PROPERTY CONSIGNING TO AUCTION In consigning property to auction, the seller retains ownership until the successful sale of the item at auction. When property is consigned to Doyle for auction, we devote the expertise of our specialists and professional staff to achieving outstanding prices at auction. THE CONSIGNMENT CONTRACT When you consign property to Doyle New York you will receive two copies of our Consignment Agreement, the legal document delineating the terms of sale. One copy should be initialed, signed and returned; the other kept for your records. Once the property is received in our gallery, you will be sent a Contract Schedule listing the property, the planned sale dates, the estimated price ranges, and the reserves will be listed, along with the agreed upon seller’s commission and other related fees. RESERVE PRICE Before an item is offered at auction, the consignor and Doyle New York may agree on a reserve price, a confidential minimum selling price. Unless a specific reserve is arranged, a discretionary reserve is fixed at fifty percent of the low estimate. If the consignor designates a reserve on a lot, and it remains unsold, there will be a buy-in fee charged on the reserve price. OUTRIGHT SALE TO DOYLE Outright purchase of property by Doyle allows the seller the advantage and convenience of immediate payment. Many sellers prefer this method of sale rather than consigning their property to auction and awaiting payment after the successful sale of the items. For further information please contact our Scheduling Department.

AFTER THE AUCTION RESULTS OF SALE You may track realized prices of your consigned property in real time and view all sales results online at Doyle.com. A preliminary settlement statement itemizing the hammer prices, commissions and fees is mailed to the consignor after the auction. You may also call us at 212-427-2730 for prices realized.

PAYMENT TO CONSIGNORS Payment to consignors is mailed five weeks after the date of the sale, together with a final settlement statement. The amount of payment is the hammer price of each lot successfully sold, less the commission and any other fees.

ESTATE AND APPRAISAL SERVICES For forty years, Doyle New York’s Appraisal and Auction Services Department has worked with museums, corporate collections, banks and law firms, trust and estate professionals, heirs, and private clients across the nation providing our comprehensive appraisal and auction services. Our thorough, well-researched fair market appraisals have earned Doyle a solid reputation for professionalism, integrity and service throughout the United States. Doyle New York offers a full range of expert appraisal services, specializing in providing timely formal appraisals for estate tax and probate purposes. Our expert team of specialists and our professional staff bring years of experience to each appraisal. Full color digital photographs may be included in the appraisal in order to make each object easily identifiable. Depending on the location, we are happy to provide, at no charge, a preliminary walk-through examination to determine approximate costs and special needs. Appraisal fees are based on the scope of the property with travel expenses additional. Doyle New York will prepare a customized proposal tailored to the specific property under consideration for auction, including a commission and fee structure developed to maximize returns to consignors. We may also make an outright purchase offer on individual items or entire estates. As part of our focus on comprehensive estate liquidation, we offer our unique “Broomclean Service” – our own trucks and crew will transport the fine property to Doyle, remove remaining items, and leave the premises “broomclean.”

INFORMATION For more information please call 212-427-4141, ext 260, or email info@Doyle.com. For estate and appraisal services, please contact our Appraisal and Auction Services Department at 212-427-4141, ext. 227.

AUCTION SCHEDULE OCTOBER

NOVEMBER

DECEMBER

AMERICAN PAINTINGS / AMERICAN FURNITURE & DECORATIVE ARTS Auction: Tuesday, OCTOBER 5 at 10am Exhibition: October 1 – 3

IMPRESSIONIST & MODERN Auction: Tuesday, NOVEMBER 1 at 11am Exhibition: October 29 – 31

DOYLE AT HOME Auction: Wednesday, DECEMBER 7 at 10am Exhibition: December 3 – 5

PRINTS & MULTIPLES Auction: Tuesday, OCTOBER 18 at 10am Exhibition: October 15 – 17

POST-WAR & CONTEMPORARY Auction: Tuesday, NOVEMBER 1 Afternoon Session Exhibition: October 29 – 31

