American Paintings, Furniture & Decorative Arts

AMERICAN PAINTINGS, FURNITURE & DECORATIVE ARTS

NEW YORK

AMERICAN PAINTINGS, FURNITURE & DECORATIVE ARTS

AUCTION Tuesday, April 21, 2020 at 10am

LOCATION www.Doyle.com

INCLUDING PROPERTY FROM THE ESTATES OF Peter J. & Mary Ann Ruda Brickfield Revocable Living Trust The Nelson Doubleday, Jr. Collection An Upper East Side Collector Julia Acton Forrest Collection of Frank and Claire Tracy Glaser Arthur Gross Steven R. Gross Robin R. Henry Pauline Ireland, Birmingham, AL Virginia Strub Kelly An Elegant Lady Hattie Lynton Laura M. Mako An Oyster Bay Estate A Park Avenue Estate Percy Rivington and Evelyn Sloane Pyne Richard and Carole Rifkind Miriam K. Rothenberg David C. Sawyer Leonard and Elaine Silverstein, Bethesda, MD

INCLUDING PROPERTY FROM Gift of J. Brooks Buxton, sold for the benefit of the Fleming Museum, University of Vermont An International Collector A Morristown, NJ Collection A Distinguished New York Collector A New York Collection A Park Avenue Lady A Private Collector, Greenwich, Connecticut A Private Collector, New York A Short Hills Private Collector A South Carolina Collector A Tudor City Lady A West Village Lady

CONTENTS Paintings Prints Silver & Silver Plate Furniture & Decorative Arts Carpets & Rugs

1-91 92-106 107-181 182-317 318-338

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

AMERICAN PAINTINGS, PRINTS & SCULPTURE

Lot 88

PROPERTY FROM THE ESTATE OF

ARTHUR GROSS Doyle is pleased to auction property from the Estate of Arthur Gross. A true gentleman, Artie was highly regarded and much-loved by his peers in the American furniture and decorative arts trade.

In the 1960s Artie owned Kaye & Gross, an antiques shop in Manhattan’s East 70s, when he met a young Bill Doyle, who had opened his own antiques store in the East 80s, which became Doyle Auctioneers & Appraisers. Artie and Bill established a friendship through their shared passion for Americana. Artie had a deep, scholarly knowledge of American furniture, which he generously shared with collectors, curators and others in the trade.

An avid angler, Artie spent winters fishing in the Florida Keys and summers in the waters off Long Island.

In retirement he moved with his wife, Maryjane, to Northport on Long Island’s North Shore, where he surrounded himself with his beloved collection.

Property from the Estate of Arthur Gross comprises lots 13, 17, 20, 27, 29, 182, 188, 195, 202, 233, 235, 241, 252, 274, 277, 281, 283, 287, 315.

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1 American School 19th Century Portrait of a Young Girl in a Flowered Dress Oil on canvas 24 7/8 x 21 inches C $1,000-2,000 See Illustration 2 Ferdinand T. Spangenberg American, 1819-1900 Child with a Dog with the Hudson River in the Background Signed F Spangenberg and dated 1856 (lr) Oil on canvas 36 x 29 1/4 inches Provenance: Kennedy Galleries, New York C $1,000-1,500 See Illustration

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3 American School 19th Century Portrait of a Boy said to be Fitz John Porter (1822-1901), circa 1826 Oil on canvas 36 x 28 inches Fitz John Porter was later a Major General in the Union Army in the American Civil War C $1,500-3,500 See Illustration

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4 Erastus Salisbury Field American, 1805-1900 Young Woman with Sheet Music and a Gentleman Holding an Oboe: pair Oil on canvas Each 35 x 29 inches Provenance: [Sale] Sotheby’s, New York, January 28, 1982, lot 8 C $5,000-8,000 See Illustration 5 Attributed to John Blunt Portrait of a Lady Oil on canvas 30 x 25 inches Provenance: Patricia Reynolds Hohenberger, Northport NY C $3,000-5,000 See Illustration

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6 part

7 6 Attributed to Thomas Sully (i) The Bridal Eve, 1826 Dated 1826 and inscribed indistinctly and as titled Watercolor on paper 5 3/4 x 6 1/4 inches (ii) Woman Reading Oil on paper 6 1/8 x 5 inches (iii) Woman by the Sea Oil on paper 8 3/4 x 6 1/4 inches C $3,000-5,000 See Illustration of Part 7 Erastus Salisbury Field American, 1805-1900 Portrait of a Gentleman Oil on canvas 28 1/2 x 25 5/8 inches C $2,500-3,500 See Illustration

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8 American School 19th Century Portrait of Reverend John Rodgers, circa 1810 Oil on panel 9 1/2 x 7 3/4 inches Provenance: Valdemar F. Jacobsen Antiques, Cold Spring Harbor, NY • $150-250 See Illustration

9 American School 19th Century Man at His Writing Desk Oil on canvas laid to aluminum 30 x 26 1/2 inches C $200-300 10 American School 19th Century Portrait of George Washington Oil on canvas 30 3/4 x 25 1/8 inches C $2,500-4,500 See Illustration

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11 American School 19th Century General Washington with the Troops Oil on canvas 26 x 36 inches C $800-1,200 See Illustration 12 No Lot

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13 Antonio Nicolo Gasparo Jacobsen Danish/American, 1850-1921 The Ship, YOUNG AMERICA, 1913 Signed Antonio Jacobsen and dated 1913 (lr) Oil on board 11 3/4 x 19 1/2 inches C Property of the Estate of Arthur Gross $5,000-7,000 See Illustration

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14 Antonio Nicolo Gasparo Jacobsen Danish/American, 1850-1921 Steamship Signed A. Jacobsen and dated 1913 (ll) Oil on panel 5 5/8 x 15 35/8 inches C $1,000-1,500 See Illustration

15 William Haskell Coffin American, 1812-1898 COLUMBIA vs. SHAMROCK: America’s Cup, 1899, 1900 Signed W. H. Coffin. and dated 1900. (lr) Oil on tin 8 7/8 x 11 inches Provenance: Thomaston Place Auction Gallery, Thomaston, ME, July 29, 2006, lot 28 C $3,000-5,000 See Illustration

16 American School 20th Century S. S. ARMINA Signed with the artist’s device, inscribed S/S “Armina” 1880. commod.

D. R. P. H. Apell (lc) Oil on canvasboard 17 1/2 x 25 1/2 inches C $700-900

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17 Edward Moran American, 1829-1901 New York Harbor, circa 1874 Signed Edward Moran (ll); bears inscription Edward Moran / New York 1874 on the reverse Oil on canvas 30 x 25 inches C Property of the Estate of Arthur Gross $10,000-15,000 See Illustration

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18 18 Russell Smith Scottish/American, 1812-1896 Ossipee Mountain and Five Mile Pond, Conway Valley, New Hampshire, 1849 Inscribed Ossipee Mtn. (lr); Bears signature Russell Smith, dated 1849 and inscribed Ossipee Mountain... - 5 Mile Pond and further inscribed RS-161 on the reverse Oil on paper 8 x 11 3/4 inches

19 Russell Smith Scottish/American, 1812-1896 The Narrows in Lake George, 1848 Signed Russell Smith, dated June 1848, and inscribed Narrows in Lake George between Tounge and Black Mts / looking North further inscribed To be painted 2 by 3 feet for Harry Ingersol Esq Oil on paper 9 3/8 x 14 7/8 inches Provenance: Vose Galleries, Boston Collection of J. Brooks Buxton

Provenance: Vose Galleries, Boston Collection of J. Brooks Buxton

C Gift of J. Brooks Buxton, sold for the benefit of the Fleming Museum, University of Vermont $1,500-2,500 See Illustration

C Gift of J. Brooks Buxton, sold for the benefit of the Fleming Museum, University of Vermont $1,500-2,500 See Illustration

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BILL FIDDLER EXPLORES

WILLIAM TROST RICHARDS’ KING ARTHUR’S CASTLE

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20 William Trost Richards American, 1833-1905 King Arthur’s Castle, Tintagel, Cornwall, England, 1889 Signed Wm T Richards and dated 89 (ll); inscribed as titled on a paper label affixed to the stretcher Oil on canvas 18 x 30 1/8 inches C Property of the Estate of Arthur Gross $20,000-30,000

In this work Richards revisits a subject he treated many times, each one a study in the differing atmospheric conditions of the locale. Here the light breaks through the clouds, illuminating the ruins of Tintagel castle with a warm glow. Even though a few waves are lapping at the cliffs, the sea is rather calm. The whole of the composition expresses a serene magnificence. In contrast, a version of the same scene owned by the Brooklyn Museum, The League Long Breakers Thundering the Reef, portrays the castle illuminated in a more dramatic light shadowed by dark clouds above a rough sea which creates a more tumultuous scene.

In the collection of the Brooklyn Museum William Trost Richards (American, 1833-1905).

The League Long Breakers Thundering on the Reef, 1887.

Oil on canvas, 28 3/16 x 44 1/8in. (71.6 x 112.1cm).

Brooklyn Museum, Bequest of Alice C. Crowell, 32.140 (Photo: Brooklyn Museum, 32.140_SL1.jpg)

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21 21 Charles W. Knapp American, 1823-1900 View on the Susquehanna River, 1872 Signed C. W. Knapp and dated 72 (ll) Oil on canvas 20 x 36 1/2 inches Provenance: Richard York Gallery, New York C $7,000-10,000 See Illustration

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22 Edward Lamson Henry American, 1841-1919 Landscape with Rainbow, circa 1860s Initialed E L H and dated 6...

Oil on paper mounted to canvas 8 x 12 inches Provenance: William Macbeth, Inc. New York C $1,200-1,800 See Illustration 23 Joseph Ropes American, 1812-1885 On the Creek, 1879 Signed J. Ropes. and dated 1879. (lr) Oil on canvas 11 x 14 inches C $1,200-1,800 See Illustration

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24 Samuel Lancaster Gerry American, 1813-1891 Landscape with Cows at the Banks of a River, 1837 Signed S L Gerry and dated 1837 (lr) Oil on canvas 26 x 36 1/4 inches C $3,000-5,000 See Illustration

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25 Edmund Darch Lewis American, 1835-1901 Forest and Rocky Stream, 1891 Signed Edmund D. Lewis and dated 91 (lr) Oil on canvas 31 x 50 3/4 inches C Property of a South Carolina Collector $2,000-3,000 See Illustration

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26 Samuel S. Carr American, 1837-1908 In the Pasture Signed S. S. Carr. (ll) Oil on canvas 12 x 18 inches Provenance: Hammer Galleries, New York C $2,500-3,500 See Illustration

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27 George Harvey English/American, 1800-1878 The Shady Seat, 1845 Signed G. Harvey and dated 1845; inscribed G Harvey on a remnant of the stretcher Oil on canvas 17 1/4 x14 inches C Property of the Estate of Arthur Gross $2,000-4,000 See Illustration

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28 Charles Linford American, 1846-1897 Landscape with a Farmhouse and Stream Signed C. LINFORD. (lr) Oil on canvas 12 x 17 inches C $600-900 See Illustration

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29 Alfred Thompson Bricher American, 1837-1908 Grand Manan Island Signed ATBricher with conjoined initials (lr) Oil on canvas 17 x 30 1/8 inches C Property of the Estate of Arthur Gross $30,000-50,000 See Illustration

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30 John White Allen Scott American, 1815-1907 A Valley in New England after a Storm Signed J W A Scott (ll) Oil on canvas mounted to panel 30 x 50 inches C $5,000-8,000 See Illustration

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31 John White Allen Scott American, 1815-1907 New England Farm Signed and dated indistinctly (ll) Oil on canvas 38 1/4 x 50 inches Provenance: Vose Galleries, Boston C $5,000-8,000 See Illustration 32 John White Allen Scott American, 1815-1907 New Hampshire Scene, 1871 Signed J W A Scott and dated /71 (lr) Oil on canvas 22 x 36 inches Provenance: Goodspeed’s Book Shop, Inc., Boston C $4,000-6,000 See Illustration

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33 John White Allen Scott American, 1815-1907 Boating, 1890 Signed J. Scott. and dated 1890 Watercolor 10 7/8 x 18 7/8 inches sight C $800-1,200

34 George Inness American, 1825-1894 View on the Hudson, circa 1875-78 Signed Geo Inness (lr) Oil on canvas-faced artist’s board 11 5/8 x 9 1/2 inches Provenance: S. W. Norris, Philadelphia [Sale] Samuel T. Freeman and Co., Philadelphia, Nov. 29, 1961. Lot 519 as Landscape with Figures Private collection LeRoy and Marguerite Ireland to 1973 Chapellier Galleries, New York, by 1973 Private collection Literature: LeRoy Ireland, The Works of George Inness, Austin, TX, 1965, no. 761, p. 189, illus p. 188 Exhibited: New York, NY, Hirschl and Adler Galleries, American Paintings for Public and Private Collections, 1967-68, illus p. 56 New York, NY, Chapellier Galleries, American Art Selections, 1973, Vol. III, no. 48, illus.

This work will be included in the supplement to Michael Quick’s George Inness: A Catalogue Raisonné C $6,000-8,000 See Illustration

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35 Hermann Ottomar Herzog American, 1832-1932 Road Scene in New Jersey (Springtime) Signed H. Herzog (lr); inscribed 296 on a linen label affixed to the stretcher Oil on canvas 18 x 23 inches C $8,000-12,000 See Illustration

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36 Charlotte Buell Coman American, 1833-1924 (i) Windmill Signed C B Coman (ll) Oil on panel 4 7/8 x 7 5/8 inches (ii) Holland Signed C B Coman (ll) Oil on panel 4 3/4 x 7 1/2 inches C $600-800 See Illustration

36 part

37 Edward Gay American, 1837-1928 Landscape, 1890 Signed Edward Gay and dated 1890 (lr) Oil on canvas 20 x 30 inches C $1,200-1,800 See Illustration

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38 Alexander Helwig Wyant American, 1836-1892 Marsh Landscape Signed A. H. Wyant (lr) Oil on canvas 36 x 55 1/2 inches Provenance: [Sale] Christie’s, Los Angeles, Oct. 24, 2004 Spanierman Gallery, LLC, New York [Sale] Sotheby’s, new York, June 9, 2016, lot 96 C $5,000-7,000 See Illustration

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39 Manner of Ralph Albert Blakelock 19th Century Forest Interior, NBI-2125-IV Oil on canvas 30 x 29 inches Provenance: Salander - O’Reilly Galleries, New York C $2,000-4,000 See Illustration

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40 Louis Michel Eilshemius American, 1864-1941 Landscape Signed Eilshemius (lr) Oil on board laid to Masonite 28 x 22 inches Provenance: Graham Gallery, New York [Sale] Christies, New York, Feb. 6, 2007, lot 158 C $2,000-3,000 See Illustration

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41 Lemuel D. Eldred American, 1848-1921 Assonet, 1920 Signed L. D. Eldred, dated 1920, and inscribed as titled (lr) Oil on canvas 18 x 30 inches C $1,500-2,500 See Illustration

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42 William Aiken Walker American, 1838-1921 (i) Carolina, The Cotton Picker Signed WAWalker. with conjoined initials (lr) Oil on board 8 1/4 x 4 1/4 inches (ii) Bearded Cotton Picker Signed WAWalker. with conjoined initials (ll) Oil on board 8 1/4 x 4 1/4 inches Provenance: Kennedy Galleries, New York We extend our sincere thanks to Mr. Rob Hicklin for his kind assistance in authenticating these works.

C $6,000-8,000 See Illustration of Part 43 William Aiken Walker American, 1838 - 1921 Woman in a Cotton Field Signed WAWalker with conjoined initials (ll) Oil on board 12 x 6 ½ inches

42 part

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We extend our sincere thanks to Mr. Rob Hicklin for his kind assistance in authenticating the present work.

C $6,000-8,000 See Illustration

44 Hermann Fuechsel German/American, 1833-1915 Pastoral Scene with Ducks, circa 1890s Signed H. Fuechsel and dated 189... (lr) Oil on canvas 17 x 26 inches C $2,000-4,000 See Illustration

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45 Henry Pember Smith American, 1854-1907 House Along the River Signed Henry P Smith (lr) Oil on canvas 20 x 28 inches C $2,500-3,500 See Illustration

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46 Henry Pember Smith American, 1854-1907 New England Homestead Signed Henry P Smith. (ll) Oil on canvas 14 1/4 x 20 inches C $800-1,200 See Illustration

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47 William Mason Brown American, 1828-1898 Still Life with Peaches Signed with conjoined initials WMBrown. (ll) Oil on panel 10 1/2 x 14 7/8 inches C $3,000-5,000 See Illustration 48 Henry Alexander American, 1860-1894 Still Life with Phoenician Glass Signed Henry Alexander (lr) Oil on canvas 22 1/4 x 27 1/4 inches Provenance: Maxwell Galleries, San Francisco Collection of Mr. and Mrs. Bruce Friedman, Piedmont, CA Exhibited: San Francisco, CA, M. H. De Young Memorial Museum, Paintings by Henry Alexander, Feb. 3 - April 1, 1973 C $10,000-15,000 See Illustration

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49 Charles Caryl Coleman American, 1840-1928 Outside the Walls, 1868 Signed with the artist’s device and dated Roma / 1868. (lr); inscribed as titled and further inscribed indistinctly on the stretcher Oil on canvas 6 1/2 x 13 3/4 inches Exhibited: New York, Questroyal Fine Art, Inc., Myth and Reality: Elihu Vedder and American Painters in Italy, May 10 - 31, 2012 C $1,200-1,800 See Illustration 50 Elihu Vedder American, 1836-1923 Leaning Trees near Viareggio Signed Vedder (lr) Oil on artist’s board mounted to Masonite 17 1/2 x 10 5/8 inches Exhibited: New York, Questroyal Fine Art, Inc., Myth and Reality: Elihu Vedder and American Painters in Italy, May 10 - 31, 2012 C $4,000-6,000 See Illustration

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51 Elihu Vedder American, 1836-1923 Landscape by the Sea, 1865 Initialed V and dated 1865 (ll) Oil on canvas 7 3/4 x 17 1/4 C $3,000-5,000 See Illustration

52 Elihu Vedder American, 1836-1923 Figures by a Wall in Moonlight Signed Elihu Vedder (lr); inscribed To the Stetsons / from the Vedders / Christmas - 1909 and with conservation treatment notes on the reverse Oil on panel 6 1/2 x 11 5/8 inches

53 Elihu Vedder American, 1836-1923 Campagna Romana, circa 1870 Signed Vedder (lr) Oil on canvas mounted to card 12 x 6 7/8 inches

Provenance: [Sale] Christie’s, New York, Mar. 16, 1990, lot 77

Exhibited: New York, Questroyal Fine Art, Inc., Myth and Reality: Elihu Vedder and American Painters in Italy, May 10 - 31, 2012 C $1,500-2,500 See Illustration

Exhibited: New York, Questroyal Fine Art, Inc., Myth and Reality: Elihu Vedder and American Painters in Italy, May 10 - 31, 2012 C $3,000-5,000 See Illustration

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Provenance: [Sale] Doyle, New York, Nov. 6, 1996, lot 112

54 54 Elihu Vedder American, 1836-1923 Woman’s Head Oil on canvas 13 x 10 inches Exhibited: New York, Questroyal Fine Art, Inc., Myth and Reality: Elihu Vedder and American Painters in Italy, May 10 - 31, 2012 C $3,000-5,000 See Illustration

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56 Frederick Arthur Bridgman American, 1847-1928 (i) A Street Scene, el-Maragha, 1874 Estate stamped (lr), inscribed Maragha / Egypt and dated 28 March 1874 (ll); inscribed 235 on the reverse Watercolor and graphite on paper 6 1/2 x 4 inches (ii) Part of a Pilgrimage Procession Estate stamped (lr) Watercolor and graphite on paper 3 1/2 x 5 3/4 inches

55 Elihu Vedder American, 1836-1923 Robed Figure Oil on canvas 9 3/4 x 3 3/4 inches

(iii) Two Decorated Camels with Mounted Figures Estate stamped (lr), dated Cairo April /74 (ll) and inscribed retour do ... (lc) Watercolor and pencil on paper 3 1/2 x 5 3/4 inches

Exhibited: New York, Questroyal Fine Art, Inc., Myth and Reality: Elihu Vedder and American Painters in Italy, May 10 - 31, 2012 C $800-1,200 See Illustration

(iv) Two Women on a Camel Estate stamped (ll) Watercolor and graphite on paper 4 1/8 x 3 1/2 inches Provenance: Agnew’s, London C Gift of J. Brooks Buxton, sold for the benefit of the Fleming Museum, University of Vermont $1,000-3,000 See Illustration

56 part

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ALBERT BIER STADT As the best-known early painter of the American West, Albert Bierstadt was largely responsible for introducing eastern audiences to the grandeur of the Rocky Mountains and the Sierra Nevada ranges. The artist was a skilled promoter of his own work, resulting in financial and critical success during his life-time. There was a resurgence of interest in the artist’s legacy in the 20th century due to the re-examination of his intimate oil studies.

