1574

british & eu ropean furniture & decorative Arts private collections

may 25, 2017

british & european furniture & decorative arts private collections

Auction Sale 1574 Thursday, May 25, 2017 at 10am 1808 Chestnut Street, Philadelphia PA 19103

Cover Image: Lot 88, Inside Front Cover: Lot 33 Inside Back Cover: Lots 115 & 116

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british & European furniture & decorative arts department Nicholas B. A. Nicholson Senior Vice President | Division Head nnicholson@freemansauction.com 267.414.1212

Tessa Laney Associate Specialist tlaney@freemansauction.com 215.940.9826

Exhibitions Saturday, May 20

12:00pm-5:00pm

Sunday, May 21

12:00pm-5:00pm

Monday, May 22

10:00am-5:00pm

Tuesday, May 23

10:00am-5:00pm

Wednesday, May 24

10:00am-5:00pm

By appointment only on the morning of the sale

client services Mary Maguire Director | Client Services mmaguire@freemansauction.com 267.414.1236

Joslyn Moore Bidding Registration jmoore@freemansauction.com 267.414.1207

Lot 324 (detail)

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the estate of betty dales rhoads wright

T

he collection of Betty Wright (1925-2015) is one of great significance, evidenced by the success of her important collection of silver previously sold at Freeman’s in December 2015. As an avid collector and philanthropist in

Old Town, Alexandria, Virginia, Mrs. Wright spent her time helping others and improving the community. Mrs. Wright and her husband, Frank Lester Wright, formed a foundation known as “Wright to Read,” which promotes literacy through tutoring and mentoring of elementary students. Mrs. Wright was dedicated to historic preservation, and in 1979, Mr. and Mrs. Wright purchased the historic home in Alexandria known as “The Doctor Brown House.”

This historic property once belonged to William Brown, the Surgeon General of the American Revolution and author of the first American Pharmacopeia. Betty Wright spent her life collecting antiques, serving on various philanthropic committees and boards, and remained a loyal and generous supporter of the organizations she held dear.

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A George II mahogany flip-top card table circa 1750 Rectangular with flip top, the conforming apron above cabriole legs with foliate-carved knees terminating in ball-and-shell feet.

H: 28 1/2, W: 34, D: 16 1/2 in. provenance: The Estate of Betty Rhoads Wright. $1,000-1,500

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A pair of George III fretcarvedmahogany armchairs circa 1800 With curved back and scrolling arms above square legs joined by fretwork stretchers terminating in block feet; upholstered in fine robin’s egg blue patterned chinoiserie silk. (2).

H: 38, W: 25, D: 18 in. provenance: The Estate of Betty Rhoads Wright. $600-800

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Two George III Gothic fretcarved mahogany occasional tables one late 18th century, the other 20th Comprising a tea table and a hall table, the tea table with rectangular top above pierced fretwork apron and corbels, with tapering square legs terminating in block feet and of the period; the hall table rectangular and with chinoiserie Gothic fretwork, possibly 1920s. (2).

H: 27, W: 37, D: 20 1/2 in.; H: 30, W: 45, D: 27 1/2 in. provenance: The Estate of Betty Rhoads Wright. $800-1,200

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A George III mahogany camelback sofa late 18th century With camelback and scrolling arms above square legs, handsomely upholstered in buttercup yellow silk brocade.

H: 34, W: 81, D: 28 in. provenance: The Estate of Betty Rhoads Wright. $800-1,200

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A Victorian Campaign style brass mounted mahogany tantalus

A small Regency brass inlaid rosewood coin chest

mid 19th century Fitted with five cork-stoppered glass decanters.

H: 9, W: 10, D: 8 1/4 in. provenance: The Estate of Betty Rhoads Wright. $300-500

first quarter 19th century With two brass inlaid doors enclosing five drawers, raised on paw feet.

H: 12, W: 11 1/4, D: 6 3/4 in. provenance: The Estate of Betty Rhoads Wright. $300-500

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A collection of English library related objects

A Neoclassical ivory mounted giltwood thermometer

various dates Comprising a Victorian book-form side table; a Georgian mahogany book press; and five fancy biscuit tins in the form of a George III bookcase, two book stacks, a William & Mary tall case clock, and a Charles II style carriage. (7).

H: 19 1/2, W: 20, D: 13 1/2 in. (table) provenance: The Estate of Betty Rhoads Wright. $500-700

in the manner of dieppe, 19th century Surmounted by a carved figure of Father Time, the case fitted with a centigrade mercury thermometer and mounted allover with carved ivory rosettes, strapwork, and urns.

H: 13, W: 3 1/4, D: 2 in. provenance: Brockett’s Row Antiques & Fine Art, Alexandria, VA. The Estate of Betty Rhoads Wright. $800-1,200

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A Meissen porcelain figural group 19th century Depicting a fête galante at the base of a tree, with underglaze blue crossed swords mark to underside; raised on a later Chinese style wood base.

H: 19 in. provenance: The Estate of Betty Rhoads Wright. $800-1,200

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A South Persian rug circa late 19th century 16 ft. x 5 ft. 4 in. provenance: The Estate of Betty Rhoads Wright. $2,000-3,000

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A Dorokhsh carpet northeast persia, circa 1900 15 ft. 9 in. x 13 ft. 9 in. provenance: The Estate of Betty Rhoads Wright. $2,000-3,000

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A pair of Chinese glazed and painted porcelain parrots 19th/early 20th century Each unmarked; sold together with a pair of later giltwood wall brackets. (4).

H: 11 1/2 in. (largest) provenance: The Estate of Betty Rhoads Wright. $1,000-1,500

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A Malayer rug circa 1900 11 ft. 5 in. x 5 ft. 1/2 in. provenance: The Estate of Betty Rhoads Wright. $800-1,200

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Property from a Private Collection, Pound Ridge, New York

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A European carved oak eagle lectern on associated base possibly early 18th century The eagle with wings displayed and head lowered, affixed to a later rustic base.

H: 38 in. provenance: Private Collection, Pound Ridge, New York $800-1,200

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Two English oak hall seats with 17th century elements Comprising a joined oak hall bench and an oak hall settle. (2).

H: 52, W: 51, D: 20 in. (largest) provenance: Private Collection, Pound Ridge, New York $1,200-1,800

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A set of three figural carved oak architectural or furniture panels german or english, mid 17th century Each depicting an allegorical figure housed in an architectural setting, the first a maiden holding a jug, the second a maiden holding a game bird, and the third a boy holding a masque or skull. (3).

H: 16, W: 7 in. (each) provenance: Private Collection, Pound Ridge, New York $2,000-3,000

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A large carved pine eagle

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19th century The head and neck carved in profile, and both wings outstretched to display naturalistically carved feathers, with feet terminating in fearsome talons.

H: 20 1/2, W: 19 1/2, D: 7 1/4 in. provenance: Private Collection, Pound Ridge, New York $1,500-2,500

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A pair of George II style carved pine eagle pedestal consoles in the manner of William Kent, with 18/19th century elements Rectangular, each with a well-carved eagle with wings displayed on rocky base above a square plinth, supporting a frieze with strapwork decoration, with later beige marble tops. (2).

H: 34, W: 52, D: 17 in. provenance: Private Collection, Pound Ridge, New York $6,000-8,000

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A victorian mahogany and brass-mounted mechanical invalid’s chair 19th century Of typical form, with reclining mechanism and footrest on casters, now uphostered in black leather.

H: 40, W: 31, D: 31 in. provenance: Private Collection, Pound Ridge, New York $1,500-2,000

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A Victorian ‘Rustic’ carved center table with a specimen wood top third quarter 19th century In the form of twisted branches in the English romantic ‘rustic’ taste, supporting a specimen wood marquetry top in mahogany, satinwood, walnut and rosewood.

H: 28, Dia: 30 in. provenance: Private Collection, Pound Ridge, New York $800-1,200

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A Victorian brass-banded mahogany tea caddy mid 19th century Marked “74” to underside.

H: 9 in. provenance: Private Collection, Pound Ridge, New York $300-500

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After Pierre-Jules Mêne (French, 1810–1879) jument arabe avec harnachement, 19th century Bronze, dark brown patina, signed and dated in cast “P.J. Mêne 1855”; raised on verde antico marble base.

L: 17 in. provenance: Private Collection, Pound Ridge, New York $1,500-2,500

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Property of an Institution, Chester County, Pennsylvania 23

A Continental partial suit of armor possibly french, probably 17th century Comprising helmet with visor, gorget, breastplate with tassets, backplate with fauld, and engraved shield, all with later leather hinges and buckles; the shield indistinctly marked and all pieces numbered to the interior.

L: 39 in. (shoulder to knee), Dia: 23 in. (shield) provenance: Property of a Chester County, Pennsylvania Institution. $4,000-6,000

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After Renzo Colombo (Italian, 1856–1885) bust of napoleon, 1885 Bronze, red-brown patina, signed and dated in cast “R. Colombo/1885”.

H: 23 in. provenance: Property of a Chester County, Pennsylvania Institution. $2,000-3,000

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After Émile Louis Picault (French, 1833–1915) pro jure, late 19th/early 20th century Bronze, brown patina, signed in cast “É. Picault”.

H: 24 in. provenance: Property of a Chester County, Pennsylvania Institution. $1,000-2,000

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After Mathurin Moreau (French, 1822–1912)

After Auguste Rodin (French, 1840–1917)

return from the harvest, late 19th/early 20th century Bronze, brown patina, signed in cast “Moreau Math”.

H: 33 1/2 in. provenance: Property of a Chester County, Pennsylvania Institution. $1,000-2,000

le baiser, modeled 1886, later cast Bronze, dark green-black patina, signed in cast “Rodin” and with Barbedienne Foundry stamp.

H: 18 1/2 in. provenance: Property of a Chester County, Pennsylvania Institution. $1,000-2,000

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After Auguste Rodin (French, 1840–1917)

Aimé-Jules Dalou (French, 1838–1902)

l’éternel printemps, modeled 1884, later cast Bronze, dark green-black patina, signed in cast “Rodin” and with Barbedienne Foundry stamp.

H: 17 1/2 in. provenance: Property of a Chester County, Pennsylvania Institution. $1,000-2,000

le miroir brise, late 19th century Bronze, green-brown patina, signed in cast “Dalou”.

H: 15 1/2 in. provenance: Property of a Chester County, Pennsylvania Institution. $2,000-4,000

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After Eugène Marioton (French, 1854–1933)

After Raymond Sudre (French, 1870–1962)

After Louis Auguste Moreau (French, 1855-1919)

le repos du faucheur, late 19th/early 20th century Bronze, brown patina, signed on plinth “Eug. Marioton”; raised on marble base.

H: 40 in. provenance: Property of a Chester County, Pennsylvania Institution. $2,000-4,000

depart de mercure, circa 1910 Bronze, warm brown patina, with “Sudre Paris” foundry mark.

H: 36 in. provenance: Property of a Chester County, Pennsylvania Institution. $2,500-4,500

david, late 19th/early 20th century Bronze, red patina, signed in cast “L. Moreau”.

H: 24 in. provenance: Property of a Chester County, Pennsylvania Institution. $2,000-4,000

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A Flemish giltwood and carved alabaster retable attributed to jean mone (flemish, 1500-1548), malines, circa 1530-1540 Set within a painted and giltwood architectural framework, the whole composed of eight main reliefs depicting scenes from the life of Christ and the Virgin, organized in a two-storey structure with a three-storey central axis, and twenty-five decorative relief panels set within the pediments and spandrels of the frame.

H: 53, W: 36 in. (overall); H: 12 1/4 in. (panels) provenance: Property of a Chester County, Pennsylvania Institution. note: This small retable, composed of alabaster reliefs set in a gilded wooden framing, is a Southern Netherlandish work from the circle of the leading Renaissance sculptor Jean Mone (c. 1485/90-c. 1548/59) and can be dated circa 1530-1540. In its programme, scenes from the life of Mary are intertwined with those of the life of Christ to underscore the role of the Virgin in the work of salvation. In the lower register appear The Annunciation, Christ appearing to the Virgin Mary after the Resurrection, and The Visitation are to be seen (f.l.t.r.). In the middle section, Christ among The Doctors, The Pentecost, and The Adoration of the Magi are depicted. In the upper part, The Adoration of the Shepherds is crowned by a semi-circular relief with the Coronation of the Virgin. In the socle, scenes of Christ’s passion are included (The Mocking of Christ, The Crucifixion, and The Carrying of the Cross). Spandrels above trefoil arched reliefs and friezes of the entablatures are covered with fine arabesques and grotesques also carved in alabaster.

Small altarpieces of this type were most suitable for private devotion: in domestic or funeral chapels, for instance. Although the combination of alabaster reliefs within a wooden frame is a typical feature of Renaissance house altarpieces (so-called huisaltaartjes) produced in Malines and probably also Antwerp between circa 1530 and 1575, this unique work distinguishes itself from the serial merchandise. Unlike these typical works, which usually combine two to three alabaster reliefs, it is composed of seven larger reliefs and several smaller ones. Other singular, however smaller, works that precede the period of serial production of the years circa 1550-1575 are the domestic altarpiece (Mary and Child) in the collection of Royal Museum of Art and History (Lipińska 2015, fig. 76), the Last Supper retable in the Rijksmuseum Amsterdam (Lipińska 2015, fig. 82) and the retable with the Story of the Prodigal Son in the Philadelphia Museum of Art (Lipińska 2015, fig. 97).

It is not only the serial export-orientated production of the southern Netherlandish alabaster ateliers that constitutes a point of reference for this interesting piece, however. Its overall composition resembles much more the one of the large Passion Altarpiece of Jean Mone (1536-1541) located in the Cathedral of SS Gudula and Michael in Brussels, which was initially destined for the chapel of the Royal Coudenberg Castle in Brussels (Lipińska 2015, fig. 31). Its grid-like framework, composed with the reliefs organised in a two-storey structure with a three-storey central axis, echoing Spanish reredos, has been “copied” here in a small scale. The “Spanish connection” is not accidental, since Jean Mone spent four years in Spain as a member of the workshop of Bartolomé Ordoñez. Also, the subtle, stylised all’antica type of figures as well as the ornament of the altarpiece resemble the work of Jean Mone. literature: Adriaan Jansen, ‘Mechelse albasten’, Handelingen van den Koninklijken Kring voor Oudheidkunde, Letteren en Kunst van Mechelen 68 (1964), pp. 111-191; Michael K. Wustrack, Die Mechelner Alabaster-Manufaktur des 16. und früheren 17.

Jahrhunderts, Frankfurt a.M. & Bern 1982; Jacek Kriegseisen & Aleksandra Lipińska (eds.), Matter of light and flesh. Alabaster in the Netherlandish sculpture of the 16th and 17th centuries, Exp. Cat. National Museum in Gdansk, Gdansk 2011; Aleksandra Lipińska, Moving sculptures. Southern Netherlandish alabasters from the 16th to 17th centuries in Central and Northern Europe, Studies in Netherlandish Art and Culture, Leiden-Boston 2015.

Freeman’s is grateful to Dr. Aleksandra Lipińska of the Institut für Kunstgeschichte, Ludwig-Maximilians-Universität, Munich for providing the note on this work. $25,000-35,000

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deaccessions from the philadelphia museum of art

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A Dutch Delft covered baluster vase 1750 The cover surmounted by a foliate finial, the body allover decorated with a geometric floral design; the underside dated 1750.

H: 12 in. provenance: Sold on behalf of the Philadelphia Museum of Art to benefit future acquisitions. $700-900

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A Dutch Delft lobed and scalloped dish

A Dutch Delft polychrome decorated ‘Imari’ style dish

late 17th century The well loosely painted with a pheasant, the rim decorated with a repeating motif of flower vases.

Dia: 8 in. provenance: Sold on behalf of the Philadelphia Museum of Art to benefit future acquisitions. $500-700

circa 1700 The well painted with an exotic landscape, the rim decorated with reserves against a diapered ground, the verso marked AK possibly for Adriaen Kocks of De Griekse workshop.

Dia: 9 1/2 in. provenance: Sold on behalf of the Philadelphia Museum of Art to benefit future acquisitions. $500-700

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A pair of Dutch Delft octagonal covered vases

A pair of Dutch Delft reeded covered beaker vases

late 17th century The covers surmounted by stylized dog finials, the bodies decorated with reserves against a diapered ground illustrating grazing deer and insects; each marked AK for Adriaen Kocks of De Griekse workshop. (2).

H: 16 in. provenance: Sold on behalf of the Philadelphia Museum of Art to benefit future acquisitions. $1,500-2,500

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mid 18th century The covers surmounted by foo dog finials, the bodies decorated with alternating reserves of floral and landscape scenes; each marked PVM/36 possibly for Petrus van Marum of De Romeyn workshop. (2).

H: 18 1/2 in. provenance: Sold on behalf of the Philadelphia Museum of Art to benefit future acquisitions. $1,500-2,500

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A large Persian garden carpet east kurdistan, 19th century 27 ft. 7 in. x 12 ft. 5 1/2 in. provenance: Jerrehian Brothers.

B. Castikyan, 1936.

Gift of Mr. and Mrs. Fredric R. Mann to the Philadelphia Museum of Art, 1955.

Sold on behalf of the Philadelphia Museum of Art to benefit future acquisitions.

note: This exceptionally large and handsome carpet dates to the 19th century but is in the style of an earlier 17th century ‘garden carpet,’ which originated in the city of Jaipur, in the northwest Persian region of Kurdistan. These luxurious carpets illustrated the four-part Persian garden, called a chahar-bagh, in aerial view.

These gardens were filled with exotic plants and animals and were divided into four main segments by artificial waterways—depicted here in geometric blue and white ripples—leading to a central pool which would have housed a pavilion or throne.

These highly imaginative carpets turn a three-dimensional paradise into a two-dimensional abstraction, combining naturalistic depictions of plants and animals illustrated flat across the ground with geometric divisions of space viewed from above. The present carpet has alternating panels of flowers and birds in trees, centered by a blue pool filled with strutting peacocks. This carpet is consistent with later examples which reflect a stronger influence from the more geometric style of Kirman carpets, as opposed to the organic lyricism of the earliest Jaipur examples, of which very few remain. $6,000-8,000

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property from a bucks county, pennsylvania collection

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A French Renaissance Revival papier peint wall panel 19th century In the manner of a verdure hunting tapestry, with an archer and a falconer amidst a blue ground filled with flowering plants and animals; the lower left corner decorated with a pseudo-armorial monogram.

H: 50 1/2, W: 64 in. provenance: Property from a Bucks County, Pennsylvania collection. $2,000-4,000

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A Charles II style oak cabinet partially 17th century with later decorative elements The rectangular top above two hidden frieze drawers over two cabinet doors enclosing shelves; the whole decorated with later dentil mouldings and applied fleurs-de-lys.

H: 40, W: 47, D: 21 1/2 in. provenance: Property from a Bucks County, Pennsylvania collection. $1,000-2,000

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A pair of Gothic Revival wrought iron threelight torchères and an associated firescreen 20th century The torchères now electrified and with capiz shell shades. (3).

H: 68 1/2 in. (torchères) provenance: Property from a Bucks County, Pennsylvania collection. $1,500-2,500

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A South German glazed and marquetry inlaid walnut paneled cupboard late 18th century In two parts, the upper section with shaped and moulded cornice above two glazed doors, one painted with a crest, flanked by two further cabinet doors decorated with marquetry birds; the lower section with two large floral marquetry doors enclosing shelves.

H: 82 1/2, W: 81 1/2, D: 18 in. provenance: Property from a Bucks County, Pennsylvania collection. $3,000-5,000

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A Continental Baroque style walnut paneled cupboard likely german or dutch, late 18th/early 19th century In two parts, the upper section of breakfront form with shaped and moulded cornice above three cupboard doors; the lower section of inverted breakfront form with three further doors, with moulded base raised on bun feet.

H: 75 1/2, W: 63 1/4, D: 22 in. provenance: Property from a Bucks County, Pennsylvania collection. $2,500-3,500

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A pair of Swedish Renaissance Revival carved walnut armchairs 19th century The square padded backrest issuing foliate carved arms with manchettes above rectangular cushioned seat, raised on turned legs united by stretchers. (2).

H: 44, W: 26 1/2, D: 20 in. provenance: Property from a Bucks County, Pennsylvania collection. $1,000-2,000

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A late Victorian parcelebonized fruitwood inlaid mahogany library desk late 19th/early 20th century The shaped rectangular top inset with a tooled leather writing surface above three banded frieze drawers; raised on a highly carved and parcel-ebonized H-form base.

H: 30, W: 53, D: 22 3/4 in. provenance: Property from a Bucks County, Pennsylvania collection. $2,000-3,000

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An Italian Baroque style bone inlaid and black walnut veneered vanity table in the manner of ferdinando pogliani, milan, 19th century The top opening to reveal a fitted interior with pigeonholes and compartments, the interior of the lid mounted with a mirror; raised on turned and fluted legs united by an X-form stretcher.

H: 28 1/2, W: 23 3/4, D: 16 3/4 in. provenance: Property from a Bucks County, Pennsylvania collection. $1,500-2,500

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property from a private pennsylvania collection

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A William & Mary style scrolling wing chair

A pair of George III style carved mahogany ribbon-backed armchairs

late 19th/early 20th century Upholstered in crimson silk brocade, the high backrest above cushioned seat raised on front cabriole legs and rear tapering legs.

H: 57, W: 30, D: 27 in. provenance: Private Collection, Pennsylvania $700-900

19th century Upholstered in pale blue silk brocade, with shaped crestrail above elaborate pierced ribbon backrest issuing scrolled armrests above square seat, with cabriole foliate-carved front legs terminating in ball-and-claw feet and outswept rear legs. (2).

H: 38 1/2, W: 28, D: 21 1/2 in. provenance: Private Collection, Pennsylvania $800-1,200

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A pair of George III style jasperware-mounted carved and painted armchairs 19th century Upholstered in teal velvet, the oval backrests mounted with blue jasperware medallions of classical figures and issuing two armrests with manchettes above a cushioned seat; raised on four fluted tapering legs. (2).