COINS, POSTAGE STAMPS, BANK NOTES Auction: Tuesday, OCTOBER 18 at 2pm Exhibition: October 15 – 17

DOYLE+DESIGN® Auction: Wednesday, NOVEMBER 9 at 10am Exhibition: November 5 – 7

IMPORTANT JEWELRY Auction: Wednesday, OCTOBER 19 at 10am Exhibition: October 15 – 18

FINE JEWELRY - BEVERLY HILLS Auction: Monday, NOVEMBER 14 at 10am (Pacific) Exhibition: November 12 – 13

OLD MASTER PAINTINGS Auction: Wednesday, OCTOBER 26 at 10am Exhibition: October 22 – 24

JEWELRY, WATCHES, SILVER & COINS BY ORDER OF THE PROVIDENT LOAN SOCIETY Auction: Wednesday & Thursday, NOVEMBER 16 & 17 at 10am Exhibition: November 12 - 15

ENGLISH & CONTINENTAL FURNITURE & DECORATIONS Auction: Wednesday, OCTOBER 26 at 10am Exhibition: October 22 – 24

IMPORTANT JEWELRY Auction: Tuesday, DECEMBER 14 at 10am Exhibition: December 10 – 13

RARE BOOKS, AUTOGRAPHS & MAPS Auction: Tuesday, NOVEMBER 22 at 10am Exhibition: November 19 - 21 PHOTOGRAPHS Auction: Tuesday, NOVEMBER 22 at 10am Exhibition: November 19 - 21

CATALOGUES

EXHIBITION HOURS

SELLING AT AUCTION

View the catalogues and leave bids online at Doyle.com, or for printed catalogues please call 212-427-2730 x203 or email subscriptions@Doyle.com

212-427-4141, option 5 or visit Doyle.com

We invite you to contact us for a complimentary auction evaluation of your collection. Please call 212-427-2730 or email info@Doyle.com

DOYLE

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212 - 4 2 7- 2 730

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MAY REACH US DIRECTLY BY DIALING 212-427-4141 DIRECTORY YOU PLUS THE EXTENSION. OFFICERS Kathleen M. Doyle, Chairman/CEO ext 215, Kathy.Doyle@Doyle.com

Ann Limer Lange, Senior Vice President ext 221, Ann.Lange@Doyle.com

Malcolm Mac Neil, Vice President ext 218, Malcolm.MacNeil@Doyle.com

Rodney Lang Senior Executive Vice President ext 243, Rodney.Lang@Doyle.com

Elaine Banks Stainton, Senior Vice President ext 238, Elaine.Stainton@Doyle.com

Harold E. Porcher, Vice President ext 235, Harold.Porcher@Doyle.com

Nan Summerfield, Senior Vice President 310-276-6616, Nan.Summerfield@Doyle.com

Edward Ripley-Duggan, Vice President ext 234, Edward.Ripley-Duggan@Doyle.com

Louis LeB. Webre, Senior Vice President ext 232, Louis.Webre@Doyle.com

Alison Robinson, Vice President ext 229, Alison.Robinson@Doyle.com

Peter Costanzo, Vice President ext 248, Peter.Costanzo@Doyle.com

Gillian M. Ryan, Vice President ext 245, Gillian.Ryan@Doyle.com

Anne Cohen DePietro, Vice President ext 281, Anne.Depietro@Doyle.com

Charlotte A. Taylor, Vice President ext 233, Charlotte.Taylor@Doyle.com

Samira Farmer, Vice President 202-342-6100, Samira.Farmer@Doyle.com

Shani Toledano, Vice President ext 236, Shani.Toledano@Doyle.com

Anna K. Hicks, Vice President ext 272, Anna.Hicks@Doyle.com

Eileen Weisbaum, Vice President ext 226, Eileen.Weisbaum@Doyle.com

Cynthia Klein, Vice President ext 246, Cynthia.Klein@Doyle.com

Janice Youngren, Vice President ext 207, Janice.Youngren@Doyle.com

Joanne Porrino Mournet Executive Vice President ext 227, Joanne.Mournet@Doyle.com Kenneth McKenna Executive Vice President/CFO ext 254, Ken.McKenna@Doyle.com Laura Doyle, Vice Chairman Executive Vice President ext 219, Laura.Doyle@Doyle.com Reid Dunavant, Senior Vice President 202-342-6100, Reid.Dunavant@Doyle.com David A. Gallager, Senior Vice President ext 271, David.Gallager@Doyle.com Peter Lang, Senior Vice President ext 274, Peter.Lang@Doyle.com

