British & European Furniture & Decorative Arts by Freeman's

british & european furniture & decorative arts october 16, 2018

british & european furniture & decorative arts including silver & russian works of art including the ode to joy collection the collection of samuel marcus the collection of r.m. barokh the collection of barry & rochelle magarick property of a virginia gentleman & various owners

auction Sale 1613 Tuesday, October 16, 2018 at 10am 1808 Chestnut Street, Philadelphia PA 19103 Cover Image: Lot 360, Inside Front Cover: Lot 216, Inside Back Cover: Lot 296

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

Tessa Laney Specialist tlaney@freemansauction.com 215.940.9826 Grace Fitts Department Administrator gfitts@freemansauction.com 267.414.1254

exhibitions Friday, October 12

10am-5pm

Saturday, October 13

12pm-5pm

Sunday, October 14

12pm-5pm

Monday, October 15

10am-5pm

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

Lot 41 (detail)

Joslyn Moore Bidding Registration jmoore@freemansauction.com 267.414.1207

Melissa Arundel Post-Sale Administrator marundel@freemansauction.com 267.414.1226

russian works of art lots 1 - 20 1 A Russian gilt-bronze table bell in the form of the ‘Tsarskii Kolokol’ likely moscow, 19th century Finely cast, detailed, and chased, in the form of the ‘Tsarskii Kolokol’ now in the Kremlin, the Cross surmounting an orb and pierced mount, the bell below with the broken piece outlined in cast; the interior lip of the bell finely engraved in Russian: “Otlit’ v’ 1733 g. vysom’ 480,000 Funtov’. Vyshina 20 Funtov’ 7 dyumov.“ (Cast in 1733, the weight 480,000 Funt. Height 20 Funt, 7 Diuim.) H: 5 3/4 in. provenance: Property of a Drexel Hill gentleman note: A related model on a malachite base is in the collection of the Hillwood Museum, Washington, DC, Inv. No. 14.238.1-2. $800-1,200

2 A Russian Neoclassical carved bone casket likely kholmogory, first quarter 19th century Rectangular, the center with openwork pieced and carved depiction of rural figures, and a dog leaping to meet his master (some missing elements). H: 2 3/4, W: 9, D: 7 1/4 in. provenance: Collection of R.M. Barokh, Connecticut. $800-1,200

3 A Russian malachite-veneered ormolu chamberstick period of nicholas i, 1825-1855 In the Rococo Revival style, the malachiteveneered drip pan set within a fruiting foliate border crisply cast and chased, the nozzle and handle similarly decorated. H: 2 3/4, W: 7, D: 5 in. $1,200-1,500

4 A Russian Imperial Porcelain dinner plate from the ‘Alexandrinskii’ or ‘Turquoise’ Service imperial porcelain factory, st. petersburg, 1899 The shaped circular plate with gold rim and a bleu céleste-ground border with cartouches decorated with miniature ornithological paintings separated with garlands of oak leaves and acorns; marked to the underside with the green underglaze mark of Nicholas II and dated 1899. Dia: 9 3/4 in. note: In 1899, Empress Alexandra Feodorovna commissioned this service for use in the Winter Palace, based on an original service by Sèvres already in the Imperial Collection. The service, which came to be called ‘Alexandrinskii’ in honor of the Empress, comprised 1,300 pieces. See N.B. von Wolf (ed. T.N. Nosovich), Imperatorskii farforovyi zavod, 1744-1904 (St. Petersburg, 2003), pp. 314-316, regarding this service as well as Anne Odom, Russian Porcelain at Hillwood (Washington, DC, 1999), pp. 98-101. For the original service made at Sèvres between 1783 and 1784, please see Tamara Kudriavtseva, Russian Imperial Porcelain (St. Petersburg, 2003), p. 208. $1,500-3,000 5 A Russian porcelain soup plate from the ‘Tsarskoselskii’ or ‘Purple’ Service imperial porcelain factory, st. petersburg, 1905 The shaped circular soup decorated to the border with puce landscapes within gilt reserves ornamented with ciselé foliate cartouches, marked to underside with the green underglaze mark of Nicholas II and dated 1905. Dia: 10 in. note: The ‘Purple,’ or Tsarskoe Selo, Service was the last major service commissioned from the Imperial Porcelain Manufactory, and Empress Alexandra Feodorovna personally approved the design that was finally selected. Ordered in 1903, the service was intended for use in the palaces at Tsarskoe Selo, and the commission stated that the design should be both simple and sumptuous while harmonizing with the palaces’ Baroque and Rococo splendor. See T. Kudriavtseva, Russian Imperial Porcelain (St. Petersburg, 2003), p. 211. $1,500-2,000

6 A Russian imperial porcelain military plate imperial porcelain factory, st. petersburg, 1891 “Officier Superieur et Subalterne du Regt. des Grenadiers de la Garde“ [Superior Officer and Subalternate of the Regt. of Grenadiers of the Guard] depicting two Grenadiers at ease in a landscape, the title in French on verso, and with green underglaze cypher of Alexander III dated for 1889, signed M. Shmakov and dated 1891. Dia: 9 1/2 in literature: Khmelnitskaya, E. S., Skul’ptory Imperatorskogo Farforovogo Zavoda: Evolyutsiya Tvorcheskikh Poiskov ot Istorizma k Ar Deko [Sculptors of the Imperial Porcelain Manufactory: The evolution of the creative search from Historicism to Art Deco], dissertation, Herzen University, St. Petersburg, 2014. Kudryavtseva T.V., Russkii Imperatorskii farfor. SPb., 2003 N. von Wolf, ed. V. Znamenov, Imperatorskii farforovyi zavod, 1744-1904, 2008. note: Please see online for full catalogue note. $10,000-15,000

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7 A Russian silver platter from the Grand Duchess Olga Nikolaevna Service nichols & plinke and henrik august lang, st. petersburg, 1840 The large shaped round tray with moulded and acanthus cast rim, engraved with the Imperial state arms as well as the crowned cypher of Grand Duchess Olga Nikoalevna; marked to underside with stamps of Nichols & Plinke as well as Henrik August Lang, assaymaster mark of Dimitriy Ilyich Tverskoy and dated 1840, with additional marks for St. Petersburg and 84 zolotniki, as well as scratched “No. 31.” Dia: 14 1/8 in. Total weight: 41.5 oz. t. provenance: H.I.H. Grand Duchess Olga Nikoalevna of Russia (1822-1892) by descent in the family of the Dukes of Wurttemberg Private Collection

note: Presented to Grand Duchess Olga Nikolaevna of Russia (1822-1892), daughter of H.M. Emperor Nicholas I Pavlovich and the Empress Alexandra Feodorovna, on Olga’s marriage to Crown Prince Karl of Württemberg (1823-1891) in 1846. The silver service for 500 guests was executed over several years by the “English shop” of N. Nichols & Plinke, in the Rococo Revival style. The marriage was childless, and so the service passed to their nephew, who became King Wilhelm II of Wurttemberg, and ultimately descended through multiple branches of the family of the Dukes of Wurttemberg. A group of silver trays and plates from the “dowry service” were donated to the Peterhof Palace Collection in 2005, and in late 2014 the museum’s collection was expanded further with an additional nineteen pieces related to the offered lot. $6,000-9,000

8 A Russian silver five-piece flatware service for twelve of American interest marks of sazikov and sohlman, st. petersburg, various dates Comprising twelve each dinner forks, luncheon forks, dinner knives, place spoons, and teaspoons; nine tablespoons; four master salts; three serving spoons with knots; two platter spoons (one with knot); and one each sauce ladle, pierced ladle, cheese server, sugar shovel, and flat server; 41 pieces signed Sazikov with Imperial Warrant, 42 with maker’s marks for Gustav Alexander Sohlman, 1 spoon unmarked, each piece engraved with the full name “Hutton;” sold in associated fitted box. (83). Total weight: 133 oz. t. (approx.) provenance: Mr. Gaun McRobert Hutton (1848-1916) Elsie Celeste Hutton (1884-1996) Thence by descent note: THE HUTTONS Gaun McRobert Hutton was born in Ballygrangey near Belfast, Ireland, in 1848 and immigrated to Baltimore, Maryland at the age of sixteen. He became a respected member of Baltimore society, and a diplomat to Russia, where he moved in 1874.