H: 40, W: 23, D: 18 in. provenance: Private Collection, Pennsylvania $800-1,200

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A pair of Edwardian gesso and giltwood mirrors

A pair of Louis XV style gilt-metal mounted ebonized commodes

A Louis XVI giltwood salon suite with tapestry upholstery

early 20th century Oval with egg and dart moulded edge; surmounted by a fluted urn issuing floral vines. (2).

H: 56 in. provenance: Private Collection, Pennsylvania $600-800

20th century Of bombé form with shaped fleur de pêcher marble tops above two short drawers over two long drawers, raised on outspreading feet terminating in sabots. (2).

H: 32 1/2, W: 48 1/4, D: 18 1/4 in. provenance: Private Collection, Pennsylvania $2,000-4,000

18th century Of grand proportions, comprising a large settee and two fauteuils à la reine, apparently unmarked but each with inventory numbers. (3).

H: 40 1/2, W: 80, D: 25 1/2 in. provenance: Private Collection, Pennsylvania $4,000-6,000

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A Louis XVI parcel-gilt and painted trumeau mirror late 19th century The green ground with parcel-gilt moulded and beaded reserves, the upper inset with a painting on canvas of an Italianate scene, the lower inset with mirror plate surmounted by a flower-filled urn.

H: 67, W: 43 in. provenance: Private Collection, Pennsylvania $3,000-5,000

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A pair of Louis XVI style ormolu mounted serpentine marble covered urns 19th century Of baluster form surmounted by a removable lid terminating in fruiting finial, with acanthus-cast gilt bronze neck above shoulders mounted with foliate strapwork handles; the body further mounted with leaf and berry garlands; raised on acanthus cast base and socle with laurel wreathed foot; on a stepped square serpentine marble base. (2).

H: 20 1/2 in. provenance: Private Collection, Pennsylvania $1,200-1,500

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A louis XVI style painted canapé 19th century Upholstered in cream silk taffeta, the straight crestrail above a high padded backrest issuing downswept armrests with columnar supports, raised on six boldly carved tapering legs terminating in toupie feet.

H: 41, W: 50 1/2, D: 23 in. provenance: Private Collection, Pennsylvania $500-700

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A pair of LouisPhilippe giltmetal mounted cut glass six-light candelabra

A pair of Napoleon III giltwood chaises à la reine

A pair of Sèvres style diminutive gilt-bronze mounted parcel-gilt and painted porcelain covered urns

19th century With cut glass central standard issuing acanthus-cast central nozzle and six foliate scrolling candlearms; the whole raised on a giltmetal base with gryphon feet. (2).

H: 28 1/2 in. provenance: Private Collection, Pennsylvania $800-1,200

third quarter 19th century Upholstered in 18th century tapestry, each with rectangular backrest surmounted by a giltwood wreath and shaped seat raised on four turned and fluted tapering legs. (2).

H: 36 1/2, W: 20, D: 17 1/2 in. provenance: Private Collection, Pennsylvania $800-1,200

19th century With integral cobalt glazed lids terminating in fruiting finial, the white glazed bodies painted to recto with a courting couple and signed “Petit”, the versos painted with bucolic landscapes; each raised on parcel-gilt cobalt socle. (2).

H: 10 1/2 in. provenance: Private Collection, Pennsylvania $1,200-1,500

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A set of thirteen Coalport parcel-gilt and turquoise decorated demitasse cups and saucers

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19th century Each with gilt and turquoise ground with hand painted reserves depicting scenes of the British Isles; the undersides with Coalport green underglaze mark and labeled with scene location; each sold together with a custom stand. (13).

H: 2 in. (cup), Dia: 3 3/4 in. (saucer) provenance: Private Collection, Pennsylvania $3,000-5,000

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Émile Louis Picault (French, 1833–1915) bust of napoleon, circa 1890 White marble, signed to base “E. Picault.”

H: 21 1/2 in. provenance: Private Collection, Pennsylvania $2,500-3,500

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After Albert-Ernest CarrierBelleuse (French, 1824-1887) jeune cupid et psyché, 19th century Bronze, dark brown patina, signed in cast “A. CARRIER.” H: 26 in. provenance: Private Collection, Pennsylvania $1,200-1,800

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After Jules-Isidore Lafrance (French, 1841-1881) saint jean baptiste enfant préchant, 19th century Bronze, muted brown patina, singed and dated in cast “Lafrance Roma 1878.”

H: 26 in. provenance: Private Collection, Pennsylvania $1,000-1,500

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Adrien Étienne Gaudez (French, 1848–1902) le semeur, late 19th/early 20th century Bronze, dark brown patina, signed in cast “A. Gaudez.”

H: 33 in. provenance: Private Collection, Pennsylvania $1,200-1,800

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A lifesize cast-stone garden sculpture of Ceres 19th/20th century H: 64 in. provenance: Private Collection, Pennsylvania $600-800

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property from a private maryland collection

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A Dutch Baroque parcel-ebonized figured mahogany tall case clock signed adriaan de baghyn, amsterdam, early 18th century The face signed and with silvered four seasons spandrels, moonphase (repainted) in the arch, original works, movement with four ring turned knopped pillars, anchor escapement and trip repeating rack Dutch half-hour strike on two-bell system (low bell on hour, high bell on half hour); the case of typical form, with hood surmounted by finials in the form of Atlas and two heralding angels above a long case with canted edges and hinged door centered by an ormolu medallion of father time, the whole raised on moulded base on paw feet.

H: 97 1/2, W: 16 3/4 in. provenance: Private Collection, Maryland $8,000-10,000

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A George III musical bracket clock thomas wagstaff, london, circa 1765-1770 Of typical French form, the bronze-mounted veneered case with shaped sides and glazed front on bowed feet fitted with sabots, the works with eight bells playing four tunes (“Lovely Nancy,” “Coronation,” “March,” and “Minuette”) on the half hour, with a three-train fusee movement with original verge escapement and fan-blade tempo control, the backplate lavishly engraved with rocailles.

H: 23 in. provenance: Private Collection, Maryland note: Thomas Wagstaff was recorded as working in both Carey Street and in Gracechurch Street during the second half of the eighteenth century. He was known for his watches but more importantly for the making of complex and, less frequently, musical clocks. Other fine examples of his work are represented in the collections of the Metropolitan Museum of Art, the Virginia Museum of Fine Arts, and the Ilbert Collection. $7,000-10,000

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68

A Louis XVI ormolu-mounted white statuary marble ‘Temple d’Amour’ table clock on column supports circa 1780 In the form of a Tempietto composed of two levels; the first with visible movement and double-rotating dial, with Roman numerals for hours and Arabic for minutes, painted in black on segmented white enamel; the dome above four white marble columns with ormolu capitals, swags, and foot resting above a circular base, the temple vacant; openwork galleries decorate the circumference; with original silk suspension, original anchor escapement with skeletal arrangement ‘en Parade,’ the ‘sun-in-splendour’ pendulum original and of the period.

H: 18 1/2 in. (without dome) provenance: Private Collection, Maryland note: The portico clock was an innovation of the period of Louis XVI (1774-1789), often executed in classical white marble and ranging in form from the more common post-and-lintel portico type to examples such as the present lot, completed wholly in the round in the form of a circular “temple d’amour.” The clock movement in such examples is nearly always executed in two rotating levels, the minutes and hours reading as stacked cylinders instead of a typical flat dial.

The 18th century was the Age of Enlightenment, when classical rationality gave birth to scientific inquiry. This clock perfectly expresses this moment in time: as Pierre Kjelberg writes, the principle of the form “leans on a rational conception originated in the Greek and Roman temple architecture: a base, two or several columns or pilasters, and an entablature,” (Encyclopédie de la pendule française du Moyen Age au XXème siècle, les Editions de l’Amateur, Paris, 1997, pp. 197-205). But further to this are the complex works which are, for the first time, wholly exposed. Rather than a piece of sorcery with invisible mechanisms working as if by magic, this timepiece is a beautiful machine, whose perfectly calibrated gears represent the culmination of human ingenuity.

A blown glass dome, quite valuable in its own right, encloses the entire clock, elegantly solving the problem of protecting this prized possession while leaving the viewer free to contemplate the allegorical and technical gravity of this masterpiece. $5,000-7,000

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69

An Empire gilt-bronze mounted mahogany portico clock circa 1815 The moulded rectangular top applied with acanthus and a rosette, supported by four columns with engine-turned capitals and bases above a white enamel face with Roman numerals later augmented with giltmetal engine-turned face; the rectangular base mounted with gilt bronze nymphs and lions within scrolling foliate motifs, with original movement suspension and works.

H: 20 1/2 in. provenance: Private Collection, Maryland $2,000-4,000

70

An Empire ormolu mantel clock in the form of a cherub with a wheelbarrow follages à paris, circa 1800 Surmounted by a figure of a winged cherub pushing a wheelbarrow bearing a tapped winecask, above an oval base supporting a clock with porcelain dial with Roman numerals and signed Follages à Paris; the case applied with scrolling foliate motifs, acanthus, torches en flambeau, and with roundels centering winged putti, wreaths, sphinxes, and draped Egyptian figures, on acanthus cast conforming base applied with trumpeting nike figures on bun feet; with original works but converted from silk suspension to spring suspension circa 1870.

H: 14 in. provenance: Private Collection, Maryland $3,000-4,000

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71

An Empire ormolu mantel clock after the model by Jean-André Reiche (French, 1752-1817) ‘la liseuse’, first quarter 19th century In the form of a young woman in classical attire reading at a small desk, the floor littered with books in gilt bronze, on a marble base supported by toupie feet; original silk suspension and works.

H: 12 1/2 in. provenance: Private Collection, Maryland note: This charming and famous model by bronizer and designer JeanAndré Reiche (French, 1752-1817) was executed after a watercolor design recorded in the Imperial Library on the 19th of February, 1805. $3,000-5,000

72

An Empire ormolu figural mantel clock of Napoleon first quarter 19th century The engine-turned dial with Roman numerals and replaced hands set within a pedestal with floral spandrels supporting a military trophy, to the right a sculpture of the Emperor Napoleon in military garb, to the left an armillary sphere with movable orbits, the whole upon a plinth decorated with an allegory of fame and time in bas-relief, the leaf tip cast base on acanthus-molded feet; with original silk suspension and works.

H: 17 1/2 in. provenance: Private Collection, Maryland $3,000-5,000

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73

A Charles x ormolu mantel clock ‘au Rhyton’ circa 1830 In the form of a boar-headed rhyton issuing a rose and spray of leaves, the engineturned dial with Roman numerals and replaced hands within a leaf-tip cast bezel, the whole on a rectangular plinth applied with fruiting foliate scrolling motifs, the left-tip cast base above acanthus-case feet; with original silk escapement, with count wheel and half-hour strike on original bell.

H: 14 1/2 in. provenance: Private Collection, Maryland $2,000-3,000

74

An impressive Charles x gilt bronze portico mantel clock signed bovet fleurier, lyons, second quarter 19th century In the form of an oval six-columned tempietto, the acanthus and scrolling foliate motif cast dome supported by ‘columns de Trajan’ decorated with motifs of abundance, the column supporting a clock with porcelain dial with Roman numerals signed “Bovet Fleurier” within an acanthus-cast bezel; the whole above a conforming oval base, decorated with ribboned hanging garlands and swags above a leaf-tip moulded base on four feet; original and exceptional movement with unusual handset and wind in rear.

H: 27 in. provenance: Private Collection, Maryland $6,000-8,000

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75

A rare Robert-Houdin ‘Triple Mystery’ clock jean eugène robert-houdin, paris, second quarter 19th century The transparent glass dial with single hand within a gilt bezel above a glass column support on ormolu base; above wheels mounted within the case and on the back plate of the two train circular movement; anchor escapement striking the hour and half hour on a bell by means of a count wheel, contained within a carved gilt wood base en suite above a flat sided conforming rosewood pedestal together with original glass dome.

H: 20 1/2 in. (without dome) provenance: Private Collection, Maryland note: Jean Eugène Robert-Houdin (French, 1805-1871) was born into a family of clockmakers and was early interested in mechanics and automata. He was apprenticed to his cousin, Jean Martin Robert, but soon left to work in Tours for the horologist Noiret.

A sudden change of heart caused Jean Eugène to join a comedy troupe and he thus traveled to Paris, where he met his wife, Josèphe Cécile Egaletine Houdin, daughter of the famous horologer, Jacques-François Houdin, who was apprenticed to watchmaker A.L. Breguet.

Joining his wife’s name to his own, the newly christened RobertHoudin became a prominent entertainer and clockmaker, utilizing skillful mechanics for both his illusion shows and his clocks.

This exceptional work comes from his third series of clocks made in the 1840s, in which Robert-Houdin began to make mystery clocks with glass dials above glass columns in which their movements were hidden in the base.

Robert-Houdin’s fame in the mid-19th century grew as he exhibited his inventions at the Exposition Universelle in Paris in 1855, and with private performances for royalty (including Queen Victoria) and important guests. He died June 13th, 1871, aged 65.

Today Robert-Houdin is considered the father of modern magic and a French national hero. Perhaps the most famous tribute to the master illusionist was Ehrich Weiss’s decision to change his name to Houdini. $20,000-30,000

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76

A Napoleon III giltwood and ormolu garniture clock richond à paris, third quarter 19th century The white enamel dial signed “Richond Fnt.” and “Blvd Montmartre 11/Paris” with blue Roman numerals and finely cast hands, with original spring suspension and works; the ormolu figural case an allegory of music depicting two putti with lyre and tambourine, accompanied by original giltwood and gesso rococo base.

H: 17 1/4 in. provenance: Private Collection, Maryland $4,000-6,000

77

A Victorian brass skeleton lantern clock bearing signatures of richard child and william pace, 19th century The handsome skeleton clock with pierced front and sides after the 17th century model with mid 19th century works with double fusee and ting-tang quarter strike feature, works original.

H: 15 1/4 in. provenance: Private Collection, Maryland $400-600 78

A German Louis XV style gilt bronze mounted bracket clock winterhalter and hofmeier of the schwarzwald, circa 1890 Of typical form, with original two-train movement and ting-tang strike, with segmental cream enamel dial.

H: 27 in. provenance: Private Collection, Maryland $3,000-5,000 79

A Louis XVI style giltmetal-mounted white marble portico clock samuel marti et cie., last quarter 19th century Of typical form with sun-in-splendour pendulum, the works stamped with Samuel Marti and Medaille Bronze pastilles.

H: 20 in. provenance: Private Collection, Maryland $1,500-2,000

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80

A George III bronze mounted and featherbanded figured mahogany cellarette circa 1800 The hinged lid surmounted by bronze urn-form finial above a lion-form pull and brass escutcheon, mounted to sides with bronze lion-form handles, raised on bronze ball-and-claw feet.

H: 19 1/2 in. provenance: Private Collection, Maryland $600-800

81

A William IV brass inlaid calamander and rosewood center table circa 1835 The banded calamander top raised on a brass inlaid rosewood base with four outscrolled legs and brass lion-paw casters; sold together with a revolving tabletop bookcase. (2).

H: 29, Dia: 45 in. provenance: Private Collection, Maryland $1,500-2,500

82

A Neoclassical string inlaid and brass banded mahogany hunt table possibly continental, circa 1820 The semi-circular top inset with a silk serving surface, the ends set with two drawers, raised on six tapering square legs.

H: 29, W: 54, D: 27 1/2 in. provenance: Private Collection, Maryland $600-800

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83

A Louis XVI style string inlaid mahogany cabinetbureau circa 1870 The demi-lune top surmounted by a galleried mirrored surface above a mirrored cabinet door enclosing shelves over a single friezedrawer; the rectangular desk above three further shelves; the whole raised on fluted tapering legs with toupie feet.

H: 55 1/2, W: 38 1/2, D: 19 1/2 in. provenance: Private Collection, Maryland $1,200-1,500

84

A Neoclassical ormolu mounted mahogany fauteuil de bureau en socle 19th century Of circular form with scrolling pierced back and arms above a conforming seat on four gilt bronze masque-headed tapering bipodal legs terminating in cloven hooves; raised on a square parquetry base above a velvet-covered retracting foot rest concealed within the plinth on casters.

H: 31, W: 25, D: 19 1/2 in. provenance: Private Collection, Maryland $600-800

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85

A group of sixteen Meissen ‘Monkey Orchestra’ figures 19th and 20th centuries After the models by Johann Joachim Kändler (German, 1706-1775), each with blue underglaze crossed swords mark to underside. (16).

H: 7 in. (tallest) provenance: Private Collection, Maryland $3,000-5,000

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FIGURES FROM Agathon Léonard’s Jeu de l’echarpe

T

he sculptor Agathon Léonard was born in Lille in 1841 as Van Weydvelt, but adopted a pseudonym for his professional life as a sculptor. He studied first under De La Planche and

ultimately was elected to the Lille Académie des Beaux-Arts. In 1889, he received the Silver medal at the Exposition Universelle, and in 1900, he received the gold medal. This sealed his reputation within the art establishment, and he was named a Chevalier of the Légion d’Honneur in that year.

Léonard’s Jeu de l’echarpe was originally conceived as a porcelain group and executed by Sèvres, first exhibited at the 1900 Exposition Universelle in Paris. The series of fifteen figures consisted of fourteen female figures presented in a dance around a central figure, on bases of three differing heights. The edition sold out at the Exposition, and was so popular that it was reproduced in various editions, and ultimately issued in gilt bronze in conjunction with the Parisian foundry Susse Frères.

Initially designed in 1898, the sketches sold with these lots likely date from this period.

The dancers of the Jeu de l’écharpe series are noted for their elegance, and their exquisite balance between classical form and Art Nouveau taste. There are several full sets in existence, one of the most important being that presented to Emperor Nicholas II and Empress Alexandra Feodorovna by the French Republic during their state visit to France in September of 1901. Kept in the private apartments of the Empress at the Winter Palace, the suite is now in the Hermitage Museum, inventory number ГЧ-12406. In addition, works by Léonard are in the Victoria & Albert Museum, the Art Institute of Chicago, and the Musée de Nantes, among others.

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Agathon Léonard (French, 1841–1923) danseuse relevant sa jupe, circa 1900 Gilt bronze, signed in cast “A. Léonard/Sclp” and with with impressed Susse Frères Editeurs pastille and stamped “M.” H: 18 1/2 in. provenance: Private Collection, Maryland $7,000-10,000

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87

Agathon Léonard (French, 1841–1923) la danseuse au cothurne, circa 1900 Gilt bronze, signed in cast “A. Léonard/Sclp” and with impressed Susse Frères Editeurs pastille; accompanied by an original sketch by Léonard.

H: 20 1/2 in. provenance: Private Collection, Maryland $7,000-10,000

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88

Agathon Léonard (French, 1841–1923) danseuse à l’echarpe, circa 1900 Gilt bronze, signed in cast “A. Léonard” and “Susse Frès Edts” with impressed Susse Frères Editeurs pastille and stamped “B”, with additional Syndicat des Bronziers pastille; accompanied by two original sketches of this sculpture by Léonard.

H: 22 1/2 in. provenance: Private Collection, Maryland $8,000-12,000

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property from an important pennsylvania collection 89

A pair of Wedgwood ‘Cabbage’ creamware glaciers circa 1759-1769 With naturalistic leaf-form edge and handles, with cabbage-form finial, hand-stamped to underside and with worker’s mark “C”; sold together with a conforming footed centerpiece and small reticulated plate, and an associated circular tray of similar design in blue glaze, all with impressed mark and worker’s marks. (5).

H: 11 in. provenance: Property from an important Pennsylvania collection. note: These glaciers were exhibited at the Josiah Wedgwood Jubilee Exhibition in 1980. $3,000-5,000

90

An early Wedgwood ‘Cauliflower’ glazed coffeepot circa 1763-1770 In the form of a leaved cauliflower, the domed lid with raised surface, the body with naturalistic green-glazed leaves; unmarked.

H: 10 in. provenance: Property from an important Pennsylvania collection. note: A nearly identical model with flat lid is discussed and illustrated in Wolf Mankowitz, Wedgwood (Spring Books, London, 1966), page 30-31. $800-1,200

91

Two Wedgwood creamware bowls handenameled with English birds probably chelsea studio, circa 1775 The first a large serving bowl, the underside impressed ‘WEDGWOOD’ and with worker’s marks “B” and “L”; the second a soup bowl, the underside impressed in small “WEDGWOOD” and with worker’s mark “A”. (2).

H: 2 3/4, Dia: 17 1/2 in. (largest) provenance: Property from an important Pennsylvania collection. note: This charming and beautiful pattern of English birds is illustrated in Wolf Mankowitz, Wedgwood (Spring Books, London, 1966), plate 35. $600-800

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92

A Wedgwood hand-enameled and monogrammed creamware sauce tureen and stand circa 1774 The lid terminating in compressed acorn finial, the whole banded in aubergine enamel and decorated with wreathed monogram “JG”; unmarked.

H: 5 3/4, W: 8 1/2, D: 6 in. provenance: Property from an important Pennsylvania collection. note: The model of this tureen appears in the ‘Creamware Shapes’ of the 1774 Wedgwood catalogue. $800-1,200

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94

A group of Wedgwood enamel-decorated creamware

A collection of Wedgwood pearlware cress baskets and dishes

probably chelsea studio, last quarter 18th century Comprising a jelly mould decorated with floral sashes and restored base unmarked; a jug decorated to one side with floral bouquet and to other with wreath inscribed “Another jug./1790” and a clock face under the spout showing 2:53 and signed “T. SHAW.”, the underside with impressed mark and diamond cipher; and a milk spoon with black enameled crest to bowl and with impressed mark to the handle. (3).

H: 8 1/4 in. (tallest) provenance: Property from an important Pennsylvania collection. note: An identical jelly mould is illustrated in Wolf Mankowitz, Wedgwood (Spring Books, London, 1966), page 38. $800-1,200

late 18th/early 19th century Comprising a pair of green decorated oval dishes, a pair of blue decorated plates, a blue decorated handled basket and stand, an iron red decorated oval dish, an iron red decorated basket, and a small basket, all with early impressed marks and worker’s marks to underside; sold together with a conforming unmarked oval dish and a basket with impressed mark and “MADE IN ENGLAND” and date code for 1897. (10).