SPECIALIST DEPARTMENTS 19TH AND 20TH CENTURY DECORATIVE ARTS Malcolm Mac Neil, Director ext 218, Malcolm.MacNeil@Doyle.com 20TH CENTURY DESIGN Anna K. Hicks, Director ext 272, Anna.Hicks@Doyle.com AMERICAN FURNITURE AND DECORATIVE ARTS David A. Gallager, Director ext 271, David.Gallager@Doyle.com ASIAN WORKS OF ART Marley Rabstenek, Consultant ext 299, Asian@Doyle.com BOOKS, AUTOGRAPHS AND PHOTOGRAPHS Edward Ripley-Duggan, Director ext 234, Edward.Ripley-Duggan@Doyle.com Peter Costanzo, Director ext 248, Peter.Costanzo@Doyle.com COINS, STAMPS AND COLLECTIBLES Norman Scrivener, Consultant ext 273, Norman.Scrivener@Doyle.com ENGLISH AND CONTINENTAL FURNITURE AND DECORATIONS Peter Lang, Director ext 274, Peter.Lang@Doyle.com FURNITURE AND DECORATIONS Rodney Lang ext 243, Rodney.Lang@Doyle.com David A. Gallager ext 271, David.Gallager@Doyle.com Peter Lang ext 274, Peter.Lang@Doyle.com X

Malcolm Mac Neil ext 218, Malcolm.MacNeil@Doyle.com Anna K. Hicks ext 272, Anna.Hicks@Doyle.com Todd Sell ext 269, Todd.Sell@Doyle.com Megan Marie Mastrobattista, Appraiser's Assistant ext 244, Megan.Mastrobattista@Doyle.com Leigh Kendrick, Appraiser's Assistant ext 243, Leigh.Kendrick@Doyle.com JEWELRY Ann Limer Lange, G.G., Executive Director ext 221, Ann.Lange@Doyle.com Kevin Zavian, Senior Specialist ext 262, Jewelry@Doyle.com Martha Garcia, F.G.A., Appraiser, Cataloguer ext 262, Martha.Garcia@Doyle.com Alexandra Fulham, Administrator ext 210, Alexandra.Fulham@Doyle.com CALIFORNIA JEWELRY Nan Summerfield, G.G., Director of California Operations 310-276-6616 Nan.Summerfield@Doyle.com Emily Marchick, G.G., Associate Director of California Operations 310-276-6616 Emily.Marchick@Doyle.com NORTH CAROLINA JEWELRY Hillary Pitts, G.G. 704-582-2258 Hillary.Pitts@Doyle.com

PAINTINGS AND DRAWINGS Elaine Banks Stainton Acting Director ext 238, Elaine.Stainton@Doyle.com Anne Cohen DePietro Director, American Art ext 281, Anne.DePietro@Doyle.com Harold E. Porcher Director, Modern & Post-War Art ext 235, Harold.Porcher@Doyle.com Shani Toledano Associate Director ext 236, Shani.Toledano@Doyle.com Angelo Madrigale Director, Contemporary Art ext 237, Angelo.Madrigale@Doyle.com Ariel Gold Cataloguer ext 266, Ariel.Gold@Doyle.com Hermine Chivian-Cobb Senior Specialist, Fine Art ext 252, Hermine@Doyle.com LeeAna Wolfman Registrar ext 249, LeeAna.Wolfman@Doyle.com PRINTS AND MULTIPLES Cynthia Klein, Director ext 246, Cynthia.Klein@Doyle.com RUGS, CARPETS AND TAPESTRIES Mark M. Topalian ext 602, Mark.Topalian@Doyle.com