During his time at the Court of St. Petersburg, Hutton served under William H. Edwards (Consul General 1878-80) Edgar Stanton (Consul General 1884), finally serving himself as Vice & Deputy Consul General in 1884. While in Russia, Hutton met (and later married on September 3, 1883) another Baltimorean with a Russian connection, Celeste Marguerite Winans. She was the daughter of Thomas DeKay Winans and Celeste Louise Revillon, who had themselves met and married in Russia. The Huttons divided their time between their homes in St. Petersburg, Russia, Mrs. Hutton’s family home “Alexandroffsky” in Baltimore, and their Newport, Rhode Island cottage, “Shamrock Cliff,” designed by Peabody & Sterns in 1895. Though Hutton had retired from service in Russia, he retained important Russian business connections and from 1891 to 1916 was an important investor and advisor to the government of Nicholas II on the Trans Siberian Railway. THE SILVER It is interesting to find an assembled service of this type. It is reasonable to assume, given the even number of marks for each maker, that either Solhman supplied the service which was retailed and marked by Sazikov, or that Mr. Hutton bought his first six place settings from the more famous retailer, and had the subsequent settings copied by the lesser-known maker. $4,000-6,000

9 A Russian silver five-piece tea and coffee service aleksei baranov & the 4th artel, moscow, before 1899 In the Rococo Revival taste and comprising a swinghandled cake basket and coffeepot with marks of Baranov, and a teapot, hinged covered sugar bowl and creamer by the 4th Artel, the bodies with chased scrolling foliate ornament separated by shaped panels, the interiors gilt-washed. (5). H: 8 1/2 in. Total weight: 103.29 oz. t. (approx.) $3,000-5,000

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10 Novejshee zemleopisanie Rossijskoj Imperii, Vtoroe izdanie, Chast’ vtoraya Ziablovskii, Evdokim Filippovich, Sankt Peterburg, 1818 8vo. Contemporary calf, red calf spine label; rubbed and worn, slight foxing to endpapers. Early and later ink ownerships to front matter; with 52 hand-colored plates, color in nearexcellent state of preservation, few tears expertly repaired. H: 8, W: 5 in. note: Evdokim Ziablovskii’s The Latest Regional Works of the Russian Empire was published in Saint Petersburg by I. Glazunov’s printing house in 1818. This Second volume of 365 pages, has 52 hand-colored plates detailing the regional coats of arms and uniforms of the Russian Empire. $1,500-2,500

11 La Chasse Grand-Ducale et Tsarienne en Russie; periode du Xe au XVIe siècle, Tome Ie st. petersbourg: expédition pour la confection des papiers d’etat, 1896 Grand Ducal and Royal Hunting in Russia, from the period of the 10th through 16th century Vol. I., of the French language edition, abundantly illustrated throughout with colored and plain illustrations in the text, some mounted, some hand-augmented and heightened with gold or silver, after Vasnetsov, Lebedev, Repin, Riabushkin, Roubaud, Samokish. Folio, moderately worn, joints and hinges intact with library stamps for California Western University Ryan Library, as well as Torgsin export mark. H: 14 1/2, W: 11 in. note: One of the most lavish books ever produced by the State typographical department, the four volume work on “Imperial Hunting” has been prized by collectors since it was released. The first volume is frequently cited as the rarest, and this edition, from the French version, was released in even smaller quantities. Beautifully illustrated within the text in black and white, sepia, and madder printing, the book also contains hand-augmented illustrations after Vasnetsov, Lebedev, Repin, Riabushkin, Roubaud, and Samokish. $4,000-6,000

12 An Imperial watercolor icon of the Derzhavnaya Mother of God grand duchess ksenia alexandrovna, circa 1920 The hand painted icon of the Derzhavnaya (“She Who Reigns”) Mother of God within a paper frame for presentation, bearing inscription in Russian: “To Ksenia from Amama [Grandmother]... presented (?) by her Amama in remembrance of her” and inscribed in English, “Windsor 1928” (now framed). H: 3 3/4 in. x W: 3 1/4 in. (icon) H: 16 3/4 in. x W: 13 3/4 in. (frame) provenance: H.I.H. Grand Duchess Xenia Alexandrovna of Russia (1875-1960) Princess Xenia Andreievna Romanoff (1919-2000) Thence by descent. Sold Christie’s NY April 9, 2014, Lot 57 note: The Derzhavnaya Mother of God is a holy image of the Virgin of a type which first appeared in Russia in the late 18th century, depicting the Virgin in red and holding the scepter and orb, symbols of royal authority. In 1917, on the same day as the abdication of Emperor Nicholas II (15 March/2 March O.S.) it was reported that in the village of Pererva in Moscow Province, a peasant woman called Evdokia Adrianova had a vision of the Mother of God and was instructed to travel to the village of Kolomenskoye, where she would find an old icon; the icon found was the “Derzhavnaya.” This icon was immediately interpreted by monarchists and emigres to indicate that on the Emperor’s abdication, the Virgin had taken possession of the Russian crown and would keep it until such time as the Romanov dynasty would be restored. The story spread quickly, and the icon became a potent symbol for monarchists and the Russian Orthodox faithful. It is interesting to note that only ten years after the ‘appearance’ of the icon, the Emperor’s own sister would be painting images of this formerly obscure image for other family members. This work, painted by Grand Duchess Ksenia was presented to her granddaughter Irina Andreievna Romanoff, the daughter of the Grand Duchess’ oldest son, H.H. Prince Andrei Alexandrovich of Russia. The icon retains its importance as a religious and political symbol in Russia today; in 2007, the icon was featured in a highly publicized procession of “reconciliation” between all Russians whose mutual histories were severed in the wake of 1917. sources: For more information about the Derzhavnaya icon, cf. Yazykova, Irina, Hidden and Triumphant: The Underground Struggle to Save Russian Iconography (Paraclete Press, 2010), p 47 and also Shevzov, Vera, Alter Icons: The Russian Icon and Modernity (The Pennsylvania State University Press: University Park, Pennsylvania, 2010), pps. 246-247. $4,000-6,000

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the dowager empress’ archive 13 A group of photographs of Russian Imperial Interest various photographers, various dates, circa 1900-1928 A collection of seventy-six photographs relating to the close family, residences, and possessions of the Dowager Empress of Russia, largely from within the period of exile (1919-1928). (76). H: 11 3/4, W: 9 1/2 in. (largest) provenance: H.I.M. the Dowager Empress Maria Feodorovna of Russia (d. 1928) Mlle. Caecilie Grünwald, personal maid to Her Majesty (d. 1951) Private Collection, Denmark Private Collection, USA $15,000-20,000

his extraordinary archive is offered here publicly for the first time, and contains more than 70 images, some well-known to the public, but most never before published. The collection is one of the most comprehensive to come to auction relating to the exile of the Dowager Empress Maria Feodorovna of Russia (18471928), and features selections of photographs divided into several main groups of interest to collectors; one, images of the Dowager Empress and friends in Russia, in Denmark, and in Great Britain; two, pictures of her close family including intimate family pictures of the families of her daughters the Grand Duchesses Xenia and Olga; three, images of the interiors of the many residences of the Dowager Empress in Russia and in exile; and four, detailed large format images of the interiors of “Hvidore”, the Danish house shared with her sister, Queen Alexandra of Great Britain, in which important individual works of fine and decorative art, including works by Fabergé, are visible and identifiable under magnification. By deduction, it is believed that this collection may have belonged to Mlle. Caecilie Grünwald, who was “kamermetkhen” or Chambermaid to the Dowager Empress. It is likely that she was a relative of Ludwig Leo Edward Grünwald, who was one of the Imperial gardeners. It is unclear when the Danish-born Grünwald entered the service of the Empress, but Mlle. Grünwald was with the Empress Maria Feodorovna at Gatchina, went with her when when she traveled to Kiev during the first World War, and followed her to the Crimea when the Russian Revolution broke out. On April 6, 1919, the British ship HMS Marlborough arrived at Yalta, and the ship took on the Dowager Empress Maria Feodorovna and other members of the Russian Imperial Family on the evening of the 7th. The Russian contingent aboard the Marlborough numbered some 80 people, including 44 members of the Imperial Family and the high aristocracy, together with their attendants and several hundred cases of luggage. Mlle. Grünwald is listed on the passenger manifest of the H.M.S. Marlborough, and remained in service to the Dowager Empress until the end of her life. Many of the photographs are inscribed in Danish, in the same clear hand, and in each, the formal titles of the Imperial Family are used, indicating that the pictures did not belong to Romanov family members themselves. Grünwald herself is identified in several pictures (the only imperial servant to be included in any of the images) which lends credence to the attribution of ownership by Grünwald. A full listing of photographs is available online. 11

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14 A Russian silver-gilt and cloisonné enamel desk set likely alexander vasiliev domnin, st. petersburg, before 1899 Comprising a pen and letter opener, the opener marked at blade and the pen marked at nib holder; sold together with original fitted leather case. (3). L: 7 in. (opener) $800-1,200