L: 12 in. (largest) provenance: Property from an important Pennsylvania collection. note: A similar blue decorated basked and dish with identical lower-case Wedgwood mark is illustrated in Wolf Mankowitz, Wedgwood (Spring Books, London, 1966), plate 38. $1,500-2,500 www.freemansauction.com

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95

Two Wedgwood unglazed white jasperware vessels circa 1840 Comprising a trembleuse and a covered bulb pot, each with glazed interiors and unglazed exteriors; with impressed mark to undersides. (2).

H: 5 1/2 in. (bough pot) provenance: Property from an important Pennsylvania collection. note: These unusual pieces were deliberately left unglazed by the Wedgwood factory to allow for later decoration at home by the buyer. This was a common domestic pursuit popular with well bred ladies of the 19th century. $800-1,200

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97

A Wedgwood fluted and slip decorated white terracotta bough pot

A Wedgwood brown glazed white terracotta bough pot and cover

circa 1770-1780 With impressed mark and “2” to underside; without cover.

H: 5 3/4 in. provenance: Property from an important Pennsylvania collection. $300-500

circa 1785 With impressed mark and “4” to underside.

H: 5 1/4 in. provenance: Property from an important Pennsylvania collection. note: This lot was exhibited at the Free Library of Philadelphia, October 1951. The underside retains its original exhibition label. $600-800

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98

A Wedgwood & Bentley agateware vase circa 1770-1790 Now raised on onyx base and drilled as a lamp; sold together with a conforming agateware finial. (2).

H: 31 3/4 in. provenance: Property from an important Pennsylvania collection. note: Examples of similar form and glaze are illustrated in Wolf Mankowitz, Wedgwood (Spring Books, London, 1966), plates 48, 49, and 52. $700-900

99

A Wedgwood & Bentley ‘Porphyry’ glazed vase third quarter 18th century Raised on square black basalt base impressed to underside “Wedgwood/& Bentley”.

H: 13 1/2 in. provenance: Property from an important Pennsylvania collection. note: A similar model is illustrated in Wolf Mankowitz, Wedgwood (Spring Books, London, 1966), plate 49. $2,000-3,000

100

A Wedgwood hand-enameled terracotta tureen modeled by josiah wedgwood, circa 1770-1780 The lid with knop in the form of a recumbent bull, decorated with bellflowers in shades of blue; the underside hand-impressed “WEDGWOOD” and with worker’s mark “H”.

H: 7, W: 11 1/4 in. provenance: Property from an important Pennsylvania collection. note: This tureen was exhibited at the Josiah Wedgwood Jubilee Exhibition in 1980. $1,500-2,500

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101

102

A near pair of Wedgwood hand-enameled covered jars in the Chinese taste

A Wedgwood hand-enameled stoneware chinoiserie ginger jar

circa 1820 The first in white jasper, the second in terracotta, both allover finely decorated in gilt and polychrome enamel with pheasants, peonies, and chrysanthemums; both with hand-impressed mark to underside and with worker’s mark “A”. (2).

H: 11 in. (largest) provenance: Property from an important Pennsylvania collection. note: A nearly identical form with the same decoration but modeled in black basalt, currently in the collection of the Royal Ontario Museum, is illustrated in Diana Edwards, Black Basalt: Wedgwood and Contemporary Manufacturers (Antique Collectors’ Club, Woodbridge, England, 1994), page 22, plate 21. $2,000-3,000

circa 1850 Surmounted by a domed lid terminating in parcel-gilt dragon finial and allover decorated with gilt-enriched blue peonies; the underside with impressed maker’s mark.

H: 9 1/2 in. provenance: Property from an important Pennsylvania collection. $500-700

103

A Wedgwood parcel-gilt flow blue pearlware inkstand circa 1845 The underside with impressed mark and “977”.

H: 3 1/4, W: 10 1/4, D: 8 1/4 in. provenance: Property from an important Pennsylvania collection. $200-400

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104

émile-aubert lessore (french, 1805-1876), circa 1872 The first an oval lobed dish painted with a scene of mounted soldiers, hand titled to verso “The Free Company” and with impressed mark and date code “AHQ” for April 1862; the second a dish of identical form painted with a scene of children, the verso with indistinct London retailer’s sticker, and impressed mark and date code also “AHQ”; the third a scalloped plate painted to the well with a girl, the verso with impressed mark and date code “ACZ” for April 1872; the fourth a plate of identical form painted with a boy and girl, the verso with impressed mark and date code “FNU” for February 1866; sold together with a fifth small similarly decorated Petrus ReGout lozenge-form dish. (5).

L: 13 3/4, W: 11 in. (largest) provenance: Property from an important Pennsylvania collection.

note: Émile-Aubert Lessore (1805-1876) was a French painter, but is today best known for his work with ceramics. He was trained at the Académie des Beaux-Arts in Paris, studying under Jean-Auguste-Dominique Ingres. He eventually turned to painting ceramics and found success at the Sèvres manufactory outside Paris. However, his painterly Realist style did not always align with that of the other more classical decorators at Sèvres, so in 1858 he left France for the Minton pottery in Stoke-on-Trent, England. Shortly thereafter he joined nearby Wedgwood, where he developed a reputation for his Victorian scenes painted on their popular creamware. He exhibited at major exhibitions in London in 1862, Paris in 1867, and Vienna in 1873. The date codes of these four pieces align precisely with the years he would have been producing work for these exhibitions, and it is entirely possible that the present pieces were therefore displayed at these exhibitions. They were further exhibited at the Delaware Art Museum in 1976, and the large lobed dish with a Dickensian scene of young rapscallions still retains its exhibition label.

Wolf Mankowitz and Maureen Batkin each devotee a chapter in their respective Wedgwood books to discussing the important work of Émile Lessore. $1,000-2,000

105

106

Three Wedgwood majolica teawares

A Wedgwood majolica pot-pourri vase and cover

Four Wedgwood hand-painted creamware dishes

third quarter 19th century Comprising a ‘Wheat’ teapot and covered sugar each with impressed mark to underside and date code for 1874, and a ‘Dragon’ teapot with impressed mark to underside and date code for 1872. (3).

H: 5 1/2 in. (tallest) provenance: Property from an important Pennsylvania collection. note: An identical model of this ‘Dragon’ teapot is illustrated in in Maureen Batkin, Wedgwood Ceramics 1846-1959 (Richard Dennis, London, 1982), page 42, plate 62. $300-500

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modeled 1805, date code for august 1864 The geometrically pierced lid surmounting an egg-form vase suspended by three pharaonic monopodia raised on a circular base, the interior glazed in robin’s egg blue; the underside with impressed mark, date code “WDS”, and worker’s mark “M”.

H: 7 1/2 in. provenance: Property from an important Pennsylvania collection. $400-600

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107

111

A set of Wedgwood creamware majolica plates

A group of Wedgwood ‘Peony’ decorated creamware

1875 Comprising ten plates and two dishes with eagle-form feet, each decorated to well with transfer-printed and hand-colored plants, birds, and butterflies, with pierced and moulded scalloped rim; with impressed mark to underside and date code for 1875. (12).

Dia: 9 in. provenance: Property from an important Pennsylvania collection. $600-800

mid 19th century Comprising twelve transfer-printed blue and white plates with impressed mark to underside; sold together with an early 20th century “Simple Yet Perfect” teapot in the form of a Sarum Kettle, with impressed and blue underglaze marks to underside. (13).

Dia: 9 3/4 in. (plate). provenance: Property from an important Pennsylvania collection. note: A version of this teapot is illustrated and discussed in Maureen Batkin, Wedgwood Ceramics 1846-1959 (Richard Dennis, London, 1982), page 124, plate 288. $300-500

108

A group of wedgwood Queen’s Ware reticulated dishes various dates 19th/20th centuries Comprising two footed baskets with embossed stands, each with impressed to underside and with printed “WEDGWOOD/ Etruria England” mark; one hand-reticulated basket with applied handles, impressed mark to underside and with worker’s mark P; one dish impressed mark to underside; and one embossed plate impressed “WEDGWOOD/MADE IN ENGLAND”. (5).

H: 8 1/2 in. (footed basket). provenance: Property from an important Pennsylvania collection. $400-600

109

A set of Wedgwood armorial style hand-decorated creamware mid 19th century Comprising twelve plates, three serving bowls, and a reticulated based, each painted to the rim with a gilt-enriched cobalt egg-and-dart border. (16).

Dia: 9 3/4 in. (plate) provenance: Property from an important Pennsylvania collection. $400-600

110

A collection of Wedgwood floral decorated tablewares various dates 19th century Comprising ‘Capri’ Rosso Antico enameled teapot, creamer, and two pewter-mounted jugs, all with various impressed marks and dates to underside; and bone china ‘Imari’ style creamer, plate, and two teacups, all with red transfer printed mark to underside. (8).

H: 6 1/2 (largest). provenance: Property from an important Pennsylvania collection. note: This bone china pattern is illustrated in Wolf Mankowitz, Wedgwood (Spring Books, London, 1966), plate 114. $250-350

112

Two sets of eleven Wedgwood hand-painted chinoiserie style plates after 1902 The first set with wave-decorated rim and painted to the well with scenes of two Chinese style figures with a parrot, the second set with floral-decorated rim and painted to the well with hummingbirds; with printed Portland vase mark to undersides. (22).

Dia: 10 1/4 in. (largest). provenance: Property from an important Pennsylvania collection. $600-800 113

A collection of Wedgwood transferprinted Liberty China and Queen’s Ware circa 1918 Designed for the War Effort, comprising teapot, sugar, creamer, six dessert plates, and eleven tea cups and saucers, sold together with an original catalogue book. (32).

H: 5 1/4 in. (teapot) provenance: Property from an important Pennsylvania collection. note: The pattern book for this design, with samples of identical form to the offered lot, is illustrated in Maureen Batkin, Wedgwood Ceramics 1846-1959 (Richard Dennis, London, 1982), page 219 plate 536. $400-600 114

A Wedgwood green jasperware Rustic candlestick representing ‘Winter’ modeled by william hackwood, circa 1784 The standard in the form of a naturalistically modeled tree with vines of ivy, with a putto warming his hands by a fire at the base; hand impressed “WEDGWOOD” to underside.

H: 10 3/4 in. provenance: Property from an important Pennsylvania collection.

48$400-600

115

117

A pair of Wedgwood blue jasperware sphinxes

A Wedgwood solid blue jasperware five-piece early morning tea service

circa 1780-1810 Naturalistically modeled white figures raised on solid blue jasperware bases applied with white sunflower border; hand-impressed “WEDGWOOD” to one underside. (2).

H: 4 1/2, W: 2 1/2, L: 6 1/4 in. provenance: Property from an important Pennsylvania collection. $2,000-3,000

late 18th/early 19th century Comprising teapot, covered sugar, creamer, waste bowl, and tray, each with impressed mark to underside. (5).

H: 4 1/2 in. (teapot), L: 13 1/2 in. (tray) provenance: Property from an important Pennsylvania collection. $1,000-1,500

116

118

A Wedgwood blue jasperware covered urn

A Wedgwood dark blue jasperware ‘Canopic’ jar

late 18th/early 19th century Surmounted by a domed lid with fruiting finial, the flat shoulders issuing two volute handles, the body decorated with applied rinceaux and bellflowers; with impressed “WEDGWOOD” mark to underside.

H: 9 3/4 in. provenance: Property from an important Pennsylvania collection. $800-1,200

circa 1805 With cover in the form of a pharaonic mask above an ovoid body with applied Egyptian, Zodiac, and Classical symbols arranged in friezes, the underside with hand-impressed “WEDGWOOD”.

H: 10 in. provenance: Property from an important Pennsylvania collection. $2,500-3,500

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120

Five Wedgwood miniature cobalt blue jasper dipped vessels

A Wedgwood blue jasperware Portland vase

various dates mid to late 19th century Comprising a tea cup and saucer, a covered sugar, a loving cup, a jardinière and stand, and a canister; each with impressed mark to underside, some with date codes. (5).

H: 2 3/4 in. (tallest) provenance: Property from an important Pennsylvania collection. $300-500

19th century The underside with decorated roundel; stamped to edge of base “WEDGWOOD”.

H: 10 in. provenance: Property from an important Pennsylvania collection. $800-1,200

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121

122

A Wedgwood crimson jasper dip Portland vase

A Wedgwood black jasper dipped Portland vase on stand

first quarter 20th century Unfinished and with firing flaws; stamped to edge of base “WEDGWOOD”.

H: 10 3/4 in. provenance: Property from an important Pennsylvania collection. note: This unusual copy of the Portland Vase is in the rare crimson jasper dip. Clearly an experimental piece, the relief decoration has cracks and losses due to incompatibility with the crimson dip. The underside, with additional firing cracks, remains unfinished. The relief medallion is in place but the crimson color has not been added. $1,000-1,500

late 19th/early 20th century The underside with decorated roundel; stamped to edge of base “WEDGWOOD”.

H: 14 1/2 in. (with stand) provenance: Property from an important Pennsylvania collection. $800-1,200

123

A Wedgwood black basalt Pegasus vase depicting the Apotheosis of Homer modeled by john flaxman, late 18th/early 19th century With twin serpent-form handles issuing from Medusa masques, the vase surmounted by a lid terminating in ‘Pegasus’ finial; the underside hand-impressed “WEDGWOOD” and with a partial fingerprint.

H: 17 1/2 in. provenance: Property from an important Pennsylvania collection. note: An identical model is illustrated in Diana Edwards, Black Basalt: Wedgwood and Contemporary Manufacturers (Antique Collectors’ Club, Woodbridge, England, 1994), page 81, figure 85. $2,000-3,000

124

A Wedgwood & Bentley black basalt plaque, ‘Marriage Supper of Perseus & Andromeda’ modeled 1773, last quarter 18th century With parcel-gilt integral frame, the verso unmarked.

L: 11, H: 8 in. provenance: Property from an important Pennsylvania collection. $1,500-2,500

125

A Wedgwood black basalt tripod pot-pourri and cover circa 1805 The pierced lid surmounted by three sibyl figures, the pierced vase supported by three sphinx monopodia raised on a tripartite base; impressed to underside “WEDGWOOD”.

H: 10 1/2 in. provenance: Property from an important Pennsylvania collection. $1,000-2,000

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129

An assembled collection of Wedgwood and Wedgwood & Bentley black basalt tea articles

A Wedgwood black basalt bust of George Washington 19th century The verso impressed “WEDGWOOD” and “WASHINGTON” and with worker’s mark “C”; mounted to a stand also with impressed mark to underside.

H: 13 in. provenance: Property from an important Pennsylvania collection. $1,500-2,500

late 18th/early 19th century Comprising two part tea services of teapot, covered sugar, and creamer; together with two sugar boxes with figural knops, two assorted lids with sibyl knops, a teapot with sibyl knop and matching cup, a teacup, and a large finial; most with various early impressed marks to undersides. (14).

H: 5 in. (tallest) provenance: Property from an important Pennsylvania collection. $1,500-2,500

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130

A Wedgwood black basalt encaustic decorated ‘Etruscan’ cream jug

A Wedgwood hand-enameled Auro Basalt vase

early 19th century Impressed “WEDGWOOD” to underside.

H: 5 in. provenance: Property from an important Pennsylvania collection. note: The form of this cream jug and the ‘Etruscan’ pattern decoration are discussed and illustrated in Diana Edwards, Black Basalt: Wedgwood and Contemporary Manufacturers (Antique Collectors’ Club, Woodbridge, England, 1994), page 15 and pages 54-57. $300-500

circa 1890 In the ‘Gold Leafage’ design, allover decorated with gilt and burnished-gilt foliage; the underside with two impressed marks and incised “S. 501.”

H: 7 1/2 in. provenance: Property from an important Pennsylvania collection. note: A vase of another form decorated in the same pattern is illustrated in Maureen Batkin, Wedgwood Ceramics 1846-1959 (Richard Dennis, London, 1982), page 78, plate 158. $400-600

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131

A pair of Wedgwood black jasperware candlesticks

Two Wedgwood ‘Dancing Hours’ bowls

19th century With cylindrical standards allover applied with white bellflower and acanthus leaves, the square bases applied with ram’s heads issuing garlands; impressed “WEDGWOOD” to undersides and now drilled for wiring as lamps. (2).

H: 11 1/4 in. provenance: Property from an important Pennsylvania collection. $700-900

20th century The first black jasperware, the second Rosso Antico, both with impressed marks and “Made in England” to underside.

(2).

H: 4 1/4, Dia: 10 1/4 in. (Rosso Antico) provenance: Property from an important Pennsylvania collection. $400-600

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132

Two Wedgwood blue jasperware allegorical cameo plaques late 18th century Each depicting scenes of maternal love; each with verso impressed “WEDGWOOD”, incised with artist cipher “TL” and with two firing holes.

H: 4 1/2, W: 3 1/2 in. provenance: Property from an important Pennsylvania collection. $800-1,200

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Two Wedgwood & Bentley blue jasperware allegorical cameo plaques circa 1768-80 Each depicting scenes of putti at the hunt, impressed to verso “WEDGWOOD/& BENTLEY” and with multiple firing holes.

H: 4 1/2, W: 5 1/2 in. provenance: Property from an important Pennsylvania collection. note: Exhibited at the Art Institute of Chicago, 1962. $1,000-2,000

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A Wedgwood & Bentley blue jasperware cameo plaque, “The Power of Love” modeled by john flaxman, circa 1776 Impressed to verso “WEDGWOOD/& BENTLEY” and with two round firing holes; mounted in custom frame with exhibition label to verso.

L: 5, H: 3 5/8 in. provenance: Property from an important Pennsylvania collection. note: The present lot, designed by prominent Wedgwood sculptor John Flaxman (1755-1826) in 1776, was exhibited at the Art Institute of Chicago in 1962. $800-1,200

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A Wedgwood & Bentley black basalt encaustic decorated cameo medallion third quarter 18th century Depicting a classical figure, the verso unmarked.

Dia: 14 1/2 in. provenance: Property from an important Pennsylvania collection. $500-700

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A Wedgwood & Bentley black basalt cameo of Benjamin Franklin modeled by william hackwood, circa 1779 With integral frame and titled to recto, the verso with impressed mark “Wedgwood/& Bentley”.

H: 4, W: 3 1/4 in. provenance: Property from an important Pennsylvania collection. $2,000-3,000

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138

A collection of Wedgwood and Wedgwood & Bentley jasperware cameos

An extensive collection of Wedgwood and Wedgwood & Bentley intaglios

18th/19th centuries Comprising a jasper dip portrait titled to recto G. Franklin, the verso with impressed mark and two firing holes; a Wedgwood & Bentley blue jasperware cameo of Danaë; four solid blue jasperware cameos of classical subjects with various period impressed marks to versos; seven jasper dipped cameos, including one of the Imperial Russian Eagle with various period impressed marks to versos; and one green polychrome jasper dip clock face with impressed mark to verso. (14).

H: 4 1/4 in. (tallest) provenance: Property from an important Pennsylvania collection. $1,500-2,500

18th/19th centuries In blue jasperware, white jasperware, black basalt, and one crimson jasperware, depicting various Classical, historical, and animal subjects; comprising thirteen marked “WEDGWOOD” to verso, seven marked “Wedgwood/& Bentley” or “W&B” to verso, and fifteen unmarked; custom fitted Wedgwood boxes available. (35).

H: 1 1/4 in. (tallest) provenance: Property from an important Pennsylvania collection. $1,000-1,500

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139

Eight Wedgwood black basalt cameo portraits various dates first half 19th century Comprising Marie-Antoinette, Francis Beaumont, Edward III, Henry IV, Livia, Titus Quinctius Flaminius, Cicero, and one incised “Anne”; some titled to recto or verso, with various Wedgwood impressed marks. (7).

H: 2 1/2 in. (tallest) provenance: Property from an important Pennsylvania collection. $500-700

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A Wedgwood blue jasperware mounted cut steel chatelaine late 18th century The oval jasperware cameo depicting putti as allegories of industry and with impressed mark to verso; mounted in a cut steel oval frame descending from a faceted bead chain with elaborate cut steel clip and issuing three hanging tassels and two hanging clips, all with faceted beads.

L: 12 1/4 in. provenance: Property from an important Pennsylvania collection. note: For similar item, see Skinner, Boston, January 12, 2013, Lot 132.

Another similar example is illustrated in Wolf Mankowitz, Wedgwood (Spring Books, London, 1966), plate 95. $800-1,200

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Two Wedgwood white jasper cameos late 18th/early 19th century The first a portrait of English actor David Garrick (1717-1779), unglazed, with impressed mark and two firing holes to verso; the second a portrait of a lady, glazed, with a punch hole for hanging but without firing holes, and with impressed mark to verso. (2).

H: 4 1/4, W: 3 1/4 in. (largest) provenance: Property from an important Pennsylvania collection. $600-800

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143

Three Wedgwood jasper cameo portraits

A Sèvres biscuit porcelain cameo of Ferdinand Philippe Louis d’Orleans

first half 19th century The first a blue jasperware portrait of Sir Joshua Reynolds (English, 1723-1792); the second a blue jasperware portrait of Madame du Barry (French, 1743-1793); the third a green jasper dip portrait of the Macedonian king Lysimachus; all with impressed mark and incised script title to verso. (3).

H: 5, W: 4 in. (largest) provenance: Property from an important Pennsylvania collection. $600-800

circa 1842 The blue jasper style cameo impressed to recto “F. PH. L. DUC D’ORLEANS/PRINCE ROYAL/1810” and unmarked to verso; sold together with four additional unmarked Wedgwood style jasperware cameos and a fifth Adams jasper dip cameo plaque marked to verso. (6).

Dia: 4 1/2 in. provenance: Property from an important Pennsylvania collection. $600-800

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A Wedgwood lustre glazed chinoiserie bowl circa 1920 With printed Portland Vase mark to underside.

H: 3 1/2, Dia: 8 in. provenance: Property from an important Pennsylvania collection. $400-600

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A Wedgwood Fairyland lustre teabowl and footed saucer circa 1920 Each with printed Portland Vase mark to underside. (2).