REGIONAL REPRESENTATIVES Laura Doyle, Director of Regions 212-427-4141, ext. 219 Laura.Doyle@Doyle.com BOSTON / NEW ENGLAND Kathryn Craig 617-999-8254 Boston@Doyle.com CALIFORNIA Nan Summerfield, G.G. 310-276-6616 Nan.Summerfield@Doyle.com Emily Marchick, G.G. 310-276-6616 Emily.Marchick@Doyle.com

CONNECTICUT Kathy Brackenridge 212-427-4141, ext. 211 203-637-6209 Kathy.Brackenridge@Doyle.com FLORIDA Collin Albertsson 561-322-6795 Collin.Albertsson@Doyle.com NEW JERSEY Jill Bowers 212-427-4141, ext. 225 Jill.Bowers@Doyle.com NORTH CAROLINA Hilary Pitts, G.G. 704-582-2258 Hilary.Pitts@Doyle.com

WASHINGTON, DC/MID-ATLANTIC Reid Dunavant, Director 202-342-6100 Reid.Dunavant@Doyle.com Samira Farmer 202-342-6100 Samira.Farmer@Doyle.com Kristen Ostermayer 202-342-6100 Kristen.Ostermayer@Doyle.com BEIJING Winnie Hu Winnie.Hu@Doyle.com HONG KONG Jasmin Blunck Jasmin.Blunck@Doyle.com

ADMINISTRATION ABSENTEE AND TELEPHONE BIDS Bill Fiddler Bid Fax: 212-427-7526 ext 242, Bids@Doyle.com ACCOUNTING Ryan Won ext 205, Ryan.Won@Doyle.com Emma I. Ebue ext 214, Emma.Ebue@Doyle.com Julie Bacongco ext 223, Julie.Bacongo@Doyle.com CATALOGUE PRODUCTION AND DESIGN Eileen Weisbaum, Director ext 226, Eileen.Weisbaum@Doyle.com Stephanie Cuenca, Senior Graphic Designer ext 250, Stephanie.Cuenca@Doyle.com Alison Wermuth, Graphic Designer ext 276, Alison.Wermuth@Doyle.com PHOTOGRAPHY PRODUCTION Hisao Oka, Director ext. 255 Hisao.Oka@Doyle.com Melissa Aldrich, Photographer Manager of Photography, Jewelry ext 270, Melissa.Aldrich@Doyle.com Ryan Sobotka, Photographer Manager of Photography, Fine & Decorative Arts ext 278, Ryan.Sobotka@Doyle.com Brian Griska, Photographer ext 278, Brian.Griska@Doyle.com Danielle Kiser, Traffic Coordinator ext 277, Danielle.Kiser@Doyle.com RESTORATION SERVICES Charles Mournet, ext 224 INVENTORY CONTROL Eddy Santana

CATALOGUE SUBSCRIPTION Chelsea Wynne ext 203, Chelsea.Wynne@Doyle.com CLIENT SERVICES Janice Youngren, Director ext 207, Janice.Youngren@Doyle.com Mary Dobbin ext 200, Mary.Dobbin@Doyle.com Bill Fiddler ext 242, Bill.Fiddler@Doyle.com Elizabeth Jones ext 204, Elizabeth.Jones@Doyle.com Steven L. Kuzio ext 202, Steven.Kuzio@Doyle.com Chelsea Wynne ext 203, Chelsea.Wynne@Doyle.com MEDIA AND COMMUNICATIONS DEPARTMENT Louis LeB. Webre, Director ext 232, Louis.Webre@Doyle.com