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Lot 57

Albert Bierstadt was born in Solingen, Germany in 1830 and emigrated with his family to New Bedford, Massachusetts as a young child. Largely self-taught, he began to advertise himself to the community as a drawing instructor. In the 1850s, Bierstadt traveled back to Germany to study painting in Dusseldorf.

Though he was not a student at the Dusseldorf Academy, he developed friendships with Emanuel Leutze and Worthington Whittredge, both of whom became informal mentors to him. After three years in Dusseldorf, Bierstadt and Whittredge went on an extended tour of Europe, creating sketches along the way.

By 1857, Bierstadt had returned to New Bedford. The following year, he exhibited a large painting of Lake Lucerne in the Swiss Alps at the National Academy of Design in New York. The work’s warm reception was the young artist’s first taste of success and showcased his potential as a painter of romantic mountainous landscapes.

In 1859, Bierstadt joined a surveying expedition to the Rocky Mountains led by Colonel Frederick W. Lander. This would be the first of many trips west for the artist. On these sojourns he produced copious sketches, often in oil, which he would later use to compose large, panoramic canvases. Upon his return from the expedition, Bierstadt established himself in a studio on 10th Street in New York and began work on the first of these monumental vistas.

When exhibited in the early 1860s, the panoramas were praised for their romantic portrayal of the American West as a new Eden.

Bierstadt continued to travel out west for the rest of his life, earning enormous financial and critical success from his labors. He was elected a full Academician of the National Academy of Design, earned an audience with Queen Victoria to present two of his paintings, and won commissions from the US Congress to create two murals for the Capitol Building.

As tastes changed, Bierstadt’s large canvases began to fall out of favor. The rise in popularity of the Barbizon School and later the Impressionists made his paintings look oldfashioned to contemporary audiences. Except among collectors such as Thomas Gilcrease, who had a particular interest in American art of the west, Bierstadt’s work was not reconsidered until the latter half of the 20th century.

A series of exhibitions in the 1960s focused on Bierstadt’s oil sketches once again captivated audiences. These works uniquely highlight the artist’s attention to color, and exhibit his confident brushwork, which appealed to modern sensibilities.

Bierstadt’s studies were executed with a directness not unlike the art being created by contemporary figures.

Indeed, the palette of high-key salmon tones against the neutral greys and silhouetted horizon of Sunset over the Trees could easily be compared to the Rothko works being lauded around that time. These intimate sketches document Bierstadt’s observations of nature and were an integral part of the process he used to compose his vast theatrical landscapes.

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“Truly all is remarkable and a wellspring of amazement and wonder. Man is so fortunate to dwell in this American Garden of Eden."

- ALBERT BIERSTADT

57 Albert Bierstadt American, 1830-1902 Sunset over the Trees Signed ABierstadt with conjoined initials (ll) Oil on paper laid to canvas 14 x 19 1/2 inches Provenance: Kennedy Galleries, New York Private Collection in the late 1970s We would like to thank Melissa Webster Speidel, President of the Bierstadt Foundation and Director of the Albert Bierstadt catalogue raisonné project, for her assistance in the cataloguing of this lot.

C $30,000-50,000 See Illustration

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58 Thomas Hill American, 1829-1908 Nevada Falls, Yosemite Signed T. Hill. (ll) Oil on canvas 23 3/4 x 16 inches Provenance: James Graham and Sons, New York C $12,000-18,000 See Illustration

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59 American School 19th Century Chimborazo Remnants of a signature (lr) Gouache on paper 12 1/4 x 21 1/4 inches Provenance: Salander - O’Reilly Galleries, New York C $1,000-1,500 See Illustration

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60 Thomas Moran American, 1837-1926 Mexican Landscape, 1883 Signed TMoran with conjoined initials and dated 1883 (lc) 6 1/2 x 8 3/4 inches Provenance: Private collection C $6,000-8,000 See Illustration

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61 American School 19th Century Indian Encampment Oil on panel 5 3/4 x 7 1/4 inches C Gift of J. Brooks Buxton, sold for the benefit of the Fleming Museum, University of Vermont $800-1,200 See Illustration

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62 Olaf Carl Seltzer American, 1877-1957 Trouble Hunters, 1938 Signed O. C. Seltzer. (ll); signed (twice) O. C. Seltzer, dated (twice) 1938, and inscribed as titled on paper labels affixed to the backing board Oil on canvas 19 3/4 x 29 1/4 Provenance: Kennedy Galleries, New York • $20,000-30,000 See Illustration

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63 Carl Hantman American, b. 1933/35 Escaping the Smoke Signed Carl Hantman (lr) Oil on canvas 30 x 42 inches Provenance: J. N. Bartfield Galleries, New York C Property of a Private Collector, New York $2,000-4,000 See Illustration

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64 George Kennedy Brandriff American, 1890-1936 Pueblo Inscribed indistinctly (lr); Inscribed George K. Brandriff “Brandy”/ presented to / Grace Vollmer on the backing board Oil on board 14 x 17 7/8 inches C $4,000-6,000 See Illustration

65 Charles Marion Russell American, 1864-1926 Big Horn Sheep Initialed CMR with the artist’s device and stamped with Roman Bronze Works NY Bronze with a brown patina 8 1/4 inches C Estate of Laura M. Mako $3,000-5,000 See Illustration

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66 Alexander Pope, Jr. American, 1849-1924 An English Setter in a Field Signed ALEXANDER POPE (ll) Oil on canvas laid to Masonite 46 x 36 1/8 inches (116.8 x 91.7 cm) Provenance: Collection of Dorothy Hutchinson, Essex, CT Sale, Bonhams, New York, Feb. 16, 2011, lot 141 C $8,000-12,000 See Illustration 67 Harry Roseland American, 1866/68-1950 Palm Reading, 1902 Signed HARRY ROSELAND and dated 1902 (ur) Oil on canvas 12 x 16 inches C $1,200-1,500 See Illustration

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68 Louis Frederick Berneker American, 1876-1937 Ladies Sewing, 1904 Signed Louis F. Berneker. and dated Paris 1904. (lr) Oil on canvas 16 x 13 inches C $2,000-4,000 See Illustration

69 Eastman Johnson American, 1824-1906 Portrait of John Stewart Kennedy, 1894 Signed E. Johnson and dated 1894 (ll) Oil on canvas 50 1/2 x 40 1/2 inches Provenance: United Charities, New York Isabel O’Neil Foundation, New York This work will be included in the forthcoming catalogue raisonné of the artist’s work being compiled by Dr. Patricia Hills. We would like to thank Dr. Hills for her assistance in cataloguing this lot.

C $7,000-10,000 See Illustration

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70 Adam Emory Albright American, 1862-1957 Two Young Connoisseurs, 1897 Signed A. E. Albright and dated /97 (ll) Oil on canvas 20 x 25 inches C $2,000-3,000 See Illustration

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71 Thomas Hart Benton American, 1889-1975 Portrait of Thomas Craven, after 1931 Bears inscription ...MAS CRAVEN / Author of MEN OF ART / by THOMAS H BENTON on the reverse Gouache on board 7 1/4 x 5 3/4 inches Provenance: Thomas Craven By descent to Richard Craven, his son By descent to Carol B. Craven, his wife This work will be included in the forthcoming Thomas Hart Benton catalogue raisonnĂŠ being prepared by the Thomas Hart Benton Catalogue Raissone Foundation C $5,000-7,000 See Illustration

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72 Thomas Hart Benton American, 1889-1975 Horses Signed Benton (lr) Ink on paper 8 7/8 x 11 3/4 inches

73 Everett Shinn American, 1876-1953 Arrival at Plymouth, circa 1940s Signed Everett Shinn and dated 194... (lr) Ink wash and charcoal on illustration board 12 x 19 1/4 inches

Provenance: Thomas Craven By descent to Richard Craven, his son By descent to Carol B. Craven, his wife C $3,000-5,000 See Illustration

Provenance: Estate of the artist Hamilton Gallery, New York The Collection of Joan and Lester Avnet C $800-1,200 See Illustration

74 Colin Campbell Cooper American, 1856-1937 A Pavilion Stamped Colin Campbell Cooper (lr); estate stamped on the stretcher Oil on canvas 13 x 19 inches C $2,000-4,000 See Illustration 75 Colin Campbell Cooper American, 1856-1937 Times Square Signed Colin C. Cooper (ll) Gouache on board 11 1/2 x 15 1/8 inches (29.3 x 38.5 cm) C $2,000-4,000

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76 American School 19th Century View of Ware, Massachusetts Inscribed View of Ware, Mass. on the stretcher Oil on canvas mounted to Masonite 16 x 24 inches C $1,200-1,800 See Illustration 77 Scott Leighton American, 1849-1898 The Flock Signed Scott Leighton and dated indistinctly (lr) Oil on canvas 20 1/4 x 25 1/4 inches C $1,000-1,500

76

78 Edward Henry Potthast American, 1857-1927 The Coast, Ogunquit, Maine Signed E. Potthast (ll); inscribed as titled and with artist’s name on the reverse Oil on canvasboard 8 x 10 inches (20.2 x 25.4 cm) C $5,000-7,000 See Illustration

78 VIEW THE FULLY ILLUSTRATED CATALOGUE AND BID ONLINE AT DOYLE.COM 43

79 Bruce Crane American, 1857-1937 Landscape Signed Bruce Crane (lr) Oil on canvas 23 5/8 x 36 inches C $4,000-6,000 See Illustration

79

80 American School 20th Century Landscape Signed indistinctly and dated 16 (lr) Oil on panel 8 1/8 x 10 inches C $200-400’ 81 Ernest Lawson American, 1873-1939 Spring, Connecticut Signed E. Lawson (ll) Oil on panel 8 1/2 x 12 1/4 inches Provenance: Owings Dewey Fine Art, Santa Fe, NM Gene Mako Galleries, Los Angles C Estate of Laura M. Mako $4,000-6,000 See Illustration

81

82 Ernest Lawson American, 1873-1939 Spring Impressions Signed E Lawson (lr) Oil on board 8 x 10 inches Provenance: Fox Gallery, New York C $2,000-4,000 See Illustration

82 44 DOYLE • NEW YORK

83 Emile A. Gruppe American, 1896-1978 Clear Morning, Vermont Signed Emile A. Gruppe (lr); signed Emile A. Gruppe and inscribed as titled on the reverse Oil on canvasboard 16 x 20 inches C Gift of J. Brooks Buxton, sold for the benefit of the Fleming Museum, University of Vermont $1,500-3,500 See Illustration

84 Thomas R. Curtin American, 1899-1977 The Lamoille River, Johnson, Vermont Oil on canvasboard 10 x 14 inches

83

Provenance: The artist Elizabeth Knudsen, Cambridge, VT Visions of Vermont Gallery, Jeffersonville, VT Collection of J. Brooks Buxton C Gift of J. Brooks Buxton, sold for the benefit of the Fleming Museum, University of Vermont $1,000-2,000 See Illustration

85 Thomas R. Curtin American, 1899-1977 (i) Covered Bridge in Winter Watercolor on paper 9 x 12 inches

84

(ii) The Fisherman Watercolor on paper 9 x 12 inches (iii) Snowfields Watercolor on paper 10 1/8 x 14 1/8 inches (iv) House by Forests Watercolor on paper 11 1/2 x 12 1/4 inches Provenance: The artist Elizabeth Knudsen, Cambridge, VT Visions of Vermont Gallery, Jeffersonville, VT Collection of J. Brooks Buxton C Gift of J. Brooks Buxton, sold for the benefit of the Fleming Museum, University of Vermont $800-1,200 See Illustration of Part

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86

87

86 Paul Sample American, 1896-1974 A View across the Contoocook River towards Crotched Mountain Signed Paul Sample (lr) Gouache on paper 8 3/8 x 18 1/8 inches Provenance: Vose Galleries, Boston C Gift of J. Brooks Buxton, sold for the benefit of the Fleming Museum, University of Vermont $800-1,200 See Illustration

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88

87 Percy Gray American, 1869-1952 Path through a Eucalyptus Grove, 1912 Signed Percy Gray and dated 1912 (ll) Watercolor on paper mounted to card 9 7/8 x 7 7/8 inches C $3,000-5,000 See Illustration

88 William Otte American, 1871-1957 Point Lobos, CA, 1922 Signed William Louis Otte and dated 1922 (lr); signed Wm Louis Otte, inscribed Santa Barbara Calif further inscribed The Gorge / Point Lobos / Carmel by the Sea / Calif and dated 1922 on the backing board Pastel on paper 13 1/2 x 17 1/2 inches sight C $2,000-4,000 See Illustration

89 part

89 Samuel Colman American, 1832-1920 (i) Point Lobos, a double-sided work 1898 Estate Stamped and inscribed Point Lobos, Monterey / Cal’a- (lr), dated Point Lobos April 12th 1898 (ll); inscribed Point Lobos - / Monterey / Cal’a and estate stamped on the reverse Watercolor and pencil on paper 5 3/4 x 10 1/2 inches

90 Charles Arthur Fries American, 1854-1940 San Diego River Signed C A Fries (lr); inscribed # 319 and as titled on the reverse Oil on canvas 8 x 12 inches C $800-1,200 See Illustration

91 20th Century School Floral Still Life, 1938 Dated July 7, 1938 and inscribed 1925 Pieces (lr) Stamp collage on paper 29 1/8 x 18 inches C $600-800

(ii) South Cheyenne Canyon, 1886 Estate stamped, dated May 20th 1886 and inscribed as titled (ll) Watercolor and pencil on paper 9 x 11 3/4 inches Provenance: Barridoff Galleries, Portland, ME C. Duncan Fine Art, Atlanta, GA Exhibited: (i) Portland, ME, Barridoff Galleries, Samuel Colman: East and West from Portland, Jan. 12 Feb. 28, 1981 C $1,200-1,800 See Illustration of Part

90

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DR. ROBERT THORNTON’S

TEMPLE OF FLORA 48 DOYLE • NEW YORK

A

Dr. Robert Thornton’s Temple of Flora is the most ambitious British flower book of the late eighteenth and early nineteenth centuries. The Temple of Flora is the third and final volume of the New illustration of the Sexual System of Carolus von Linnaeus, published in London from 1799 through 1807. It showcases the discoveries of Swedish naturalist Carl Linnaeus, who had developed and published a new system of plant classification. Thornton commissioned notable artists, including Philip Reinagle and Peter Henderson, and engravers such as Richard Earlom, James Caldwall, and Thomas Sutherland to create innovative floral studies.

The volume featured approximately 32 hand-colored floral engravings executed using various printmaking techniques including stipple engraving, mezzotint, and aquatint.

These dramatic floral prints were depicted with vibrant colors and sumptuous textures within unusual settings that were based on their natural habitats.

PRINTS 92 Dr. Robert Thornton, publisher (1768-1837) TULIPS; A GROUP OF CARNATIONS Two hand-colored color mezzotints, the first after Philip Reinagle, the second after Peter Henderson, from The Temple of Flora, London, 1798 and 1803, respectively, with good margins, framed.

Largest plate 20 3/4 x 15 7/8 inches C $800-1,200 See Illustration

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95 93 George Brookshaw (1751-1823) POLINAC; SCARLET FLESH ROMANO (MELON STUDIES) Two hand-colored aquatints and stipple engravings, plates XVI and LXVIII from Pomona Britannica, London, 1804-12, with good margins, framed.

Largest plate19 x 15 1/2 inches C $600-900

94 Sidney Lucas, publisher NEW-YORK IN 1822; NEW-YORK IN 1831; NEW-YORK IN 1834; NEW-YORK IN 1852; WALL STREET IN 1829; WALL STREET IN 1856 Six hand-colored engravings, with good or full margins, framed.

Sight of largest sheet 26 1/2 x 33 inches C Property of a Private Collector, New York $300-400

95 After John William Hill (1812-1879) NEW YORK Hand-colored engraving and aquatint

by C. Mottram, 1855, published by F. & G.W. Smith, New York, third state of three, a later impression, with good or full margins, framed.

Plate 34 1/2 x 56 1/2 inches C Property of a Private Collector, New York $800-1,200 See Illustration 96 After George Fuller (1822-1884) BOUND DOWN THE RIVER, SCENE ON THE LOWER MISSISSIPPI Hand-colored lithograph by Charles Richard Parsons, 1860, printed by Endicott & Co., New York, with good margins, laid on card, framed.

Image 18 1/8 x 26 3/4 inches Sheet 24 1/4 x 33 inches C Estate of David C. Sawyer $600-800 See Illustration

96

50 DOYLE • NEW YORK

The New York lithographers Currier & Ives were the leading publishers of the 19th century.

Established by Nathaniel Currier in 1835 and expanded to include James Merritt Ives in 1857, the firm went on to produce over 7,500 prints over the next 50 years. The prints created by Currier & Ives depict iconic themes such as farm life, the home, children, sports and leisure, and historical events that are uniquely American.

The firm employed several artists to make their prints come to life, including Louis Maurer, Arthur Fitzwilliam Tait, George Henry Durrie, Charles Parsons, and Frances Flora Palmer.

Of these artists, Frances Flora Palmer, who frequently went by the name Fanny, would become the most notable.