H: 2, Dia: 3 3/4 in. (teabowl) provenance: Property from an important Pennsylvania collection. $300-500

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Two small Wedgwood blue Fairyland lustre chinoiserie style dishes circa 1920 Comprising an octagonal bowl and a square candy dish, each with printed Portland Vase mark to underside. (2).

H: 2 1/4, Dia: 4 1/2 in. (octagonal bowl) provenance: Property from an important Pennsylvania collection. $500-700

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art of imagination The world of daisy makeig-jones

S

usannah Margaretta Makeig-Jones (English, 1881-1945), better known as Daisy, was an important Wedgwood painter and designer in the first quarter of the 20th century. From an educated, professional family, she demonstrated creativity from an early age. She was trained at the Torquay School of Art in Devon before joining Wedgwood as a painting apprentice in 1909, the result of a fortunate introduction to Cecil Wedgwood by a relative.

Her evident skill quickly set her apart, however, and she rose through the ranks from painter to designer in only a few years. An independent woman with an eclectic personality, she was drawn to the fanciful in her designs and began creating the ‘Fairyland’ lustre series in 1915. The escapist but vaguely demonic theme of these works, executed in jarring, acidic colors, became immensely popular in Europe and the United States against the backdrop of World War I, more fitting to the global mood than Wedgwood’s homely creamware and calming jasperware.

The success of the series continued until well into the 1920s, particularly in America where the excess of the Roaring Twenties complemented the visually overwhelming aesthetic of Makeig-Jones’ designs. But by the end of the decade, with her erratic personality reaching unsufferable proportions and sales beginning to fall against the tide of global depression, the era of Daisy Makeig-Jones came to an end. Her line was discontinued in 1929 and in 1931 she was unceremoniously dismissed from Wedgwood, which turned to more minimalist forms under the creative direction of Norman Wilson (English, 1902-1985).

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A Wedgwood Fairyland lustre ‘Thumbelina’ Imperial bowl daisy makeig-jones (english, 1881-1945), circa 1925 The interior decorated with scenes from Thumbelina, the exterior decorated with ‘Firbolg’ imps; the underside with printed Portland Vase mark.

H: 2 3/4, Dia: 6 1/4 in. provenance: Property from an important Pennsylvania collection. $1,000-2,000

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Three Wedgwood Fairyland lustre ‘Queen and Frog’ plates daisy makeig-jones (english, 1881-1945), circa 1925 Also called ‘Thumbelina’, two with transfer-printed ‘Twyford’ rims and one with unusual hand-painted rim; each printed with Portland Vase mark to verso.

Dia: 10 1/2 in.

provenance: Property from an important Pennsylvania collection. note: An identical plate with the ‘Twyford’ pattern rim is illustrated in Una des Fontaines, Wedgwood Fairyland Lustre: The Work of Daisy Makeig-Jones (Richard Dennis Publications, Ilminster, England, 2006), p. 179-180. For sale of another identical plate, see James D. Julia, Fairfield, ME, December 29, 2012, Lot 2239. $6,000-8,000

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A Wedgwood Fairyland lustre ‘Elves in a Pine Tree’ plaque daisy makeig-jones (english, 1881-1945), circa 1925 Depicting the ‘Firbolg’ imps in a tree at night with a blue seeded border; the verso with printed Portland Vase mark.

H: 10 3/4, W: 7 3/4 in. provenance: Property from an important Pennsylvania collection. note: A nearly identical advertising plaque with orange seeded border is illustrated on the back cover of Una des Fontaines, Wedgwood Fairyland Lustre: The Work of Daisy Makeig-Jones (Sotheby Parke Bernet, New York, 1975) and on page 165. For a sale of a plaque of the same design with a green glaze border, see Skinner, Boston, January 10, 2015, Lot 469, and for one with blue seeded border, see Sotheby’s, New York, November 22, 2005, Lot 352. $3,000-5,000

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A large Wedgwood Fairyland lustre ‘Home of the Firblogs’ plaque daisy makeig-jones (english, 1881-1945), circa 1926 Also called ‘Imps on a Bridge and Treehouse’, depicting the home of the ‘Firbolg’ imps in the ‘moonlight’ palette; the verso with printed Portland Vase mark.

H: 16, W: 11 1/2 in. provenance: Property from an important Pennsylvania collection.

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note: This rare design by Daisy Makeig-Jones—which was used to decorate large punch bowls, plates, vases and, more rarely, plaques—was originally conceived in two color palettes. The first was a daytime version called ‘flame’, and the second, as in the present lot, a nighttime version called ‘moonlight’. For more information and illustrations of this design, see Una des Fontaines, Wedgwood Fairyland Lustre: The Work of Daisy Makeig-Jones (Sotheby Parke Bernet, New York, 1975), page 213.

For a sale of the ‘flame’ palette version on a plaque of the same size, see Heritage, Dallas, December 7, 2011, Lot 66042. $5,000-7,000 www.freemansauction.com

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Norman Wilson for Wedgwood ribbed vase and bowl 1930-1960 Both with printed mark “WEDGWOOD N.W.”, bowl also bearing impressed mark “WEDGWOOD MADE IN ENGLAND UA”.

H: 6, Dia: 5 1/2 in. (vase), H: 4 1/2, Dia: 10 1/2 in. (bowl) provenance: Property from an important Pennsylvania collection. $200-300

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154

Three Norman Wilson for Wedgwood ribbed vessels

Two Norman Wilson for Wedgwood vases

1930-1960 Footed and low bowl with printed mark “WEDGWOOD N.W.”, impressed mark “WEDGWOOD NW H MADE IN ENGLAND”; the vase with impressed mark “WEDGWOOD NW”.

H: 7, Dia: 10 in. (footed bowl), H: 6 1/2, Dia: 7 1/2 in. (vase) provenance: Property from an important Pennsylvania collection. $300-500

1930-1960 With blue hare’s fur glaze, the larger unmarked, the smaller with impressed marks: “WEDGWOOD NW MADE IN ENGLAND”.

H: 16, Dia: 9 in. (larger), H: 9 3/4, Dia: 5 in. (smaller) provenance: Property from an important Pennsylvania collection. $600-800

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155

Four Norman Wilson for Wedgwood decorated vases

Three Norman Wilson for Wedgwood fluted and slip-decorated vessels

1930-1960 All marked “WEDGWOOD MADE IN ENGLAND NW”.

H: 10 in. (tallest) provenance: Property from an important Pennsylvania collection. $400-600

circa 1940 All with printed marks “WEDGWOOD NW”, the tallest vase also with impressed mark “WEDGWOOD 5061”.

H: 4 1/4, Dia: 10 3/4 in. (bowl), H: 10 in. (tallest vase) provenance: Property from an important Pennsylvania collection. $800-1,200

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157

A Wedgwood ‘Taurus the Bull’ in the ‘Zodiac’ pattern

Three Norman Wilson for Wedgwood ceramic animals

modeled 1945 by arnold machin, 1966 In a black basalt glaze, with gilt enriched features and the body decorated with gilt signs of the Zodiac.

H: 6 1/4, W: 4 1/4, D: 15 1/2 in. provenance: Property from an important Pennsylvania collection. note: An identical model is illustrated in Maureen Batkin, Wedgwood Ceramics 1846-1959 (Richard Dennis, London, 1982), page 197, plate 481. $300-500

mid 20th century The first two modeled by John Skeaping, comprising a seal and a kangaroo, each impressed “J. SKEAPING” to base and with impressed marks and inventory numbers to underside; the third a ‘Taurus the Bull’ modeled by Arnold Machin, with impressed mark and inventory numbers to underside. (3).

H: 9 1/4, W: 3, D: 8 1/4 in. (kangaroo) provenance: Property from an important Pennsylvania collection. note: These John Skeaping forms are illustrated in Maureen Batkin, Wedgwood Ceramics 1846-1959 (Richard Dennis, London, 1982), page 188, plate XLVIII. $800-1,200

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Two Norman Wilson for Wedgwood glazed pottery vases mid 20th century With grey hare’s fur glazes; both with impressed marks: “WEDGWOOD NW H”, the shorter also with printed mark “WEDGWOOD N.W.” H: 16 3/4, Dia: 7 1/4 in. (taller), H: 8 1/2, Dia: 8 1/4 in. (shorter) provenance: Property from an important Pennsylvania collection. $400-600

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A group of Keith Murray for Wedgwood Barlaston & Etruria glazed ceramics

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Two Norman Wilson for Wedgwood glazed pottery vessels mid 20th century Pitcher with impressed marks “WEDGWOOD NW BB9A H MADE IN ENGLAND” and bowl with impressed marks “WEDGWOOD NW MADE IN ENGLAND 52”.

H: 7 3/4, Dia: 5 in. (pitcher), H: 3 1/4, Dia: 9 3/4 in. (bowl) provenance: Property from an important Pennsylvania collection. $300-500

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20th century All bearing circular printed mark “WEDGWOOD OF ETRURIA & BARLASTON KM MADE IN ENGLAND” and impressed marks “WEDGWOOD MADE IN ENGLAND”.

H: 8 1/2 in. (tallest) provenance: Property from an important Pennsylvania collection. note: These and the following Keith Murray designed forms are discussed and illustrated in Maureen Batkin’s chapter devoted to Keith Murray: Wedgwood Ceramics 1846-1959 (Richard Dennis, London, 1982), Chapter XIV, pages 204-211. $200-400

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162

Two Keith Murray for Wedgwood ribbed vases

A French eight-day jasperware mounted polished brass mantel clock

mid 20th century Larger with impressed marks “Keith Murray WEDGWOOD MADE IN ENGLAND E”, the shorter with circular printed mark: “WEDGWOOD OF ETRURIA & BARALSTON KM MADE IN ENGLAND”.

H: 9 1/4, Dia: 8 1/2 in. (larger), H: 6 1/4, Dia: 5 1/2 in. (shorter) provenance: Property from an important Pennsylvania collection. $700-900

retailed by j. w. benson, london, last quarter 19th century The machine-turned dial with Roman numerals housed in a brass case fitted to front and sides with green jasperware medallions depicting classical scenes, the works stamped “1401”.

H: 13 3/4, W: 8, D: 6 in. provenance: Property from an important Pennsylvania collection. $600-800

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164

A Wedgwood Queen’s ware parcel-gilt and enamel-decorated mantel clock

A Wedgwood blue jasperware, cut glass, and brass oil lamp

1884 The brass dial stamped “E. WHITE/Paris” and “20 Cockspur Street/London”, the Queen’s ware case of architectural form enamel decorated in blue and white with landscapes, surmounted by a pediment inscribed “Eheu! Fugaces Labuntur Anni” terminating in globe finial.

H: 12 1/2, W: 8, D: 6 in. provenance: Property from an important Pennsylvania collection. $500-700

mid 19th century The blue jasperware spiral standard supporting a cut glass oil well, raised on a stepped brass base.

H: 23 1/4 in. provenance: Property from an important Pennsylvania collection. $400-600

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165

A pair of Louis XVI style caned and needlepoint upholstered carved walnut fauteuils 19th century With ribbon-and-rose carved crestrails and straight caned backs issuing scrolling arms above a shaped caned seat on fluted tapering legs. (2).

H: 38, W: 23, D: 20 in. provenance: Property from an important Pennsylvania collection. $800-1,200

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A Spanish Gothic Revival brass-mounted carved walnut vargueño on stand first half 19th century The moulded top with cavetto carved with grape vines above a hidden torus drawer carved with dragons; the drop front applied with brass tracery medallions and the sides mounted with bat-form brass handles; the interior an assortment of drawers and cupboards each fronted by carved Gothic tracery; the whole raised on a trestle stand with carved arcade stretcher.

H: 63, W: 41 1/2, D: 20 in. provenance: Property from an important Pennsylvania collection. $4,000-6,000

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A Louis Vuitton monogrammed leather hard sided suitcase first half 20th century With original Louis Vuitton label to interior stamped with serial number 844780; monogrammed “E.G.C.” below handle.

H: 8 1/2, W: 16, D: 15 1/2 in. provenance: Property from an important Pennsylvania collection. $800-1,200

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169

An impressive Louis Vuitton monogrammed leather traveling trunk early 20th century With original impressed leather label, the interior fitted to one side with rails suspending coat hangers above shoe compartments, and to the other side with six drawers; the exterior monogrammed to one side J.H.C. in red lozenge.

H: 44, W: 25 3/4, D: 21 1/2 in. provenance: Property from an important Pennsylvania collection. $7,000-9,000

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Two Persian Serab runners late 19th/early 20th century 3 ft. 7 in. x 10 ft. 8 in.; 3 ft. 10 in. x 9 ft. 8 in. provenance: Property from an important Pennsylvania collection. $2,000-3,000

An important Neoclassical collection works from Scandinavia, Britain, France, and the Grand Tour

F

ew decorative styles are as emblematic of the 18th and 19th centuries as the Neoclassical. At its height in the transitional decades of these centuries, the rediscoveries of Herculaneum in 1738 and Pompeii in 1748 ignited a classical revival whose echoes are still visible in both domestic and official architecture and decorative arts today.

The Grand Tour of the early 19th century — defined both as a literal journey through the recently excavated wonders of ancient Greece, Rome, and Egypt, and as a more philosophical collecting category of objects and antiquities either directly from or representative of the ancient Mediterranean world — was an undertaking practically de rigueur for polite society in America, continental Europe, and, most especially, Britain. Young men (and even women) of means packed their trunks full of linen suits and headed off to Rome, amassing specimen marbles, bronze models and maquettes, archaeological artifacts, maps, and prints that recreated the best of the Classical world.

Chief among these objects was ceramics, already experiencing a revival since the mid-18th century with manufactories experimenting with new methods of porcelain production and glazing techniques. Discoveries of Greek and Roman pottery in ancient sites only served to enhance interest in the historic and decorative value of ceramics and, especially, terracotta. Important finds like the Portland Vase and the Hamilton Vases were widely reproduced, and humble red terracotta was elevated from the utilitarian to the chic as its restrained style was imitated in glass, porcelain, stoneware, and other media in varying levels of quality.

Many craftsmen became highly adept at working in terracotta, turning this simple, terrestrial clay into light-asair fantastical forms decorated in gentle palettes of pastels and golds punctuated by deft swipes of black. One of the foremost of such potters was Rasmus Peter Ipsen (Danish, 1815-1860), who rose from brick maker to artisan thrower at the Royal Copenhagen Manufacture before the age of 30.

In 1842 he founded his own factory in Copenhagen, together with Professor Friedrich Hetsch (Danish, 1788-1864) of the Academy of Fine Arts and the Royal Copenhagen Manufacture. Their success was furthered by a storefront in 1848 and exhibitions at craft shows and international

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competitions by the early 1850s. Working in various shades of terracotta lightly decorated in oil and sometimes enriched with gold, his factory employed several noted artists and sculptors who created unique revival forms inspired by ancient Etruscan, Mycenaean, Greek, and Egyptian works, particularly those held in the Thorvaldsen Museum and King Christian VIII’s collection of antique vases. The factory also produced busts and statuettes after both Classical and contemporary sculpture.

Peter Ipsen died suddenly in 1860, at only age 45. Continuing under the leadership of his wife, Lovise Christine Ipsen (18221905), and his eldest son, Bertel Ipsen (1846-1917), the factory submitted works at the Universal Exhibitions in Stockholm (1861), Paris (1867), London (1870), Philadelphia (1876), and Amsterdam (1883), winning first place prizes at each. The Centennial Exhibition in Philadelphia brought hundreds of the Ipsen Factory’s pots, sculptures, and busts to America for the first time, to great acclaim. The collection was “remarkable for its chaste beauty,” as one critic described it: “the ornamentation of these is commonly in black, occasionally touched with dark red, on the uncolored buff body of the ware, and produces a pleasing effect.” The final verdict from the Judges’ Review: “Exhibit important and good.”

Lots 170-186 include 21 pieces of Ipsen terracotta representative of the variety of forms produced by the factory prior to 1876. These works have been held in a private collection for many years following their deaccession from the Reading Public Museum in West Reading, Pennsylvania. Established by Dr. Levi W. Mengel in 1904, it is not unreasonable to suspect that this collection of Ipsen terracotta originated at 1876 Centennial Exhibition in Philadelphia,purchased by a now-unknown buyer in the Philadelphia area and held for a generation before being acquired privately by Dr. Mengel for his Museum.

This impressive group is offered together with English and Continental Neoclassical ceramics, important prints of ancient pottery, early Grand Tour photographs, Grand Tour artifacts, specimen marbles, and bronzes after the antique.

Complemented by a fine selection of British, French, German, and Russian decorative arts and furnishings, this collection represents the breadth and elegance of Neoclassical Europe.

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171A

A Danish terracotta vase

A Danish Mycenaean style terracotta footed vase

A Danish Mycenaean terracotta vase

peter ipsen, copenhagen, 1843-1850 With geometric decoration and bennu executed in oil; the underside with impressed maker’s mark P.I. and model number 137.

H: 5 1/4 in. provenance: Property from a private Delaware collection. $300-500

peter ipsen, copenhagen, 1850-1870 The neck modeled with masks, with geometric decoration with birds and animals executed in oil; the underside with impressed maker’s mark P. Ipsen and model number 142.

H: 5 1/2 in. provenance: Property from a private Delaware collection. $300-500

peter ipsen, copenhagen, 1843-1850 Geometric decoration with Mycenaean motifs executed in oil; the underside with impressed maker’s mark P.I. and model number 147.

H: 6 1/4 in. provenance: Property from a private Delaware collection. $300-500

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173

A Danish terracotta lidded oenochoe

Two Danish terracotta Mycenaean style twin-handled painted vases

peter ipsen, copenhagen, 1850-1870 Decorated en relief with depictions of Day and Night after Thorvaldsen; the underside with impressed maker’s mark “P. Ipsen Kjobenhaven” and model number 182.

H: 10 1/4 in. provenance: Property from a private Delaware collection. $150-200

peter ipsen factory, copenhagen, 19th century The first from factory period 1850-1870, with geometric decoration and bennu executed in oil; the underside with impressed maker’s mark “P. Ipsen Kjobenhaven” and model number 125; the second from factory period 1871-1917, decorated with geometric motifs and animals and with painted handles; the underside with impressed mark “P. Ipsen/Kjobenhaven/eneret 125”. (2).

H: 5 1/4 in. provenance: Property from a private Delaware collection. $600-800

174

Two Danish terracotta oenochoes peter ipsen factory, copenhagen, 19th century Each decorated in oil with gilt and vine bands, the first from factory period 1850-1870, the underside with impressed maker’s mark “P. Ipsen Kjobenhaven” and model number 152; the second from factory period 1871-1917, the underside with impressed mark “P. Ipsen/Kjobenhaven/eneret 152”. (2).

H: 7 1/2 in. provenance: Property from a private Delaware collection. $600-800

175

A rare Danish terracotta lekythos peter ipsen, copenhagen, 1850-1870 With a continuous peacocks feather motif executed in oil; the underside with impressed maker’s mark “P. Ipsen,” model number 235, and ink inventory numbers.

H: 7 in. provenance: Property from a private Delaware collection. $800-1,200

176

A Danish terracotta ewer

67

peter ipsen, copenhagen, 1850-1870 The handle modeled with a female masque and a satyr masque, the neck and foot decorated with classical motifs executed in oil; the underside with impressed maker’s mark “P. Ipsen/Kjobenhaven” and model number 118.

H: 12 1/4 in. provenance: Property from a private Delaware collection. $1,200-1,800 www.freemansauction.com

177

A Danish terracotta vase in the Egyptian taste peter ipsen, copenhagen, 1850-1870 Decorated with gilt and polychrome Egyptian motifs in oil; the underside with impressed maker’s mark “P. Ipsen/Kjobenhaven” and model number 77.

H: 11 1/4 in. provenance: Property from a private Delaware collection. $1,500-2,000

181

A Danish Mycenaean style terracotta vase peter ipsen factory, copenhagen, 1871 The columnar neck joined by four handles, decorated with geometric motifs in oil; the underside with impressed mark “P. Ipsen/Kjobenhaven/eneret 145”.

H: 6 1/2 in. provenance: Property from a private Delaware collection. $400-600

182

A Danish Mycenaean style terracotta krater 178

A Danish terracotta hydria peter ipsen, copenhagen, 1850-1870 Decorated with classical figures and with geometric and floral motifs executed in oil; the underside with impressed maker’s mark “P. Ipsen” and with model number 27.

H: 9 in. provenance: Property from a private Delaware collection. $300-500

peter ipsen factory, copenhagen, 1871-1914 With intricate geometric decoration in oil; the underside with impressed mark “P. Ipsen/Kjobenhaven/eneret 112”.

H: 7 3/4 in. provenance: Property from a private Delaware collection. $600-800

179

A Danish terracotta oenochoe peter ipsen, copenhagen, 1871 Decorated with animals and geometric motifs in oil; the underside with impressed maker’s mark “P. Ipsen/Kjobenhaven” and model number 181.

H: 10 1/4 in. provenance: Property from a private Delaware collection. $500-700

180

A Danish Mycenaean terracotta lidded jar peter ipsen factory, copenhagen, 1871 With twin raised handles, decorated with geometric and Mycenaean motifs in oil; the underside with impressed mark “P. Ipsen/Kjobenhaven/eneret 153” H: 6 in. provenance: Property from a private Delaware collection. $400-600

183

A Danish terracotta hydria peter ipsen factory, 1871-1917 Polychrome decorated with classical figures in oil; with impressed mark “P. Ipsen/Kjobenhaven/Eneret 24”, red-painted inventory number 439, and illegible inventory numbers in pencil.

H: 10 1/4 in. provenance: Property from a private Delaware collection. $1,500-2,500

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187

A group of six English Rosso Antico vases 19th century Of conforming decoration with classical figures. (6).

H: 5 in. (largest) provenance: Property from a private Delaware collection. $600-800

188

A near pair of Rosso Antico oenochoes

184

A large and impressive Danish terracotta oenochoe peter ipsen, copenhagen, 1850-1870 Decorated with exotic animals and geometric borders in oil; the underside with impressed maker’s mark “P. Ipsen/Kjobenhaven” and model number 268; sold together with a trade card.