15 A set of twelve Russian silver-gilt and shaded cloisonné enamel spoons in original box maria semenova, moscow, 1908-1918 Comprising twelve spoons with floral backs enameled in shades of rose, cobalt, and green, with barley-twist handles and enamelled bud-form finials in original fitted case by the retailer I.E. Morozov of St. Petersburg. (12). L: 4 1/4 in. $2,000-3,000

16 A Fabergé silver-mounted cut lead-crystal inkwell marked k fabergé with imperial warrant, moscow, before 1899 The bulbous lid with acanthus-cast decoration above a leaf-tip cast hinged mount, the round body moulded and crisply wheel-cut with ribbon and diamond-cut sides. H: 6 in. $3,000-5,000

17 A Fabergé diamond-set tortoiseshell hair comb fabergé, workmaster eduard schramm, st. petersburg, circa 1900 The carved tortoiseshell comb mounted with finely chased scrolling gold foliate mounts set with rose-cut diamonds; struck with workmaster’s initials and 72 standard, sold together with a custom-fitted hollywood presentation box in the manner of Fabergé. W: 4 1/8 in. $3,500-4,500

18 A Fabergé gold and strawberry red enamel miniature egg with anchors marked with cyrillic “kf” to bale and to suspension ring, circa 1900 Of typical form, the strawberry red guilloché enamel egg surrounded by a rose gold cage mount in the form of two anchors. H: 5/8 in. (to top of bale) note: This design, and a myriad of variations on its theme, were acquired by members of the Imperial family with naval backgrounds. Grand Duke Vladimir and Grand Duke Kirill each gave their wives anchor-related gifts. Grand Duke Alexander Mikhailovich is known to have given his wife Grand Duchess Xenia a number of jeweled miniature egg pendants with naval motifs. A similar egg in gold-mounted purpurine is in the American trade, and a virtually identical egg in enamel by workmaster August Holmström was sold Sotheby’s, New York, April 16, 2013, lot 58. $6,000-9,000

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19 A Fabergé two-color gold gem-set case marked k. fabergé with imperial warrant, moscow, 1902 Rectangular with alternating reeded bands of pink and yellow gold, the thumbpiece set with a cabochon sapphire, with assaymaster’s mark of Ivan Lebedkin and additional scratched inventory number 23288. L: 3 in. Weight: 62 dwt. note: The hallmarks indicate that this piece was created between 1899-1908, but the specific inventory number indicates that this piece was produced by the Moscow silver and metal workshops in 1902. Freeman’s is grateful to Dr. Valentin Skurlov, St. Petersburg, for his assistance in the research of this case. $2,500-3,500

20 A Fabergé World War I copper bowl stamped k. fabergé to front, st. petersburg, circa 1914 Circular, the interior stamped with the lesser State Arms of the Russian Empire in old Russian style repoussé , and reading in cyrillic: “War 1914/ K. Fabergé.” Dia: 4 1/4 in. note: Fabergé reacted to the wartime austerity measures by making certain items out of lesser materials such as gunmetal, copper, and brass in commemoration of the war. This bowl, which commemorated the beginning of the war in 1914, was executed in silver, brass, and copper. Fabergé executed similar cigarette cases in brass and copper, and is known to have made pewter-lined copper cooking pots for the war effort. The Moscow workshops even produced shell-casings during the war. This type of object, stripped of all ornament, enamel, and precious stones marked the end of the era of Faberge’s luxury production, which was almost brought to a halt during the war. $2,500-3,500

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AND SOV POR fro IET m th CEL e od AIN e to joy c olle c lots tion 21-6 8

Freeman’s is honored to present a group of objects from the “Ode to Joy” (Ода к радости) Collection of Russian and Soviet Porcelain. This private selection is arguably known as the finest assemblage of Soviet porcelain outside of Russia. Many of the offered lots were catalogued as part of the landmark scholarly work, “Ode to Joy,” which remains one of the most important exhibition catalogues in the field, and which was compiled by several leading scholars, including Alexander Borovski, Dr. Karen Kettering, Elvira Sametskaia, Natalia Sipovskaia, and Olga Sosnina. Many of the offered lots have been exhibited at the State Pushkin Museum of Fine Arts, Moscow, the Tretyakov Gallery, Moscow, and the Hillwood Museum of Washington DC. Lots 21 to 68 show highlights of the development of Russian porcelain, featuring works by Natalia Danko, Sergei Chekhonin, Asta Brezhitskaya, Kazimir Ryzhov, and Dmitri Goch. The work of the Lomonosov State Porcelain Factory of Leningrad is well represented here, and several rare works from other factories are included. Peerless, personal, and above all, political, this exceptional collection is offered in Philadelphia for the first time.

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russian porcelain (1825-1917) lots 21-31 21 A Russian porcelain group “The Broken Jug” lomonosov porcelain factory, st. petersburg, late 20th century After the model by Stepan Pimenov (1784-1833) and apparently unmarked. H: 9 1/4 in. provenance: Ode to Joy Collection, Connecticut. literature: Oda k Radosti/Ode to Joy, p. 27, illus. 1, cat. no. 18. note: Stepan Pimenov (1784-1833) was born the son of a St. Petersburg customs official, but on discovering his talent, his parents sent him to the Academy of Arts at age 11 where he distinguished himself by exceptional ability. In 1801, he earned a silver medal for modelling from nature and the following year, received a gold medal for a bas-relief entitled “Jupiter and Mercury in the Guise of Wayfarers Visiting Philemon and Baucis.” Pimenov later worked on models for the Imperial Porcelain Factory, and his figures for the “Guriev Service” crafted with I. Komander, are among the greatest works of 19th century Russian porcelain. “Pimenov’s distinguishing features,” wrote his contemporaries, “are his powerful passionate composition and spirited, sweeping modelling”. The offered lot is an early post-Soviet effort of the Lomonosov Factory to revisit unabashedly pre-Revolutionary forms, and to reclaim their role as the successor to the Imperial Porcelain Manufactory. $1,000-1,500

literature: Oda k Radosti/Ode to Joy, pp. 28-29, illus. 2-3, cat nos. 47-48 note: An exceptional clock case with closely related decoration clearly marked for the period of Nicholas I (1825-1855) is illustrated in the exhibition catalogue “Tsvet nebesnyi, sinii tsvet...“ (“The Celestial Color: Cobalt Blue; Cobalt in the Imperial Porcelain and Lomonosov Porcelain Factories XVIII-XXI Centuries) the Hermitage, St. Petersburg, 2007, as fig 12, p. 38. Freeman’s is grateful to Dr. Karen Kettering for her assistance in research for this lot. $4,000-6,000

22 A Russian Imperial Porcelain inkstand and tray imperial porcelain manufactory, st. petersburg, period of nicholas i The inkstand allover decorated in gold and cobalt blue, fitted with lidded inkwells, a sand caster, and a candlestick, the tray stamped with blue Imperial cypher of Nicholas I, the inkstand apparently unmarked. L: 10 1/4 in. (length of tray) provenance: Ode to Joy Collection, Connecticut.

23 A Russian porcelain group “Paul, Virginie and The Dog Fidèle” popov manufactory, gorbunovo, 1830-1850 The figures modeled after the novel Paul et Virginie , with blue monogram factory mark. H: 6 1/2 in. provenance: Ode to Joy Collection, Connecticut. exhibited: Hillwood Museum, no. 13; Pushkin Museum, no. 1 literature: Oda k Radosti/Ode to Joy, p. 33, illus. 7, cat. no. 9 note: Paul et Virginie by Jacques-Henri Bernardin de Saint-Pierre, was first published in 1788. The novel’s title characters are friends since birth, raised as siblings, who fall in love. Written on the eve of the French Revolution, the novel is recognized as Bernardin’s finest work. The work was restored to popularity in the the 19th century when Gustave Flaubert’s Madame Bovary (1856) described Emma’s imagination: “She had read Paul et Virginie, and she had fantasized about the little bamboo cottage, the Negro Domingo, the dog Fidèle, but even more the sweet friendship of some good little brother who would go and gather ripe fruits for you from great trees taller than spires, or who would run barefoot in the sand, bringing you a bird’s nest.” $3,000-4,000 24 A Russian porcelain group “Little Girl with Basket Match Holder” popov manufactory, gorbunovo, circa 1855 With impressed monogram factory mark. H: 6 in. provenance: Ode to Joy Collection, Connecticut. literature: Oda k Radosti/Ode to Joy, p. 63, illus. 40, cat. no. 14 $1,800-2,400