As did many in the 19th century, Fanny Palmer immigrated to New York from England.

Once settled in Manhattan, Fanny and her husband, Edmund Seymour Palmer, operated a small print shop for several years. Fanny began working with Nathaniel Currier after closing her family business around 1849. Their collaboration thrived for almost 25 years and resulted in the creation of over 200 prints, impressions of which continue to educate and delight since they first adorned the walls of American homes almost two centuries ago.

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97

97 Nathaniel Currier, publisher AMERICAN COUNTRY LIFE: MAY MORNING; SUMMER EVENING; PLEASURES OF WINTER; OCTOBER AFTERNOON (P. 2301-2304; C. 121-124; G. 134-137) Four hand-colored lithographs after Frances Flora Palmer, 1855, with good margins, framed.

Images approximately 16 3/4 x 23 3/4 inches C Property of a Distinguished New York Collector $700-1,000 See Illustration of Part

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98 Currier & Ives, publishers LANDSCAPE, FRUIT AND FLOWERS (P. 776; C. 3440; G. 3710) Hand-colored lithograph after Frances Flora Palmer, 1862, with good margins, framed.

Image 19 7/8 x 27 5/8 inches Sheet 22 7/8 x 30 5/8 inches C Estate of David C. Sawyer $600-800 See Illustration

98

99 Currier & Ives, publishers GRAY’S ELEGY, IN A COUNTRY CHURCH YARD (P. 1095; C. 2562; G. 2780) Hand-colored lithograph after Frances Flora Palmer, 1864, with full margins, framed.

Image 16 x 23 1/4 inches Sheet 24 3/4 x 31 inches C Property of a Distinguished New York Collector $600-800 See Illustration 99

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100 Currier & Ives, publishers THE FOUR SEASONS OF LIFE: CHILDHOOD; YOUTH; MIDDLE AGE; OLD AGE (P.1076, 1077, 1079, 1080; C. 2096, 2100, 2098, 2099; G. 2274, 2278, 2275, 2277) Four hand-colored lithographs after Frances Flora Palmer and Charles Richard Parsons, 1868, with good or full margins, framed.

Largest two images 15 5/8 x 23 3/4 inches C Property of a Distinguished New York Collector $800-1,200 See Illustration

54 DOYLE • NEW YORK

101 Currier & Ives, publishers THE FALL OF RICHMOND VA; THE GREAT WEST; THE OLD FARM HOUSE; MIDNIGHT RACE (P. 871, 2099, 2438, 1358; C. 1821, 2658, 4557, 4117; G. 1980, 2879, 4944, 4477) Four hand-colored lithographs, 1865, 1870, 1872 and 1875, respectively, with good margins, framed.

Largest image 9 x 13 1/8 inches C Estate of David C. Sawyer $600-800 See Illustration of Part

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102 Currier & Ives, publishers AMERICAN HOMESTEAD: SPRING; AUTUMN; WINTER; SUMMER (P. 2313-2316; C. 168, 170-172; G. 181, 183-185) Four hand-colored lithographs, 1868-69, with good margins, framed.

Image of each approximately 8 x 12 1/2 inches C Property of a Distinguished New York Collector $800-1,200 See Illustration

56 DOYLE • NEW YORK

103 Currier & Ives, publishers AMERICAN CHOICE FRUITS (P. 731; C. 111; G. 123) Hand-colored lithograph, 1869, with good margins, laid on Japan, framed.

Image 17 x 23 7/8 inches Sheet 21 3/4 x 27 3/4 inches C Property of a Distinguished New York Collector $600-800 See Illustration

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CYNTHIA KLEIN EXPLORES

An engraving after Albert Bierstadt’s The Rocky Mountains (Lander’s Peak) This grand view is based on Albert Bierstadt’s monumental painting, The Rocky Mountains, Lander’s Peak, which the artist created in 1863, following his first trip to the American West in 1859 to accompany the government survey exhibition led by Colonel Frederick W. Lander.

Saddened by the Colonel’s death in the Civil War, Bierstadt named the central mountain in the Wyoming landscape Lander’s Peak. The painting was widely celebrated at the time by eastern United States audiences eager for images of the American West, and before sending the painting on tour, Bierstadt commissioned American painter and printmaker James D. Smillie (1833-1909) to reproduce it as an engraving, the impressions of which both promoted his work as well as generated funds. Prints such as these, through their wide distribution, were also instrumental in convincing the government to enact measures to help conserve the wildlife in Yellowstone Park. Bierstadt sold the painting in 1865 for a record sum, and then bought it back and sold or gave it to his brother Edward.

It now resides in the Metropolitan Museum of Art where it continues to awe and inspire. And impressions of the engraving, Smillie’s most celebrated work, such as this early artist’s proof, continue to be sought after and enjoyed by collectors.

104 After Albert Bierstadt (1830-1902) THE ROCKY MOUNTAINS (LANDER’S PEAK) Engraving by James Smillie, 1866, an early artist’s proof before the title published by Edward Bierstadt, New York, with good margins, framed.

Image 16 5/8 x 28 1/8 inches Sheet 23 3/8 x 33 7/8 inches C $600-800

On view at the Metropolitan Museum of Art Albert Bierstadt, (American, Solingen 1830–1902 New York), The Rocky Mountains, Landers Peak, 1863, Oil on canvas, 73 1/2 x 120 3/4 in. (186.7 x 306.7 cm), Rogers Fund, 1907 (Photo: The Metropolitan Museum of Art)

58 DOYLE • NEW YORK

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105

This grand view from the banks of Yellowstone National Park is from Thomas Moran’s most important published work, based on watercolors resulting from his time spent on Ferdinand V. Hayden’s 1871 groundbreaking expedition to northwestern Wyoming. Louis Prang, considered the greatest color printer of his time, translated Moran’s fine watercolor into print form using the chromolithograph technique, utilizing multiple lithographic stones to achieve the great depth of color of the original. A masterpiece of American chromolithography, the series catapulted Prang to the pinnacle of American printmaking toward the end of the 19th century.

60 DOYLE • NEW YORK

105 After Thomas Moran (1837-1926) HEAD OF YELLOWSTONE RIVER Chromolithograph by L. Prang & Co., Boston, 1875, from the Yellowstone National Park portfolio, framed.

Sheet 9 3/4 x 14 inches C Estate of David C. Sawyer $1,500-2,500 See Illustration 106 After Theodore R. Davis (1840-1894) RAPID TRANSIT IN NEW YORK Hand-colored wood engraving; Together with Artist Unknown NEW YORK ONE HUNDRED YEARS AGO, hand-colored engraving, 1875, from Harper’s Weekly, with good or full margins, framed.

Sight of each sheet 14 x 21 1/4 inches C Property of a Private Collector, New York $200-300

FURNITURE & DECORATIVE ARTS Lot 177 VIEW THE FULLY ILLUSTRATED CATALOGUE AND BID ONLINE AT DOYLE.COM 61

108 Shreve, Stanwood & Co. Sterling Silver Claret Jug Boston, 1860-1869 Baluster-form with elongated neck on circular foot, the body with band of engraved ivy centering a medallion applied with a bird, the handle with foliate join and capped by a bird.

Height 14 1/2 inches, approximately 31 ounces.

C $800-1,200 See Illustration

107

107 American Sterling Silver Water Pitcher Baluster-form body chased with grape clusters and vines, with rusticated branch handle.

Height 14 3/4 inches, approximately 45 ounces.

C Estate of Pauline Ireland, Birmingham, AL $1,200-1,800 See Illustration

108 62 DOYLE • NEW YORK

109 Tiffany & Co. Sterling Silver Figural Centerpiece 1870-1875 The central maiden supporting large bowl overhead and four smaller bowls with pinecone drops, all raised on conical support on square base on scrolling bracket feet.

Height 16 inches, approximately 82 ounces.

C Estate of Steven R. Gross $3,000-5,000 See Illustration 110 Reed & Barton Sterling Silver French Renaissance Pattern Flatware Service Comprising twelve dinner forks, twelve salad forks, twelve fish forks, eight cocktail forks, twelve dinner knives, twelve steak knives, twelve fish knives, twelve bouillon spoons, twelve fruit spoons, eleven iced tea spoons, twenty teaspoons, two berry spoons, three serving forks, two serving spoons, two gravy ladles, pie server, sugar spoon and a pickle fork. Total approximately 157 ounces, weighable.

C Property of a Morristown, NJ Collection $2,500-3,500 See Illustration of Part

109

110 part VIEW THE FULLY ILLUSTRATED CATALOGUE AND BID ONLINE AT DOYLE.COM 63

114 part

111 Gorham Sterling Silver Water Pitcher 1899 Inverted pear form with chased foliage forming panels.

Height 10 1/4 inches, approximately 42 ounces.

C $1,000-1,500 112 Tiffany & Co. Sterling Silver Vinaigrette Chatelaine 1870-1875 Of amphora-form, the bottom portion unscrews to reveal vinaigrette with pierced hinged cover, the top portion with hinged cover and two handles with chain. Height 3 1/2 inches, total approximately 1 ounce, 10 pennyweights.

C Estate of Steven R. Gross $300-500

64 DOYLE • NEW YORK

113 Pair of Tiffany & Co. Sterling Silver Salt Cellars and Pair of Dominick & Haff Sterling Silver Pepper Casters 1880s Each with hammered finish, the salts with rim acid etched with fish and crayfish. Diameter of salts 3 inches, total approximately 14 ounces.

C Property of a Morristown, NJ Collection $400-600 114 Steiff Sterling Silver Lady Claire Pattern Flatware Service Comprising twelve dinner forks, twelve lunch forks, ten salad forks, twelve cocktail forks, twelve dessert spoons, twenty-four teaspoons, twenty-four dinner knives, twelve butter knives, pierced serving fork, two serving forks, two lemon forks, three serving spoons, pierced serving spoon, sugar spoon, two flat servers, gravy ladle, sugar tongs and a master butter knife.

Total approximately 138 ounces, weighable.

C Estate of Richard and Carole Rifkind $2,000-3,000 See Illustration of Part

115 Oyster Bay Golf Club: Tiffany & Co. Sterling Silver and Enamel Golf Trophy Tankard 1891-1902 Cylindrical, with band of shells at base and rim, with enamel club pendant surrounded by nine golf balls and tees, flanked by golf clubs and wreathes, the hinged cover a stylized shell. Height 10 1/8 inches, approximately 34 ounces.

C Estate of Steven R. Gross $1,000-1,500 See Illustration 116 Tiffany & Co. Sterling Silver Wave Edge Pattern Flatware Service Comprising twelve dinner forks, twelve lunch forks, twelve salad forks, twelve fish forks, ten cocktail forks, twelve dinner knives, twelve lunch knives, twelve fish knives, twelve butter knives, twelve gumbo soup spoons, twenty-four teaspoons, and six serving spoons. Total approximately 166 ounces, weighable.

C $5,000-7,000 See Illustration of Part

115

116 part VIEW THE FULLY ILLUSTRATED CATALOGUE AND BID ONLINE AT DOYLE.COM 65

117 part

117 Tiffany & Co. Sterling Silver Wave Edge Pattern Flatware Service Comprising twelve dinner forks, twelve lunch forks, ten salad forks, twelve fish forks, twelve cocktail forks, twelve dinner knives, twelve lunch knives, twelve fish knives, twelve butter knives, twelve gumbo soup spoons, twelve dessert spoons, twelve ice cream spoons, twenty-five teaspoons, seven demitasse spoons, six serving spoons, serving fork, gravy ladle, and a sugar spoon.

Total approximately 207 ounces, weighable.

C $6,000-8,000 See Illustrationof Part

118 Pair of Graduated Tiffany & Co. Sterling Silver Wave Edge Pattern Covered Entree Dishes 1891-1902 and 1907-1938 Each oval, the covers with removable handles. Length of largest 11 inches, total approximately 57 ounces.

C $1,000-2,000 119 Tiffany & Co. Sterling Silver Wave Edge Pattern Serving Bowl and Sauceboat 1891-1907 The bowl rectangular; the sauceboat of oval bombe form.

Length of bowl 11 1/4 inches, total approximately 29 ounces.

C $700-1,000 120 Pair of Tiffany & Co. Sterling Silver Wave Edge Pattern Circular Trays 1902-1907 Diameter 13 inches, total approximately 72 ounces.

C Property from an Oyster Bay Estate $1,200-1,800 See Illustration

120 66 DOYLE • NEW YORK

121 Graduated Pair of Tiffany & Co. Sterling Silver Oval Platters 1902-1907 Lengths 18 inches and 13 3/4 inches, total approximately 81 ounces.

C Property from an Oyster Bay Estate $1,200-1,800 See Illustration 122 Tiffany & Co. Sterling Silver Covered Dresser Box 1902-1907 Oval, the hinged cover with cherubs, birds and wreath of flowers and trophies of love, the sides chased with a floral vine. Length 5 3/8 inches, approximately 8 ounces.

C $500-700 123 Group of Tiffany & Co. Sterling Silver Vine Pattern Flatware Late 19th/early 20th century Comprising ten fish forks, twelve fish knives, teaspoon, six sorbet spoons, and a master butter knife.

Total approximately 49 ounces.

C Property of a West Village Lady $800-1,200 See Illustration of Part 121

124 Tiffany & Co. Sterling Silver Persian Pattern Soup Ladle Late 19th/ early 20th century Length 12 inches, approximately 7 ounces.

C Estate of Steven R. Gross $300-500

123 part VIEW THE FULLY ILLUSTRATED CATALOGUE AND BID ONLINE AT DOYLE.COM 67

TODD SELL EXPLORES

The Chrysanthemum Pattern ByTiffany & Co. The year 1880 saw the introduction of one of Tiffany & Co.’s most important and desired flatware patterns Indian Chrysanthemum (Indian was soon dropped from the name).

The man responsible was Charles T. Grosjean, Tiffany’s head of silverware and one of the most talented silver designers of the late 19th century. Grosjean helped Tiffany & Co. to become known for world class silver that rivaled anything being made in England and Europe. His innovative designs include the Lap Over Edge, English King and Wave Edge patterns, some of Tiffany’s most popular flatware patterns of all time.

68 DOYLE • NEW YORK

Chrysanthemum pattern is richly decorated with chrysanthemum flowers and buds enveloped in a rich foliate background.

It was likely inspired by the craze for all things Japanese that swept America after the opening of Japan to the West and the Japanese exhibit at the Centennial Exposition held in Philadelphia in 1876. The incorporation of natural elements into design was long a tradition in Japanese art and the chrysanthemum holds a special place in their culture as the flower associated with the Imperial family. The designs for Chrysanthemum flatware and hollow ware perfectly reflect the Victorian taste for the new and exotic. In an interesting twist, the reverse of the handle is as complex and elaborate as the front side which added to the luxuriousness (and cost!) of Chrysanthemum pattern flatware.

In keeping with the extravagant modes of Gilded Age entertaining, Chrysanthemum pattern was one of the most extensive flatware patterns that Tiffany & Co. ever made. There was a place piece designed specifically for any and every type of food one could imagine with fantastical serving pieces to match. Full services of flatware could run into the many hundreds of pieces with dozens of individual pieces for use at each table setting. Many pieces leave modern diners puzzled: exactly when would you use a terrapin fork – and what is terrapin anyway? Today there is debate over whether Tiffany & Co. designed flatware pieces to supply customer demand, or if they produced these specialized pieces thereby creating a whole new market? Nevertheless sardine forks,

strawberry forks, game forks and knives, chowder spoons, chocolate spoons, citrus spoons, and sorbet spoons (certainly not to be confused with ice cream spoons or ice cream forks) formed parts of these large services that swelled to as many as 146 different pieces. It wasn’t until 1926 when the US Department of Commerce put an end to this folly by passing regulations to limit flatware services to only fifty-seven different pieces in an attempt to reduce silver production in a time of a severe silver shortage in America. Indeed Emily Post even weighed in on the order commenting “no rule of etiquette is of less importance than which fork we use”.

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125 part

In the late 19th century, Tiffany & Co. also began to design full lines of hollowware to match their flatware patterns.

Again Chrysanthemum pattern lent perfectly to this trend with swirls of chrysanthemum flowers and foliage clinging to tea and coffee services, candlesticks and centerpieces.

Tiffany’s creative engravers also went above and beyond with the monograms they designed for customers incorporating the chrysanthemum flowers and buds into foliate letters that form part of the decoration. And in a time when all flatware could be monogramed for free, this elaborate monogramming was attractive enough that Tiffany & Co. charged extra for this privilege. And the Chrysanthemum pattern was already among Tiffany & Co.’s most expensive

“no rule of etiquette is of less importance than which fork we use”. lines. In this period flatware was largely sold by weight and Chrysanthemum pattern was the highest priced of any of Tiffany’s flatware patterns selling at $1.35 per ounce as compared to the more plain patterns that sold for $1 per ounce.

And there was up to three times more silver per piece in Chrysanthemum flatware than in those other patterns putting this pattern at the very top of the expense scale. The weight and feel of Chrysanthemum pattern flatware still strikes 70 DOYLE • NEW YORK

modern diners. The hollowware also sold at a premium due to the immense labour and finishing required for each piece: in 1891 a seven piece Chrysanthemum pattern tea and coffee service retailed for $1,800, or the equivalent of over $50,000 today. A complete flatware and table service would have been a lifetime’s wages for the ordinary working American, but Chrysanthemum pattern was clearly designed for the very top of American Gilded Age Society.

Charles Grosjean died at only 47 years of age, leaving Chrysanthemum pattern as one of his most beloved and desired designs. With production having begun in 1880, Chrysanthemum pattern remained a top seller with Tiffany & Co. until it was discontinued in 1934 in the midst of the Great Depression. But its luster and appeal have never faded and it was reintroduced less than a generation later and remains in production today. A table set with Tiffany’s exquisite Chrysanthemum pattern flatware and hollowware still manages to look as elegant and timeless today as it did over a century ago.

125 Tiffany & Co. Sterling Silver Chrysanthemum Pattern Flatware Service Comprising twelve dinner forks, twelve salad forks, twelve cocktail forks, twelve dessert forks (gilt), twelve dinner knives, twelve butter knives, twelve round soup spoons, twelve dessert spoons (gilt), twenty-four teaspoons, twelve demitasse spoons (gilt).

Total approximately 193 ounces, weighable.

C $5,000-7,000 See Illustration of Part

126 Tiffany & Co. Sterling Silver Chrysanthemum Pattern Centerpiece 1891-1902 Shaped circular with floral border, raised on floral ring foot. Diameter 14 3/4 inches, approximately 61 ounces.

C $5,000-7,000 See Illustration

126

127 Pair of Tiffany & Co. Sterling Silver Chrysanthemum Pattern Candlesticks Late 20th century Each with baluster stem on spreading circular foot. Height 9 1/4 inches, total approximately 29 ounces, all in.

C $1,500-2,500 See Illustration

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128 Tiffany & Co. Sterling Silver Covered Box 1891-1902 Rectangular, the hinged cover decorated with triumphal procession of an Indian Rajah and attendants, the sides with scrolling Saracenic arches. Length 6 3/4 inches, approximately 13 ounces.