H: 11 in. provenance: Property from a private Delaware collection. $3,000-5,000 185

Two Danish terracotta classical figures peter ipsen factory, copenhagen, 1871-1917 The first after Canova’s “Dancer with Hands on Hips,” the underside with impressed mark “P. Ipsen/Kjobenhaven/eneret 332”; the second a classical goddess modeled with hands raised to head, the underside with impressed mark “P. Ipsen/Kjobenhaven/Eneret 630.” (2).

H: 14 in. provenance: Property from a private Delaware collection. $800-1,200 186

A Danish black glazed terracotta bust after the Venus de Milo peter ipsen factory, copenhagen, 1871-1917 With an impressed makers stamp “P. IPSEN KJOBENHAVEN ENERET, 606”.

H: 24 1/2, W: 18, D: 11 in. provenance: Property from a private Delaware collection. $800-1,200

19th century The first depicting centaurs, the second with winged horses opposing a charioteer; sold together with a larger English Rosso Antico oenochoe with gilt bands and decorated with a classical figure. (3).

H: 6 7/8 in. provenance: Property from a private Delaware collection. $300-500

189

An earthenware oenochoe possibly english, 19th century Painted with satyrs and geometric designs; unmarked.

H: 9 in. provenance: Property from a private Delaware collection. $200-300

190

A Torquay Terracotta Company vase circa 1875 The shoulders joined by masque handles, the body decorated with classical figures; the underside with impressed mark “Torquay” and inscribed “821”.

H: 10 1/4 in. provenance: Property from a private Delaware collection. $150-250 See page 74-75 for lots 187-190.

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191

192

193

An English salmon ground earthenware vase

An English blackglazed terracotta lekythos

An English black-glazed terracotta amphora

19th century With masque handles, decorated with gilt bands and Egyptian figures and hieroglyphics, unmarked; sold together with an English stoneware vase with applied classical decoration in the manner of Wedgwood, the underside with impressed mark “Stone/5.“ (2).

H: 8 in. provenance: Property from a private Delaware collection. $300-500

19th century Painted with dancing satyrs and women.

H: 13 in. provenance: Property from a private Delaware collection. $200-300

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19th century Decorated with classical figures and geometric motifs, the base with model number 6787.

H: 7 1/2 in. provenance: Property from a private Delaware collection. $300-500

194

195

196

A pair of English black glazed terracotta krater-form vases

A large English earthenware potpourri and cover

A pair of English black glazed vases on stands

19th century Each decorated with classical figures and geometric motifs; unmarked. (2).

H: 7 5/8 in. provenance: Property from a private Delaware collection. $600-800

19th century The pierced domed cover enclosing a flat interior lid, the whole with gilt and anthemia decoration; sold together with a similar smaller black glazed amphora with lid, decorated with gilt bands and green anthemia. (2).

H: 13 1/2 in. provenance: Property from a private Delaware collection. $700-900

19th century The shoulders with lion masques, each displaying titled Greek figures “Achilles” and “The Meeting of Hector and Andromache”.

(2).

H: 14 in. provenance: Property from a private Delaware collection. $2,000-3,000

197

An English Prattware vase f & r pratt & co., fenton, 19th century Decorated with classical figures and geometric motifs; the underside with stenciled crown mark and “F&R/Pratt & Co/Fenton”.

H: 11 1/2 in. provenance: Property from a private Delaware collection. $400-600

198

A pair of large English Prattware krater-form vases f & r pratt & co., fenton, 19th century Each decorated with classical figures and geometric borders. (2).

H: 13 in. provenance: Property from a private Delaware collection. $1,500-2,000

199

A fine English porcelain vase after the antique hill pottery co., burslem, circa 1861-67 The white ground gilt decorated and painted with classical figures; the underside with pastille inscribed “Rhea Reconciled to Bacchus from the antique/JSH”; sold together with a fitted antique glass dome and stand.

H: 14 1/4 in. provenance: Property from a private Delaware collection. $800-1,200

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201

202

Two hand-colored engravings of the Hamilton Collection of ancient vases

Two hand-colored engravings of the Hamilton Collection of ancient vases

Four hand-colored engravings of the Hamilton Collection of ancient vases

françois morelli, naples, 1766-67 From Sir William Hamilton (1730-1803) and Pierre-François Hugues d’Hancarville (17191805), Collection of Etruscan, Greek and Roman Antiquities from the Cabinet of the Hon. William Hamilton. (2).

H: 8, W: 11 1/2 in. (sight of largest) provenance: Property from a private Delaware collection. $400-600

françois morelli, naples, 1766-67 From Sir William Hamilton (1730-1803) and Pierre-François Hugues d’Hancarville (17191805), Collection of Etruscan, Greek and Roman Antiquities from the Cabinet of the Hon. William Hamilton. (4).

H: 6, W: 7 in. (sight) provenance: Property from a private Delaware collection. $400-600

françois morelli, naples, 1766-67 From Sir William Hamilton (1730-1803) and Pierre-François Hugues d’Hancarville (17191805), Collection of Etruscan, Greek and Roman Antiquities from the Cabinet of the Hon. William Hamilton. (4).

H: 9 1/4, W: 12 1/2 in. (sight of largest) provenance: Property from a private Delaware collection. $1,000-2,000

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203

Five hand-colored engravings of the Hamilton Collection of ancient vases françois morelli, naples, 1766-67 From Sir William Hamilton (1730-1803) and Pierre-François Hugues d’Hancarville (1719-1805), Collection of Etruscan, Greek and Roman Antiquities from the Cabinet of the Hon. William Hamilton. (5).

H: 10 1/2, W: 10 1/2 in. (sight of largest) provenance: Property from a private Delaware collection. $1,000-2,000

204

205

Three framed sets of hand-colored engravings of the Hamilton Collection of ancient vases

Two Italian hand-colored etchings after Greco-Roman red-figure pottery

françois morelli, naples, 1766-67 A total of six prints in three frames, including one with the Arms of Hamilton, from Sir William Hamilton (1730-1803) and Pierre-François Hugues d’Hancarville (1719-1805), Collection of Etruscan, Greek and Roman Antiquities from the Cabinet of the Hon. William Hamilton. (3).

H: 14 1/2, W: 25 in. (sight of largest) provenance: Property from a private Delaware collection. $1,200-1,800

18th century Each signed in plate “G. Cassini Inc.” and numbered CCLXXX and CCLXXXIX; sold together with a collection of five hand-colored etchings of Greek vases in important British collections. (7).

H: 8, W: 12 in. (sight) provenance: Property from a private Delaware collection. $800-1,200

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207

208

A Greek Attic black figure lekythos

A Greek Attic black figure amphora

A Continental red figure terracotta vase after the antique

circa 5th/4th century b.c.e.

Painted with a Dionysian scene of two satyrs and a man dancing.

H: 12 7/8 in. provenance: Property from a private Delaware collection. $1,000-1,500

circa 5th/4th century b.c.e.

Painted to recto with a hunt scene of a man on horseback pursuing a bird and to recto with a dining scene of two recumbent men.

H: 10 3/8 in. provenance: Property from a private Delaware collection. $1,000-1,500

19th century or earlier With raised handles and black glaze decorated to recto with two classical figures and to verso with a man battling a gryphon, the underside unmarked; sold together with a fitted glass dome and stand.

H: 8 1/2 in. provenance: Property from a private Delaware collection. $800-1,200

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209

210

A large Italian red-figure terracotta hydria after the antique

A Neapolitan earthenware teapot in the Archaeological taste

19th century or earlier Very finely decorated in the manner of the Hamilton Vase, the moulded lip with egg-and-dart motif, the neck banded with anthemia, and the body decorated to recto with figures from Greek mythology labeled in Greek, and to verso with geometric vined anthemia; banded at the waist with alternating Greek meander and chequer patterns; raised on circular stepped socle.

H: 18 in. provenance: Property from a private Delaware collection. $2,500-3,500

possibly giustiniani or a contemporary, 19th century With frog-form spout, serpent-form handle, a lid in the form of a jackal head; the body painted with classical figures.

H: 6 1/2, W: 10 1/2 in. provenance: Property from a private Delaware collection. $200-300

210A

Two Neapolitan black-glazed terracotta plates francesco colonnese, naples, early 19th century The first centered with a scene of struggling Heracles surrounded by geometric decoration; the second centered with classical male figure and dog, encircled with ancanthus-decorated edge; both with incised maker’s mark to underside “Colonnese Nap”. (2).

Dia: 9 1/4 in. provenance: Property from a private Delaware collection. $200-300

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211

212

213

Five Continental copies of the Portland Vase

An American painted terracotta vase

A German earthenware footed bowl

19th century Comprising three earthenware vases, two with impressed marks “W&S/49” to underside, and one with impressed mark “G&S/49” to underside; one Austrian terracotta vase, unmarked; and one enameled blown glass vase, unmarked. (4).

H: 8 in. provenance: Property from a private Delaware collection. $600-800

attributed to chelsea keramic art works, circa 1870-1880 With egg-and dart rim, painted to body with a classical scene above a meander border; the underside unmarked but with impressed number 13.

H: 7 in. provenance: Property from a private Delaware collection. $200-400

villeroy & boch, 19th century The exterior with matte black ground decorated with Egyptian motifs, the underside with impressed “V&B” on raised banner; sold together with an English Aesthetic Movement terracotta twin-handled amphora decorated in a neo-Grec style. (2).

H: 3, Dia: 6 in. (bowl). provenance: Property from a private Delaware collection. $300-500

214

Two painted pictures of Pompeiian maidens 19th century On unstretched canvas, the first depicting a classical maiden in contemplative pose atop a stool, the second depicting a classical maiden with lyre upon a bench; each in giltwood frame. (2).

H: 17 1/4, W: 15 in. (frame) provenance: Property from a private Delaware collection. $800-1,200

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215

216

A collection of gouache views of the Gulf of Naples 19th/20th centuries Comprising two pictures signed “Gianni”, likely Maria Gianni; two pictures signed “L. Romano”; three unsigned 19th century scenes; and two additional scenes probably 20th century. (9).

H: 17 1/2, W: 22 1/2 in. (largest frame) provenance: Property from a private Delaware collection. $2,500-3,500

Two Grand Tour pen and ink drawings early 19th century Each finely drawn and ink washed, the first depicting Trajan’s Column and the second depicting the Roman Forum; in matching modern giltwood frames. (2).

H: 7 1/2, W: 9 1/4 in. (frame) provenance: Property from a private Delaware collection. $200-400

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A collection of Grand Tour photographs of Rome late 19th/early 20th century Comprising a large photograph of the Roman Forum, two photographs of the Arch of Constantine, a photograph of the Temple of Hercules Victor, and a photograph of the Arch of Titus; sold together with an additional similar etching of the Arch of Constantine. (6).

H: 24 1/2, W: 49 in. (frame of largest)

provenance: Property from a private Delaware collection. $1,000-1,500

217A

A pair of German Grand Tour terracotta relief medallions johann maresch, germany, 19th century One with naturalistic glaze depicting the Tempio della Condordia, the other with black glaze depicting the Fontana di Trevi; both impressed with maker’s mark to underside: “JM”. (2).

Dia: 12 1/2 in. provenance: Property from a private Delaware collection. $300-500

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218

A Neapolitan bronze fisherman after the antique 19th century Also called Mercury, verdigris patinated bronze, unsigned.

H: 21 in. provenance: Property from a private Delaware collection. $1,500-2,500

219

A collection of plaster portrait busts 19th century Comprising one classical style male head and two busts of young Caesar Augustus after the antique , the larger signed “J. DECOMPS/ NY” and the smaller bronze painted and with pastille for P. P. Caproni & Brother, Boston, raised on a white marble columnar pedestal; sold together with a plaster wall bracket after a caryatid head. (4).

H: 22 1/2 in. (tallest) provenance: Property from a private Delaware collection. $2,000-3,000

220

Two Grand Tour bronze figural stands modeled after Silenus 19th century The first holding aloft a serpent and a suspended ring with anthemion supports surmounted by an associated bronze dish, the whole raised on integral bronze base; the second of smaller but identical form holding aloft an associated bronze amphora, raised on a marble base. (2).

H: 26 in. (largest) provenance: Property from a private Delaware collection. $1,500-2,500

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221

A Grand Tour Roman style bronze four-light table lamp 19th century The cylindrical standard with baluster base allover chased with leaves and foliate scrolls, supporting a covered well with owl finial and applied with lion masques issuing four nozzles fitted with wicks; the nozzles suspending chains with wick scissor, pick, tweezers, and snuffer; raised on square base and four paw feet.

H: 24 in. provenance: Property from a private Delaware collection. $800-1,200

222

Four Grand Tour bronze models after the antique 19th century Comprising a copy of a runner from the Villa of Papyriin Herculaneum, a copy of the Pompeiian Narcissus, a copy of Apoxyomenos by Lysippos, and a copy of the Borghese Gladiator; each unmarked. (4).

H: 20 in. (tallest) provenance: Property from a private Delaware collection. $2,000-3,000

223

A near pair of Grand Tour Italian blown glass and bronze amphorae on stands 19th century The bronze tripod stands with verdigris patina, each in the form of winged sphinxes atop monopodia united by tripartite base; the aqua blown glass amphorae with handles of different forms. (2).

H: 13 1/4 in. (tallest) provenance: Property from a private Delaware collection. $800-1,200

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223A

225

A group of three Grand Tour Roman askoi

Two Grand Tour bronze Medusaform hanging wall lanterns

19th century Comprising one bronze askos with acanthus leaf and horn handle, the rim surmounted with two rams; and a near pair of matching askoi, one bronze and one brass, both with acanthus-form handles decorated with palmettes and dog head. (3).

H: 8 3/4 in. (largest) provenance: Property from a private Delaware collection. $300-500

first quarter 19th century Each with matching Medusa masque wall mount issuing a serpentform hook, the first with a bell-form cast bronze dish, the drum decorated with putti and the underside with a Medusa masque in high relief; the second with a flat circular dish with bronze gallery mounted with Medusa masques. (2).

H: 23, W: 12, D: 16 in. (larger suspended) provenance: Property from a private Delaware collection. $2,000-4,000

224

A collection of Grand Tour desk articles

226

19th/20th centuries Comprising a miniature bronze model of the temple of Castor and Pollux, a miniature bronze model of the temple of Vespasian, a bronze inkwell in the form of the temple of Vesta on marble base, two bronze inkwells in the form of the temple of Hercules Victor with siena marble bases, a neoclassical brass and cut glass inkwell with sphinx monopodia, two miniature bronze urns, a miniature giltbronze ewer, and a diminutive patinated bronze Roman lamp with horse handle. (10).

H: 5 1/2 in. (tallest) provenance: Property from a private Delaware collection. $1,000-2,000

81

Five carved limestone copies of architectural roundels from the tympanum of the Abbaye Sainte-Marie-Madeleine de Vézelay french, 19th century, after 12th century originals Together with a sixth roundel from the Cathédrale Saint-Lazare d’Autun, each depicting various months, zodiacs, and angels. (6).

Dia: 3 in. provenance: Property from a private Delaware collection. $300-500

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228

A painted terracotta masque in the Roman taste

A rare reproduction of Nestor’s Cup

19th century The expressive face with pierced eyes and mouth, with highly figured curled hair and beard; sold together with an associated white marble stand.

H: 12 1/2, W: 16, D: 12 1/2 in. provenance: Property from a private Delaware collection. $800-1,200

émile gilliéron (swiss, 1850-1924), circa 1911 Impressed to underside with pastille “E. GILLIERON/ATHENES”. (2).

H: 5 3/4 in. provenance: Property from a private Delaware collection. $1,000-2,000

229

230

Two rare reproductions of Vapheio Cups

A Grand Tour Roman style bronze athenienne

émile gilliéron (swiss, 1850-1924), circa 1911 Each impressed to underside with pastille “E. GILLIERON/ATHENES”; sold together with a Greek silver-gilt Vapheio Cup by Ilias Lalaounis, impressed to underside with maker’s mark and 925. (3).

H: 3 1/8 in. (largest) provenance: Property from a private Delaware collection. $2,000-3,000

19th century With associated marble top, the bowl removable and stand collapsible for transport.

H: 30, Dia: 16 in. provenance: Property from a private Delaware collection. $2,000-3,000

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231

Two Grand Tour cast iron door knockers 19th century The first in the form of a circular Medusa head, the second in the form of an Egyptian pharaonic funerary mask. (2).

Dia: 4 in. (Medusa) provenance: Property from a private Delaware collection. $500-700

232

233

A collection of five Grand Tour scarab beetles

Two Grand Tour slate and specimen marble obelisks

19th century Comprising a pair of bronze boxes with hinged lids and three carved onyx reticulated paperweights.

(5).

L: 4 1/2 in. (largest) provenance: Property from a private Delaware collection. $400-600

19th century Each engraved with hieroglyphics. (2).

H: 26 in. (tallest) provenance: Property from a private Delaware collection. $700-900

234

Two pairs of specimen marble pedestals first half 19th century The first pair of cylindrical form, with rosso antico plinth between black marble cornice and base; the second of rectangular form, withsiena marble plinth between black marble cornice and base. (4).

H: 5 1/2 in. (tallest) provenance: Property from a private Delaware collection. $400-600

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235

A Grand Tour Assyrian style bronze urn likely french, 19th century Of typical form, the scrolling strap arms terminating in acanthus leaves, the neck with trailing vine motifs in bas relief above gadrooned shoulders and with a central frieze molded with Assyrian style bulls, lions, and cosmic symbols, the reeded tapering body terminating in a shaped foot above a conforming black marble socle.

H: 16 1/2 in. provenance: Property from a private Delaware collection. $800-1,200

236

A George III brass bound mahogany peat bucket late 18th century Lead lined, with brass handle.

H: 15 1/2, Dia: 14 in. provenance: Property from a private Delaware collection. $800-1,200 237

A late George III or Regency ebony inlaid and figured mahogany footed cabinet after the model by thomas sheraton, first quarter 19th century The flat square top with moulded edge above a frieze drawer with lion pulls; the tapering case with canted edges mounted with lion masques flanking a central cabinet door with banded edge and inlaid geometric motif enclosing shelves; the sides further mounted with lion handles; the whole raised on four paw feet.

H: 50 1/2, W: 27, D: 27 in. provenance: Property from a private Delaware collection. $2,000-4,000

238

A Regency patinated bronze and cut glass hanging lamp first quarter 19th century The foliate decorated fixture and fitted glass shade suspended from three chains and domed glass cover.

H: 30 in. (suspended) provenance: Property from a private Delaware collection. $700-900

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239

A Neoclassical bronze chamberstick russian, circa 1800 In the form of a tongued and fanged serpent coiling around an anthemion-cast shallow dish centering an acanthus-cast candleholder with bobeche, the underside impressed in cyrillic “I.F.” H: 2 1/2, L: 7 in. provenance: Property from a private Delaware collection. note: The offered lot is similar to several designs by Andrei Voronikhin for furnishings and objects supplied to the Tsesarevich and Grand Duke Paul Petrovich (later Emperor Paul I Petrovich 1799-1801) at Pavlovsk Palace. Voronikhin designed a suite of furniture with coiled snakes, as well as several ormolu mounted glass tables with serpent motifs. literature: cf Kuchumov, A.M., Pavlovsk Palace & Park (Aurora Art Publishers, Leningrad, 1975). $600-800

240

A Regency parcel-gilt and ebonized carved wood urn stand in the classical taste circa 1810 The circular galleried top raised on a spiral fluted column and further supported by three lion monopodia.

H: 40 1/4, Dia: 11 1/2 in. provenance: Property from a private Delaware collection. $1,000-1,500

241

An Irish Regency mahogany open arm chair attributed to gillingtons, dublin, circa 1815 With shaped tub-form backrest above gently curved and fluted spindles, the tufted suede-uphostered seat with concave seatrail supported by elaborate front tapering legs on brass toupie feet and outswept rear legs.

H: 33, W: 21, D: 21 in. provenance: Property from a private Delaware collection. note: For a sale of nearly identical form, see Christie’s, New York, April 23, 2013, Lot 301. For a recent sale of similar form with klismos legs, see Sotheby’s, London, April 28, 2016, Lot 203. $4,000-6,000

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242

A late Regency mahogany mechanical folio stand circa 1820 In the manner of Gillows, the slatted leaves with mechanical expansion raised on a trestle stand.

H: 41 3/4, W: 27 in. provenance: Property from a private Delaware collection. $1,500-2,500

243

A Regency gesso and green-painted pedestal in the classical taste circa 1810 The circular moulded top above a frieze applied with gesso rosettes and shields over a gesso egg-and-dart moulding; raised on three ram monopodia.

H: 36, Dia: 15 1/4 in. provenance: Property from a private Delaware collection. $1,000-1,500

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244

A pair of Empire patinated bronze and giallo antico marble six-light candelabra first quarter 19th century The fluted and tapering central standard issuing six acanthus candlearms and a central flame finial; the candlearms removable to form a candlestick; with acanthus-cast base on marble pedestal mounted with patinated bronze laurel wreaths. (2).

H: 29, Dia: 11 in. provenance: Property from a private Delaware collection. $2,000-3,000

245

A large Regency gilt and patinated bronze centerpiece first quarter 19th century The circular dish centered by a gilt bronze medallion cast with grape vines and a scene of two putti; raised on a central baluster standard and three fluted tapering legs decorated with birds and grape vines descending from lappets cast with a classical figure flanked by leopards; raised on tripartite base with three volute feet.

H: 17 1/2, Dia: 15 1/4 in. provenance: Property from a private Delaware collection. $1,500-2,500

246

A Regency bronze dolphin-form tazza first quarter 19th century The bowl with cast watersplash edge, raised on a dolphin-form standard above rectangular base with egg-and-dart edge; sold together with a Regency cut glass stoppered phial with associated Gothic Revival bronze stand. (2).

H: 6 3/4, Dia: 7 in. provenance: Property from a private Delaware collection. $600-800

247

A Regency gilt and patinated bronze single-light Argand lamp in the manner of messenger & sons, first quarter 19th century The well of compressed campana urn form, the domed lid with gadrooned edge surmounted by flame finial, raised on a gadrooned and fluted base on acanthus-cast socle; the arm with applied bronze foliate strapwork terminating in a flower-form applique; now electrified.