ESTATE AND APPRAISAL SERVICES Joanne Porrino Mournet, Executive Director ext 227, Joanne.Mournet@Doyle.com Lindsey Friedman, Esq. ext 256, Lindsey.Friedman@Doyle.com Gillian M. Ryan, On-site Estates Coordinator ext 245, Gillian.Ryan@Doyle.com Gail Jaffe, Estate and Appraisal Services Assistant ext 216, Gail.Jaffe@Doyle.com APPRAISAL AND CONSIGNMENT SERVICES Alison Robinson, Director/Consignments ext 229, Alison.Robinson@Doyle.com Ashley A. Hill ext 231, Ashley.Hill@Doyle.com Doris M. Fugazy ext 261, Doris.Fugazy@Doyle.com

Charlotte A. Taylor, Art Director ext 233, Charlotte.Taylor@Doyle.com

Ayala Levi ext 259, Ayala.Levi@Doyle.com

Kosala Kumara, Advertising ext 258, Kosala.Kumara@Doyle.com

Alexis Gyateng ext 228, Alexis.Gyateng@Doyle.com

MUSEUM SERVICES

Charlotte Williams ext 240, Charlotte.Williams@Doyle.com

Peter Costanzo Books, Photographs & Manuscripts ext 248, Peter.Costanzo@Doyle.com

Hannah Iversen ext 251, Hannah.Iversen@Doyle.com

Anne Cohen DePietro Paintings ext 281, Anne.DePietro@Doyle.com

HAYLOFT AUCTIONS

David A. Gallager Furniture and Decorative Arts ext 271, David.Gallagher@Doyle.com AUCTIONEERS Rodney Lang Joanne Porrino Mournet Janice Youngren Cynthia Klein Peter Costanzo

Brian Corcoran Director 914-575-7263 Brian.Corcoran@Doyle.com & Brian@HayloftAuctions.com Emily Casden Manager Emily.Casden@Doyle.com & Emily@HayloftAuctions.com

175 EAST 87TH STREET NEW YORK, NY 10128

F OR O FF I CE U SE O NLY

212-427-2730 DOYLE.COM

ABSENTEE & TELEPHONE BID FORM

1.16

* Name and address must agree with resale certificate, if applicable. Invoices cannot be changed once registered.

Please indicate the type of bid you are submitting. Please check one:

ABSENTEE BID

** If you are using a cell phone for bidding, a safety bid is required in case of lost connection.

TELEPHONE BID

Please indicate in what capacity you are bidding. Please check one:

• Telephone bids will only be accepted on lots with a low estimate of $2,000 and above. You must be prepared to bid at least to the low estimate.

B I D D I N G A S A P R I VAT E B U Y E R

B I D D I N G O N B E H A L F O F A C O M PA N Y

S A L E TI TLE

16AM02 • AMERICAN PAINTINGS, FURNITURE & DECORATIVE ARTS

S A L E D AT E

OCTOBER 5, 2016

N A M E*

• Absentee bids are executed in competition with the audience, on an alternate basis. Due to the uncertainties of bidding patterns, a lot may sell to the audience for the same amount or slightly less than your bid. To avoid this possibility, you may authorize us to increase your bid by one increment by placing a plus sign (+) beside the maximum bid.

C O MPA NY (If applicable) A D DRE SS *

Change of Address

C IT Y

STATE

ZIP CODE

• In the event that identical bids are submitted, the earliest will take precedence.

P HO N E

FAX

• A Buyer’s Premium, as stated in the Conditions of Sale, will be added to the hammer price.

P HO N E (DAY O F SALE )** C L I EN T N UMBE R (N EW CLI EN T S: Please provide Passport number, US Driver’s License, or Visa or MasterCard with expiration date)

LOT N U MB ER

• Absentee bidding is a service provided with the understanding that Doyle New York shall not be responsible for errors and/or omissions. Changes to bids on the day of sale must be submitted in writing by fax or email.