C $700-1,000

129

129 Whiting Sterling Silver Centerpiece Bowl Retailed by Bailey, Banks & Biddle, late 19th century Shaped oval with lobed panels chased with flowers and foliage, raised on four bracket feet with rocaille joins. Length 13 1/2 inches, approximately 43 ounces.

C Property of a Morristown, NJ Collection $700-1,000 See Illustration 130 Tiffany & Co. Sterling Silver Clover Pattern Oval Platter 1902-1907 Length 13 1/2 inches, approximately 18 ounces.

C Property from an Oyster Bay Estate $500-700

131 Tiffany & Co. Sterling Silver English King Pattern Flatware Service Comprising twenty-three dinner forks, twelve salad forks, six fish forks, twelve dessert forks, twelve cake forks, twenty-four dinner knives, twenty-four butter knives, twenty-four round soup spoons, twenty-four fruit spoons, twenty-four teaspoons, two sugar spoons, two ice tongs, two gravy ladles, sauce ladle, pate knife, two piece carving set, three serving spoons, three serving forks, asparagus tongs, and a pie server.

Total approximately 328 ounces, weighable.

C Property of a Short Hills Private Collector $6,000-8,000 See Illustration of Part

131 72 DOYLE • NEW YORK

132 Tiffany & Co. Sterling Silver Pierced Fruit Bowl 1902-1907 Circluar with flared rim, the body with openwork engraved grape clusters and vines, on reeded ring foot.

Diameter 9 1/4 inches, approximately 18 ounces.

C Property from an Oyster Bay Estate $400-600 See Illustration

BALTI MORE SILVER 19th century American silversmiths were among the most creative and prolific in history. The nation’s

vast wealth, generated by its rising industrial might and entrepreneurial ingenuity, saw the burgeoning of a society consumed with finding new ways to showcase their growing prosperity. Silversmiths across

the country rose to the challenge with fresh ideas for objects meant to demonstrate their clients’ wealth and appreciation of the latest fashions. As these firms jostled for attention, they each developed new

patterns and models meant to catch the consumer’s eye from across a crowded shop floor. No one did

this better than the talented silversmiths of Baltimore, whose distinctive floral repousse pattern is still known as “Baltimore Silver”.

Lot 88

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74 DOYLE • NEW YORK

One of America’s great early silversmiths, Samuel Kirk (1793-1872) was descended from a long line of English silversmiths on both sides of his family. After apprenticing with silversmiths in Philadelphia, he moved to Baltimore and set up shop in the bustling port city in 1815. The opening of Kirk’s first store marks the founding of America’s oldest operating silversmith and the beginning of a silver empire. His finely-crafted wares would go on to grace the dining tables and sideboards of many of America’s most distinguished families.

Early in his career, Kirk introduced a chased floral repoussé pattern that has since become synonymous with American silver. Chasing silver (a method of decoration where the silversmith uses hammers and punches to work a sheet of silver without removing any of the metal) was an ancient technique used by European silversmiths throughout history. Kirk’s richly chased pattern, still known generically as “Baltimore Silver”, was perfect for large tea services, soup tureens, punch sets and flatware and has remained in constant production since its creation.

When examining silver that preceded Kirk’s, one is struck by the restraint of the styles produced by noted 18th century American silversmiths. Works by Paul Revere, for example, are often devoid of any decoration.

The Classical period (first quarter 19th century) certainly saw the introduction of bands of scrolls and foliage to newly exaggerated silver forms, but Samuel Kirk’s floral repoussé (the technique by which silver is worked from the reverse to push out a design, again without the loss of metal) goes beyond Classical decoration to envelop pieces entirely in a rich carpet of flowers and foliage.

133 Baltimore Sterling Silver Punch Set Hennegan Bates Co., Baltimore, circa 1900 Comprising a punch bowl, ladle and twelve cups, each chased overall with floral repousse. Diameter of punch bowl 16 1/4 inches, total approximately 194 ounces.

Another punch set by Hennegan Bates Co. sold Doyle New York, February 18, 2015, lot 221.

C Property of a Tudor City Lady $7,000-10,000 See Illustration

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The inspiration for “Baltimore Silver” appears to be something of a mystery. One reference may have been the silver of British India’s native craftsmen, who certainly loved to decorate their works with foliate scrolls that often incorporated figures and native animals like elephants and tigers. In the early 19th century, Baltimore’s harbor was one of the busiest in the country. Ships returning from the subcontinent may have brought pieces back for the wealthy merchant class, giving Kirk the opportunity to examine silver from British India firsthand. Regency England’s silversmiths also used a more restrained version of this style, but Kirk’s clients clearly demanded something new and entirely original.

Garner & Winchester Coin Silver Monteith Lexington, Kentucky circa 1845. Sold at Doyle for $22,500.

Like any popular fashion, Kirk’s local competitors were quick to copy the style. Firms such as the Stieff Company, the Schofield Company, and Hennegan Bates Co. all began to churn out slight variations to the pattern. Rare and desirable pieces by these makers include architectural and figural scenes incorporated amongst the foliage. “Baltimore Silver” proved so popular across the country that Northern firms such as Tiffany & Co. and Gorham Mfg. Co. created similar patterns to compete with this distinctly Southern style.

Doyle has sold pieces of mid 19th century silver that were clearly made in Baltimore and yet carry retailers marks from Kentucky, showing how widely pieces were sold. For almost two hundred years, Americans have been crazy for “Baltimore Silver”.

While the 20th century started off well for America’s silversmiths, two world wars, a depression, and changing fashions leading to less formal entertaining each took their toll on Baltimore’s great silver firms.

Stieff bought Schofield in 1967 and then their old rival Kirk in 1979. Consolidation in 1999 saw the closing of the last silver factory in Baltimore as the renamed Kirk-Stieff Company moved all their silver production to New Jersey, Rhode Island and Puerto Rico. The Kirk hallmark lives on, however, and patterns of floral repousse flatware and holloware are still made for people who love and appreciate this great American style.

Early Samuel Kirk Silver Ewer Baltimore, 1830-46.

Sold at Doyle for $5,000.

76 DOYLE • NEW YORK

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134 part 133 Baltimore Sterling Silver Punch Set Hennegan Bates Co., Baltimore, circa 1900 Comprising a punch bowl, ladle and twelve cups, each chased overall with floral repoussĂŠ. Diameter of punch bowl 16 1/4 inches, total approximately 194 ounces.

Another punch set by Hennegan Bates Co. sold Doyle New York, February 18, 2015, lot 221.

C Property of a Tudor City Lady $7,000-10,000 See Illustration

134 S. Kirk & Son Sterling Silver Repousse Pattern Flatware Service Comprising eight dinner forks, eight lunch forks, eight salad forks, eight cocktail forks, eight dinner knives, eight lunch knives, eight butter knives, eight round soup spoons, eight iced tea spoons, eight ice cream spoons, sixteen teaspoons, eight demitasse spoons, six serving spoons, two pierced flat servers, ice tongs, gravy ladle, two serving forks, two pickle forks, sardine fork, lemon fork, jelly spoon, sugar spoon, soup ladle, punch ladle, cake server, pie server and a pate server.

Total approximately 145 ounces, weighable.

C $2,500-3,500 See Illustrationof Part

137 part 78 DOYLE • NEW YORK

135 Gorham Sterling Silver and Cut Glass Athenic Pattern Bud Vase Baluster form with flared rim, the base with band of openwork engraved flowers on domed foot. Height 10 1/4 inches, approximately 4 ounces, weighable.

C Estate of Steven R. Gross $500-700 136 Gorham Sterling Silver Athenic Pattern Tea Caddy Early 20th century Of ovoid-form chased with flowers and scrolling foliage; Together with a Gorham Sterling Silver Tea Caddy and a Gorham Sterling Silver Covered Dresser Box. Height of first 3 3/4 inches, total approximately 14 ounces.

C Property of a Morristown, NJ Collection $500-700

138

137 Stieff Sterling Silver Williamsburg Shell Pattern Flatware Service Comprising twelve dinner forks, twenty-four salad forks, twelve dinner knives, twelve steak knives, twelve dessert spoons, twelve teaspoons, serving fork, two serving spoons, gravy ladle, sugar spoon, and a master butter knife. Total approximately 96 ounces, weighable.

C $1,000-1,500 See Illustrationof Part 138 J.E. Caldwell & Co. Sterling Silver Table Garniture Early 20th century Each shaped circular with foliate engraved field and openwork scrolling lattice border with conforming base, comprising larger charger, five compotes, in sizes, and four bowls. Diameter of charger 13 1/2 inches, total approximately 128 ounces.

C Property of a Morristown, NJ Collection $3,000-5,000 See Illustration 139 Shreve & Co. Sterling Silver Centerpiece Bowl San Francisco, early 20th century Circular on domed foot, the body chased with repeating flowers, with silver-plated flower frog.

139

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140 Mauser Sterling Silver Egyptian Revival Three Handle Cup 1904 The tapering cylindrical body with three reeded handles with papyrus joins with band of eyes of Horus, raised on triangular base with three Sphinx supports, with presentation inscription Wrought to express to Waverley W. Hallock the gratitude of the Sphinx Club for the faithful and able conduct of his office and his loyalty to the purpose and principles of the club. November 8th, 1904.

Height 15 1/2 inches, approximately 130 ounces.

Provenance: Freeman’s, Philadelphia, PA, June 19, 2019, lot 5 from the Collection of Victor Niederhoffer Sotheby’s New York, December 15, 1998, lot 21 The Sphinx Club was founded in New York City in 1896 by a group of eight men in advertising to further their field of business. Early members included Bill Paley, and J.C. Penney.

Waverley Hallock served as club treasurer.

The Club later incorporated as the Advertising Club of New York in 1915 and continues to this day.

C $2,000-3,000 See Illustration

141 Durgin Sterling Silver No. 19 Pattern Flatware Service Comprising twenty dinner forks, twenty-two lunch forks, eighteen fish forks, eighteen cocktail forks, eleven dessert forks, sixteen ice cream forks, seventeen dinner knives, eighteen lunch knives, fourteen butter knives, eighteen fish knives, twelve dessert knives, eighteen round soup spoons, sixteen bouillon spoons, eighteen dessert spoons, fifteen fruit spoons, twelve teaspoons, fourteen demitasse spoons, two serving spoons, five serving forks, gravy ladle, sauce ladle, sugar tongs, pair of salad servers, cake server, and a pâté knife.

Total approximately 384 ounces, weighable.

C Property from a New York Collection $4,000-6,000 See Illustrationof Part 142 American Sterling Silver Water Pitcher Graff, Washbourne & Dunn for Brand-Chatillon Co. Inc., first half 20th century Vasiform on circular pedestal foot with angular loop handle.

Height 10 5/8 inches, approximately 31 ounces.

C Property from a New York Collection $400-600

140

141 detail

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141

143

143 Towle Sterling Silver Louis XIV Pattern Dinner Service Early 20th century Comprising eight nut dishes, four dessert bowls, bottle coaster, three bowls, oval platter, six shallow bowls, two larger shallow bowls, pair of footed dessert stands and a larger footed dessert stand. Total approximately 202 ounces.

C $3,500-4,500 See Illustration of Part

144 Towle Sterling Silver Louis XIV Pattern Dinner Service Early 20th century Comprising pair of tazzae, covered sugar bowl, pair of open vegetable dishes, footed compote, six serving bowls, pair of smaller serving bowls, large footed centerpiece bowl, shallow centerpiece bowl, dessert stand, and two footed bowls.

Total approximately 206 ounces, weighable.

C $3,500-4,500 See Illustration of Part

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145 Towle Sterling Silver Louis XIV Pattern Flatware Service Early 20th century Comprising twelve dinner forks, twelve salad forks, twelve ice cream forks, twelve dinner knives, twelve butter knives, twelve round soup spoons, twelve bouillon spoons, twelve fruit spoons, twelve teaspoons, twelve iced tea spoons, twelve demitasse spoons, two piece carving set and four serving spoons.

Total approximately 123 ounces, weighable.

C $1,500-2,500 See Illustrationof Part

145

146 Pair of Howard & Co Sterling Silver Cake Baskets First quarter 20th century After a model by Paul de Lamerie, each of shell-form with maiden head handle with dolphin join, on three dolphin feet.

Width 12 1/2 inches, total approximately 85 ounces.

C Property of an International Collector $2,000-3,000 See Illustration 147 Pair of Crichton Sterling Silver Open Dishes 1930s Each shaped circular with fluted sides.

Diameter 9 5/8 inches, total approximately 46 ounces.

C $500-700

146

148 Two American Sterling Silver Water Pitchers One of part fluted globular form on square pedestal base, marked Goodnow & Jenks, Boston, circa 1900; the other vasiform with swag draped panels marked Ellmore Silver Co., circa 1940s. Height of taller 10 3/4 inches, total approximately 61 ounces.

C Property of a Morristown, NJ Collection $700-1,000 149 Tiffany & Co. Sterling Silver Asparagus Tray and Liner 1907-1938 Shaped rectangular, the border with foliate branches, on foliate claw and ball feet.

Length 12 1/2 inches, total approximately 36 ounces.

C $1,000-2,000

150 part 82 DOYLE • NEW YORK

150 Assembled Tiffany & Co. Sterling Silver English King Pattern Flatware Service Comprising eighteen dinner forks, twenty-two lunch forks, six fish forks, eighteen lunch knives, six fish knives, twelve tablespoons, eight gumbo soup spoons, four bouillon spoons, twelve dessert spoons, three fruit spoons, five teaspoons, four demitasse spoons, and a three piece carving set.

Total approximately 220 ounces, weighable.

C $6,000-9,000 See Illustration of Part

151 part

151 Gorham Sterling Silver Etruscan Pattern Flatware Service Comprising twenty-four dinner forks, twenty-four lunch forks, eighteen salad forks, twenty-four dinner knives, twenty-four lunch knives, eighteen butter knives, eighteen tablespoons, eighteen dessert spoons, twenty-four teaspoons, twelve demitasse spoons, serving fork, serving spoon, two gravy ladles, and a cake server.

Total approximately 212 ounces, weighable.

C Property of A Park Avenue Lady $2,000-3,000 See Illustration of Part

152 International Sterling Silver Wedgwood Pattern Tea and Coffee Service with Tray 1920s/1930s Each vasiform with band of scrolling decoration centering urns, comprising teapot, coffee pot, cream jug, covered sugar bowl, waste bowl and two handled tray; Together with an International Sterling Silver Wedgwood Pattern Three Piece Carving Set and Sugar Tongs. Height of coffee pot 11 3/4 inches, length of tray over handles 29 inches, total approximately 162 ounces, weighable.

C Property of a West Village Lady $1,500-2,500 See Illustration of Part

153 Set of Twelve Tiffany & Co. Sterling Silver Bread Plates 1907-1938 Shaped circular with scroll border. Diameter 6 1/4 inches, total approximately 72 ounces.

C Property of an International Collector $1,200-1,500

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

154 Tiffany & Co. Sterling Silver Hamilton Pattern Flatware Service Comprising twenty-four dinner dinner forks, twelve lunch forks, eleven dinner knives, twelve lunch knives, twelve dessert spoons, eleven teaspoons, and a serving spoon; Together with Ten Tiffany & Co. Sterling Silver Shell and Thread Pattern Serving Pieces and Additional Sterling Silver Flatware Pieces. Total approximately 170 ounces, weighable.

C $2,500-3,500 See Illustrationof Part 155 Tiffany & Co. Sterling Silver Hampton Pattern Tea and Coffee Service 1907-1938 Comprising a teapot, coffee pot, cream jug, covered sugar bowl, waste bowl, and a kettle on stand. Height of coffee pot 8 1/2 inches, total approximately 142 ounces, weighable; Together with a Gorham Silver Plated Tray.

Length of tray 26 1/2 inches.

C $2,000-3,000 See Illustrationof Part 154 part

155 part

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156 Gorham Sterling Silver Dinner Service Retailed by Brand-Chatillon Co. Inc., 1920s Each plain with molded rim, comprising sauceboat and stand, two open vegetable dishes, bread tray, two circular trays, two graduated platters.

Length of largest platter 20 1/2 inches, total approximately 267 ounces.

C Property from a New York Collection $3,000-5,000 See Illustrationof Part 157 Gorham Sterling Silver Plymouth Pattern Well and Tree Platter 1920s Shaped oval with reeded border on four reeded bracket feet. Length 20 1/2 inches, approximately 68 ounces.

C Property from the Estate of an Upper East Side Collector $700-1,000 158 Extensive Gorham Sterling Silver Plymouth Pattern Flatware Service Comprising twelve dinner forks, eleven lunch forks, twelve fish forks, twelve salad forks, twelve cocktail forks, eleven ice cream forks, eleven strawberry forks, eleven dinner knives, eleven lunch knives, twelve fish knives, twelve fruit knives, eleven tablespoons, twelve round soup spoons, eleven bouillon spoons, twelve iced tea spoons, twelve egg spoons, twelve small spoons, twelve dessert spoons, eleven fruit spoons, eleven teaspoons, twelve coffee spoons, eleven demitasse spoons, five piece carving set, fish serving set, three pierced serving forks, serving spoon, lettuce fork, tomato server, three graduated ladles, cheese scoop, sugar sifter, master butter knife, butter pick, sardine fork, mustard spoon, jelly spoon, and a sugar spoon.

Total approximately 231 ounces, weighable.

C Property from the Estate of an Upper East Side Collector $3,000-5,000 See Illustrationof Part

156 part

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159 part

159 Tiffany Sterling Silver St. Dunstan Pattern Flatware Service Comprising thirteen dinner forks, fourteen lunch forks, thirteen salad forks, eleven cocktail forks, eleven ice cream forks, thirteen dinner knives, twelve lunch knives, fourteen butter knives, fourteen round soup spoons, twenty-four teaspoons, twelve demitasse spoons.

Total approximately 172 ounces, weighable.

C Estate of Hattie Lynton $4,000-6,000 See Illustrationof Part 160 Tiffany & Co. Sterling Silver St. Dunstan Pattern Oval Platter 1907-1938 Length 16 1/4 inches, approximately 40 ounces.

C Property from an Oyster Bay Estate $700-1,000

161

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161 Tiffany & Co. Sterling Silver Water Pitcher 1907-1938 Ovoid with reeded band at base and shoulder. Height 7 1/4 inches, approximately 24 ounces.

C Property of A Park Avenue Lady $600-800 See Illustration

162 Tiffany & Co. Sterling Silver Exposition Pattern Fruit Bowl 1947-1956 Circular with applied strapwork of stylized fruit. Diameter 9 1/2 inches, approximately 25 ounces.

C Property of a West Village Lady $700-1,000 163 Seven Tiffany & Co. Sterling Silver Exposition Pattern Serving Pieces Mid 20th century Comprising two serving spoons, two serving forks, a pair of salad servers and a pie server.

Total approximately 30 ounces.