H: 16, L: 15 in. provenance: Property from a private Delaware collection. $800-1,200

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249

Two Gothic Revival iron and stained glass hanging lanterns

A Charles x gilt and patinated bronze hanging lantern

circa 1840 Both electrified. (2).

H: 17 1/2 in. (largest) provenance: Property from a private Delaware collection. $1,500-2,500

second quarter 19th century In an eclectic Neoclassical style, the square top with gilt bronze plumed gallery supported by papyrus columns flanking glass panels etched with Gothic windows.

H: 32, W: 12 1/2, D: 12 1/2 in. (suspended) provenance: Property from a private Delaware collection. $800-1,200

250

A Berlin ironwork cross necklace first quarter 19th century The finely worked cross suspended from a chainmail link chain with a hand-form clasp.

H: 5 1/2 in. (cross and pendant), L: 19 in. (chain) provenance: Property from a private Delaware collection. note: In 1813, Princess Marianne of Prussia appealed to her countrywomen to exchange their gold jewelry for a brooch or a ring of iron with the inscription “Gold Gab Ich fur Eisen” (I gave gold for iron). This public effort supported the general appeal of Rudolph Werkmeister published in Berlin on March 31, 1813, a call for funds in response to the Napoleonic campaigns.

The entreaty elicited a huge response. “Eisenschmuck,” or iron jewelry, became the fashion for all patriotic Prussians. Berlin became known for its finely wrought iron jewelry which remained popular well into the mid-19th century. literature: Ernst Müsebeck, Gold gab ich für Eisen: Deutschlands Schmach und Erhebung in zeitgenössischen Dokumenten, Briefen, Tagebüchern aus den Jahren 1806–1815 Braunschweig, 1998 (reprint of the Berlin 1913 edition). $1,000-2,000 88

252

A Charles x Gothic Revival gilt and patinated bronze tazza circa 1825 The circular bowl with raised trefoil gallery and underside cast with roses alternating between arches; the standard similarly decorated with a suspended trefoil arcade above a frieze of knights housed in trefoil arches above a rosettecast base; sold together with an associated but conforming mirrored brass surtout-de-table. (2).

H: 11 1/4, Dia: 8 in. provenance: Property from a private Delaware collection. $1,000-1,500

251

A near pair of Restauration patinated spelter lamps circa 1820 The first with a verde antico marble base, the second with a faux-marble painted base; each with swan-form handles and the bodies decorated with alternating scenes of classical figures and anthemia; sold together with a third similar but larger vase.

(3).

H: 32 1/2 in. (largest). provenance: Property from a private Delaware collection. $1,000-1,500

253

A pair of Neoclassical gesso and giltwood brackets 19th century The square tops with beaded edge mounted with fringed swags on shell-form base. (2).

H: 9 1/2, W: 7, D: 6 1/2 in. provenance: Property from a private Delaware collection. $600-800

254

An Empire parcel-gilt and patinated bronze torchère first quarter 19th century The parcel-gilt fluted tapering column supporting a gadrooned campana urn with integral lid terminating in flame finial; the column base of finely cast acanthus leaves; raised on tripartite parcel-gilt socle with applied satyr masques raised on three paw feet.

H: 38 in. provenance: Property from a private Delaware collection. $1,000-2,000

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255

A Neoclassical parcel-gilt and painted Paris porcelain vase 19th century Of campana form, the parcel-gilt rim above moulded porcelain flowers, the cobalt body decorated to recto with a reserve painted with Calliope and to verso with gilt-decorated lyre, cornucopia, and garlands; the lower half with two volute handles above parcel-gilt base raised on a conforming gilt socle.

H: 13 1/4, Dia: 8 1/2 in. provenance: Property from a private Delaware collection. $800-1,200

256

257

A Paris porcelain gilt and reticulated basket

A Restauration gilt and patinated bronze vase

19th century Sold together with two associated bases, the first a white glazed and parcel-gilt Paris porcelain pedestal and the second a modern gilt-bronze circular mirrored surtout-de-table with toupie feet. (3).

H: 6, Dia: 15 3/4 in. provenance: Property from a private Delaware collection. $400-600

circa 1820 Mounted to shoulders with gilt-bronze stylized swan-form handles, raised on black marble pedestal applied with alternating torches and musical motifs.

H: 16 in. provenance: Property from a private Delaware collection. $1,000-1,500

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258

Two Renaissance Revival decorative items 19th century The first a finely carved mahogany Medusa roundel marked with artist cipher “ALB”; the second a bronze repoussé beaker vase decorated with classical scenes, apparently unmarked. (2).

Dia: 11 1/2 in. (Medusa) provenance: Property from a private Delaware collection. $800-1,200

259 note: An identical model of the present chairs is illustrated on the cover of Georg Himmelheber, Cast-Iron Furniture and All Other Forms of Iron Furniture (Philip Wilson Publishers, Ltd, London, 1996), described as an ornamental chair, The Coalbrookdale Company, 1847. $1,000-2,000

A Coalbrookdale Company Neoclassical cast iron patio set circa 1847 Comprising two tripod chairs and a tripod stand. (3).

H: 34 in. (chairs) provenance: Property from a private Delaware collection.

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Property of a Lady on Rittenhouse Square

I

n an elegant apartment above Rittenhouse square, Michael Simon Interiors created an exquisite and comfortable apartment in the ancien regime manner for a Philadelphia lady of taste and style. Ideally suited to entertaining, the décor was a practical mix of eighteenth century pieces interspersed with nineteenth century and works in an earlier style. Of note is lot 275, the Louis XV Bureau de Pente of Philadelphia interest, and the seating furniture in the carefully chosen period silks — a detail for which Michael Simon Interiors is well-known.

260

A Venetian etched and cast glass mirror first half 20th century The rectangular beveled mirror plate framed in a floral-etched glass frame mounted to corners with cast glass foliate appliques.

H: 38, W: 31 in. provenance: Property from a Rittenhouse Square, Philadelphia lady. $800-1,200

261

A pair of Sèvres style jardinières minton, circa 1890 Each centering painted cartouches of fowl within a gilt rococo trellis against a yellow ground; each with underglaze mark to underside. (2).

H: 5 1/4 in. provenance: Property from a Rittenhouse Square, Philadelphia lady. $600-800

262

A pair of Louis XVI style giltmetal mounted chinese porcelain candlesticks 19th century Each with polychromed Qing dynasty figurines nestled within giltmetal boughs with Vincennes style porcelain flowers. (2).

H: 11 3/4 in. provenance: Property from a Rittenhouse Square, Philadelphia lady. $1,500-2,500

92

263

A pair of Louis XV style giltbronze candlestick lamps circa 1900 With ‘rose crevette’ silk bias-pleated shades. (2).

H: 19 in. provenance: Property from a Rittenhouse Square, Philadelphia lady. $400-600

264

A pair of Continental porcelain and gilt-bronze candlesticks in the form of foo lions late 19th century The lions with craquelure glaze, mounted with giltmetal branchform standard applied with Vincennes style flowers; raised on rectangular gilt-bronze base. (2).

H: 12 in. provenance: Property from a Rittenhouse Square, Philadelphia lady. $400-600

265

266

A pair of Meissen style gilt-bronze mounted figural lamps

Two Continental polychrome decorated porcelain ‘Mandarin’ figures

19th century Each in the form of a smiling buddha nestled within giltmetal boughs with Vincennes style porcelain flowers, sold together with hexagonal silk shades. (2).

H: 9 1/2 in. (incl. shades) provenance: Property from a Rittenhouse Square, Philadelphia lady. $800-1,200

early 20th century Depicting a male and female in Japanese attire, each raised on associated Chinese style carved wood base. (2).

H: 10 in. provenance: Property from a Rittenhouse Square, Philadelphia lady. $400-600

267

A Chinese export porcelain famille rose covered vegetable dish early 19th century Of canted rectangular form, the lid decorated with various birds and surmounted by a pomegranate knop, the dish with boar’s head handles and painted to sides with cranes and flowers.

H: 7 1/2, L: 12, D: 8 in. provenance: Property from a Rittenhouse Square, Philadelphia lady. $1,500-2,500

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268

270

271

A set of twelve Mason’s Ironstone chinoiserie plates

A pair of Louis XV style gilt-bronze two-light wall appliques in the Chinese taste

A pair of Louis XVI style ormolu twolight wall appliques

19th century With scalloped edge and decorated in a pseudo-famille verte palette, each painted to the well with a trompe l’oeil scroll depicting a Chinese scene, against a spiraled ground with floral reserves; some with impressed mark and all with green transfer-printed maker’s mark to verso. (12).

Dia: 9 1/2 in. provenance: Property from a Rittenhouse Square, Philadelphia lady. $400-600

19th century Each with figural bracket in the form of a male and female Chinese figure holding two branch-form candlearms. (2).

H: 15 1/2 in. provenance: Property from a Rittenhouse Square, Philadelphia lady. $600-800

269

A pair of Louis XV style gilt-bronze chenets late 19th century In the form of robust rocailles, each mounted with a figure of a dog. (2).

H: 9 1/2 in. provenance: Property from a Rittenhouse Square, Philadelphia lady. $400-600

94

19th century Each in the form of a putto holding aloft two branch-form candlearms seated atop a pedestal bracket. (2).

H: 14 1/2 in. provenance: Property from a Rittenhouse Square, Philadelphia lady. $800-1,200

272

A Louis XV/XVI transitional style kingwood marquetry and parquetry table À jeux 19th century Of shaped square form, the removable top inlaid with floral motifs concealing a baize playing surface, the apron similarly decorated and with small drawers to all four sides; raised on cabriole legs.

H: 29 1/2, W: 28, D: 28 in. provenance: Property from a Rittenhouse Square, Philadelphia lady. $1,500-2,500

273

A Louis XVI style ormolu mounted fruitwood and mahogany marquetry table À rognon 19th century The kidney-form top with pierced brass gallery and inlaid with a vase of flowers, the front with single frieze drawer; raised on slender cabriole legs united by a conforming lower shelf terminating in sabots.

H: 29 1/2, W: 27, D: 14 in. provenance: Property from a Rittenhouse Square, Philadelphia lady. $1,200-1,800

274

A Louis XVI fruitwood and kingwood marquetry and parquetry table À rognon 19th century The kidney-form top with brass edge parquetry inlaid and centered by a floral marquetry reserve, the front with single frieze drawer; raised on shaped and pierced trestle stand on casters.

H: 29 1/2, W: 34 3/4, D: 19 in. provenance: Property from a Rittenhouse Square, Philadelphia lady. $2,000-3,000

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275

A Louis XV ormolu mounted amaranth & kingwood veneered petit bureau de pente circa 1750 Of typical form, the drop front finely marquetry veneered in bookmatched figured mahogany and mounted with ormolu foliate moulding, opening to reveal a green baize writing surface and four shaped drawers flanking a central cubby with hidden secret compartment; the case with two frieze drawers over a single long drawer raised on cabriole legs, the front legs terminating in sabots.

H: 37, W: 32, D: 16 1/2 in. provenance: Acquired by Robert Maskell Patterson (1857-1854) in Paris, 1811.

Thence by descent in the family.

Schwarz Gallery, Philadelphia, 1992.

Property from a Rittenhouse Square, Philadelphia lady.

note: This charming petit bureau was, according to family lore, acquired in Paris in 1811 by the Philadelphian Robert Maskell Patterson (1757-1854), a University of Pennsylvania trained physician. After completing his medical degree in 1808, Patterson went abroad to further his studies in Britain and France, returning to American in 1812. During the War of 1812, he was appointed Philadelphia’s Chief Superintendent of the Committee of Safety to oversee the defense of the city during wartime. He later became a professor at the University of Pennsylvania and then chairman of faculty at the University of Virginia, before being named director of the United States Mint in 1835 by President Jackson. The desk remained in his family by descent until it was sold to the present owner in 1992.

This lot was exhibited at the Schwarz Gallery’s ‘Fifty Years on Chestnut Street’ exhibition in April 1993, and is published in the exhibition catalogue of the same name, page 16. It is sold together with a copy of this exhibition catalogue and other related ephemera. $3,000-5,000

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276

A painted Louis XVI settee en cabriolet circa 1780 Of regular form, the curving moulded frame above six paterae headed tapering fluted legs, now upholstered in pale pink and gray striped silk.

H: 36, W: 54, D: 26 in. provenance: Property from a Rittenhouse Square, Philadelphia lady. $2,000-3,000

277

A painted Louis XVI sofa en cabriolet circa 1780 Of regular form, the curving moulded frame above seven paterae headed tapering stop-fluted legs above turned feet, now upholstered in ice-blue damask en suite with lot 278; sold together with an associated but conforming tabouret. (2).

H: 37, W: 79, D: 31 in. provenance: Property from a Rittenhouse Square, Philadelphia lady. $3,000-5,000

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278

A Louis XVI style gray painted petit canapé en cabriolet 19th century Of regular form, the curving molded frame above five tapering fluted legs, upholstered in ice-blue damask.

H: 37, W: 51, D: 27 in. provenance: Property from a Rittenhouse Square, Philadelphia lady. $1,200-1,500

279

A pair of Louis XVI style gray painted fauteuils 19th century Each with plush cushioned seat and upholstered in fine citron vert silk; sold together with a third associated but conforming Louis XV style fauteuil of similar age. (3).

H: 35 , W: 24, D: 20 in. provenance: Property from a Rittenhouse Square, Philadelphia lady. $700-900

280

Fernand Cian (Italian/French, 1886-1954) bust of a young girl, circa 1910 The terracotta bust depicting a young girl of the nobility with elaborately dressed hair and in fichu; raised on a marble socle and signed to verso.

H: 15 1/4 in. provenance: Property from a Rittenhouse Square, Philadelphia lady. note: Fernand Cian (Fernando Ciancianini, 1886-1954) was known for his charming terracotta busts of children in 18th century style, popular just after the turn of the 20th century . Examples of his work may be found at the National Gallery, Washington, D.C., and at the Louvre (see Jean-René Gaborit, “Un buste d’enfant daté de 1771,” Revue de l’Art 23 [1974]). $800-1,200

98

Property from the estate of virginia ridder 281

A French Régence carved beechwood and caned fauteuil À la reine first quarter 18th century The shaped shell-carved crestrail above caned backrest issuing volute armrests, the caned seat with bowed shell-carved seatrail raised on carved cabriole legs united by X-form stretcher; sold with later toile upholstered seat cushion.

H: 36 1/4, W: 19 1/2, D: 18 1/2 in. provenance: Property from the Estate of Virginia Ridder. $800-1,200

282

A Louis XV carved oak console mid 18th century The shaped granite top above a frieze carved with laurel swags, the porringer corners carved with rosettes and issuing two scrolling foliate legs united by a stretcher.

H: 34 1/2, W: 29, D: 15 in. provenance: Property from the Estate of Virginia Ridder. $1,500-2,500

283

A Louis XV ormolu mounted mahogany escritoire 18th century The shaped rectangular top with moulded ormolu edge fitted with gilt-tooled leather writing surface; fitted to recto with three frieze drawers and to verso with three blind drawers, raised on cabriole legs terminating in rocaille sabots.

H: 30, W: 39, D: 22 1/2 in. provenance: Property from the Estate of Virginia Ridder. $2,000-3,000

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284

A Louis XV carved beechwood tabouret 18th century With upholstered seat raised on four attenuated cabriole legs.

H: 18, W: 21 1/2, D: 16 1/2 in. provenance: Property from the Estate of Virginia Ridder. $800-1,200

285

286

A Louis XV/XVI transitional ormolu mounted fruitwood marquetry commode

A Louis XVI style ormolu mounted fruitwood marquetry mahogany writing table

18th century The shaped and moulded rouge griotte marble top above an inlaid frieze drawer over two long drawers; the front and sides decorated with floral marquetry; the rounded edges mounted to corners with later ormolu mounts over trompe l’oeil column marquetry.

H: 33, W: 48, D: 21 1/2 in. provenance: Property from the Estate of Virginia Ridder. $4,000-6,000

19th century The marquetry inlaid rectangular top with pierced brass gallery above an ormolu moulded and mounted frieze with extending tooled leather writing surface and hidden side drawer; raised on ormolu mounted tapering octagonal legs.

H: 30, W: 33 1/2, D: 20 in. provenance: Property from the Estate of Virginia Ridder. $2,000-3,000

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287

A fine Louis XV/XVI transitional style ormolu mounted fruitwood marquetry tulipwood commode 19th century The shaped and moulded jasper top above an anthemion marquetry frieze drawer over two long drawers; the front decorated with a central marquetry panel of musical instruments in a floral wreath, flanked by two further floral marquetry reserves; the canted edges and cabriole legs with finely cast ormolu mounts and sabots.

H: 34, W: 33 1/2, D: 16 in. provenance: Property from the Estate of Virginia Ridder. $1,500-2,500

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288

An Empire ormolu mounted mahogany console cabinet first quarter 19th century The rectangular Belgian granite top supported by ormolu mounted columns flanking two mirrored cabinet doors enclosing shelves, raised on rectangular base.

H: 35, W: 30 1/2, D: 10 1/2 in. provenance: Property from the Estate of Virginia Ridder. $2,000-3,000 289

A pair of Continental Neoclassical giltwood side chairs circa 1800 With coral velvet upholstered circular seats and fluted tapering legs. (2).

H: 34 3/4, W: 20, D: 18 1/2 in. provenance: Property from the Estate of Virginia Ridder. $600-800 290

A Continental Neoclassical fruitwood petit commode first quarter 19th century The rectangular marble top above four drawers raised on tapering square legs.

H: 33, W: 20 1/2, D: 13 in. provenance: Property from the Estate of Virginia Ridder. $600-800 291

A Continental ormolu portrait bust of alexander I 19th century Raised on a modern lucite base.

H: 4 3/4 in. (bust) provenance: Property from the Estate of Virginia Ridder. $800-1,200 292

A Russian Empire carved mahogany armchair first quarter 19th century The shaped curved back with carved plumed rosettes in low relief, with scrolling arms terminating in reeded foliate motifs, above a drop in seat on sabre legs.

H: 35, W: 19 1/2, D: 19 in. provenance: Property from the Estate of Virginia Ridder.

102 $600-800

293

A George III style carved giltwood pier mirror 19th century Surmounted by a pierced scrolling foliate cornice, the arched mirror plate housed in a giltwood frame carved with diapered ground and applied with foliate scrolls.

H: 66, W: 29 in. provenance: Property from the Estate of Virginia Ridder. $2,500-3,500 294

A Continental Baroque style carved gesso and giltwood looking glass late 18th/early 19th century The rectangular mirror plate surrounded by a giltwood frame with diapered ground and decorated with strapwork and foliate scrolls, surmounted by a similarly decorated pierced architectural crest.

H: 24, W: 12 1/2 provenance: Property from the Estate of Virginia Ridder. $400-600

295

296

A pair of Continental gros and petit point needlework pictures

A group of three English oval silkwork pictures

early 19th century Each depicting ‘Orientalist’ music scenes, the first with Turkish figures playing drums and a lute, the second with Chinese figures playing a harp and a horn. (2).

L: 12 3/4, W: 13 3/4 in. (frame) provenance: Property from the Estate of Virginia Ridder. $1,000-2,000

circa 1800 The first depicting a pheasant, the second depicting a robin’s nest, and the third depicting a shepherd. (3).

H 16 1/2, W: 14 1/4. (largest) provenance: Property from the Estate of Virginia Ridder. $800-1,200

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297

A Louis XVI ormolu cartel clock caron à paris, circa 1780 The ormolu case surmounted by a festooned urn and allover decorated with volutes, swags, and strapwork; the enamel dial signed “Caron à Paris” and with both Arabic and Roman numerals; the original works with silk suspension and single bell chime.

H: 18 1/2 in. provenance: Property from the Estate of Virginia Ridder. $2,500-3,500

298

A pair of Empire style gilt and patinated bronze swan-form appliques 19th century The gilt bronze wing-form brackets issuing patinated bronze swan-neck candlearms. (2).

H: 8 in. provenance: Property from the Estate of Virginia Ridder. $300-500

299

A French chinoiserie wallpaper-clad four-panel screen in the style of zuber, 19th century Depicting a continuous scene of palace grounds with ‘Mandarin’ figures in the midst of various pursuits, above a trompe l’oeil bamboo frieze.

H: 90, W: 80 in. provenance: Property from the Estate of Virginia Ridder. $2,500-3,500

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300

A pair of Regency blue jasperware and cut-glass candlesticks possibly wedgwood, first quarter 19th century With cut glass bobeche and drip plate suspending eight cut glass drops raised on a brass and jasperware quadripartite base on four beaded bun feet. (2).

H: 13 3/4 in. provenance: Property from the Estate of Virginia Ridder. $2,000-3,000

301

A Chamberlain’s Worcester ‘Imari’ pattern part dinner service first half 19th century Comprising six soup bowls, four covered sauce tureens and stands, two small oval platters, two medium oval platters, two lozenge-form dishes, and two square dishes. (22).

Dia: 9 1/2 in. (soup bowl) provenance: Property from the Estate of Virginia Ridder. $2,000-3,000

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302

Two Continental polychrome porcelain figural groups probably samson, late 19th century In the manner of Bow, the first representing autumn and depicting a putto entwined in grape vines atop a goat, with another putto at base holding a brazier; the second representing summer and similarly modeled with a floral garlanded putto atop a sheep with a second putto at base holding wheat stalks and flowers; each bearing spurious red overglaze anchor and dagger mark to underside. (2).

H: 9 3/4 in. provenance: Property from the Estate of Virginia Ridder. $700-900

303

A Royal Copenhagen ‘Flora Danica’ cache pot date code for 1954 Painted to one side with ‘Viola hirta L’ and to the other with ‘Anemone Richardsoni Hook’.

H: 4 3/4, W: Dia 5 1/2 in. provenance: Property from the Estate of Virginia Ridder. $1,000-1,500

304

Four American sterling silver George II style candlesticks tiffany & co., new york, 1907-1938 Each with removable bobeche and impressed to underside with maker’s mark and “Reproduction/David Willaume/London 1739”. (4).