TOP LIMIT OF BI D / SAFE TY BI D

Excluding Buyer’s Premium

L OT N U MB E R

T O P L I MI T O F B ID / S A F ET Y BI D

Excluding Buyer’s Premium

L OT N U M BE R

T OP LI M I T O F B ID / S A FE TY B I D

Excluding Buyer’s Premium

• Buyers unknown to Doyle New York are advised to arrange payment or supply credit references in advance of the sale date. Otherwise, purchases cannot leave our premises until checks have cleared. • A 25% deposit may be required on certain absentee bids. • Lot descriptions do not include damage, repairs or restoration to items. The absence from the description of any such notes must not be taken to imply that the lot is in perfect condition. Condition reports are provided upon request. • Successful bidders should make arrangements to have their purchases removed from the premises no later than 4:30pm on the day following the sale. ° Terms and Conditions of Sale may be viewed in the catalogue, on our Web site and in our salesroom.

Terms and Conditions of Sale°

B I D D I N G I N C R E M E N T S (The auctioneer may vary the increments at his / her discretion.) $0 – $100 . . . . . . . . . . . . . . . $10 $100 – $500 . . . . . . . . . . . . . $25 $500 – $1,000 . . . . . . . . . . . . $50 $1,000 – $2,000 . . . . . . . . . . $100 $2,000 – $5,000 . . . . . . . . . . $250 $5,000 – $10,000 . . . . . . . . . $500 $10,000 – $20,000 . . . . . . . . $1,000 $20,000 – $50,000 . . . . . . . . $2,500 $50,000 – $100,000 . . . . . . $5,000 $100,000+ . . . . . . . . . . . . $10,000

S I GNATU RE

Consumer Affairs No. 0777006

I understand and agree to the

XII

Submit bids by FAX: 212-427-7526 or email: Bids@Doyle.com by 5pm (Eastern) the evening before the auction. Bids will be confirmed by email. You may contact the Bid Department for confirmation at 212-427-4141, ext 242 or 207

CLIENT SERVICES

CLIENT ACCOUNTS

Janice Youngren, Director 212-427-4141, ext 207 Janice@Doyle.com

Steven Kuzio 212-427-4141, ext 202 ClientAccounts@Doyle.com

BIDDING SERVICES Absentee & Telephone Bids Bill Fiddler 212-427-4141, ext 242 Bid Fax: 212-427-7526 Bids@Doyle.com

BidLive! Internet Bidding Elizabeth Jones 212-427-4141, ext 204 BidLive@Doyle.com

NEW YORK 175 East 87th Street New York, NY 10128 212-427-2730 Info@Doyle.com CALIFORNIA 9595 Wilshire Boulevard Penthouse 1012 Beverly Hills, CA 90212 310-276-6616 DoyleLA@Doyle.com BOSTON / NEW ENGLAND 129 Newbury Street Suite 400 Boston, MA 02116 617-999-8254 Boston@Doyle.com

SPECIALISTS

CONNECTICUT 136 East Putnam Avenue Greenwich, CT 06830 212-427-4141, ext 211 203-637-6209 DoyleCT@Doyle.com David A. Gallager SVP, Director, American Furniture and Decorative Arts 212-427-4141 ext 271 David.Gallager@ Doyle.com

Anne Cohen DePietro, VP, Director, American Art 212-427-4141 ext 281 Anne.DePietro@ Doyle.com

Todd Sell Silver 212-427-4141 ext 269 Todd.Sell@ Doyle.com

NEW JERSEY 212-427-4141, ext 225 DoyleNJ@Doyle.com WASHINGTON, DC / MID-ATLANTIC 3256 Prospect Street, NW Washington, DC 20007 202-342-6100 DoyleDC@Doyle.com NORTH CAROLINA 704-582-2258 DoyleNC@Doyle.com

Ariel Gold, Cataloguer, Paintings 212-427-4141 ext 266 Ariel.Gold@ Doyle.com

Mark Topalian Rugs, Carpets and Tapestries 212-427-4141 ext 244 Mark.Topalian@ Doyle.com

FLORIDA 561-322-6795 DoyleFL@Doyle.com

Front Cover Back Cover Inside Front Cover

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AMERICAN PAINTINGS, FURNITURE & DECORATIVE ARTS

175 EAST 8 7 TH STREET

NEW YORK, NY 10128

212 - 4 2 7- 2 730

DOY L E .COM

OCTOBER 5, 2016

DOYLE