C Estate of Steven R. Gross $600-800

164 part 164 Wallace Sterling Silver Grande Baroque Pattern Flatware Service Comprising twelve dinner forks, six lunch forks, eighteen salad forks, twelve dinner knives, seven lunch knives, sixteen butter knives, twelve round soup spoons, seven cream soup spoons, thirty teaspoons, three serving spoons, three serving forks, gravy ladle, sauce ladle, sugar spoon, pie server and a flat server. Total approximately 160 ounces, weighable.

C $1,500-2,500 See Illustrationof Part 165 Group of Reed & Barton Francis I Pattern Sterling Silver Table Articles Comprising charger, round bowl, bread tray, small round bowl and two salt cellars. Diameter of first 11 1/2 inches, total approximately 66 ounces.

C Property of a Short Hills Private Collector $1,000-1,500

166 Reed & Barton Sterling Silver Francis I Pattern Flatware Service Comprising twelve dinner forks, nineteen lunch forks, ten salad forks, thirteen fish forks, twelve ice cream forks, twelve dinner knives, twelve lunch knives, twelve butter knives, twelve fish knives, twelve bouillon spoons, twelve iced tea spoons, ten fruit spoons, twelve dessert spoons, eleven teaspoons, ten demitasse spoons, five piece carving set, ice tongs, two serving forks, pie server, pate server, four serving spoons, gravy ladle, lemon fork, and a bonbon spoon. Total approximately 229 ounces, weighable.

C $4,000-6,000 See Illustrationof Part 167 American Sterling Silver Kennel Club Presentation Punch Bowl 1930s Revere style with reeded borders, the body engraved Kennel Club of Northern New Jersey Inc. Working Group 1939 Presented by Mrs Anna Marie Paterno Ferry von Rauhfelsen A.K.C. A304088.

Diameter 10 1/2 inches, approximately 32 ounces.

C Property of a Morristown, NJ Collection $600-800

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TODD SELL EXPLORES

The Audubon Pattern ByTiffany & Co.

With the opening of Japan to the West by Commodore Matthew Perry in 1854, America and the West was suddenly struck by the “Japan Craze.”

Japanese art and design was novel and different to Americans who quickly learned to appreciate the simple beauty and elegance of the works and sought ways to incorporate them into their lives. At the Paris Exposition Universelle in 1867, Japan displayed works by Meiji craftsmen further captivating the Western audience which included Edward C. Moore of New York’s Tiffany & Co. Edward C. Moore was Tiffany’s head of silver from 1868 to his death in 1891 and the company’s creativity flourished under his direction. Clearly enchanted by what he encountered at the exposition in Paris, Moore would go on to ensemble a notable collection of Asian art, paintings and books from which he drew inspirations for Tiffany’s Japanesque silver (pieces from Moore’s personal collection are planned to be on view at the Metropolitan Museum of Art exhibit Collecting Inspiration: Edward C. Moore at Tiffany & Co.).

Shen Quan (Chinese, 1682–after 1762), 1750, Hanging scroll; ink and color on silk. From The Metropolitan Museum of Art

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Created in 1871, Tiffany’s Japanese pattern was the first American flatware pattern to incorporate any Asian design.

The race was close however with rival Gorham’s similar flatware pattern appearing only months later. Japanese pattern depicts Asian birds drawn from scroll paintings.

Moore thought the paintings were Japanese, but in fact most of the birds depicted are actually native to China.

One of the most unusual characteristics of the pattern was that it was perhaps one of the first flatware patterns in the world to have multiple motifs in the same service. When diners sat down to the table, their place setting would include different birds on each of the forks, knives and spoons they would use at the meal.

Japanese pattern was created at huge expense by Tiffany’s skilled craftsmen. It was offered in a vast array of place pieces with a wealth of various servers to compliment them. Decoration of pieces was taken to a new level of refinement with “one-of-a-kind” decoration added to many of the knife blades, spoon bowls and serving pieces. Fantastical geometric patterns inspired by Asian art grace pieces which were then gilded in various shades of yellow and rose gold. A variety of finishes were also applied so that matte grounds contrast with frosted and shiny finishes to dazzle in candlelit dining rooms. Japanese pattern pieces that retain their original decoration in crisp fresh condition are especially coveted by collectors today. In another example of Tiffany & Co.’s great artistic talent, monograms used in the pattern sometimes were done in pseudoJapanese characters to highlight the exoticism of the pattern.

In 1904 Japanese pattern was dropped from Tiffany’s flatware line as a victim of changing tastes, but it was revived in 1956 and renamed Audubon pattern after the great American naturalist

John James Audubon who in reality had nothing to do with the design of the pattern. Audubon pattern continues to be made and is Tiffany’s most popular active pattern today. Today with a relaxation in the rules of formal dining, mixing and matching of flatware is certainly a delightful way to enliven a dining table. Beautiful Japanese or Audubon pattern serving pieces and flatware can add contrast and are perfect for rounding out a well-set dining table.

168 Tiffany & Co. Sterling Silver Audubon Pattern Flatware Service 20th Century Comprising five dinner forks, six lunch forks, six fish forks, five dessert forks, six cocktail forks, four dinner knives, four lunch knives, six fish knives, six butter knives, six dessert knives, ten round soup spoons, six dessert spoons, five teaspoons, six demitasse spoons, cake knife, soup ladle and a berry spoon.

Total approximately 116 ounces, weighable.

C $4,000-6,000 See Illustration of Part

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171 part

169 Tiffany & Co. Sterling Silver Water Pitcher 1943-1945 Of urn-form on spreading ring foot, with reeded band at shoulder, with angular loop handle. Height 9 1/2 inches, approximately 31 ounces.

C Property of a Morristown, NJ Collection $600-800

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170 Arthur Stone Sterling Silver Centerpiece Bowl 20th century Flared circular on ring foot. Diameter 11 inches, approximately 38 ounces.

C Property from an Oyster Bay Estate $600-800

171 Wallace Sterling Silver Sir Christopher Pattern Flatware Service Comprising eight lunch forks, eight salad forks, eight cocktail forks, eight lunch knives, eight butter knives, eight cream soup spoons, eight iced tea spoons, eight fruit spoons, eight teaspoons, master butter knife, gravy ladle, two serving spoons, two serving forks, sugar tongs, jelly spoon, sugar spoon, lemon fork and a pickle fork. Total approximately 96 ounces, weighable.

C $1,000-2,000 See Illustration of Part

172172 part part

172 Wallace Sterling Silver Grande Baroque Flatware Service Comprising twelve dinner forks, twelve salad forks, twelve dinner knives, twelve soup spoons, twelve iced tea spoons, twelve teaspoons, serving spoon, sugar spoon, lemon fork, tomato server, serving fork, berry spoon, and a pie server.

Total approximately 110 ounces, weighable.

C $1,200-1,800 See Illustration of Part

173 Adra Sterling Silver Moderne Pattern Flatware Service Comprising twelve dinner forks, twelve lunch forks, twelve salad forks, twelve cocktail forks, twenty-four dinner knives, twelve butter knives, twelve dessert spoons, twelve ice cream forks, twelve fruit spoons, twelve teaspoons, twelve demitasse spoons, flat server, serving spoon, gravy ladle, serving fork, jelly spoon, two piece carving set and a pie server.

Total approximately 156 ounces, weighable.

C Property of a West Village Lady $2,500-3,500 See Illustration of Part

173 part VIEW THE FULLY ILLUSTRATED CATALOGUE AND BID ONLINE AT DOYLE.COM 91

COULD THE COCKTAIL BE AS AMERICAN AS APPLE PIE? The world is blessed with a sterling silver object for every occasion. Birth of a child? Silver spoons, mugs and rattles provide cherished gifts. Lunch or dinner? At one count there were over 1400 different flatware patterns made in America over the last century. Tea time? Of course we have teapots, cream jugs, sugar bowls and tongs. Cocktail hour? Oh yes, the most important tool of the trade, the cocktail shaker!

Americans have always been drinkers – the average American imbibed five shots of rum per day in the late 18th century. This was not a sign of a decaying, decadent society. Benjamin Franklin probably spoke for most Americans of the time when he said “in wine there is wisdom, in beer there is freedom, in water there is bacteria”! For much of America’s past, alcohol was actually a safer option to quench a thirst – certainly healthier than the water in America’s crowded and unsanitary cities. Wine was imported from abroad and thus expensive and reserved for the rich; beer was the drink of the masses; punch was drunk at taverns where people gathered together around the communal punch bowl; but mixed cocktails slowly began to carve a niche in American society.

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Jerry, Thomas, How to mix drinks: or, The bon-vivant’s companion, presumed first edition. Sold for $2,500.

The first reference to a cocktail is in passing in 1806.

A cocktail is alcohol mixed with either fruit juices, milk or cream. By the1860s, bartenders were becoming real celebrities as they dazzled the crowds with their delicious concoctions and theatrical presentation.

The first bartenders’ guidebook appeared in 1862, written by Jerry Thomas. Thomas was part barman and part entertainer whose signature Blue Blazer was lit on fire and poured between two glasses creating an arc of fire. Our modern notion of a long bar with mirrored backing began to come into fashion in the 1870s to showcase these. Thomas and other American bartenders traveled Europe bringing the rage for cocktails across the ocean where the cocktail was heralded as modern and very American. The spectacle of the cocktail scene may be the reason why it is only in 1917 that we have news of the first “cocktail party” hosted by Mrs. Julius Walsh Jr. of St. Louis who held this novel event for fifty friends at her home, one hour before Sunday lunch.

But as the trend for drinking martinis, daiquiris and Manhattans advanced, so did the voices of critics who saw alcohol as a vice hindering the country in its relentless march to progress. Rampant overdrinking by Americans of every social class saw the introduction of Prohibition across the country in 1920. It is amazing that a government order enacted to “protect” society should instead have given rise to organized crime on a scale not seen before. It also failed to quench America’s thirst for alcohol but instead drove it underground and back into the home.

Interestingly, the private ownership and consumption of alcohol was never illegal during this period. Cocktail culture suffered however, as the quality of available spirits declined and professional bartenders went abroad to continue their trade.

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174

Prohibition did not kill the cocktail. Mixing poor quality alcohol with sweet fruit juices made for a quick delicious drink that could be downed in multiples and in haste lest your favourite speakeasy be raided by the cops. Home bars sprung up in the corner of every living room or library as Americans took up a “do-it-yourself” attitude with keeping the spirits flowing. The cocktail shaker as we know it had been patented in 1872 and by the Roaring Twenties, American silversmiths like Tiffany & Co. were creating some of the shakers that have since become great collectors pieces. Novelty shakers took the form of golf sets, lighthouses, zeppelins, airplanes and even penguins. A whole collecting field was thus born!

1933 saw the repeal of Prohibition, but whereas the ban on alcohol had been rolled out countrywide in one fell swoop, the repeal was passed by Washington to the States who then often passed the responsibility to their counties resulting in a patchwork of wet and dry counties which lingers today. The late 1930s and 1940s saw

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cocktails regain their place in culture with frequent appearances in the most glamourous of Hollywood movies and hitting the airwaves in songs like “Rum and Coca-Cola”. GIs coming back from the Pacific War brought the Hawaiian Tiki Bar with them and the 1950s saw a resurgence in the home mixologist. Flash forward another fifty years and cocktails have seen a renaissance with popular TV shows like Mad Men giving a new generation an appetite for cocktails, and ensuring that silver cocktail shakers are still a necessity in every wellappointed home.

174 Tiffany & Co. Sterling Silver Cocktail Shaker 1947-1956 Tapering cylindrical form with angular handle.

Height 9 1/2 inches, approximately 25 ounces.

C $700-1,000 See Illustration

175 Set of Twelve Tiffany & Co. Sterling Silver Bread Plates Second half 20th century Each shaped circular with molded rim.

Diameter 6 1/4 inches, total approximately 65 ounces.

C Property of an International Collector $1,200-1,800 176 Tiffany & Co. Sterling Silver Bamboo Pattern Flatware Service Comprising twelve dinner forks, twelve salad forks, twelve tablespoons, twelve teaspoons, twelve dinner knives, twelve butter knives and a carving knife.

Total approximately 119 ounces, weighable.

C Peter J. & Mary Ann Ruda Brickfield Revocable Living Trust $3,000-4,000 See Illustrationof Part

176 part

177 Three Tiffany & Co. Sterling Silver Tea Caddies Late 20th century Each cylinder form with trailing ivy, the covers with pinecone finials.

Height 4 1/2 inches, total approximately 33 ounces.

C $800-1,200 See Illustration 178 Tiffany & Co. Sterling Silver Centerpiece Dish 1956-1965 Shaped circular, the body chased overall with strawberries, flowers and foliage.

Diameter 13 1/2 inches, approximately 45 ounces.

C Property of a Morristown, NJ Collection $800-1,200 See Illustration

178

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177

179 Tiffany & Co. Sterling Silver Provence Pattern Flatware Service Comprising twelve dinner forks, ten salad forks, eleven cocktail forks, eleven dinner knives, twelve fish knives, ten steak knives, eleven bouillon spoons, twelve dessert spoons, pair of salad servers, two serving forks, two serving spoons and a three piece carving set. Total approximately 133 ounces, weighable.

C $3,000-4,000 See Illustrationof Part 180 Tiffany & Co. Sterling Silver Presentation Spade 1990s Of typical form with inscription to reverse “To Buddy April 17 1995 80 Years of Accomplishment 40 More to Go From One Who Has Benefited Much Zalman”. Length 39 inches.

C Property from the Estate of an Upper East Side Collector $1,000-1,500

179 part

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BRING

R I C C E U S H T HOME The excitement, color, characters, and action of the circus have long inspired artists, particularly in the twentieth century. Pablo Picasso was known to have frequented the Cirque Medrano in Montmartre and his early career included several images of circus figures, including the Family of Saltimbanques at the National Gallery of Art in Washington, DC. Alexander Calder’s Grand Cirque was created from 1926-1931 and is part of the permanent collection at the Whitney Museum of American Art. Doyle has been fortunate to sell various circus-themed works, whether it be folk art from the 20th century; a cast iron mechanical bank; a lithograph by Chagall; or a painting by Bernard Buffet.

Works on this theme in the upcoming sale include a group of circus figures from Tiffany & Co.

Acrobat Cast Iron Mechanical Bank J & E Stevens Co. Sold at Doyle for $2,125

Marc Chagall, The Traveling Circus, Color lithograph, 1969.

Sold at Doyle for $11,250.

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Gene Moore arrived in New York from Birmingham, Alabama. He longed to create in a town known for its art and theater.

For over forty years, Moore used his talents to create rotating three-dimensional artwork for Tiffany’s windows. He used radical and witty designs to draw in potenial customers who strolled past. Moore contrasted everyday objects with the precious and refined jewelry in the windows. During his long-standing relationship with Tiffany & Co., he eventually designed jewelry and silver for the firm. In 1997, he created a three-piece child’s tableware set adorned with clowns, circus figures, horses and elephants.

Enameling is the process of fusing glass particles onto metal with heat. The colored particles, or powder, melt at the right temperature and harden to a smooth vitreous coating when cool. While there are many different variations of enameling producing different affects, these figures were probably done by enamel painting. This takes skill and precision to place the colors in the exact spot and create minute details.

The silver circus figures created in the 1990s incorporate the circus’ childlike spirit and comical imagery such as the clown mother pushing the baby clown in the stroller or the bear wearing a party hat on roller skates.

It is curious to think about what inspired Moore to create these fun figures. Was it a love for the circus like Charles Lewis Tiffany?

The founder of Tiffany & Co. once created a jeweled silver horse carriage as a wedding gift from circus legend P.T. Barnum to the performer General Tom Thumb and his wife.

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Tiffany has always been on the cusp of current trends. Perhaps Moore was influenced by the 1988 Big Apple Circus that participated in the first U.S circus collaboration with China in history, at Lincoln Center. Or maybe it was just a love of the whimsy that came from the circus. An advertisement in Orange Coast Magazine, December 1998 stated these “sterling silver and enamel circus figurines will be so cute in the baby’s room.

Not appropriate for teething purposes”.

181 Group of Nine Tiffany & Co. Sterling Silver and Enamel Circus Figures Designed by Gene Moore, 1990s Comprising Ring Master, rearing horse, juggling clown, roller skating bear, seal balancing ball, lion, tiger balancing on a ball, elephant and clown with baby stroller. Height of largest 4 1/2 inches, total approximately 65 ounces, all in.

Gene Moore (1910-1998) was Artistic Director and Vice President of Tiffany & Co. known for over 5000 imaginative windows he created for their Fifth Avenue flagship store.

C Estate of Julia Acton Forrest $4,000-6,000 See Illustration

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182 Queen Anne Walnut High Chest New England, 18th century The straight molded cornice over two short and four long graduated drawers, the lower section with an arched drawer and one long and two short drawers, raised on cabriole legs. Height 6 feet, width 38 1/4 inches, depth 19 5/8 inches.

Provenance: Bernard and S. Dean Levy, New York, NY C Property of the Estate of Arthur Gross $3,000-4,000 See Illustration

182

183 Queen Anne Mahogany Splint-Seat Side Chair Massachusetts, circa 1760 Height 37 3/4 inches, width 22 1/4 inches, depth 16 inches; Together with a Queen Anne Walnut Side Chair, Massachusetts, circa 1760.

Height 37 1/2 inches, width 20 inches, depth 16 1/2 inches.

C $800-1,200 See Illustration

183

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184 Set of Four Chinese Export Famille Rose Porcelain Plates Late 18th century Each of octagonal form, decorated with birds and flowers.

Diameter 9 inches; Together with a Pair of Chinese Export Famille Rose Porcelain Cachepots, 19th Century.

Each of cylindrical form, decorated with floral sprays on a white ground with mask handles. Height 5 3/4 inches.

C Estate of Percy Rivington and Evelyn Sloane Pyne $1,000-1,500 See Illustration

184

185

185 Queen Anne Maple Corner Chair New England, circa 1750-80 With leather upholstered seat.

Height 30 1/2 inches, width across arms 26 inches, diagonal depth 24 1/2 inches; Together with a Continental Walnut Upholstered Stool.

The leather seat with nailhead trim.

C $600-800

186 Queen Anne Mahogany and Parcel-Gilt Mirror Sconce 18th Century Height 35 1/2 inches, width 16 1/2 inches.

C $500-700 See Illustration

186

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187 part

187 Assembled Set of Fifteen Queen Anne Cherry and Maple Rush Seat Side Chairs New England, 18th century Various sizes including height 42 inches, width of seat 18 1/2 inches, depth of seat 14 1/4 inches.

C $3,000-4,000 See Illustrationof Part 188 Pilgrim Style Pine Small Chest Height 20 3/4 inches, width 31 5/8 inches, depth 16 1/2 inches.

C Property of the Estate of Arthur Gross $200-300

190

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189 George II Style Mahogany and Needlework Pole Screen Height 47 3/4 inches, width 19 1/2 inches.

C $200-300

190 Pilgrim Century Style Walnut Table Cabinet Probably Continental and 18th Century The canted lid opening to a well, above a false drawer and drop-down panel enclosing five small drawers, on bracket feet.

Height 15 inches, width 14 inches, depth 9 1/2 inches.