H: 9 in. Total weight: 66.12 oz. t. provenance: Property from the Estate of Virginia Ridder. $2,000-3,000

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silver from various collections 305

A Charles II or James II sterling silver tankard unknown maker’s mark en, london, 1684-1687 The body later engraved with the coat of arms of the Harcourt family.

H: 7 1/8 in. Weight: 25.81 oz. t. $3,000-5,000

306

A George II sterling silver water kettle on stand john wirgman, london, 1752-1754 H: 11 1/2 in. Weight: 61.9 t. oz. $1,000-1,500

307

A pair of Irish George III sterling silver three-light candelabra john lloyd, dublin, 1777 Each with baluster stem issuing a central nozzle and two scrolling foliate candlearms, raised on a shaped base, the base and bobeches all engraved with a dog’s head crest; with candlearms removable to form two candlesticks. (2).

H: 17 in. Weight: 120 oz. t. provenance: From the Estate of former Pennsylvania Governor William W. Scranton and First Lady Mary L. Scranton. $3,000-5,000

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308

A large George III sterling silver footed serving tray john crouch & thos. hannam, london, england, 1798-99 The center engraved with the coat of arms of the Atkyns family of Saperton Hall, Gloucestershire.

L: 25 in. Weight: 82 oz. t. provenance: From the Estate of former Pennsylvania Governor William W. Scranton and First Lady Mary L. Scranton. $2,000-3,000

309

A Russian silver twin-handled serving tray assay marks of a.i. yashinkov, st. petersburg, 1801-1826 With pierced gallery, the center with engraved monogram KMS and the underside with engraved inscription “K.M.S./December 25th 1899”; 84 zolotniki.

L: 20 1/2, W: 14 in. Weight: 52.02 oz. t. provenance: From the Estate of former Pennsylvania Governor William W. Scranton and First Lady Mary L. Scranton. $1,500-2,500

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310

A Victorian sterling silver grape holder thomas bradbury & sons, sheffield, 1863-64 One reserve with engraved crest for the Landale Clan of Scotland, another engraved “Liverpool/25th July 1868.”

H: 8 in. Weight: 26.81 oz. t. $2,000-3,000

311

A French sterling silver eight-piece tea service aucoc ainé, paris, circa 1890 Comprising a hot water kettle on stand, teapot, coffeepot, pitcher, creamer, sugar, waste bowl, and tongs, each with guilloché ground and monogrammed “SMB”; the kettle and teapot with pomegranate finial, the coffeepot with berry finial, and the pitcher with cow finial; some with Mercury export marks and all stamped “STERLING”. (8).

H: 11 1/2 in. (kettle); Total weight: 183.11 oz. t. $2,000-4,000

312

A large assembled American sterling silver flatware service stieff, baltimore, md, various dates 20th century In the ‘Maryland Rose’ pattern, comprising 37 dinner forks, 23 dinner knives, 22 dessert spoons, twenty fish forks, fourteen soup spoons, thirteen each coffee spoons and grapefruit spoons, twelve butter knives, nine fruit forks, five each seafood forks and bouillon spoons, two serving spoons, one garnish fork, and one cake knife; sold together with eighteen additional sterling silver flatware and serving pieces of conforming pattern by various American makers; all in fitted and monogrammed wood box. (181).

Weight: 193.3 oz. t. (excluding dinner knives) $6,000-8,000

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313

A set of ten American sterling silver plates gorham mfg. co., retailed by bailey banks and biddle co., circa 1980 The rims with repoussé foliate motifs and scrolls. (10).

Dia: 11 1/8 in. Weight: 235.9 oz. t. $3,000-5,000

314

An American sterling silver oval serving platter gorham mfg. co., retailed by bailey banks and biddle co., circa 1980 The outer edge heavily modeled with floral scrolls.

L: 20 1/2 in. Weight: 66.8 oz. t. $800-1,200

315

A set of eight American sterling silver cocktail plates j.e. caldwell & co., philadelphia, pa, 20th century All with makers mark to underside, sold together with eight custom sterling silver water glasses marked “STERLING 990”. (16).

Dia: 6 1/2 in. (plate). Weight: 70.61 oz. t. provenance: Private Collection, Main Line, Pennsylvania. $800-1,200

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316

317

A Collection of miniature silver table items

A custom sterling silver sixpiece tea and coffee service

late 19th/early 20th century, various makers Comprising commemorative Gothic revival armchair, London, 1936-37; a Windsor armchair, Levi & Salaman, Birmingham, 1914-15; a pot warmer, Cornelius Desormeaux Saunders & James Francis Hollings Shepard, London; a caudle cup, Barker Brothers Limited, Birmingham, 1913; and Gorham candle holder; sold together with an additional eight table articles. (13).

H: 2 1/2 in. (pot warmer); Total weight: 14.4 oz. t. $600-800

20th century Comprising hot water kettle on stand, coffeepot, teapot, creamer, sugar, tongs, and presentation tray, all marked “STERLING 950 OKUBO” to underside. (7).

H: 15 1/2 in. (kettle). Weight: 235.2 oz. t. provenance: Private Collection, Main Line, Pennsylvania. $3,000-5,000

318

An American sterling silver flatware service for eleven reed & barton, taunton, ma, late 20th century Comprising twelve each dessert spoons and butter knives; eleven each dinner knives, dinner forks, cocktail forks, fish forks, and dinner spoons; and one each serving spoon and serving fork; sold together with an associated serving fork and serving knife, both marked “STERLING”. (83).

Weight: 94.71 oz. t. (excluding knives) $2,000-3,000

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property from various collections

319

A sea-salvaged Imperial Roman terracotta amphora 3rd/4th century c.e.

With low neck flanked by twin handles, the body with ribbed surface; the whole encrusted with barnacles and fossilized sea worms and raised on later wrought iron stand.

H: 17 in. provenance: Private collection, Maryland. note: This lot is accompanied by an appraisal by Sands of Time Ancient Art, Washington, D.C. $800-1,200

320

A Serapi carpet northwest persia, late 19th century 16 ft. 2 in. x 11 ft. 1 in. $4,000-6,000

321

An Oushak carpet west anatolia, circa 1900 16 ft. 5 in. x 12 ft. 1/2 in. $4,000-6,000

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322

An extensive collection of Mughal miniature portraits on ivory 19th century Each very finely painted, comprising twenty-four portraits of Mughal shahs and twenty-four portraits of their wives, framed in sets of twelve and hand-labeled and numbered right to left from one to twenty-four, together with an additional pair of portraits labeled and framed together. (50 total portraits).

H: 2 1/2, W: 2 in. (each) $3,000-5,000

323

A group of five German stained glass panels probably early 19th century Comprising a pair of round panels and three rectangular panels, depicting 16th century historical events. (5).

Dia: 12 3/4 in. (largest) $800-1,200

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324

A Dutch Baroque parcel-gilt, ebonized, and polychrome decorated carved pine and mahogany vitrine late 16th/early 17th century The moulded breakfront cornice surmounted by carved giltwood shells and watersplashes above a single four-pane glazed cabinet door enclosing three shaped shelves, the cabinet sides also glazed; the case allover polychrome decorated to exterior and interior with birds and flowers; the whole raised on a moulded breakfront base on four turned compressed bun feet and two rear block feet.

H: 47 1/2, W: 32 1/4, D: 15 3/4 in. note: This refined piece was possibly made for use by the Dutch East India Company (VOC) or a similar merchant marine outfit, where it would have graced a ship officer’s quarters. Such vitrines were typically fixed to the cabin walls to protect the piece, and particularly its blown glass panes, from the vicissitudes of the ocean. Indeed, the present lot retains its original rear fittings for lashing to a wall.

Once in port, its shelves could be furnished with trade materials or memorabilia from home. Against the typical ebonized ground, common in Dutch furniture of this period, the choice of colorful decorative subject (in this case flowers and birds) would have been a welcome respite to a sailor condemned to long periods on the open ocean. $3,000-5,000

325

326

An Italian Renaissance carved walnut cassone

Italian Baroque silk embroidered and cord work casket

16th century and later The rectangular hinged top above a bombé case with dentil and egg-and-dart moulded edge, the sides mounted with iron handles and the front allover carved in two panels with grape vine rinceaux centered by arms of alliance: the left a crest with a unicorn, and the right a crest with a duck; the whole raised on a moulded base with front similarly carved.

H: 22, W: 67 3/4, D: 21 in. provenance: The collection of Sir Alfred Beit, 2nd Baronet, and Mrs. Clementine Beit, London. $3,000-5,000

17th century With front and domed lid covered in finely worked polychrome silk embroidered panels centered by peacocks encased in roundels issuing a symmetrical pattern of semi-naturalistic flowers, leaves, and scrolls; the sides similarly decorated; the lid opening to an interior lined in vivid green silk.

H: 17 1/2, W: 31, D: 14 in. $2,000-4,000

114

327

328

A carved pine and polychrome painted and gessoed pine alms box

A pair of Italian Baroque style brass pricket candlesticks

19th century In a 15th century Paduan style after the Scrovegni Chapel frescoes (1304-1306) by Giotto (Italian, 1266-1337), decorated to recto with ‘The Raising of Lazarus’ and to verso with ‘Noli me tangere’.

H: 10 3/4, W: 11 1/4, D: 6 in. $800-1,200

18th/19th century Each with circular candle base above a tripartite baluster standard raised on three volute feet.

H: 27 in. provenance: Il Palazzetto, the Baltimore home of Prof. and Mrs. Clifford Ambrose Truesdell. $800-1,200

329

An Italian ivory inlaid black walnut library table in the manner of ferdinando pogliani, milan, late 19th century The rectangular top banded and finely inlaid in ivory with fourteen medallions depicting great figures in Italian history (Galileo, Marco Polo, Giotto, Dante, etc.) surrounding two central reserves flanked by floral spandrels; the wreathed reserves after the Vatican Frescoes

by Raphael, depicting ‘Philosophy’ and ‘Poetry’ from the Ceiling Tondo in the Room of the Segnatura; the table raised on a similarly decorated H-form base.

H: 29, W: 49 3/4, D: 26 1/4 in. $3,000-5,000

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330

331

A pair of Italian carved and parcelebonized walnut blackamoor torchères

Two Italian gilt and patinated bronze busts of Roman emperors

19th century Sold together with two associated neoclassical style pedestals. (4).

H: 55 1/2 in. $2,000-4,000

circa 1880 Each raised on conforming pedestal and unmarked. (2).

H: 28 in. (tallest) $3,000-5,000

332

333

A Louis XIII carved walnut fauteuil en chapelet

A Louis XIV walnut side table circa 1700 The moulded square top above a single frieze drawer raised on four baluster turned legs united by an H-form stretcher.

H: 28 1/2, W: 26 1/4, D: 26 in. $600-800

first half 17th century The rectangular backrest issuing turned armrests above a rectangular seat, raised on turned front legs and chamfered rear legs united by turned stretchers.

H: 34, W: 21, D: 17 1/2 in. $800-1,200

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334

An Aubusson wool portière tapestry panel 18th century Depicting a shepherdess with her sheep in a verdant landscape with a pagoda in the distance, surrounded by a polychrome banded and garlanded border and blue outer selvage.

H: 97, W: 53 in. $3,000-5,000

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335

336

A French agateware covered urn

A large Louis XV embroidered silkwork picture

possibly apt, mid 18th century The ‘porphyry’ glazed body with white reserves decorated with horses, mounted to shoulders with integral lion-form handles, raised on a gadrooned socle above rectangular base; the underside unmarked, with glazed inventory numbers to interior of cover.

H: 10 1/2 in. provenance: Private collection, Philadelphia. $1,500-2,500

allegorie champetre, mid 18th century With a charming pastoral scene of a provincial couple and their friendly beasts beneath an oak tree.

H: 42, W: 29 1/4 in. (frame) $800-1,200

337

A Louis XV carved and painted console table 18th century The shaped and moulded fleur de pêcher marble top above a pierced frieze carved with C-scrolls and flowers, the sides further pierced with carved C-scrolls; the four cabriole legs with foliate-carved knees terminating in volute feet.

H: 33, W: 51, D: 23 in. $3,000-5,000

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338

A Louis XV green painted and parcel-gilt barometer circa 1760 Signed “par del Vecchio” and with other indistinct inscriptions to face and thermometer plate.

H: 38 1/2, W: 10 1/2 in. provenance: Derek & Tina Rayment Antiques, Cheshire, England, 2004.

Private collection, Pennsylvania. note: For a nearly identical model, see Property from the Collection of Mrs. Charles Wrightsman: The London Residence, Sotheby’s, New York, April 28, 2010, Lot 257. $2,000-3,000

339

A Louis XVI ormolu mounted amaranth and bois citronnier bureau a cylindre late 18th century With pierced galleried rectangular white marble top above three locking drawers, the cylinder opening to reveal two pigeonholes and another three drawers above a retractable leather-mounted writing surface, the base with a kneehole drawer and two side drawers above fluted tapering legs terminating in sabots.

H: 44 1/2, W: 36, D: 20 in. $4,000-6,000

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340

A Charles x parcel-gilt and bronzepainted mahogany dressing table second quarter 19th century The mirror surmounted by gilt and bronzed palmettes over a moulded frieze with egg-and-dart edge above torch supports; the table with three frieze drawers raised on a similarly decorated X-form frame terminating in gilt paw feet.

H: 64, W: 35, D: 19 in. $1,500-2,500

341

A Neoclassical tulipwood veneered gilt-composition mounted and parcel ebonized pier mirror possibly north german, circa 1810 Surmounted by a parcel-ebonized cavetto above a frieze centered by a gilt-composition sun-in-splendour applique, the rectangular mirror plate flanked by parcelebonized columns with gilt-composition Corinthian capitals.

H: 62, W: 29 in. $1,500-2,500

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342

A pair of late Régence/ Louis XIV style giltwood fauteuils à la reine 19th century The shaped upholstered backs issuing scrolling foliate arms above a square upholstered seat above tapering square legs decorated in strapwork and bellflower ornamentation, united by an X-form stretcher and rear legs terminating in volute feet. (2).

H: 53, W: 28, D: 26 in. provenance: Private collection, Newport, Rhode Island. $4,000-6,000

343

A fine Louis XV style ormolu mounted marquetry inlaid mahogany, amaranth, and tulipwood armoire frédéric-louis durand (french, 1874-1964), paris, circa 1920 The shaped rectangular brèche d’Alep marble top above three cupboard doors each decorated with two iris marquetry panels, one door enclosing removable semanier drawers over two cubbies, the remaining two doors enclosing three movable shelves; the whole raised on six feet mounted with rocaille sabots and stamped four times to the back “F. DURAND. FILS”.

H: 66 1/2, W: 72, D: 22 in. note: Frédéric-Louis Durand (1874-1964) was the son of the famed Parisian ébéniste Gervais-Maximilien-Eugène Durand (1830-1920). The elder Durand established the Maison Durand in 1870 at 12, rue de la Cerisaie in the Faubourg Saint-Antoine, the traditional furniture and craft district of Paris. By 1889, the Durand workshop had developed a very respectable reputation as builders of high quality furniture in the style of the Ancien Régime, winning a silver medal at the Exposition Universelle in Paris that same year.

In 1890, Gervais’ son, Frédéric-Louis, joined the firm and the named changed to Durand et Fils. Further success followed and in 1900 the firm was relocated to the prominent Hôtel de Sully at 62, Rue SaintAntoine in the nearby aristocratic Marais neighborhood. After his father’s death in 1920, Frédéric-Louis became head of the business and his son, Pierre Durand, joined the workshop. The name was again changed to F. Durand et Fils at that time. F. Durand et Fils continued operation until Fr��déric-Louis’ own death in 1934. The present example bears the distinctive F. DURAND. FILS stamp used between 1920 and 1934. $4,000-6,000

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344

A Louis XV style painted and parcelgilt trumeau mirror 20th century With gilt ground, the cartouche-form moulded upper reserve surmounted by an elaborate floral rocaille, the reserve inset with finely painted panel depicting Juno; the lower mirror plate similarly decorated.

H: 85 1/2, W: 48 in. $1,500-2,500

345

A Louis XVI style ormolu mounted fruitwood marquetry and satinwood pedestal clock second quarter 20th century The case after the model ‘Le Ore’ by Jean Henri Riesener (French/German, 17341806), with works by Franz Hermle & Sohn and stamped FHS/Germany; the ormolu hood mount signed in cast “BARBEDIE”.

H: 84, W: 19 1/4, D: 12 in. $3,000-5,000

346

A pair of Louis XVI style gilt and patinated bronze figural two-arm candelabra early 19th century In the manner of Claude Michel Clodion, each in the form of a putto holding aloft two flaming torch candlearms, raised on a cylindrical alabaster pedestal on square gilt-bronze base. (2).

H: 17 1/4 in. $2,000-3,000

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347

348

A large Louis XVI style ormolu-mounted jasper ewer

A Louis XVI style brass inlaid and mounted mahogany table À rognon

19th century The ormolu very finely cast, the elongated ovoid body surmounted by a spiral fluted spout cast with Bacchic grotesque, the dolphin-form handle wrapped in grape vines and tied with an ormolu ribbon to a leaf-and-berry garland of figs, grapes, pinecones, pomegranates, acorns, and other fruits of abundance; with leaf-and-berry cast base above a fluted and gadrooned socle; presently drilled and fitted for lamp mounting.

H: 27 in. $4,000-6,000

19th century The kidney-form top with pierced brass gallery and single frieze drawer supportedby four turned and fluted column legs joined by a lower shelf, raised on toupie feet terminating in casters.

H: 30 1/4, W: 22 3/4, D: 14 1/2 in. $600-800

349

A pair of Napoleon III gilt bronze and malachite thirteen-light candelabra third quarter 19th century The tapering cylindrical standard veneered in malachite and issuing twelve stylized acanthus candlearms and a central nozzle; the standard supported by a gilt bronze leaf-cast base and four acanthus volutes springing from a rectangular malachite veneered plinth raised on gilt bronze paw feet above a quadripartite base. (2).

H: 41 1/2 in. $2,500-3,500

350

A Continental neoclassical style giltwood console 20th century The demilune shaped and moulded cipollino verde mandolato marble top above leaftip carved apron supported by two scrolling volutes, with swag and garland ornamentation.

H: 35 1/2, W: 52 1/2, D: 14 1/4 in. $2,000-3,000

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351

352

A pair of three-light ormolu bouillotte lamps on marble bases

A Jacobean carved oak lift top blanket chest

late 19th/early 20th century With three scrolling foliate candlearms and central lighted standard terminating in grape finial; raised on cylindrical marble pedestal above square base on four compressed toupie feet. (2).

H: 31 1/2, Dia: 16 1/4 in. $2,500-3,500

17th century The front geometrically carved and the whole raised on a shaped rectangular base.

H: 18 3/4, W: 55 1/2, D: 17 1/2 in. $1,500-2,500

353

A Charles II oak backstool derbyshire, circa 1670 The pierced arcade backrest united by baluster-turned spindles in the manner of Romanesque tracery windows, suspended between two rectangular stiles terminating in volute finials; the rectangular paneled seat raised on turned front legs and square rear legs united by turned forerail and five stretchers.

H: 39 1/2, W: 18, D: 5 1/2 in. provenance: Property from the Private Collection of Mr. & Mrs H. Beedham.

Bonham’s Oxford, September 30, 2015, Lot 214.

Private collection, Virginia. $600-800

354

A George III mahogany corner cabinet late 18th/early 19th century In two sections, the upper section with two astragal glazed doors enclosing three shaped mahogany shelves and interior lined in salmon taffeta; the lower section with two moulded cupboard doors, raised on bracket feet.

H: 100 1/4, W: 47, D: 26 in. $800-1,200

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355

A pair of large George III ‘Adamesque’ giltwood and gesso three-light wall sconces early 19th century Each with an elaborate bracket of gilt gesso vines and verre églomisé panels issuing three scrolling candlearms and surmounted by an architectural portico. (2).

H: 52, W: 26 in. $1,500-2,500

356

A pair of George III ‘Adamesque’ style vasiform giltwood threelight girandoles circa 1900 Each with vasiform standard surmounted by flame finial and mounted with gryphon handles issuing three scrolling candlearms supporting brass candle cups; raised on fauxmarbled square base. (2).

H: 12 in. $1,500-2,000

357

A Regency gesso and giltwood overmantel mirror first quarter 19th century The banded rectangular mirror plate with beaded mouldings surmounted by a removable arched pediment with applied floral sprays and foliate scrolls.

H: 84, W: 35 1/2 in. $1,000-1,500

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358

Two English silkwork pictures of ladies circa 1820 Each housed in giltwood and verre églomisé frame. (2).

H: 16 1/2, W: 12 1/2 in. (sight) provenance: Private collection, Philadelphia. $1,000-1,500

359

360

A Regency inlaid mahogany bowfront sideboard

Three English handreticulated creamware plates

first quarter 19th century The banded and moulded top above a string-inlaid case with reeded edges centered by a long drawer over tambour door compartment flanked by side drawers all with gilt-bronze lion-form pulls; the whole raised on six reeded tapering legs.

H: 34, W: 79, D: 26 in. provenance: By descent in the Coleman Family of Long Branch and Woodlawn Plantations, Halifax County, Virginia to the present owners. $4,000-6,000

circa 1770-1780 Each with fluted walls and pierced rims, unmarked. (3).

Dia: 9 1/4 in. (largest) provenance: Private collection, Philadelphia. $600-800

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361

A pair of English blue and white hexagonal potpourri vases and covers possibly staffordshire, first half 19th century Each surmounted by pierced bell-form covers terminating in fu dogs finials, the bodies decorated with parcel-gilt peonies and mounted to sides with stylized fu lion handles; the undersides unmarked. (2).

H: 18 1/2 in. provenance: Earle D. Vandekar of Knightsbridge, Inc. Property from a private New York City collection. $4,000-6,000

362

Two Chinese Export porcelain famille rose armorial dishes with the arms of Maidstone mid 18th century Comprising an octagonal plate and octagonal soup bowl, the wells painted with the arms of the Maidstone family of Essex, the rims with gilt edge and decorated with a floral border and birds at the cardinal points. (2).