25 A Russian porcelain group “Peasant Ceramicist Throwing a Pot” ikonnikov manufactory, elizavetino, 1865-1866 Exceptionally rare work of the factory, with stamped black factory mark. H: 5 3/4 in. provenance: Ode to Joy Collection, Connecticut. exhibited: Hillwood Museum, no. 4; Pushkin Museum, no. 17 literature: Oda k Radosti/Ode to Joy, p. 60, illus. 37, cat. no. 20 note: Ivan Alekseevich Ikonnikov was the head of a small porcelain manufactory which he rented in 1865 from V.N. Sipiagin. Ikonnikov’s works were known for the high quality of the porcelain paste, which allowed for the exceptional detail in the offered lot. $2,000-3,000

26 A Russian porcelain group “Sbiten Vendor” gardner manufactory, verbilki, 1870-1890 In the form of a Sbitenshchik or Sbiten Vendor, the base stamped in iron red and with impressed factory marks, impressed model number 146. H: 7 3/8 in. provenance: Ode to Joy Collection, Connecticut. exhibited: Pushkin Museum, no. 12 literature: Oda k Radosti/Ode to Joy, pp. 44-45, illus. 22, cat. no. 5 note: The Sbitenshchik or Sbiten Vendor was a common sight on the streets of prerevolutionary Russia. Sbiten is a warm drink made from honey, an ancient Russian beverage which lost its popularity to coffee and tea in the 18th and 19th century. The 1783 comic opera “The Sbiten Vendor” by Yakov Knyazhnin with a score by Antoine Bullant, was very popular in 18-19th centuries in Russia, and may have inspired the model. $1,500-2,000 27 A Russian porcelain group “Newly Arrived Peasants” gardner manufactory, verbilki, 1870-1890 Depicting two peasants after the illustration by Mikhail Bashilov (M. Pikkolo, pseud.) for A.P. Golitsynskii’s Street Types (Ulichnye tipy, Moscow, 1860), stamped iron red and with impressed factory marks, impressed I. H: 8 1/2 in. provenance: Ode to Joy Collection, Connecticut. exhibited: Hillwood Museum, no. 1; Pushkin Museum, no. 15 literature: Oda k Radosti/Ode to Joy, p. 44, illus. 21, cat. no. 6 note: Mikhail Sergeevich Bashilov (1821-1870) first became known through a group of twenty illustrations for A.P. Golitsynskii’s literary sketches. His representations of the Russian common man made Bashilov’s career, and he became known as one of the most prominent Russian illustrators of the 19th century. Many of these sketches served as models for the Gardner Factory. $1,800-2,400 28 A Russian porcelain group “Court of the Rural Constable” gardner manufactory, verbilki, 1860-1880 Model number 69 impressed twice. H: 5 5/8 in. provenance: Ode to Joy Collection, Connecticut. exhibited: Hillwood Museum, no. 12; Pushkin Museum, no. 16 literature: Oda k Radosti/Ode to Joy, p. 57, illus. 34, cat. no. 32 note: Sometimes known as ‘The Rent Collector’, this composition was modeled after the famous 1857 genre painting by Vasily Perov, ‘The Court of the Circuit Judge’, now in the collection of the Tretyakov Gallery, Moscow. $2,500-3,000

29 A Russian porcelain group “The Card Players from ‘Pikovaya Dama’ (The Queen of Spades)” first of may factory, leningrad, 1990s After the model by Nadezhda I. Isakova, Leningrad, marked ‘58’ to underside in red; and inscribed in Russian “The Card Players/ Sc[ulpted] by N. Isakova” in red overglaze. H: 6 1/2 in. provenance: Ode to Joy Collection, Connecticut. literature: Oda k Radosti/Ode to Joy, p. 351, illus. 276, cat. no. 200. $1,000-2,000

30 181773/6 A Soviet porcelain group “Jewish Woman With a Bundle” dmitrovsk manufactory, verbilki, circa 1930 After the famous design of 1875, faint traces of stamped blue factory mark, impressed number 1625. H: 8 1/4 in. provenance: Ode to Joy Collection, Connecticut. exhibited: Pushkin Museum, no. 7 literature: Oda k Radosti/Ode to Joy, p. 38, illus. 14, cat. no. 37 note: The original model of 1875 was popular among pre-Revolutionary collectors of Gardner, as was its mate, “Jewish Man with an Umbrella.” It is interesting to note that in the Soviet Period, the Dmitrovsk Manufactory issued recasts of this model. $1,000-1,500

31 A Russian porcelain group “Peasant Couple” m.s. kuznetsov manufactory, tver, 1889-1917 Impressed factory mark, model number 73 and B (Cyrillic). H: 8 1/2 in. provenance: Ode to Joy Collection, Connecticut. literature: Oda k Radosti/Ode to Joy, pp. 48-49, illus. 24, cat. no. 24 $800-1,200

early soviet faïence (1917-1930) lots 32-35

32 A Russian faïence plate “Dai Bozhe Schast’e” m.s. kuzntsov factory, budiansk, ukraine, 1894-1917 With folkloric floral patterns to rim and cavetto, the border text reading in Russian “God grant happiness”; marked ‘63’ stamped in blue overglaze to underside; ‘1’ above ‘18’ impressed in paste. Dia: 9 1/3 in. provenance: Ode to Joy Collection, Connecticut. literature: Oda k Radosti/Ode to Joy, p. 71, illus. 51, cat. no. 50 $2,000-3,000

33 An early Soviet faïence plate “Hammer and Sickle” konakovo faïence factory, tver, circa 1920 Designed by Isidor Grigor’evich Frikh-Khar, apparently unmarked. Dia: 12 in. provenance: Ode to Joy Collection, Connecticut. $1,500-2,000

34 A Soviet faïence biscuit plate “A Lesson in Ploughing” konakovo faïence factory, tver, 1930s Inscribed in Russian, Urok pakharya “A Lesson in Plowing” in relief at base of cavetto; marked to underside: ‘1 / 97’ impressed in paste. L: 14 1/4 in. provenance: Ode to Joy Collection, Connecticut. literature: Oda k Radosti/Ode to Joy, p. 156, illus. 92, cat. no. 127 $1,500-2,000

35 A Soviet faïence biscuit plate “Accordion Players” konakovo faïence factory, tver, circa 1930 Faïence, relief, overglaze painting, apparently unmarked. L: 13 in. provenance: Ode to Joy Collection, Connecticut. $1,500-2,500

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soviet porcelain (1918-1992) lots 36-68

36 A Soviet porcelain hot water pot “Blue Flowers” lomonosov state porcelain manufactory, leningrad, circa 1930 In the form ‘Narkompros’ after the 1923 service by Sergei Chekhonin, the painted design after ‘Sinie tsvety’ by Ivan Riznich, green factory mark. H: 5 1/2 in. provenance: Ode to Joy Collection, Connecticut. literature: Oda k Radosti/Ode to Joy, p. 108, illus. 67, cat. no. 84; see also Nosovich and Popova, pp. 427 and 667. $1,000-2,000

37 A Soviet porcelain cup and saucer “Horn of Plenty” lomonosov state porcelain factory, leningrad, 1937 After the design by Sergei Chekhonin of 1918, this cup and saucer dated 1937, marked to underside of cup ‘6/7’ in green and in Russian ‘G-E–34/27’ in grey overglaze, the underside of saucer marked ‘6/7’ in green. (2). H: 4 1/4 in. (cup) provenance: Ode to Joy Collection, Connecticut.

literature: Oda k Radosti/Ode to Joy, p. 107, illus. 66, cat. no. 83 note: Sergey Vasil’evich Chekhonin (1878-1936) was a Russian graphic artist, portrait miniaturist, ceramicist, and illustrator. Chekhonin belonged to the second generation of the World of Art or Mir Isskustvo, movement, and Chekhonin’s work is an important bridge during the transitional period from 1918-1928 in Russian porcelain. He was responsible for many important works of ‘agitprop’ porcelain, but his devotion to the communist cause was tenuous, and he fled the Soviet Union to France in 1928. $2,000-3,000

38 A Soviet porcelain group “The Spanish Dance” lomonosov state porcelain factory, leningrad, 1952 Depicting the Ballerina Sofia Fedorova in A.K. Glazunov’s ‘Raimonda,’ and after the original 1922 design by Natalia Danko, painted by Varvara Rukavishnikova, stamped blue factory mark and 1 sort in Cyrillic (pervyi sort), inscribed monogram VR (Cyrillic), dated 1952. H: 8 1/2 in. provenance: Ode to Joy Collection, Connecticut. literature: Oda k Radosti/Ode to Joy, p. 110, illus. 70, cat. no. 89; for comparison, see Nosovich and Popova, pp. 372-373.