C $600-900 See Illustration

191 No Lot 192 Two Staffordshire Pearlware Pitchers Circa 1800 Height of tallest 8 1/2 inches; Together with a Staffordshire Pearlware Satyr Mug, Circa 1785. Height 3 1/2 inches.

C $300-500

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LEIGH KENDRICK EXPLORES

JOSÉ FORMOSA REYES BASKETS

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Nantucket lightship baskets weave a story of the area’s culture and history.

In the mid-19th century, using imported rattan, sailors began making baskets while in isolation on the South Shoal lightship. Lightships acted as floating lighthouses equipped with a foghorn to alert ships passing south of Nantucket. With idle hands and the right materials on the ships, the crew began crafting “lightship” baskets to give as gifts to wives and girlfriends or to sell. The early baskets were utilitarian in shape, either round or oval with a single handle. Three signature elements of the early baskets were the use of rattan, a mold for a precise shape, and a solid wooden base.

Most weavers knew each other, teaching each other the tricks of the trade and passing the culture down to future generations. Perhaps one of the most well-known basket makers, José Formosa Reyes, came to Nantucket from the Philippines with a knowledge of basket weaving and made over 5,000 baskets from 1948-1978. Reyes popularized the friendship basket pocketbook form well known today, with added carved decoration to the top and fastened lids to make them more versatile. Reyes began calling the purses friendship baskets, and it was even a tradition for young girls to receive a basket when they graduated high school. Another prominent maker was Harry A. Hilbert. He started making Nantucket style baskets in 1970 in Wilton, Connecticut. He used intricate inlays and turnings as well as rare and exotic woods. They were, however, sold on Main Street in Nantucket.

Today, Nantucket baskets are still made and collected, with some collectors amassing a variety of makers and forms. Others have their single basket purse, which goes along with them to outings and shopping expeditions in the warmer months.

193 José Formosa Reyes Lidded Lightship Basket Nantucket, MA, 1960s-70s Depicting a whale. Height 7 inches, width 8 inches.

C Collection of Frank and Claire Tracy Glaser $1,000-1,500

193 VIEW THE FULLY ILLUSTRATED CATALOGUE AND BID ONLINE AT DOYLE.COM 105

194 Queen Anne Style Walnut and Parcel Gilt Mirror The scrolled crest centering a gilt shell.

Height 43 1/4 inches, width 17 3/4 inches.

C $300-500 195 Queen Anne Mahogany Tripod Stand Massachusetts, 2nd half 18th century With a serpentine top. Height 27 inches, 16 inches square; Together with a Federal Mahogany Tripod Stand, Early 19th century. Height 24 1/2 inches, width 16 1/2 inches, depth 16 1/4 inches.

C Property of the Estate of Arthur Gross $400-600 197

196 Queen Anne Walnut Side Chair Probably Irish, 18th century The yoked crest and baluster splat over a compass seat on cabriole legs joined by stretchers. Height 39 1/2 inches, width 20 inches, depth 18 inches.

C $250-350 197 William and Mary Black Painted Tavern Table New England, 18th century The rectangular top with breadboard ends, shaped frieze with long frieze drawer on double baluster legs joined by molded box stretchers. Height 27 1/2 inches, width 42 3/4 inches, depth 24 3/4 inches.

Provenance: Mary Allis collection, by repute Skinner, Bolton, MA, January 14, 1989, Lot 140 C $1,000-1,500 See Illustration

198

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198 Queen Anne Black Painted Armchair New England, mid 18th century Height 41 inches, width at arms 24 inches, depth of seat 14 1/2 inches.

C $600-900 See Illustration

202 Associated Pair of Queen Anne Rush Seat Side Chairs New England, 18th century Height 41 inches, width 19 1/4 inches, depth 15 inches.

C Property of the Estate of Arthur Gross $250-350 203 Queen Anne Black Painted Armchair New England, mid 18th century Height 41 inches, width at arms 23 3/4 inches, depth of seat 16 inches.

C $600-900 See Illustration

200

199 Group of Three Harry A. Hilbert Star Decorated Lidded Baskets Wilton, CT early 21st century All with bail handles, two with double lids, signed and dated. Height of largest 8 1/2 inches, width 14 inches.

C Collection of Frank and Claire Tracy Glaser $600-800 200 José Formosa Reyes Lidded Lightship Basket Nantucket, MA, 1966 Depicting a whale. Height 6 1/2 inches, width 8 1/2 inches.

C Collection of Frank and Claire Tracy Glaser $1,000-1,500 See Illustration 201 George II Mahogany Drop Leaf Table 18th Century Height 28 inches, width 29 1/2 inches, depth 11 3/4 inches.

• $250-350

203

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204 Queen Anne Walnut High Chest Massachusetts, 2nd quarter 18th century The molded cornice above two short and three graduated long drawers, the lower section with one long and three short drawers, on cabriole legs.

Height 64 inches, width 38 1/2 inches, depth 21 1/2 inches.

C $1,200-2,000 See Illustration 205 Two Grain Painted Blanket Chests 19th Century Height of green top example 18 3/4 inches, width 40 1/2 inches, depth 18 1/2 inches; height of other example 18 inches, width 43 inches, depth 19 inches.

• $200-300 206 Canton Rose Medallion Punch Bowl and Charger 19th Century Length of platter 13 1/4 inches, diameter of bowl 12 inches.

C Estate of Steven R. Gross $800-1,200 See Illustration 207 Queen Anne Cherry Tea Table The rectangular tray top above a shaped apron, raised on cabriole legs ending in pad feet. Height 25 1/2 inches, width 30 inches, depth 19 inches.

• $300-400 See Illustration 204

206

208 Group of Three Windsor Sack-Back Armchairs and an English Windsor Wheelback Armchair Various sizes, including height 38 1/4 inches, width 24 1/4 inches, depth of seat 15 inches.

• $250-350 209 Three Fruitwood and Other Wood Tripod Stands Early 19th century Including a tilt-top example. Height of tallest 28 1/8 inches, width 19 1/2 inches, depth 15 inches.

C $300-400

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207

210 No Lot 211 Two Harry A. Hilbert Rectangular Two Bail-Handled Baskets Wilton, CT, early 21st century Height 8 inches, width 13 1/2 inches.

C Collection of Frank and Claire Tracy Glaser $300-500 212 Queen Anne Maple Tavern Table The oval top raised on straight legs ending in pad feet.

Height 27 1/4 inches, width 37 1/2 inches, depth 29 3/4 inches.

• $300-500 213

213 Chinese Export Porcelain Part Table Service Third quarter 18th century Comprising covered tureen and a stand, length of tureen 11 1/2 inches, a pair of shaped oval serving dishes; four soup plates; two dinner plates, diameter 9 inches; pair of reticulated baskets, and six covered pot de cremes.

Provenance of reticulated baskets and oval dishes: Lynda Willauer Antiques, Nantucket, MA C The Nelson Doubleday, Jr. Collection $1,500-2,500 See Illustration of Part 214 Queen Anne Maple Bonnet-Top High Chest Height 6 feet 7 1/2 inches, width 39 1/4 inches, depth 18 1/2 inches.

• $500-700 215 José Formosa Reyes Lidded Lightship Basket Nantucket, MA, 1960s-70s Depicting a whale. Height 7 inches, width 8 inches.

C Collection of Frank and Claire Tracy Glaser $1,000-1,500 See Illustration

215

216 William and Mary Walnut and Figured Maple Slant-Front Desk Massachusetts, early 18th century The stepped valenced interior with covered well, the case with two short over two long graduated drawers, on turned feet.

Height 39 7/8 inches, width 36 inches, depth 20 1/4 inches.

Provenance: Peter Eaton Antiques C $1,000-1,500 See Illustration 217 No Lot

216

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218

221 218 Pair of George III Mahogany Open Armchairs Last half 18th century The serpentine crest above an interlaced splat, flanked by shaped arm rests with scroll carved handholds, raised on square legs joined by stretchers.

Height 38 1/2 inches, width at arms 25 1/2 inches, depth of seat 18 1/2 inches.

C $500-700 219 Chippendale Mahogany Tilt-Top Tea Table 18th Century The dished top above birdcage mechanism and columnar standard, raised on three cabriole legs with pad feet.

Height 27 inches, diameter 36 inches.

C $400-600

220

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220 Pair Salt-Glazed Stoneware Spaniels Probably Derbyshire, circa 1835 Each seated on a stool with five lion’s paw feet.

Height 15 inches.

C Estate of Virginia Strub Kelly $3,000-5,000 See Illustration

221 Jose Formosa Reyes Lidded Lightship Basket Purse Nantucket, MA, 1965 Depicting a whale, signed and dated. Height 6 3/4 inches, width 8 1/2 inches.

C Collection of Frank and Claire Tracy Glaser $1,000-1,500 See Illustration 222 Chippendale Secretary Bookcase Massachusetts The scrolled pediment with three urn finials, the doors opening to an interior fitted with shelves, cubby holes and small drawers, the slant-front opening to a stepped, fitted interior, the case with four long graduated drawers, all on ogee bracket feet.

Height 7 feet 10 inches, width 40 inches, depth 21 inches.

C $1,500-2,500 See Illustration

223 Chippendale Cherry Linen Press Probably New Jersey In two parts, the upper section with a rectangular molded cornice above a pair of cupboard doors, the lower section with four long graduated drawers, raised on bracket feet.

Height 6 feet 10 1/2 inches, width 50 1/4 inches, depth 19 1/4 inches.

C $500-800 224 Inlaid Mahogany and Brass Mounted Ebonized Pole Screen Height 58 1/2 inches, width 12 1/2 inches.

C $300-400 225 George III Mahogany Drop-Leaf Table 18th Century With D-shaped leaves, raised on cabriole legs ending in ball and claw feet.

Height 27 1/2 inches, width 47 1/2 inches, depth 17 13/4 inches.

C $500-700 226 Chippendale Mahogany Reverse-Serpentine Slant-Front Desk Masschusetts, last quarter 18th century The case with a fitted interior with valenced pigeonholes and small drawers, four graduated drawers, raised on ogee bracket feet. Height 43 1/2 inches, width 44 inches, depth 22 inches.

C $500-700 227 Chippendale Inlaid Mahogany Tall Case Clock New Jersey, late 18th/early 19th century The scrolled pediment above a painted dial, inscribed G. Hollinshead Woodstown, the case inlaid with compass stars.

Height 7 feet 9 inches, width 21 1/2 inches.

C Estate of Julia Acton Forrest $1,500-2,000 See Illustration

222

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228 228 Pair of Green Painted Brace-Back Continuous-Arm Windsor Chairs New York, circa 1790 Height 37 1/4 inches, width at arms 22 inches, total depth 20 1/4 inches.

C $800-1,200 See Illustration 229 Chippendale Style Mahogany Stool Possibly 18th century The rectangular slip seat raised on cabriole legs with shell carved knees and ending in claw and ball feet.

Height 18 inches, width 29 inches, depth 19 inches.

C Property from the Estate of Leonard and Elaine Silverstein, Bethesda, MD $600-900 See Illustration

227 112 DOYLE • NEW YORK

230 Chippendale Walnut Chest of Drawers Pennsylvania, early 18th century Three short over three long graduated drawers, on ogee bracket feet. Height 38 1/2 inches, width 42 inches, depth 23 3/4 inches.

C $500-700 231 Group of Ten Open Lightship Baskets Nantucket, 20th century Including examples by Susan Chase Ottison, 1986; Terry Sylvia; Rosenquist; Martha Lawrence, 1997; Bill and Judy Sayle; 2003; Susan Chase Ottison. Height of largest 8 1/2 inches, width 14 inches.

C Collection of Frank and Claire Tracy Glaser $400-600

229

232 Federal Painted Work Table Height 29 inches, width 20 3/4 inches, depth 16 1/4 inches.

C Property of a Private Collector, Greenwich, Connecticut $500-700 See Illustration 233 Chippendale Cherry Slant-Front Desk Rhode Island, second half 18th century Height 42 inches, width 35 1/2 inches, depth 18 inches.

Provenance: By repute, Reverend John Marsh, chaplain in George Washington’s army C Property of the Estate of Arthur Gross $1,000-2,000 See Illustration

232

235 Engraved Powder Horn French and Indian War, mid-18th century Engraved with a map depicting forts and towns including Albany, Schenectady, Niagra; figures, and the royal arms, inscribed John Kane, etc.

Length 13 1/4 inches.

C Property of the Estate of Arthur Gross $5,000-8,000 See Illustration

233

234 Set of Twelve Lenox Porcelain Plates Retailed by Tiffany & Co., mid 20th century Each decorated with a central image of a yacht within a gadroon border. Diameter 10 1/2 inches.

C Property from the Estate of Miriam K. Rothenberg $1,000-1,500 See Illustration of Part 234

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POWDER O S HORN LEIGH KENDRICK EXPLORES

Eighteenth century engraved powder horns reveal a great deal of information about early life in America.

These prized possessions were carried by farmers, hunters in the unexplored wilderness, and then onto battlefields. The horns from oxen or cows were scraped and polished to carry gunpowder for their musket, fowler, flintlock rifle, or pistol. The horn proved to be a lightweight, waterproof, and fireproof option to carry powder that was both plentiful and affordable. It could also serve as a canteen for water or a container for salt. The curve of the horn, attached to a hunting rifle by a long strap or slung across the shoulder, fit to the natural form of the body.

While a practical necessity, an engraved horn also reflected the life of the man carrying it, documenting his interests and serving as a souvenir of his travels. The prime of engraved powder horns was during the French and Indian War (1754 to 1763) and the American Revolutionary War (1775 to 1783). European and English powder horns from the sixteenth to eighteenth centuries were made out of bovine horn, stag horn or tortoiseshell.

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In the early 1700s, American horns were unadorned. Decorating them helped pass the time and distinguish one soldier’s horn from another. With a pocket knife or engraver’s tool, letters, dates, names, locations, animals, etc., were scratched into the horn. Brown paint was rubbed into the decoration to highlight the designs.

By the time of the French and Indian War, the nature of battles had changed in America. The expeditions and sieges were longer, so there was downtime in forts or around campfires. Men personalized their horns to commemorate battles, sometimes including maps of the terrain on which they had fought. This was also a time where soldiers travelled on uncharted land, previously known only to fur traders. Few printed paper maps existed, so adding maps to horns was a way to guide the frontiersmen.

An example of a powder horn in this sale includes several forts, bodies of water and towns. John Kane inscribed his name on the horn along with the Royal arms of the United Kingdom. British coats of arms were common on horns owned by British officers and American colonists.

The map carved on this example includes markings of various forts including Edward, George, Miller, Still Water, Half Moon, and Hunter in the Hudson and Mohawk River Valleys that run through New York state and over to Canada. Not all the soldiers were literate, so spelling mistakes are common. In this example we see “F. Bruinton� for Fort Brewerton, which was established in 1759, North of Syracuse.

With the proliferation of new gun technologies by the mid-19th century, powder horns fell out of fashion as guns required more powder than a horn could hold. Soldiers instead used metal powder flasks or cartridges and the horns became commodity items sold in general stores. As such, the engraved powder horn offered is a true early American relic carried by one John Kane through the forests, fields and towns of New York two hundred and sixty years ago.

235 Engraved Powder Horn French and Indian War, mid-18th century Engraved with a map depicting forts and towns including Albany, Schenectady, Niagra; figures, and the royal arms, inscribed John Kane, etc.

Length 13 1/4 inches.

C Property of the Estate of Arthur Gross $5,000-8,000 See Illustration

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237

242

237 Group of Five Harry A. Hilbert Round Open Baskets Wilton, CT, late 20th century Height of largest 6 3/4 inches, width 13 3/4 inches.

C Collection of Frank and Claire Tracy Glaser $400-600 See Illustration

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238 Federal Inlaid Mahogany Tripod Stand and a Similar Mahogany Tripod Stand Early 19th century Each with oval top on baluster stem.

Height 29 inches, width 23 inches, depth 15 1/4 inches. • $400-600

241 Chippendale Inlaid Mahogany Tall-Case Clock Griffith Owen, Philadelphia, circa 1790 The painted dial with moonface indicator, sweep seconds hand, and day-of-the-month aperture.

Height 7 feet 8 1/2 inches, width 21 1/4 inches, depth 11 inches.

239 Federal Inlaid Cherry Corner Cabinet Pennsylvania, early 19th century The scrolled pediment with urn finial, the arched glazed door over two paneled doors, on bracket feet.

Height 7 feet 3 inches inches, width 40 inches, depth 21 inches.

C $800-1,200

Provenance: Mrs. George C. Rudolph, Springfield, PA C Property of the Estate of Arthur Gross $2,000-3,000

240 Federal Inlaid Mahogany Work Table Early 19th century The rectangular top over a single drawer on reeded legs ending in baluster feet. Height 27 1/2 inches, width 21 1/4 inches, depth 19 1/4 inches.

C $500-700

242 Wool and Silk on Linen Needlework Picture Dated 1824 Depicting a house within a floral border, signed and dated.

Height 20 1/2 inches, width 17 inches.

C Estate of Julia Acton Forrest $400-600 See Illustration

243 Group of Four Round Open Baskets with Bail Handles Late 20th century Signed and dated by Harry A. Hilbert.

Height of largest 8 inches, width 12 inches; Together with Another Oval Basket. Unsigned.

Height 7 1/4 inches, width 4 1/2 inches.

C Collection of Frank and Claire Tracy Glaser $400-600 244 Set of Six Federal Style Cherry Shield Back Side Chairs On square tapering legs.

Height 40 inches, width 22 1/4 inches, depth 18 inches. • $300-500

245 Group of Chinese Export Famille Rose Table Articles 18th/19th Century Comprising a two-handled jardiniere, height 8 1/4 inches, diameter 8 1/2 inches; pair of reticulated salts with liners and stands; and a flask-form tea caddy.

C The Nelson Doubleday, Jr. Collection $400-600 246 Federal Inlaid Mahogany and Needlework Pole Screen Circa 1800 Height 59 1/2 inches, width 14 inches.

C $250-350

245

247 Chippendale Figured Maple Slant-Front Desk New England, 18th century With a fitted interior, the case with four graduated lip-molded drawers on bracket feet.

Height 40 3/4 inches, width 36 inches, depth 20 1/2 inches.

C $700-1,000 See Illustration

247

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248

248 Group of Three Lidded Lightship Basket Purses Nantucket, late 20th century Various makers, decorations, and sizes. Comprising examples signed Alan S.W. Reed 1985, Jeanne Reis, Rosenquist 1983 no. 3. Various sizes including, height of largest 6 1/2 inches, width 11 inches.

C Collection of Frank and Claire Tracy Glaser $600-800 See Illustration

249 Pair of Staffordshire Pearlware Bocage Figures Circa 1790 Height of larger figure 7 1/2 inches; Together with a Pair of Staffordshire Pearlware Candlesticks, circa 1800.

Height 9 1/2 inches.

C $400-600 250 Federal Inlaid Mahogany Sideboard Early 19th century With three frieze drawers and four cupboard doors on reeded baluster legs. Height 42 inches, width 71 1/2 inches, depth 28 1/4 inches.