Dia: 8 1/2 in. provenance: Elinor Gordon Chinese Export Porcelain, Villanova, PA. $800-1,200

363

A Chinese export porcelain famille rose armorial teapot decorated with the arms of MacInnes early 19th century Painted to each side with the arms of the MacInnes Clan of Cumbernauld above a monogram, sold together with a second Chinese export porcelain teapot decorated with floral sprays, each with fruiting knop. (2).

H: 6 in. (largest) provenance: Private collection, Philadelphia. $600-800

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364

A Chinese export porcelain armorial plate with the arms of Gordon late 18th entury With gilt and scalloped edge, the well painted with the arms of the Gordon Clan of Scotland, the rim finely decorated in blue and white FitzHugh pattern.

Dia: 9 1/2 in. $600-800

365

Ten Canton export porcelain plates 19th century Decorated in a pseudo-armorial style, comprising seven in a famille verte palette and three in a famille rose palette. (10).

Dia: 9 3/4 in. (largest) provenance: Private collection, Philadelphia. $600-800

366

367

A French leather book-form tantalus set

A bronze, black marble, and cut glass desk set after Egveny Aleksandrovich Lansere (Russian, 1848-1886)

19th century The interior fitted with a parcel-gilt decanter and four shot glasses.

H: 5 1/4 in. $300-500

russian or french, circa 1890 The inkstand centered by a bronze cast of ‘Sokolinaya Ohota’ after Lansere and mounted with two cut glass inkwells; accompanied by a conforming ink blotter, pen holder, and urn-form pen nib dish. (4).

H: 19, W: 19, D: 12 1/4 in. $1,000-1,500

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368

François-Théodore Devaulx (French, 1808-1870) the signing of the magna carta, late 19th century Bronze, brown-gold patina, signed in cast “DEVAULX”; raised on black marble base.

H: 18, W: 19, D: 10 1/2 in. note: A model of this sculpture is illustrated in Pierre Kjellberg Bronzes of the 19th Century: Dictionary of Sculptors (Schiffer Publishing, London, 1994), page 287. For sale of another identical copy of this model, see Sotheby’s London, May 29, 2008, Lot 25. $4,000-6,000

369

After Eugène Marioton (French, 1857–1933) fascinator, 20th century Bronze, black patina, titled and signed in cast “E. MARIOTON”, with Siot Paris foundry mark.

H: 20 1/2 in. $1,000-2,000

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370

An Austrian musical picture clock circa 1870 Fronted by a picturesque landscape painting depicting a Gothic church, the painted clocktower inset with angelus clock that plays complex melodic hourly chime; the verso housing a hinged compartment with original clock movement and mechanical music works; the interior with hand-inscribed label listing song titles.

H: 27, W: 30, D: 7 in. $800-1,200

371

A fine and large K.P.M. painted porcelain plaque after Peter Paul Rubens (Flemish, 1577-1640) der früchtekranz, 19th century Finely painted after Rubens with seven putti carrying a garland of fruit and signed lower right with artist’s cipher “AD”; the verso with impressed “K.P.M.” and scepter mark; mounted in a gesso and giltwood frame.

H: 12, W: 15 in. (plaque) note: For recent sales of painted plaques with the same subject, see Freeman’s, Philadelphia, May 17, 2016, Lot 322 and Bonham’s, Los Angeles, June 16, 2014, Lot 5450. $8,000-12,000

372

A K.P.M. style painted porcelain miniature portrait of a maiden last quarter 19th century Mounted in a giltwood frame housed in a shadowbox; sold together with an associated giltmetal stand.

H: 20 1/2 in. (stand) $600-800 373

A Meissen porcelain figure of a Bolognese dog 19th century After the model by Johann Joachim Kändler (German, 1706-1775), with blue underglaze crossed swords mark to underside and incised “2880”.

H: 9 1/2 in. $1,000-1,500 130

374

A Royal Vienna style hand-painted and parcel-gilt porcelain solitaire circa 1870 Comprising teapot, sugar, creamer, two teacups and saucers, and twin-handled tray, decorated in a blue and red Pompeiian style; some pieces marked to underside with overglaze “Wien” and artist’s cipher PR. (6).

H: 5 in. (teapot), Dia: 11 in. (tray). $3,000-5,000

375

A Russian Imperial Porcelain Factory ormolu mounted hand-painted urn period of nicholas i (1825-1855) Of campana form, with gilt rim and parcel-gilt diapered ground, the front with a reserve finely painted with summer flowers and the sides with stylized acanthus handles springing from classical masques; the whole raised on a finely cast ormolu socle mounted on later stepped square base.

H: 14 3/4, Dia: 10 in. $6,000-8,000 376

A collection of Sèvres style ‘Celeste Bleu’ hand-painted and parcel-gilt porcelain late 19th century Comprising two large compotes, two tazze, two cake stands, two covered sauce tureens, ten luncheon plates, and seven dessert plates; sold together with an associated bowl and saucer. (26).

H: 5 1/2, Dia: 9 1/2 in. (compotes) $2,500-3,500

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377

A pair of Continental hand-painted and parcel-gilt blue opaline glass vases circa 1900 Each with parcel-gilt rim and gilt-decorated neck with a raised white reserve to body; the first painted with an infant Cupid, the second with an infant Bacchus, raised on parcel-gilt circular foot. (2).

H: 14 in. $2,000-3,000

378

A Royal Copenhagen ‘Blue Fluted Half Lace’ six-piece dinner service for twelve various dates 20th century, most with date code for 1960 Comprising twelve each dinner plates, salad plates, bread plates, finger bowls, teacups, and saucers; two candlesticks, one large and one small sauce boat, one large and one small covered vegetable dish, one large and one medium oval platter, one water pitcher, one creamer, one covered sugar, one square dish, one lozenge-form dish, one leaf-form dish, one pickle dish, one bread bowl, one footed bowl, one trivet, and one bud vase. (91 pcs).

Dia: 9 3/8 in. $2,500-3,500

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379

A Louis Vuitton leather traveling trunk early 20th century With two original labels, including one with serial number 767031, the interior fitted with a vanity tray enclosing an assortment of compartments above an extending table surface over four drawers.

H: 35 1/2, W: 22, D: 20 in. $2,000-4,000

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380

A pearl and diamond-set hardstone flower arrangement of a spray of lily of the valley german, likely idar-oberstein, 20th century In the form of a spray of lily of the valley, with eight flowers carved from cacholong set with diamond pistils, and one pearl set as a bud mounted to an 18K gold stem naturalistically cast and chased, one furling carved leaf in nephrite, the whole mounted in a rock crystal vase carved to simulate water content.

H: 4 3/4 in. provenance: Hartman Trading Co., New York, 1961 Howard Hurwith Collection The Delaware Toy & Miniature Museum Private Collection, Bryn Mawr, PA exhibited: First Trust and Savings Bank of Glenview, Illinois.

The Metropolitan Museum of Art, New York, New York.

The Art Institute of Chicago, Chicago, Illinois.

Delaware Toy & Miniature Museum, Wilmington, Delaware. $1,000-1,500

381

A pair of Maison Baguès cut crystal and amethyst three-light wall sconces first half 20th century The silvered iron brackets applied with cut crystals and amethysts in the form of a vase of flowers and issuing three candlearms further decorated with crystal drops. (2).

H: 23 1/2 in. provenance: Acquired Neslé, New York, May 1986.

Property from a private New York City collection. $1,500-2,500

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382

383

An Art Deco Muller Frères cast iron and molded glass chandelier

A Lalique ‘Cactus’ glass and crystal table

lunéville, france, circa 1930 The foliate-decorated openwork frame issuing six hanging shades, above rounded tapering central shade.

H: 28 in. $800-1,200

marc lalique (french, 1900-1977), france, 1983 The circular glass top set on a chrome ring suspended by a crystal base with eight legs in the form of outspreading cactus leaves, each piece signed and numbered “17-1” and dated 1983.

H: 28, Dia: 60 in. $20,000-30,000

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Terms & Conditions All property offered and sold (“property”) through Samuel T. Freeman & Co, (“Freeman’s”) shall be offered and sold on the terms and conditions set forth below which constitutes the complete statement of the terms and conditions on which all property is offered for sale. By bidding at the auction, whether present in person or by agent, by written bid, telephone, internet or other means, the buyer agrees to be bound by these terms and conditions.

1 Unless otherwise indicated, all Property will be offered by Freeman’s as agent for the Consignor.

2 Freeman’s reserves the right to vary the terms of sale and any such variance shall become part of these Conditions of Sale.

3 Buyer acknowledges that it had the right to make a full inspection of all Property prior to sale to determine the condition, size, repair or restoration of any Property. Therefore, all property is sold “AS-IS”.

Freeman’s is acting solely as an auction broker, and unless otherwise stated, does not own the Property offered for sale and has made no independent investigation of the Property. Freeman’s makes no warranty of title, merchantability or fitness for a particular purpose, or any other warranty or representation regarding the description, genuineness, attribution, provenance or condition to the Property of any kind or nature with respect to the Property.

4 Freeman’s in its sole and exclusive discretion, reserves the right to withdraw any property, at any time, before the fall of the hammer.

5 Unless otherwise announced by the auctioneer at the time of sale, all bids are per lot as numbered in the printed catalogue. Freeman’s reserves the right to determine any and all matters regarding the order, precedence or appropriate increment of bids or the constitution of lots.

6 The highest bidder acknowledged by the auctioneer shall be the buyer. The auctioneer has the right to reject any bid, to advance the bidding at his absolute discretion and in the event of any dispute between bidders, the auctioneer shall have the sole and final discretion either to determine the successful bidder or to re- offer and resell the article in dispute. If any dispute arises after sale, the Freeman’s sale record shall be conclusive in all respects.

7 If the auctioneer determines that any opening or later bid or any advance bid is not commensurate with the value of the Property offered, he may reject the same and withdraw the Property from sale.

8 Upon the fall of the hammer, title to any offered lot or article will immediately pass to the highest bidder as determined in the exclusive discretion of the auctioneer, subject to compliance by the buyer with these Conditions of Sale. Buyer thereupon assumes full risk and responsibility of the property sold, agrees to sign any requested confirmation of purchase, and agrees to pay the full price, plus Buyer’s Premium, therefore or such part, upon such terms as Freeman’s may require.

9 No lot may be removed from Freeman’s premises until the buyer has paid in full the purchase price therefor including Buyer’s Premium or has satisfied such terms that Freeman’s, in its sole discretion, shall require. Subject to the foregoing, all Property shall be paid for and removed by the buyer at his/her expense within ten (10) days of sale and, if not so removed, may be sold by Freeman’s, or sent by Freeman’s to a public warehouse, at the sole risk and charge of the buyer(s), and Freeman’s may prohibit the buyer from participating, directly or indirectly, as a bidder or buyer in any future sale or sales. In addition to other remedies available to Freeman’s by law, Freeman’s reserves the right to impose a late charge of 1.5% per month of the total purchase price on any balance remaining ten (10) days after the day of sale. If Property is not removed by the buyer within ten (10) days, a handling charge of 1% of the total purchase price per month from the tenth day after the sale until removal by the buyer shall be payable to Freeman’s by the buyer; Freeman’s shall charge 1.5% of the total purchase price per month for any property not so removed

within 60 days after the sale. Freeman’s will not be responsible for any loss, damage, theft, or otherwise responsible for any goods left in Freeman’s possession after ten (10) days. If the foregoing conditions or any applicable provisions of law are not complied with, in addition to other remedies available to Freeman’s and the Consignor (including without limitation the right to hold the buyer(s) liable for the bid price) Freeman’s, at its option, may either cancel the sale, retaining as liquidated damages all payments made by the buyer(s), or resell the property. In such event, the buyer(s) shall remain liable for any deficiency in the original purchase price and will also be responsible for all costs, including warehousing, the expense of the ultimate sale, and Freeman’s commission at its regular rates together with all related and incidental charges, including legal fees. Payment is a precondition to removal. Payment shall be by cash, certified check or similar bank draft, or any other method approved by Freeman’s.

Checks will not be deemed to constitute payment until cleared. Any exceptions must be made upon Freeman’s written approval of credit prior to sale. In addition, a defaulting buyer will be deemed to have granted and assigned to Freeman’s, a continuing security interest of first priority in any property or money of, or owing to such buyer in Freeman’s possession, and Freeman’s may retain and apply such property or money as collateral security for the obligations due to Freeman’s. Freeman’s shall have all of the rights accorded a secured party under the Pennsylvania Uniform Commercial Code.

10 Unless the sale is advertised and announced as “without reserve”, each lot is offered subject to a reserve and Freeman’s may implement such reserves by bidding through its representatives on behalf of the Consignors. In certain instances, the Consignor may pay less than the standard commission rate where Freeman’s or its representative is a successful bidder on behalf of the Consignor. Where the Consignor is indebted to Freeman’s, Freeman’s may have an interest in the offered lots and the proceeds therefrom, other than the broker’s Commissions, and all sales are subject to any such interest.

11 No “buy” bids shall be accepted at any time for any purpose.

12 Any pre-sale bids must be submitted in writing to Freeman’s prior to commencement of the offer of the first lot of any sale. Freeman’s copy of any such bid shall conclusively be deemed to be the sole evidence of same, and while Freeman’s accepts these bids for the convenience of bidders not present at the auction, Freeman’s shall not be responsible for the failure to execute, or, to execute properly, any pre-sale bid.

13 A Buyer’s Premium will be added to the successful bid price and is payable by the buyer as part of the total purchase price. The Buyer’s Premium shall be: 25% on the first $200,000 of the hammer price of each lot, 20% on the portion from $200,001 through $3,000,000, and 12% thereafter.

14 Unless exempted by law from the payment thereof, the buyer will be required to pay any and all federal excise tax and any state and/or local sales taxes, including where deliveries are to be made outside the state where a sale is conducted, which may be subject to a corresponding or compensating tax in another state.

15 Freeman’s may, as a service to buyer, arrange to have purchased property posted and shipped at the buyer’s expense. Freeman’s is not responsible for any acts or omissions in packing or shipping of purchased lots whether or not such carrier is recommended by Freeman’s. Packing and handling of purchased lots is at the responsibility of the buyer and is at the entire risk of the buyer.

16 In no event shall any liability of Freeman’s to the buyer exceed the purchase price actually paid.

17 No claimed modification or amendment of this Agreement on the part of any party shall be deemed extant, enforceable or provable unless it is in writing that has been signed by the parties to this Agreement. No course of dealing and no delay or omission on the part of Freeman’s in exercising any right under this Agreement shall operate as a waiver of such right or any other right and waiver on any one or more occasions shall not be construed as a bar to or waiver of any right or remedy of Freeman’s on any future occasion.

18 These Conditions of Sale and the buyer’s, the Consignor’s and Freeman’s rights under these Conditions of Sale shall be governed by, construed and enforced in accordance with the laws of the Commonwealth of Pennsylvania and Consignor and Buyer agree to the exclusive jurisdiction of the Philadelphia, Pennsylvania Court of Common Pleas and the United States District Court for the Eastern District of Pennsylvania.

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Important Information for Buyers Registration All potential buyers must register for the sale prior to placing a bid. Registration information may be submitted in person at our reception desk, by fax or through our website at www. freemansauction.com. We will require proof of identification and residence and may require a credit card and/or a bank reference.

By registering for the sale, the buyer acknowledges that he or she has read, understood and accepted Freeman’s Terms and Conditions of Sale.

On the internet A fully-illustrated catalogue is available on-line at www.freemansauction.com. Registered bidders may leave absentee bids through the website and will receive email confirmation of their bid. Freeman’s is not responsible for errors or failure to execute bids.

Payment Payment is due within ten (10) working days of the sale. Lots purchased will not be released until we have received full payment. Payment may be made in cash, by check, money order, or debit card. Payments by check must clear the bank before goods will be released.

Buyer’s Premium A Buyer’s Premium will be added to the successful bid price and is payable by the buyer as part of the total purchase price. The Buyer’s Premium shall be: 25% on the first $200,000 of the hammer price of each lot, 20% on the portion from $200,001 through $3,000,000, and 12% thereafter.

Removal of Purchases Deliveries will not be made during the time of the sale unless otherwise indicated by the auctioneer. All items must be paid for and removed within ten (10) working days of the sale. Purchases not so removed may be turned over to a licensed warehouse at the expense and risk of the purchaser.

Sales Tax All items in the catalogue are subject to the 8% Pennsylvania and Philadelphia sales tax. Dealers purchasing for resale must register their tax numbers on current PA forms. Forms should be submitted to our Client Services office on the second floor.

Shipping and Packing Responsibility for packing, shipping and insurance shall be exclusively that of the purchaser. Upon request, Freeman’s will provide the purchaser with names of professional packers and shippers known to us.

Catalogue Descriptions All item descriptions, dimensions and estimates are provided for guidance only. It is the buyer’s responsibility to inspect all lots prior to bidding to ensure that the condition is to their satisfaction. If potential buyers are unable to inspect lots in person, our specialists will be happy to prepare detailed Condition Reports on individual lots as quickly as possible.

These are for guidance only, and all lots will be sold “as is” as per our Terms and Conditions of Sale.

Bidding At the sale Registered bidders will be assigned a bidder number and given a paddle for use at the sale. 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. The auctioneer will not mistake a random gesture for a bid.

By phone A limited number of telephone lines are available for bidding by phone through a Freeman’s representative. Phone lines must be reserved in advance. Requests must be submitted no later than 24 hours prior to the scheduled start of the sale.

Endangered Species Lots marked * are manufactured in whole or in part of restricted materials that may include tortoiseshell, ivory, mother-ofpearl, coral, rhinoceros horn, whalebone or marine ivory. Such materials may require specific licenses, certificates, or CITES documentation for import, export, moving between states in the U.S., or resale. Obtaining these documents may require scientific, laboratory or other expert analysis, in order to establish which species or genus the material came from. Freeman’s is unable to provide this information, and the obligation is on the purchaser of a lot containing any of these materials to ensure that they are able to obtain all the necessary or required documents should they need to, prior to bidding on the lot. If proper documentation or licenses etc. cannot be obtained for a purchased lot, the purchaser will still be required to make an on time payment for the lot as per our standard terms and conditions. Freeman’s cataloguing of the lots marked with this symbol * represents the best of our opinion, and the absence of this symbol from any lot description does not form a warranty that the lot will be free from any licensing or certification restrictions.

In writing Bid forms are available in the sale room and at the back of the catalogue. These should be submitted in person, by mail or by fax no later than one hour prior to the scheduled start of the sale. The auctioneer will bid on your behalf up to the limit.

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www.freemansauction.com

directory Officers

Specialist Departments

Representatives

Samuel M. Freeman II Chairman

20th Century Design Tim Andreadis tandreadis@freemansauction.com

New England Kelly Wright kwright@freemansauction.com

Alasdair Nichol Vice Chairman Margaret D. Freeman Director Emeritus Paul S. Roberts President Hanna Dougher Chief Operating Officer

Departments Appraisals Amy Parenti aparenti@freemansauction.com Business Development Thomas B. McCabe IV tmccabe@freemansauction.com Client Services Mary Maguire Carroll mmaguire@freemansauction.com Finance Whitney Long wlong@freemansauction.com Marketing & Communications Micah Dornfeld mdornfeld@freemansauction.com Museum Services Thomas B. McCabe IV tmccabe@freemansauction.com Photography Thomas Clark tclark@freemansauction.com Shipping & Receiving Stephanie Parker sparker@freemansauction.com Trust & Estates Amy Parenti aparenti@freemansauction.com

American Art & Pennsylvania Impressionists Alasdair Nichol anichol@freemansauction.com American Furniture, Folk & Decorative Arts Lynda Cain lcain@freemansauction.com Asian Arts Benjamin Farina bfarina@freemansauction.com Books, Maps & Manuscripts Benjamin Truesdale btruesdale@freemansauction.com British & European Furniture & Decorative Arts Nicholas B. A. Nicholson nnicholson@freemansauction.com European Art & Old Masters David M. Weiss dweiss@freemansauction.com Jewelry & Watches Virginia Salem, GIA GG vsalem@freemansauction.com Modern & Contemporary Art Dunham Townend dtownend@freemansauction.com Musical Instruments Frederick Oster foster@freemansauction.com Oriental Rugs & Carpets Andrew Taggart ataggart@freemansauction.com Prints Anne Henry ahenry@freemansauction.com Silver & Objets de Vertu Nicholas B. A. Nicholson nnicholson@freemansauction.com

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Mid-Atlantic Matthew Wilcox mwilcox@freemansauction.com Southeast Colin Clarke cclarke@freemansauction.com West Coast Michael Larsen mlarsen@freemansauction.com Main Line Thomas McCabe tmccabe@freemansauction.com

European Art & Old Masters

EUGÈNE BOUDIN (french 1824-1898) “RIVAGE AUX ENVIRONS DE TROUVILLE” Signed and dated ‘E. Boudin. 54’ bottom left, oil on canvas 13 1/16 x 21 7/8 in. (33.2 x 55.6cm) provenance: Ex-collection of William Cuthbert.

Private Collection, New York. exhibited: “Eugène Boudin, 1824-1898: Retrospective Exhibition,” Hirschl & Adler Galleries, New York, New York, 1966, no. 60. note: The present painting will be accompanied by a letter of authenticity

by Mr. Manuel Schmit, and will be included in the forthcoming new edition of the Catalogue Raisonné of the artist’s work. $30,000-50,000

Auction 06/12/17 David Weiss | 267.414.1214 dweiss@freemansauction.com

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BOOKS, MAPS & MANUSCRIPTS Auction 06/16/17 Benjamin Truesdale | 267.455.5171 btruesdale@freemansauction.com

1 Vol. (Islamic Manuscript.) Ottoman Turkish Koran in Arabic.

(Ca. 1850). Naskhi script, two richly color and gilt-decorated opening pages, gilt borders and illuminations throughout, approximately 30 gilt and color shoulder devices. Copied by Ibrahim Naf’i, one of the students of Hajji Wali al-Din Khalusi Anushahri. $1,200-$1,800

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