note: Sofia Vasylievna Fedorova (1879-1963) was a dancer of the Imperial Bolshoi Ballet in Moscow. She graduated from the Bolshoi school in 1899 and joined the company, where she was most admired for her character parts. She worked with Diaghilev’s ballet from its foundation in 1909, performing major roles throughout the entire history of the Ballets Russes. After the revolution, she remained on the stage, and was so popular that sculptor Natalia Danko modeled this portrait figure. Federova fled the Soviet Union the same year the figurine was produced in 1922. It remained a popular model however, and, stripped of the identity of the defected dancer, was known as “Carmen” or “The Spanish Dance” and periodically recast during the Soviet period. Fedorova died abroad in France in 1963. Her obituary read, “She lived quietly between outbursts of consciousness and delirium.” $3,000-5,000

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39 A Soviet porcelain group “Leo Tolstoy Reading” lomonosov state porcelain manufactory, leningrad, circa 1925 Modeled after the 1918 design by Ilia Gintsburg first produced in porcelain at the factory in 1922 or 1923, with impressed factory mark. H: 6 7/8 in. provenance: Ode to Joy Collection, Connecticut. exhibited: Pushkin Museum, no. 74 literature: Oda k Radosti/Ode to Joy, p. 112-113, illus. 72, cat. no. 93; see also Nosovich and Popova, p. 626. $1,500-3,000

40 A Soviet porcelain inkwell “Pushkin At Work” lomonosov state porcelain manufactory, leningrad, 1936-1937 The lid modeled in the form of a book, the piece after a design by Natalia Danko, stamped dark green factory mark. L: 8 3/4 in. provenance: Ode to Joy Collection, Connecticut. exhibited: Hillwood Museum, no. 30; Pushkin Museum, no. 76

literature: Oda k Radosti/Ode to Joy, p. 117, illus. 75, cat. no. 94; see also Nosovich and Popova, pp. 528-529. note: In 1937, the one hundredth anniversary of the death of Alexander Pushkin, the Soviet government organized a series of events and celebrations of the famous poet which focused on his work and its contemporary relevance in the Soviet Union. Sculptor Natalia Danko created this model of the poet at work in his library, surrounded by foreign books and periodicals instantly recognizable to educated Soviets. $4,000-6,000

41 A Soviet porcelain vase “The Monument To Pushkin on Arts Square” lomonosov state porcelain factory, leningrad, 1958 The vase in the ‘Kitaiskaia’ [Chinese] form by Serafima Iakovleva, painted by Iu. Okhotin, stamped with blue factory mark, and inscribed in Russian ‘khud. Okhotina n‘ and dated 1958. H: 19 5/8 in. provenance: Ode to Joy Collection, Connecticut. note: The vase depicts the famous sculpture in Arts Square designed by sculptor Mikhail Konstantinovich Anikushin (1917-1997) who began work on this sculpture in 1937; it was finally erected in front of the State Russian Museum in June of 1957. In 1958, Anikushin received the Lenin Prize for this beloved Leningrad monument. $3,000-5,000

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42 A Soviet porcelain group “Border Guard” lomonosov state porcelain manufactory, leningrad, circa 1935 After the design by Konstantin Ryzhov, apparently unmarked. H: 9 1/4 in. provenance: Ode to Joy Collection, Connecticut. exhibited: Pushkin Museum, no. 38 literature: Oda k Radosti/Ode to Joy, p. 206, illus. 137, cat. no.119 note: For comparison, see also Nosovich and Popova, p. 611, Sametskaia, Sovetskii farfor 19201930kh godov v chastnykh sobraniiakh SanktPeterburga, St. Petersburg, 2005, pp. 190-191. For similar models sold, see Sotheby’s London Olympia, 21 November 2005, lot 371, Bonham’s London, 1 June 2006, lot 434, and Gelos Moscow, 22 December 2006, lot 372. $2,000-3,000

43 A Soviet porcelain group “On Guard: Boy Directing Border Guards to Spies” lomonosov state porcelain manufactory, leningrad, 1937 After the model by Natalia Yakovlevna Danko or Konstantin Stanislavovich Ryzhov, stamped with dark green factory and blue jubilee marks, numbered 34 in black overglaze. H: 8 3/4 in. provenance: Ode to Joy Collection, Connecticut. literature: Oda k Radosti/Ode to Joy, pp. 198-199, illus. 133, cat. no. 117 note: This figure from 1937 no doubt draws on the well-known story of Pavel Trofimovich Morozov (Russian, 1918–1932), better known by his diminutive “Pavlik.” Morozov was a model for Soviet youth and lauded by the Soviet press as a martyr. Apparently learining of counter-revolutionary activity by his parents, Morozov dutifully reported them to the authorities. In turn, he was murdered by his parents. The tale of Pavlik Morozov affected generations of children, encouraged by the Soviet authorities to inform on their parents. The offered lot shows a child turning in spies to the authorities -- a child who would have been well-versed in the tale of Pavlik Morozov. For similar versions of the model, see: Christie’s London, 27 April, 1990, lot 337; Sotheby’s London Olympia, 30 November 2000, lot 230; and Bonham’s London, 27 November 2006, lot 323. $3,000-6,000

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44 A Soviet porcelain inkstand “Bust of Lenin” lomonosov state porcelain manufactory, leningrad, 1924 After a design by Natalia Danko, the lid inscribed ‘Workers of the World, Unite’, stamped dark green factory mark. H: 6 in. provenance: Given to a Delegate of the Fifth Congress of the All-Russian Union of Chemical Workers by the Union’s Leningrad Regional Commission, 1 December 1924. Ode to Joy Collection, Connecticut. exhibited: Pushkin Museum, no. 155

literature: Oda k Radosti/Ode to Joy, p. 387, illus. 316, cat. no. 68; see also Nosovich and Popova, pp. 524-525 note: Danko and other employees of the State Porcelain Manufactory were members of the Chemical Workers Union. It is likely that Danko and her colleagues were also delegates to the conference to whose members these inkwells were presented. $2,500-3,000

45 A Soviet porcelain cabinet plate with portrait of Lenin proletariat ceramics manufactory, bronnitsy, mid 20th century After a 1929 design by Ivan Konkov first produced at the Dulevo Porcelain Factory, Dulevo, in the 1930’s, with stamped iron red factory mark, signed l.r. with Cyrillic initials K.Gr. Dia: 14 1/4 in. provenance: Ode to Joy Collection, Connecticut. exhibited: Hillwood Museum, no. 42 literature: Oda k Radosti/Ode to Joy, p. 389, illus, 318, cat. no. 158; see also L. Andreeva, ed., Soviet Ceramics. The Sandretti Collection of 20th Century Russian Art, Milan, 2004, cat. 84, p. 56. $1,500-2,000

46 A Soviet cabinet plate with portrait of Joseph Stalin dmitrovsk manufactory, verbilki, 1935 The plate with a sepia portrait of Joseph Stalin (Georgian, 18781953), with green stamped factory mark and with brown Cyrillic overglaze inscription in Russian ‘work of A.A. Chekulina April 1935’. Dia: 13 1/2 in. provenance: Ode to Joy Collection, Connecticut. exhibited: Hillwood Museum, no. 43; Pushkin Museum, nos. 164 and 165 literature: Oda k Radosti/Ode to Joy, p. 394-395, illus. 324, cat. no. 161 note: Aleksandra Alekseevna Chekulina (1906-1986) started at the Dmitrovsk factory in 1931 and continued until retiring in 1961. She was the designer of several important services dedicated to Soviet achievements in the 1930s. The catalogue for the 1939 exhibition “The Industry of Socialism” lists several portraits by Chekulina after sketches by the artist Shugaev. Cf. “Ode to Joy”, p.394. $1,500-2,000

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47 A Soviet porcelain vase “Portrait of Mikhail Gorky” ukraine, late 1950s Apparently unmarked, the vase decorated in red-orange with wheat and flower banded decoration the front centering a cartouche with an image of Gorky (1868-1936). H: 9 3/4 in. provenance: Ode to Joy Collection, Connecticut. literature: Oda k Radosti/Ode to Joy, p. 419, illus. 343 note: The image, by an unknown artist, is painted after the 1936 portrait of Gorky by Isaac Israilevich Brodsky (1884-1939). $2,000-3,000