C $600-900 251 Federal Cherry Corner Cabinet Pennsylvania, early 19th century The molded cornice above two glazed doors, over two cupboard doors and a shaped apron, raised on splayed feet.

Height 7 feet 5 inches, width 49 1/4 inches, depth 23 1/4 inches.

C $800-1,200 252 Chinese Blue and White Glazed Porcelain Covered Ginger Jar Kangxi With reserves of figures and fruits, on stand. Height 8 inches, diameter 7 inches.

C Property of the Estate of Arthur Gross $1,500-2,000 See Illustration

252

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252

253 Pair of Federal Carved and Veneered Mahogany Card Tables, Attributed to Duncan Phyfe New York, circa 1800-1810 Each with a double-elliptical top over a conforming banded frieze with central tablet, raised on five ring-turned tapering reeded legs ending in inverted baluster shaped feet. Both stamped underneath Thomas Cornell Pearsall, made for him by Duncan Phyfe. Height 29 1/2 inches, width 36 inches, depth 17 7/8 inches.

Provenance: Thomas Cornell Pearsall Miss Phoebe Pearsall Mrs. Henry Wilmerding Payne Ginsberg & Levy, New York Mrs. Henry Parish II Incorporated, New York Present owner Please note that one table is illustrated in Duncan Phyfe and the English Regency,

by Nancy McClelland, plate 277 p. 290.

These tables were part of a suite of furniture made for Thomas Cornell Pearsall’s home “Belmont,” located at East River and 57th Street. The contoured double elliptical top and reeded legs fit with the New York aesthetic of the time. The banded central tablet, reeded legs and inverted baluster feet are exemplary of Phyfe’s best work.

C Property from a Park Avenue Estate $3,000-5,000 See Illustration

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257 part

254 Federal Mahogany Lolling Chair Massachusetts, circa 1800 With molded and shaped arms, on molded tapering legs joined by stretchers.

Height 46 1/2 inches, width 26 1/2 inches, depth 32 3/4 inches.

C $700-1,000 255 Pair of Inlaid Mahogany Federal Card Tables With rounded inset corners and raised on square tapering legs. Height 29 inches, width 36 1/4 inches, depth 17 3/4 inches.

C $800-1,200 256 Federal Inlaid Mahogany Fold-Over Card Table Early 19th century The serpentine top with rounded outset corners, above a conforming frieze flanked by ring-turned stiles, raised on turned legs.

Height 28 3/4 inches, width 36 1/4 inches, depth 16 1/2 inches.

C $600-800 120 DOYLE • NEW YORK

257 Chinese Export Porcelain Partial Dinner Service Late 18th/early 19th century In the Tobacco Leaf and Peacock pattern, comprising three covered vegetable tureens; square bowl; hot water dish; covered soup tureen; platter and mazarine, on a wooden table stand; and a well-and-tree platter, length 17 1/2 inches. and five chamfered platters.

Provenance: Christie’s, New York, January 25-26, 2000, lot 76 C Estate of Laura M. Mako $6,000-9,000 See Illustration of Part 258 Cotton and Wool on Silk Needlework Flower Basket Picture 19th Century Sight 18 1/2 x 23 inches.

• $300-500

259 Federal Inlaid Mahogany Serpentine Card Table Early 19th century Raised on square tapering legs.

Height 29 1/2 inches, width 36 1/2 inches, depth 17 3/4 inches.

C $400-600

260 Federal Inlaid Mahogany Serpentine Chest Possibly Norfolk, Virginia, circa 1800 The top with a molded edge, above four graduated cockbeaded drawers, flanked by inlaid stiles and continuing to flaring bracket feet. Height 40 inches, width 44 inches, depth 23 inches.

C $1,200-1,800 See Illustration 261 Group of Four Round Baskets Last quarter 20th century Two with bail handles, three examples

by Harry A. Hilbert, and one example

by Tully, dated 1986, height 6 3/4 inches, width 12 inches.

C Collection of Frank and Claire Tracy Glaser $300-500 260

262 Federal Inlaid Mahogany Linen Press Early 19th century The molded cornice, above two cupboard doors, the lower section with three cock-beaded drawers, over a shaped apron, raised on bracket feet.

Height 6 feet 7 inches, width 47 1/2 inches, depth 22 inches.

C $800-1,200

263 Federal Style Inlaid Mahogany Demilune Fold-Over Card Table Height 30 inches, width 35 3/4 inches, depth 17 1/4 inches.

C $200-300

264 Federal Mahogany Dining Table First quarter 19th century The top with a reeded edge, raised on circular tapering reeded legs, with three leaves.

Height 29 1/2 inches, width extended 10 feet 5 3/4 inches, depth 53 3/4 inches.

Provenance: Doyle, New York, November 18, 2010, Lot 270 C $2,000-4,000 See Illustration

264

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265 Bill and Judy Sayle Lidded Lightship Basket Purse Nantucket, MA, 1976 Depicting two shells, signed and dated.

Height 5 1/4 inches, width 9 inches.

C Collection of Frank and Claire Tracy Glaser $500-700 266 Chinese Export Porcelain Famille Rose Part Table Service Third quarter 18th century Comprising a charger, length 12 1/4 inches; scalloped bowl; oval platter; pair of sauceboats and set of four soup plates.

Provenance of sauce boats and four soup plates: Lynda Willauer Antiques, Nantucket, MA C The Nelson Doubleday, Jr. Collection $1,200-1,800 See Illustration 267 Group of English Porcelain Items 18th/19th Century Including two blue and white Worcester plates, diameter 6 3/4 inches; a spirit burner cottage, height 8 1/2 inches; and two figures of finches.

• $300-500

266

268 Federal Bowfront Chest of Drawers Attributed to the Workshop of Abiel White, Weymouth, MA, circa 1800 With four graduated drawers, shaped apron, on French feet. Height 34 3/8 inches, width 42 inches, depth 21 1/4 inches.

For more on Abiel White and his workshop, please see Brock Jobe, Gary R. Sullivan, and Jack O’Brien Harbor & Home: Furniture of Southeastern Massachusetts, 1710-1850, pages 35-38 and pages 190-192.

C $600-900 269 Federal Style Inlaid Mahogany Sofa Table Part 19th century Height 30 1/4 inches, width 36 1/2 inches, width extended 58 1/2 inches, depth 26 1/4 inches.

C $600-900 268

122 DOYLE • NEW YORK

270 Federal Inlaid Cherry Bowfront Chest of Drawers Connecticut River Valley, possibly Vermont, circa 1800 With four graduated drawers, shaped apron, on splayed bracket feet. Height 34 1/4 inches, width 41 5/8 inches, depth 28 1/4 inches.

Provenance: Ernest J. Johnson, White River Junction, VT Charlie H. Tenney, Springfield C $700-1,000 See Illustration

270

271 Federal Inlaid Mahogany Pembroke Table New York, early 19th century The rectangular top with bowed ends and D-form leaves, above a single drawer, raised on square tapering legs, each headed by a patera. Height 26 1/2 inches, width 31 3/4 inches, depth 20 inches.

C $600-900 272 Federal Style Inlaid Mahogany Secretary Bookcase 19th century The scrolled pediment with two glazed doors, the lower section with a fitted desk drawer over four graduated long drawers, raised on splayed bracket feet.Height 93 1/2 inches, width 42 inches, depth 23 inches.

C $800-1,200 See Illustration 273 Federal Inlaid Mahogany and Parcel-Gilt Pier Mirror Early 19th century Height aproximately 50 inches, width 23 3/4 inches. • $500-700 See Illustration 274 Federal Style Cherry and Pine Tester Bedstead Total height approximately 81 1/2 inches, height of front post 67 1/2 inches, width 55 inches, depth 83 inches.

C Property of the Estate of Arthur Gross $400-600

272 VIEW THE FULLY ILLUSTRATED CATALOGUE AND BID ONLINE AT DOYLE.COM 123

276 275

275 Chinese Export Porcelain Two-Handled Urn Made for the American Market, circa 1800 Mounted as a lamp, decorated with blue bellflower swag trim and a raised central medallion of a landscape en grisaille. Height of urn 16 inches.

C $700-1,000 See Illustration 276 Group of Four Lidded Lightship Basket Purses Nantucket, MA, 20th century Various makers, decorations, and sizes. Comprising examples by Lawrence Wheeler, Donna Cifranic, 2002, one signed DOHOYT, etc. Height of largest 7 inches, width 14 inches.

C Collection of Frank and Claire Tracy Glaser $700-1,000 See Illustration 277 Federal Inlaid Cherry Work Table New England, early 19th century The serpentine top with square outset corners, straight frieze drawer, on tapering square legs with tapered feet. Height 27 1/4 inches, width 20 inches, depth 19 1/2 inches.

C Property of the Estate of Arthur Gross $300-500 See Illustration

277

124 DOYLE • NEW YORK

278

278 Classical Figured Maple Settee Pennsylvania, circa 1825 Height 33 1/2 inches, width 77 3/4 inches, depth of seat 19 3/4 inches.

C $500-700 See Illustration

279 Two Jose Formosa Reyes Lidded Lightship Basket Purses Nantucket, MA, circa 1960s-70s Height of largest 6 inches, width 6 3/4 inches.

C Collection of Frank and Claire Tracy Glaser $800-1,200 See Illustration

279

280 Federal Inlaid Mahogany Sideboard With three frieze drawers above a drop down cupboard door, flanked by deep drawers, on square tapering legs.

Height 41 inches, width 68 inches, depth 22 1/2 inches.

C $500-700 280

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281 Federal Inlaid Mahogany Bow Front Chest of Drawers Early 19th century With four long drawers, on splayed feet.

Height 38 1/8 inches, width 41 1/2 inches, depth 22 1/4 inches.

C Property of the Estate of Arthur Gross $700-1,000 282 Group of Seven Ceramic Horses and Riders Kathleen Wheeler Crump, circa 1945 Height of largest 7 inches.

C Estate of Virginia Strub Kelly $3,000-5,000 See Illustration 283 Federal Inlaid Mahogany Pembroke Table New York, early 19th century The bowed rectangular top above a bowed frieze with one drawer, on bleeding heart inlaid square tapering legs with banded ankles. Height 27 inches, width 31 inches, depth 18 1/2 inches, depth extended 38 1/4 inches.

C Property of the Estate of Arthur Gross $4,000-6,000 See Illustration

282

284 Federal Style Tall Case Clock 19th Century The scrolled pediment with eagle finial, painted dial, the case with banded door flanked by fluted corner columns over conforming base with bracket feet.

Height 88 1/2 inches, width 18 1/4 inches, depth 9 1/2 inches.

C $600-800 285 San Ildefonso Ceramic Vessel Painted in black on a red ground.

Diameter 9 1/4 inches.

C Property from the Estate of Miriam K. Rothenberg $800-1,200

283

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286

286 Chinese Export Partial Service 18th Century Comprising two serving platters with one cover, two soup plates, four dinner plates, and four tea plates, with a wide blue band with gold stars and monogramed with “JMW� encased in a rose and leaf swag border. Length of covered platter 14 inches; diameter of largest plate 9 3/4 inches.

The items that comprise this lot have descended more than 200 years and through six successive generations of descendants of the original owners of this service, the Honorable James M. Watson (1750-1806) and his wife, Mary Talcott (1752-1806). Watson was a successful New York merchant, statesman and member of the Society of Cincinnati. He was appointed Naval Officer of the City of New York by either George Washington or Quincy Adams and served as a member of the Assembly of New York in 1791, 1794, 1795 and 1796. He was Senator of New York in 1797 and 1798 and U.S. Senator from 1798 to 1800. He died in Manhattan on May 15, 1806, at age 56. A portrait of James Watson painted by John Trumbull in 1789 is now in the collection of the Munson Williams Proctor Arts Institute, in Utica, New York.

An additional fifty-four pieces from this dinner service, including eight dinner plates, eight soup plates, six tea plates, five serving dishes, four platters, three bowls, a soup tureen and cover, etc., were gifted to the New York Historical Society (NYHS) by a family member in 1984.

Three more bowls from this service can also be found in collection of the NYHS. C $2,000-3,000 See Illustration of Part

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287 Federal Inlaid Mahogany Work Table Possibly Philadelphia, early 19th century The concave front with two drawers on tapering square legs. Height 29 7/8 inches, width 19 1/4 inches, depth 15 inches.

C Property of the Estate of Arthur Gross $1,000-1,500 See Illustration 288 Federal Mahogany Sideboard Attributed to George Whitelock, Wilmington, Delaware, first quarter 19th century The shaped top with a concave front, above a frieze drawer, over a pair of doors flanked by doors, raised on tapering square legs. Height 37 inches, width 6 feet, depth 26 inches.

Provenance: James M. Kilvington, Dover, Delaware C Estate of Robin R. Henry $1,000-1,500 See Illustration 289 Classical Mahogany Work Table Second quarter 19th century Height 28 inches, width 22 1/2 inches, depth 17 inches.

C $250-350

287

290 Hopi Pottery Vessel Early 20th century Diameter 7 inches.

C Property from the Estate of Miriam K. Rothenberg $600-900

288

128 DOYLE • NEW YORK

291

291 Group of Four Woven Leather Handled Baskets Nantucket, MA, late 20th/early 21st century Various sizes and decorations. Comprising examples by Jose Formosa Reyes, Bill and Judy Sayle, 1998, Nathan Taylor, 2005.

C Collection of Frank and Claire Tracy Glaser $800-1,200 See Illustration 292 Santa Clara Blackware Ceramic Handled Bowl Early 20th century Diameter 7 1/2 inches; Together with a Hopi Pottery Vessel, Nampeyo.

Diameter 11 1/2 inches.

C Property from the Estate of Miriam K. Rothenberg $600-1,000 293 Federal Inlaid Cherry Chest of Drawers Early 19th century The four graduated drawers over a shaped apron on splayed bracket feet.

Height 42 1/2 inches, width 47 inches, depth 20 1/4 inches.

C $800-1,200 See Illustration

293

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298 294 Federal Inlaid Mahogany and Birch Card Table Probably Salem or Boston, early 19th century With serpentine sides and front, on turned legs.

Height 26 3/4 inches, width 35 3/4 inches, depth 18 3/4 inches.

C $600-900 See Illustration

295 Classical Mahogany Drop-Leaf Table Early 19th century Height 28 1/2 inches, width 18 3/4 inches, width extended 35 1/2 inches, depth 17 7/8 inches.

C Property of a Private Collector, New York $250-350

296 Regency Mahogany Canterbury Early 19th century With three sections and a base drawer, on turned legs with casters. Height 19 inches, width 27 inches, depth 17 inches.

C $500-700 297 Classical Mahogany Three-Part Dining Table 19th century With a drop-leaf section and two D-form sections, raised on reeded legs. Height 20 inches, width 47 inches, length extended 11 feet 11 inches.

C $600-900 298 Needlework Pictorial Rug Probably Continental, 19th century Depicting a tiger and lion in a landscape, fringed, professionally mounted. Height of mount 41 1/4 inches, width 66 1/4 inches.

Provenance: Alistair Sampson, London C $3,000-4,000 See Illustration

298

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299 Three Staffordshire Creamware Tea Caddies Late 18th century Comprising an example with Shakespeare; an example with putti, etc. Height of largest 7 inches.

C $700-1,000 See Illustration

300

300 Federal Inlaid Mahogany Sideboard New York, first quarter 19th century On tapering square legs. Height 43 1/8 inches, width 60 1/4 inches, depth 25 3/4 inches.

C $1,500-2,000 See Illustration 301 Classical Mahogany Upholstered Stool 2nd quarter 19th century Raised on turned reeded legs. Height 19 inches, width 22 inches, depth 14 inches.

C $500-700 See Illustration 302 Victorian Brass Bound Oak Kindling Bin Late 19th century Height 12 inches, width 16 inches.

C $200-300 303 Two Similar Patinated Bronze Whippets Each on a faceted base cast with foliage.

Height of one 33 3/4 inches, height of other 34 1/2 inches.

C $800-1,200

301

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304 Jose Formosa Reyes Lidded Lightship Basket Nantucket, MA, 1960s-70s Depicting a bird. Height 6 1/2 inches, width 8 1/2 inches.

C Collection of Frank and Claire Tracy Glaser $1,000-1,500 See Illustration 305 Pair of Federal Inlaid Mahogany Card Tables New England, early 19th century On tapering square legs. Height 29 1/2 inches, width 35 3/4 inches, depth 17 1/4 inches. • $1,000-1,500 See Illustration

304

305

306 Group of Three Staffordshire Pearlware Articles Circa 1800 Comprising a pocketwatch holder molded as a tall case clock flanked by classical figures; a vase molded as a classical figures flanking an urn pedestal; and a stirrup cup with the face of the Pope and the face of the devil. Height of pocketwatch holder 11 inches.

C $800-1,200 See Illustration 307 No Lot

306 132 DOYLE • NEW YORK

308 Group of Four Harry A. Hilbert Round Open Baskets Wilton, CT, late 20th century Height of largest 8 inches, width 12 1/4 inches.

C Collection of Frank and Claire Tracy Glaser $300-500 309 Sherwin Boyer Lidded Lightship Basket Purse Nantucket, MA, 20th century Depicting a whale. Height of largest 6 1/2 inches, width 7 1/2 inches.

C Collection of Frank and Claire Tracy Glaser $500-700 See Illustration 310 Carved and Painted Pine Model of an Eagle Lancaster County, PA, circa 1845 Height 20 inches, width 48 inches.

Provenance: John Gordon, New York City Illustrated in Alice Winchester and Jean Lipman, The Flowering of American Folk Art (1776-1876), p. 182.

This eagle, with its great sense of movement, is a fine example of the ornamental woodcarving that embellished Lancaster County homes in the 19th century.

C $5,000-7,500 See Illustration 311 Staffordshire Pearlware Partial Tea Service Circa 1785-1800 Comprising a teapot, creamer, sugar bowl and cover. Length of teapot 10 inches; Together with a Staffordshire Pearlware Quintal Vase, circa 1800. Height 7 1/2 inches; And a Chinese Export Porcelain Mug C $400-600

309

312 Two Harry A. Hilbert Lidded Baskets Wilton, CT late 20th century One with engraved ship with bail handle, one decorated with fruit, double handles; Together with a Harry A. Hilbert Leather Strap Basket, decorated with ships. Height 8 1/4 inches, width 11 inches.

C Collection of Frank and Claire Tracy Glaser $600-800

310

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Novelty Pipes Towards the end of the eighteenth century, Staffordshire potters began to create playful puzzle and novelty pipes. These fanciful pipes were much more than a smoking essential; they were more imaginative and artistic than they were practical. They could be elaborately scrolled showpieces or modeled as well-known figures. These intricate and colorful pipes served to highlight the potter’s skill in handling clay, and were highly decorative ornaments on a chimney piece.

This group of Three Staffordshire Pearlware Novelty Pipes includes a coiled snake seen consuming a pipe bowl with the mouthpiece as the tail end of the snake. In Old English Pipes, printed in the 1906 September issue of The Connoisseur, M.H.H. Macartney comments that “looking at examples from this period it is hard to believe that these pipes were made for actual use”. While it was possible to smoke through these forms, the pipes were fragile and would have proved difficult to clean after use.