48 An Important Soviet porcelain group “Monumental Composition In Honour of Stalin’s 70th Birthday” baranovskii manufactory, baranovka, 1949 After a design by Dmitrii Goch, with incised numbers 207 and 49, otherwise apparently unmarked. H: 32 in. provenance: Ode to Joy Collection, Connecticut. exhibited: Pushkin Museum, no. 170 literature: Oda k Radosti/Ode to Joy, p. 403, illus. 331, cat. no. 342 note: The cult of the leadership of Soviet Josef Stalin (18791953) came to its apex with the events and commissions surrounding the leader’s 70th birthday in 1949. Massive celebrations were planned as far away as Beijing, and monuments erected in Prague and other cities in the Soviet sphere of influence. The offered lot, created by the Baranovskii manufactory in Baranovka (Ukraine) followed this ‘monumental’ theme, depicting the ‘Great Leader’ supported by workers, peasants, and soldiers. The celebration was the last of these large scale honorific events, as Stalin died a year before his 75th birthday, and his cult began to be discouraged soon after his death. $5,000-7,000

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49 A Soviet porcelain group “Workman at the lathe” attributed to dulevo porcelain manufactory, dulevo, early 20th century Apparently unmarked. H: 6 1/4 in. provenance: Ode to Joy Collection, Connecticut. $1,500-2,500

50 A Soviet porcelain group “Civil War Hero Vasilii Chapaev on Horseback” lomonosovstate porcelain manufactory, leningrad, 1936-1945 Depicting the hero on horseback after the 1938 design by Kazimir Ryzhov, stamped with dark green factory mark. H: 9 7/8 in. provenance: Ode to Joy Collection, Connecticut. literature: See also E. Sametskaia, Sovetskii agitatsionnyi farfor, Moscow 2004, p.280, and also Nosovich and Popova, p.610, see also Oda k Radosti/Ode to Joy, p. 200-201 for an image of this figurine in production. note: Vasilii Ivanovich Chapaev (1887-1919) was born a peasant, and became a Soviet hero of the Civil War after assuming command of the 138th Infantry Division. As commander of the 25th Rifle Division, he apparently knew no defeat and died crossing the Ural River. His life became a 1934 film by the Vasilyev brothers and the subject of two books, Chapayev (1923) by Dmitri Furmanov and Chapayev and Void (1996) by Viktor Pelevin. $3,000-5,000

51 A Soviet porcelain group “A Gift From The Front” lomonosov state porcelain factory, leningrad, circa 1940s Possibly after a design by G.A. Sidorov, numbered 10. H: 8 in. provenance: Ode to Joy Collection, Connecticut. exhibited: Pushkin Museum, no. 54 literature: Oda k Radosti/Ode to Joy, p. 212, illus. 143, cat. no. 176 $2,000-3,000

52 A Soviet porcelain group “Guernica: Spanish Woman and Child” lomonosov state porcelain manufactory, leningrad, 1936 After a design by Kazimir Ryzhov, stamped dark green factory mark. H: 9 1/8 in. provenance: Ode to Joy Collection, Connecticut. note: This model is of critical political importance as it shows the support of the Soviet Union for the Republican cause during the Spanish Civil War. The republicans had a loose alliance with communists and falangists, and this figurine points to the USSR’s leanings in the foreign conflict, showing solidarity with their communist brothers in the west. This model first appeared in the 1938 album devoted to the Lomonosov Factory with an introduction by Elena Danko. However, it was originally produced in color; see Khudozhestvennyi farfor, Leningrad, 1938, n.p.; for comparison, see E. Sametskaia, Sovetskii agitatsionnyi farfor, Moscow, 2004, p. 279. $2,000-4,000

53 A Soviet porcelain group “Soldier-Liberator” lomonosov state porcelain factory, leningrad, 1957 Modeled after a design by Anatolii Kolodin. H: 13 in. provenance: Ode to Joy Collection, Connecticut. note: See Petrova 2006, p. 611. for comparison. $2,000-3,000

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54 A pair of Soviet porcelain pink-decorated jugs dmitrovsk porcelain factory, dmitrovsk, after 1939 Decorated with images of Vera Mukhina’s sculpture at VSKhV; the pair marked ‘24’ to underside. (2). H: 8 1/4 in. provenance: Ode to Joy Collection, Connecticut. literature: Oda k Radosti/Ode to Joy, p. 178-179, illus. 115, cat. no. 148 note: Vera Ignatyevna Mukhina (1889-1953) was one of the most prominent Soviet sculptors. Her well-known work, “Worker and Kolkhoz Woman”, was the centerpiece of the Soviet pavilion at the 1937 International Exhibition in Paris. It became iconic immediately, and the powerful image of the figures holding the hammer and a sickle, joining to form the symbol of the Soviet Union, and widely disseminated. $2,500-3,500

55 A Soviet porcelain ten-piece pink tea service with floral decoration dmitrovsk porcelain factory, dmitrovsk, 1940s Of shaped square form with concave corners, the pink ground set decorated with blue and gold flowers; marked ‘24’ to underside. (10). H: 5 1/2 in. (teapot) provenance: Ode to Joy Collection, Connecticut. literature: Oda k Radosti/Ode to Joy, p. 179, illus. 116, cat. no. 149 note: After the Revolution of 1917, the Gardner Porcelain Manufactory was known as the Dmitrovsk Porcelain Factory. $2,500-3,500

56 A Soviet porcelain group “Naval Cadets” lomonosov porcelain manufactory, leningrad, 1949 After the model by Sofiya Borisovna Velikhova (nee Basakova, 1904-1994) and painted by Elizaveta Nikolaevna Lupanova (1911-1973) depicting two “Nakhimovtsy” engaged in study; marked to underside ‘9’ in blue, ‘14’ in green, and ‘187’ in black overglaze, with partially obscured mark in dark blue. H: 7 1/2 in. provenance: Ode to Joy Collection, Connecticut. literature: Oda k Radosti/Ode to Joy, p. 279, illus. 212, cat. no. 173 $1,000-1,500

57 A Soviet porcelain group “Mazurka” dulevo porcelain factory, dulevo, 1950 After the model by Asta Davydovna Brezhzitskaia (1912-2004), and depicting a cadet and a young girl dancing, marked ‘34’ with ‘1C’ for first quality, and ‘1951’ in blue, Russian initial ‘L12’ in dark overglaze. H: 8 in. provenance: Ode to Joy Collection, Connecticut. literature: Oda k Radosti/Ode to Joy, p. 278, illus. 211, cat. no. 264. $1,000-1,500

58 A Soviet porcelain group “First pioneer scarf” gorodnitskiy porcelain factory, gorodnitsa, before 1957 Depicting a young girl showing her pioneer scarf to an admiring friend, the base with handwritten inscription in silver in Russian: ‘To Liubochka from Papa on your birthday, April 16, 1957 g.’; marked to underside with ‘17’ inscribed in paste. H: 7 in. provenance: Ode to Joy Collection, Connecticut. literature: Oda k Radosti/Ode to Joy, p. 268, illus. 201, cat. no. 287. $1,000-1,500

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59 A Soviet porcelain group “A Hot Day” dulevo porcelain factory, dulevo, circa 1955 After the model by by Asta Davidovna Brzhezhitskaia (1912-2004), apparently unmarked. H: 8 3/4 in. provenance: Ode to Joy Collection, Connecticut. literature: Oda k Radosti/Ode to Joy, p. 246-247, illus. 166, cat. no. 314 $1,500-2,000

60 A Soviet porcelain group “Sailor-Medallist playing a guitar” lomonosov state porcelain factory, leningrad, circa 1950s After the model by Galina Petrovna Yakimova, ‘72’ and ‘12’ incised in paste to underside, ‘115 11’ and ‘1C’ handwritten in pencil. H: 7 1/3 in. provenance: Bonhams London, 27 November 2006, lot 310. Ode to Joy Collection, Connecticut. literature: Oda k Radosti/Ode to Joy, p. 230, illus. 150, cat. no. 172 note: The term “medallist” refers to the medals of the Soviet honor, the “Order of Glory” which are worn by the sailor. For a similar model sold, see Bonhams London, 27 November 2006, lot 310 $1,500-2,000

61 A Soviet porcelain group “Sailor Playing an Accordion” “progress” group (lenartprogress), leningrad, 1950-1960 Inscription in Russian “Farewell to the Rocky Mountains” in gray overglaze around front of base; and “Northern Fleet” in Russian in gilt lettering on sailor’s cap; marked to underside: ‘71’ in red; ’18’ in black overglaze; and ‘9’ impressed in paste. H: 9 3/4 in. provenance: Ode to Joy Collection, Connecticut. literature: Oda k Radosti/Ode to Joy, p. 231, illus. 152. cat. no. 174 $1,500-2,000

62 A Soviet faience group “Boy with Snowball” konakovo faience factory, tver, 1959 After the 1954 model designed by Maria Petrovna Kholodnaia (1903-1989), depicting a young boy about to throw a snowball, the underside marked ‘59’ with the date ‘1959’ in green, ‘76’ stamped in green, ‘70’ incised in clay, ‘1 sort’ (first quality) stamped in clay on support bar. H: 10 1/2 in. provenance: Ode to Joy Collection, Connecticut. literature: Oda k Radosti/Ode to Joy, p. 271, illus. 205, cat. no. 296 $800-1,200

63 A Soviet faience group “Friend to Birds” konakovo faience factory, tver, 1955 After the model by Maria Petrovna Kholodnaia (1903-1989) designed 1954, and depicting two young boys holding birdcages, marked to underside ‘59’ with the date 1955 in green, ‘3’ and ‘1’ incised in clay, ‘3 sort’ or ‘third quality’ stamped in green. H: 14 in. provenance: Ode to Joy Collection, Connecticut. literature: Oda k Radosti/Ode to Joy, p. 272, illus. 206, cat. no. 297 $1,200-1,800

64 A Soviet faience group “Little Girl With A Kitten” konakovo faience factory, tver, after 1955 After the model by Maria Petrovna Kholodnaia and marked to underside: ‘12’ stamped in paste; ‘8’ incised in paste; factory mark in Russian ‘ZIK’ partially incised within a circle. H: 8 3/4 in. provenance: Ode to Joy Collection, Connecticut. literature: Oda k Radosti/Ode to Joy Collection cat. no. 298. $1,000-1,500

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65 A Soviet porcelain vase with winter landscape lomonosov state porcelain manufactory, leningrad, 1940 Decorated with winter scenes and signed ‘Vs[evolod?]. Bystrov’ (Cyrillic), Numbered N33, dated 1940. H: 6 7/8 in. provenance: Ode to Joy Collection, Connecticut. literature: Oda k Radosti/Ode to Joy, p. 288, illlus 224, cat. no. 337 note: Though executed at the height of pre-WWII porcelain production, the style of this vase harkens back to similar works produced in the Art Nouveau style during the reign of Nicholas II. $2,000-3,000

66 A Soviet porcelain cup and saucer “Anemones” lomonosov state porcelain factory, leningrad, 1950 By Lidia Ivanovna Lebedinskaia (1908-1983) and marked to underside ‘9’ in blue; and inscribed in Russian ‘Decorative anemones Art.[ist] L. Lebedinskaia. October 1950’ handwritten in black overglaze. (2). H: 5 1/4 in. provenance: Ode to Joy Collection, Connecticut. literature: Oda k Radosti/Ode to Joy, p. 253, illus. 176, cat. no. 356 $1,500-2,000

67 A Soviet porcelain cabinet plate “The Progress of Spring” lomonosov state porcelain factory, leningrad, 1967 A porcelain plate by Vorobevskii, designed 1967. Dia: 8 3/4 in. provenance: Ode to Joy Collection, Connecticut. literature: Oda k Radosti/Ode to Joy, p. 254, illus. 177, cat. no. 377. See also Lansere 1980, p. 73; Petrova 2006, p. 377. $2,000-3,000

68 A Soviet porcelain decorative teapot “Dahlias” dulevo factory, likino-dulevo, 1970-1990 After a painted design by Vladimir Iasnetsov, stamped green factory mark and 2C in Cyrillic (vtoroi sort), numbered 1757. H: 13 in. provenance: Ode to Joy Collection, Connecticut. literature: Oda k Radosti/Ode to Joy, p. 255, illus. 178, cat. no. 358; on this design and others by Iasnetsov, see also L. Andreeva, ‘Vladimir Iasnetsov i russkii farfor dvukh poslednei desiatiletii‘, Sovetskoe dekorativnoe iskusstvo 5, 1982, pp. 175-182 note: This beautiful and exuberant work is among the last of the Soviet period productions by the Dulevo Porcelain Factory before the establishment of the Russian Federation in 1991. $300-500

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various owners lots 69-140

69 A Soviet porcelain group “Ruslan and Ludmila” likely by the dulevo factory, likino-dulevo, circa 1950 Apparently unmarked, possibly after the model by Asta Davydovna Brezhezitskaia (Russian, 1912-2004) designed in the 1950’s, Ludmila depicted wearing a kokoshnik. H: 14 3/4 in. provenance: Private collection, Maryland note: A variant or possibly trial for the current model which remains in production at Dulevo today, but without the kokoshnik. $1,200-1,600

70 A Continental rose-cut diamond-set two color 20-karat gold etui possibly swiss, circa 1800 Maker’s marks indistinct, struck inside lid and on base, the whole decorated with strapwork and garlands en deux couleurs, each side centering cartouches with allegorical scenes, the thumbpiece set with a rose-cut diamond. H: 5 1/2 in. Weight: 46 dwt. $3,000-5,000 71 A Louis XVI style 18-karat rose gold engine turned oval snuffbox indistinct maker’s mark f.o., marked 18k, 19th century Oval the engine-turned ground banded with acanthus-chased borders, marked inside lid. L: 2 7/8 in. Weight: 43 dwt. $1,800-2,800

72 A Victorian engraved 18-karat gold snuffbox with a bulldog head mount maker unknown, likely english, circa 1850 Apparently unmarked, rectangular and allover engraved with scrolling foliate motifs, the lid centered a bulldog masque with ruby eyes and a diamond set in the mouth. L: 2 3/4 in. Weight: 36 dwt. $1,800-2,200

73 A Continental archaeological style 14-karat gold bonbonniere indistinct mark “v,” possibly italian, circa 1880 Circular and with hinged lid decorated in the Scythian manner with beading and fine rope twist concentric circles, the sides and bottom plain, struck inside lid. Dia: 1 5/8 in. Weight: 36.5 dwt. $800-1,200

74 A Victorian golden onyx-mounted engraved 14-karat gold vesta case with strike likely american, apparantly unmarked, circa 1870 Of etui form, allover engraved with floral rocailles, the front centering a Louis XVI style basket of flowers, the lid set with golden onyx. H: 2 1/4 in. Weight: 16.5 dwt. $800-1,200

75 An American 14-karat rose gold lady’s card case marked 14k, circa 1900 Rectangular and engraved with scrolling foliate motifs. L: 2 1/4 in. Weight: 19.5 dwt. $800-1,200

76 A 14-karat gold pillbox with a Napoleonic medallion maker unknown, marked 14k, circa 1880 Rectangular, the hinged lid applied with a medallion of Napoleon, apparently unmarked, struck under lid “14k.” L: 1 3/4 in. Weight: 16 dwt. $600-800

77 A champlevé enameled 18-karat gold oval pillbox likely swiss, apparently unmarked, circa 1880 Oval, one side with enamel birds and florentine script monogram ‘NAG’ (?) the verso with gothic strapwork monogram ‘HWK’ in cobalt blue. L: 2 1/4 in. Weight: 37 1/2 dwt. $1,800-2,200

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78 A Tiffany & Co. 14-karat gold armorial stamp box marked tiffany & co., circa 1920 Canted rectangular, engine turned, and centering a coat of arms with the motto ‘J’arriverai’, stamped Tiffany & Co. and with scratched inventory number 3874 on flange. L: 2 1/4 in. Weight: 19.5 dwt. $800-1,200

79 An Art Deco lady’s gem-set gold and enamel cigarette case apparently unmarked, possibly french, circa 1930 Of shaped rectangular form, the engineturned ground relieved with bands of black and Greek-fret champlevé enamel, set with a cabochon thumbpiece. L: 3 1/2 in. Weight: 53 dwt. $800-1,200

80 An Art Deco 14-karat gold enameled miniature vanity case circa 1930 Rectangular, with engine-turned reeded exterior, the hinged lid set with an oval mount enameled G with leaves in cobalt, opening to reveal a mirror, powder case, and lipstick slide, marked 14k to interior, and ‘...6 722’ to interior of lipstick case. L: 2 1/4 in. Weight: 56.1 dwt. $800-1,200

81 An American Art Deco 14-karat gold case marked 14k, circa 1930 Rectangular and reeded, the hinged lid centering a cartouche (unengraved). L: 2 in. (approx.) Weight: 31.15 dwt. $1,200-1,800

82 An Art Deco 14-karat two-color gold engine-turned cigarette case likely american, marked 14k, circa 1930 Rectangular and reeded with alternating bands of yellow and white gold. L: 4 in. Weight: 92 dwt. $4,000-6,000