The figural pipe showing a seated woman, with a fish handle, is of the famous Regency period “dipper” Martha Gunn. Hailed as “the Venerable Priestess of the Bath”, Gunn would take bathers in and out of the waters in Brighton in small wooden crates pulled by horses. Gunn kept bathers afloat, pushed them through the waves, and assisted them back to the bathing machines to pull them ashore.

134 DOYLE • NEW YORK

As sea bathing became more popular, so did Gunn, with her dipping career spanning over sixty years. She was an early 19th century celebrity and a favorite of George IV. These pipes have had long lives because they were meant to be showpieces, rarely if ever smoked, and kept on display, waiting to be the center of conversation. While smoking from a three-coiled snake, a seahorse, or a Martha Gunn may prove to be difficult, what is undeniable is their appealing style and form. Whether placed on your mantle or laid on a coffee table, these pipes are sure to capture the attention of many. With their lively colors and recognizable subjects these novelty pipes make a great addition to a current collection or the start of a new one.

313 Two Staffordshire Pearlware Novelty Pipes Circa 1800 Length of longest 13 inches; Together with a Staffordshire Pearlware Martha Gunn Pipe. Height 4 5/8 inches.

C $600-900 See Illustration

315

315 Chinese Export Porcelain Platter from the De Witt and Maria Clinton Service Circa 1800 Length 10 inches; Together with a Chinese Export Porcelain Cup. Provenance of platter: Governor De Witt Clinton Oliver Kane of Labony DeLancey Kane Sybil Kent Kane James King Hand

DeWitt Clinton (1769-1828) had a distinguished career in New York politics, serving as a senator, mayor of New York City, and three terms as Governor. He married Maria Franklin in 1796 and the porcelain service was probably ordered shortly thereafter.

C Property of the Estate of Arthur Gross $1,500-2,000 See Illustration 316 No Lot

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CAROUSEL FIGURE OF A PIG When thinking of a carousel or merry-go-round, most recall brightly-colored fiberglass horses, twinkling lights and cheerful music in the parks or fairs of present day; however, decades and centuries prior, carousels included a variety of different types of animals – hand-carved, hand-painted, with expressions and glass eyes that sparkled. The earliest carousels appeared at European carnivals and fairs and included animals hanging from chains or poles from a canopy top, held by a single central pole, but no bottom platform.

Our carousel pig was probably inspired by pigs made by a French carver, Gustave Bayol (1859-1931).

Decades ago it would have dazzled with a multicolored saddle and carved ribbons to adorn it.

The glass eyes would have caught the light as the carousel went around. Maybe our pig once hung from chains on a carousel where “pigs fly.”

In the late eighteenth century, an English inventor named John Joseph Merlin created a Mechanical Museum in London. One of the attractions was a device with wooden horses supported by pillars for ladies and gentleman to ride, an early form of carousel. In the United States, the carousel developed as an amusement ride with a rotating platform with seats for riders, commonly in the shapes of horses or other animals.

American carousels also travelled with the carnival and could be found in parks at the ends of trolley lines.

The “Golden Age of Carousels” in the United States was from the 1890s-1920s, when European carvers emigrated to the United States. These classicallytrained cabinet makers and wood carvers for interior and architectural ornament came from France, Germany, and Russia. These men often took inspiration from live animal in zoos and travelling circuses.

French and German carousels often included classic jumpers or those standing or prancing in formal poses.

136 DOYLE • NEW YORK

There are several American workshops that were also creating distinctive styles of horses, all different in decoration and form: Philadelphia, Coney Island, and County Fair style. Animals from the different workshops are part of a niche market of collecting.

American carvers also included different animals in carousels such as giraffes, bears, and hippos.

Gustave Bayol apprenticed with his father who was a woodcarver and cabinetmaker in Avignon, France and founded the Angers School of Carving. He began to make ornamental woodwork probably for architecture, then started carving carousel horses. His specialty in farm animals was influenced by the rural clientele in France. He often created a carousel with a single type of animal, so there would be several different forms and sizes of pigs for example, and started his own school for carousel carving. Bayol created carousel animals for government facilities and carousels on the grounds of private chateaux. He was considered the premier carousel maker in France and was known for his fanciful carvings of farm animals such as cows, cats, rabbits, donkeys and pigs. His animals were characterized by animated expressions, ribbons and bows, bells, and sometimes voice mechanisms. His pigs often had long ears and a dangling tongue.

Bayol’s farm animals were wildly popular and copies were done by his contemporaries and beyond. During the World Wars, carnivals worldwide shut down and amusement parks were bulldozed; many of the original carousels were lost. Today the animals are often made of fiberglass or aluminum, and original carved wood examples are collected as folk art. The wooden carousel figures, including this charming beribboned pig, evoke a nostalgia for childhood fun, and seemingly simpler times.

317 Carved and Painted Wood Carousel Figure of a Pig Manner of Gustave Bayol circa 1900 Height 30 inches, length 68 inches.

C Estate of Laura M. Mako $1,000-2,000 See Illustration

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Carpets & Rugs 318 Heriz Carpet Northwest Persia, circa 1925 The central polychrome geometric medallion on the madder field flanked by sky blue spandrels is within an indigo palmette and vine border.

Approximately 15 feet 5 inches x 11 feet.

Areas of wear, minor losses to ends.

C $2,500-3,500 319 Fereghan Carpet North Persia, circa 1900 The madder field with a central geometric medallion flanked by khaki spandrels is within a midnight blue palmette and vine border.

Approximately 9 feet 8 inches x 5 feet 9 inches.

Minor losses to one end, small restored areas.

C $1,200-1,800 320 Guendje Rug Southwest Caucasus, late 19th century The striped field with an ascending shrub pattern overall is within a madder stylized rosette border. Approximately 7 feet 7 inches x 3 feet 10 inches.

Minor wear, oxidized blacks, minor re-piling.

C $800-1,200 321 Bakhtiari Carpet South Persia, mid 20th century The central circular pendant medallion on the madder field flanked by indigo spandrels is within a palmette and leafy vine border.

Approximately 22 feet 7 inches x 14 feet 8 inches.

C $2,500-3,500 322 Oushak Carpet West Anatolia, late 19th century The sky blue field with polychrome stylized floral vinery overall is within a buff meandering vine border. Approximately 14 feet 3 inches x 8 feet 5 inches.

Partial ends and sides, reselvedged, areas of wear, re-piled and restored areas.

C Estate of Pauline Ireland, Birmingham, AL $2,000-3,000 323 Baluch Runner West Turkestan, circa 1900 Two columns of salor gul medallions on the russet field are within a rosette border.

Approximately 13 feet x 2 feet 8 inches.

Minor wear, oxidized blacks.

C $1,000-2,000

138 DOYLE • NEW YORK

324 Oushak Carpet West Anatolia, early 20th century The allover pattern of polychrome stylized floral vinery on the ivory field is within a saffron rosette border. Approximately 14 feet 7 inches x 12 feet 10 inches.

Areas of minor wear and oxidation, small restored area, losses to one end.

C $5,000-7,000 325 Northwest Persian Carpet Northwest Persia, early 20th century Three hexagonal saw-tooth medallions on the khaki field are within an ivory rosette border.

Approximately 9 feet 1 inch x 6 feet.

Partial ends and sides, reselvedged.

C $1,000-2,000 326 Northwest Persian Runner Northwest Persia, first quarter of the 20th century The camel field with two and one-half pendant medallions is within a coral meandering vine border. Approximately 19 feet 5 inches x 3 feet 10 inches.

Re-piled areas, restorations, minor moth damage, areas of wear.

C Property from a New York Collection $700-900 327 Northwest Persian Carpet Northwest Persia, first quarter of the 20th century The indigo field with an overall ascending pattern of palmettes and shrubs in a vinery lattice is within a crimson border.

Approximately 25 feet 10 inches x 13 feet 11 inches.

Reduced in length, areas of minor wear, small re-piled areas.

C $4,000-6,000 328 Heriz Carpet Northwest Persia, second quarter of the 20th century The central polychrome geometric medallion on the madder field flanked by ivory spandrels is within an indigo palmette and vine border. Approximately 10 feet 4 inches x 7 feet 7 inches.

Minor wear, reselvedged.

C Peter J. & Mary Ann Ruda Brickfield Revocable Living Trust $700-1,000

329 Kuba Runner Northeast Caucasus, circa 1900 Five octagonal medallions on the midnight blue field are within an ivory crab border.

Approximately 11 feet 4 inches x 4 feet 3 inches.

Re-piled and restored areas, reselvedged.

C $1,200-1,800 330 Bidjar Carpet North Persia, first quarter of the 20th century The midnight blue field with polychrome floral vinery overall is within a madder meandering vine border. Approximately 14 feet 1 inch x 11 feet 5 inches.

Restorations to ends, re-piled areas, small holes.

C $3,000-5,000 331 Shirvan Gallery Carpet East Caucasus, dated 1312 AH/1895 AD Nine polychrome diamond medallions on the indigo field are within a madder palmette and vine border. Approximately 16 feet 3 inches x 5 feet 3 inches.

Minor losses to ends and sides, 2 inch x 8 inch patch one end, oxidized blacks, areas of wear, small restorations.

C $2,500-3,500 332 Oushak Carpet West Anatolia, first quarter of the 20th century The allover pattern of shield medallions on the madder field is within an indigo rosette border. Approximately 14 feet 1 inch x 10 feet 4 inches.

Stains, areas of wear.

C $1,200-1,800 333 Northwest Persian Runner Northwest Persia, first quarter of the 20th century Nine diamond medallions on the midnight blue field are within an ivory geometric border.

Approximately 18 feet 6 inches x 3 feet 3 inches.

Rewoven ends, areas of wear, restored and re-piled areas.

C $500-700

334 Bakshaish Carpet Northwest Persia, last quarter of the 19th century The open cream field is within a sky blue rosette and serrated leaf border.

Approximately 14 feet 6 inches x 10 feet 7 inches.

Restored seam, re-wrapped selvedges, minor wear, spot stains, re-piled areas, minor losses to one corner.

C $2,000-3,000 335 Two Gabbeh Rugs South Persia, mid 20th century Approximately 7 feet 5 inches x 4 feet 5 inches and 7 feet 4 inches x 3 feet 9 inches, respectively.

C $600-900 336 Bidjar Carpet North Persia, late 19th century The allover polychrome herati pattern on the midnight blue field is within an ivory floral vinery border. Wool foundation.

Approximately 11 feet 2 inches x 6 feet 10 inches.

Small repair to one end.

C $2,000-3,000 337 Afshar Rug Southwest Persia, circa 1900 The midnight blue field with polychrome boteh overall is within a lime green floral vinery border. Approximately 5 feet 7 inches

End of Sale

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26 EAST 63RD ST. 6B NEW YORK, NY 10065

Perfect pied a terre, investor unit, or full-time home.

This custom lit home provides ambient soft dimmed light. The west facing windows afford beautiful sunsets, sky and city views. $2,595,000 CC: $1,309 • Monthly Taxes: $1,441 2 Beds • 2 Baths Condominium

REBA MILLER Senior Global Sales Executive, Associate Broker c: 646.210.3177 o: 646.677.1067 RebaMiller@bhhsnyp.com

Award winning and with over 35 years experience representing properties of distinction, Reba Miller and The RP Miller Team are experts in sales and rentals in Manhattan and across the globe.

212.710.1900 | CONTACT@BHHSNYP.COM 590 MADISON AVENUE, NEW YORK, NEW YORK @bhhsnewyork

bhhsnyp.com © 2020 BHH Affiliates, LLC. An independently operated subsidiary of HomeServices of America, Inc., a Berkshire Hathaway affiliate, and a franchisee of BHH Affiliates, LLC. Berkshire Hathaway HomeServices and the Berkshire Hathaway HomeServices symbol are registered service marks of HomeServices of America, Inc.® Information not verified or guaranteed and subject to change. Equal housing opportunity.

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.

I

Classic Colonial

Ridgefield, CT • 642 North Salem Road • $1,395,000

Elegant Classic center hall colonial with the highest quality and craftsmanship built 2007. Coiffured ceilings in family room. Gourmet eat in kitchen with 8.5 x 4.5 center island. Mud room. Office. Butler’s pantry. Second floor rec room with full bath. Master Bedroom suite offers bedroom, sitting room, 2 walk in closets, luxurious master bathroom with heated floors. Gorgeous, private setting!

SANDRA JULIANO & TOM SAVOCA 203.249.8625 203.767.4726 SandraJuliano@bhhsne.com TomSavoca@bhhsne.com MLS# 170273878 A member of the franchise system of BHH Affiliates, LLC

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 $300,000 of the hammer price of each lot, 20% on the portion of the hammer price from $300,001 through $3,000,000, and 12.5% on that portion of the hammer price exceeding $3,000,000. Payment of each lot 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.

II

Magnificent Mansion by the Beach in Sea Girt, NJ

$1,699,900

This sophisticated custom colonial is located in desirable Livingston, New Jersey. The home boasts six bedrooms, five-and-a-half baths, and has charming and unique features. The chef's kitchen comes complete with a floor-to-ceiling built-in wine fridge, fine custom cabinetry, and professional-grade appliances. A separate in-law suite, with its own entrance is located on the first floor, is convenient for guests. The expansive family room features 16-ft. ceilings with beautiful built-ins and a custom stone fireplace. The luxurious master suite features 12-ft. ceilings, a large marble master bath with custom tile work, and a great place to relax after a long day. The second floor laundry room is a huge plus!

19 Windsor Dr., Livingston, NJ MLS: 3609355 ROGER BEDINER Broker-Associate Office: (973) 992-6363 Cell: (973) 818-7576 roger.bediner@bhhsnj.com www.roger-bediner.bhhsnj.com Livingston Office | 79 S. Livingston Ave., Livingston, NJ 07039 Š2020 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.Ž Equal Housing Opportunity.

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; h) To take such other actions as we deem necessary or appropriate; or i) To effect any combination thereof.

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.

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

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.

14. The rights and obligations of the parties with

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

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.

IV

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.

WHERE DOYLE NEW YORK IS NOT REQUIRED TO COLLECT SALES TAX

WHY DOYLE NEW YORK COLLECTS SALES TAX

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.

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 tax collected 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 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%.

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.

V

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.

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.

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.

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.

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 ABSENTEE BIDS 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 ONLINE BIDDING BidLive! with a click of your mouse. Bidders from around the world now can experience the excitement of bidding live at Doyle on their computers.

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.

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.

VI

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.

VII

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 $300,000 of the hammer price of each lot, 20% on the portion of the hammer price from $300,001 through $3,000,000, and 12.5% on that portion of the hammer price exceeding $3,000,000. 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.

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, a representative 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.

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.

HAYLOFT AUCTIONS A division of Doyle, Hayloft Auctions opened in 2016 in the Port Morris neighborhood of the Bronx, New York, and expanded in 2018 to include a new location in Kensington, Maryland.

Hayloft Auctions purchases estates and collections large and small throughout the North East and Mid-Atlantic areas, which are sold in timed online-only auctions hosted on HayloftAuctions.com. This service provides opportunities for those seeking to liquidate personal property of more moderate value than would be sold during a live auction event.

We invite you to contact us for a complimentary proposal.

NEW YORK METRO AREA: 929-303-3266 or info@HayloftAuctions.com WASHINGTON, DC METRO AREA: 301-348-5282 or HayloftDC@HayloftAuctions.com

VIII

175 EAST 87TH STREET

F OR OF F I C E U S E O N LY

NEW YORK, NY 10128 212-427-2730 DOYLE.COM Consumer Affairs No. 0777006

ABSENTEE & TELEPHONE BID FORM

4.19

* 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 T I T LE

• 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.

SALE DATE

NAME*

• 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 MPAN Y (If applicable) ADDRESS *

Change of Address

CITY

STATE

ZIP CODE

C O U NT RY

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

PH O N E

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

PH O N E ( D AY OF S AL E**)

• 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.

E MA I L C L I E N T N UM BE R ( NE W C L I EN T S: P lease provide Passport number, US Driver’s License, or Visa or MasterCard with expiration date)

LOT N U M BE R

T OP L IM IT OF B ID / SA F ET Y BI D

Excluding Buyer’s Premium

L OT NUMB ER

TOP LI MI T OF BID / SAFE TY B ID

Excluding Buyer’s Premium

LOT NUMBER

TOP LIM IT OF BID / S AFETY BID

Excluding Buyer’s Premium

• 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.

I understand and agree to the Terms and Conditions of Sale°

S IG NAT UR E

Submit bid form by email: Bids @DOYLE.com or FAX XII

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

212- 427-7526 by 4pm (Eastern) the evening before the auction.

Alternatively, absentee bids may be placed online at DOYLE.com until 8am (Eastern) the morning of 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 Alanna Sutherland 212-427-4141, ext 242 Bid Fax: 212-427-7526 Bids@Doyle.com

BidLive! Internet Bidding Tyler Kusler 212-427-4141, ext 203 BidLive@Doyle.com

SPECIALISTS

NEW YORK 175 East 87th Street New York, NY 10128 212-427-2730 Info@Doyle.com BEVERLY HILLS / CALIFORNIA 9595 Wilshire Boulevard Beverly Hills, CA 90212 310-276-6616 DoyleLA@Doyle.com BOSTON / MASSACHUSETTS 129 Newbury Street Suite 400 Boston, MA 02116 617-999-8254 Boston@ Doyle.com CHICAGO / MIDWEST 773-575-7696 CONNECTICUT 212-427-4141, ext 211 DoyleCT@Doyle.com

David A. Gallager SVP, Director, American Furniture & Decorative Arts

212-427-4141 ext 271 David.Gallager@ Doyle.com

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

Bill Fiddler Specialist, American Art

212-427-4141 ext 249 Bill.Fiddler@ Doyle.com

NEW JERSEY 212-427-4141, ext 225 DoyleNJ@Doyle.com NORTH CAROLINA 704-582-2258 DoyleNC@Doyle.com PALM BEACH / FLORIDA 561-322-6795 DoyleFL@Doyle.com PENNSYLVANIA 212-427-4141, ext 225 DoylePA@Doyle.com

Cynthia L. Klein

Mark Topalian

VP, Director, Prints & Multiples

Rugs, Carpets & Tapestries

212-427-4141 ext 246 Cynthia@ Doyle.com

212-427-4141 ext 244 Mark.Topalian@ Doyle.com

Leigh Kendrick Cataloguer American Furniture & Decorative Arts

212-427-4141 ext 243 Leigh.Kendrick@ Doyle.com

WASHINGTON, DC / MID-ATLANTIC 10421A Metropolitan Ave Kensington, MD 20895 202-342-6100 DoyleDC@Doyle.com

Front Cover Back Cover Inside Front Cover

17 133 102

AMERICAN PAINTINGS, FURNITURE & DECORATIVE ARTS

DOYLE

175 EAST 8 7 TH STREET

NEW YORK, NY 10128

212 - 4 2 7- 2 730

DOY L E .COM