83 An Art Deco 14-karat gold cigarette case likely american, marked 14k, circa 1930 Reeded rectangular and monogrammed ‘MR’ in rondel upper left. L: 4 1/4 in. Weight: 82.5 dwt. $2,500-3,500

84 A cabochon sapphire-mounted black and white enameled 14-karat gold vanity case likely french, circa 1940 Shaped rectangular, with reeded surface relieved with black and white champlevé enamel, apparently unmarked. L: 3 1/4 in. Weight: 57 dwt. $800-1,200

85 An American Art Deco enameled 14-karat gold card case apparently unmarked, circa 1940 Rectangular reeded, with broad blueenameled band and champlevé enamel borders. L: 2 7/8 in. Weight: 73.5 dwt. $800-1,200

86 An American Arts & Crafts 14-karat twocolor hammered gold case marked 14k, 20th century Rectangular and with hammered yellow and white gold alternating stripes, Monogrammed “LDR.” L: 2 1/4 in. Weight: 109.2 dwt. $2,500-3,500

87 An Art Deco calibre-cut sapphire set engine-turned 14-karat gold cigarette case unknown maker h.k, french guarantee marks, circa 1930 Canted rectangular, and engine-turned with laurel-chased borders, marked to both sides. L: 3 1/4 in. Weight: 86.4 dwt. $2,000-3,000

88 An Art Deco 14-karat gold lady’s card case mounted with a stork likely american, circa 1920 Rectangular and reeded, the cover applied with a small panel depicting a gold stork in silver waters. L: 2 1/4 in. Weight: 23 dwt. $1,000-1,500

89 A Chinese 22-karat gold filigree beetle box apparently unmarked, Qing Dynasty, circa 1900 Rectangular and with elaborate filigree work, the hinged lid with lotus and leaf motifs. L: 1 1/2 in. Weight: 12.75 dwt. $800-1,200

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90 An Austrian silver-gilt guilloché enamel pillbox georg adam scheid, vienna, after 1872 The rounded rectangular pillbox with green laurel quatrefoil enamel over gold leaf points above an ivory guilloché ground, the banded sides similarly decorated; struck inside lid with maker’s mark “G.A.S.” (Georg Adam Scheid) the hexagonal lozenge mark with Diana head and a “2” and an “A” (Austrian silver mark for 900/1000 purity silver plus assay for Vienna after 1872). W: 1 1/2, D: 1 1/2 in. note: Georg Adam Scheid (1837-1921) was born in Schönau Baden, Württemberg on July 28, 1837. He started his apprenticeship in 1853 and operated afterwards in Pforzheim and in Stuttgart. In 1858 he arrived in Vienna and entered the workshop of the gold, silver goods producer, and jeweler Michael Markowitsch. He married one of Markowitsch’s daughters and in 1862 the company was renamed Markowitsch & Scheid and adopted the mark M & S. It was located in Sandwirtgaße 8, and then in Gumpendorfer Straße 83. $300-500

91 An Austrian silver-mounted hippo tusk cigar cutter georg adam scheid, vienna, circa 1900 Naturalistically modeled and cast in the form of a boar with cabochon gem-set eyes, the snout mounted with a sprung cutting mechanism with release button below jaw, apparently unmarked. L: 11 in. (snout to point of tusk) note: An identical stag-form model was offered at Sotheby’s, London, April 28, 2016, lot 250. $600-800

92 An Austrian silver two-handled serving tray mark possibly for franz rumwolf, vienna, 1872-1922 Of typical form with the handles and edges gadrooned, wooden based joined to bottom of tray. L: 23, W: 15 1/2 in. $800-1,200

93 A pair of Austrian silver-mounted cut-glass claret jugs franz rumwolf, vienna, circa 1900 The silver mounts in the Jugendstil style and each stamped at the flange and collar with maker’s mark and .800 Vienna assay mark, the base of each glass jug cut with starburst pattern. (2). H: 13 in. $1,500-2,500

94 A German silver-gilt repoussé covered and footed beaker sigmund bierfreund, nuremberg, circa 1665 Cylindrical on three ball feet, the body chased and repoussé with festoons of fruit and flowers, the cover chased and repoussé with similar decoration, and surmounted by a bear and hound finial, marked on body and cover. H: 7 in. Weight: 9.44 oz. t. $2,000-3,000

95 A German silver gilt repoussé covered cup with female finial bemberg, late 17th century The covered cup with lobed repoussé and engraved foliate decoration, the lid with a finial in the form of a classically draped female figure, the stem with pierced scrolling foliate supports above a lobed base. H: 13 1/2 in. Total weight: 19.5 oz. t. $800-1,200

96 A central European silver-gilt repoussé beaker vase decorated with animals marks illegible, likely late 17th/early 18th century Of typical form, allover repoussé decorated with animals within a strapwork border with foliate motifs, signed illegibly to underside. H: 8 1/4 in. Total weight: 11.53 oz. t. $1,200-1,500

97 A silver-gilt tankard on three ball feet possibly german or polish, engraved 1716 Of regular form, the engraved lid centering a cartouche “NOP AEF 1716” and with original double-pommel thumbpiece, the tankard above three fruiting pomegranate ball-feet. H: 7 in. Total weight: 31.86 oz. t. provenance: Private Collection, Pennsylvania. $1,500-3,000

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98 A German silver beaker cornelius poppe, augsburg, first quarter 18th century Overall chased and embossed with flowers and foliate arabesques, monogrammed at rim. H: 4 in. Weight: 7 oz. t. provenance: Private collection, Pennsylvania. $1,200-1,800

99 A German parcel-gilt silver covered cup unknown maker hl, nuremberg, 18th century The ball and vine-form finial atop a round step-modelled cover, above a round banded cup on three ball feet; struck HL to cover and to base, base marked “N” for Nuremberg. H: 5 1/2 in. Weight: 5 oz. t. (approx.) $1,000-1,500

100 A Polish parcel-gilt silver beaker maker’s mark is, probably breslau, first quarter 18th century With parcel-gilt rim and shellwork base, the body chased with strapwork and foliage. H: 3 3/4 in. Weight: 3.2 oz. t. provenance: Private collection, Pennsylvania. $500-700

102 A pair of Continental silver Renaissance Revival lobed bowls likely german, bearing spurious marks, likely 19th century The bases cast with Renaissance coins, the sides lobed with repoussé fruit and foliate motifs. (2). H: 1 3/4, Dia: 3 in. Total weight: 6 oz. t. (approx.) $400-600

101 A pair of Polish silver beakers maker’s mark dw, breslau, first quarter 18th century Each chased with acanthus decoration. (2). H: 3 3/4 in. Weight: 11.8 oz. t. provenance: Private collection, Pennsylvania. $800-1,200

103 An associated pair of Continental silver Empire wine coasters one with indistinct french marks, 1809-1819 Both with beaded and leaftip-cast rim, the pierced sides with recumbent Sphinxes and foliate designs after Percier et Fontaine, the other of the same model and stamped to underside with early 19th century city mark of Munich, and the makers marks of Louis Wollenweber (apprenticed 1819). (2). Dia: 5 1/4 in. (larger); Total weight: 18.43 oz. t. $1,000-1,500

104 An Italian silver Neo-classical style fourpiece tea and coffee service indistinct makers mark possibly rc, mid 20th century Comprising a coffee pot, teapot, covered sugar and creamer. (4). H: 10 in. (coffee pot); Total weight: 74.28 oz. t. $1,200-1,500

105 A French sterling silver six-piece flatware service for twenty-four christofle, paris, 20th century In the ‘Aria’ pattern, comprising 34 teaspoons; 28 oyster forks; 24 each dinner knives and salad forks; 23 dinner forks; 22 table spoons; eleven butter knives; two each serving spoons, slotted serving spoons, and meat forks; and one each sauce ladle, cheese knife and cake slice. (approx. 175). Total weight: 264.66 oz. t. (excl. knives) $5,000-7,000

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106 A Scandinavian silver armorial centerpiece bowl unknown maker cp*, 18th century Of oval form with two handles and conforming pedestal foot, allover repoussé decorated with tulips and scrolling foliate motifs, one side centering unknown continental arms with the inscription “I * H to E * H,” the other with the monogram and later inscription “W/ J*C/ 1916-1917/ April 29th.” H: 5, L: 14 3/4 in. Weight: 29.1 oz. t. $500-700

107 A Chinese export silver rectangular two handled tea tray with chinese character marks to underside, early 20th century Monogrammed “ICN” to center, the verso inscribed: “Irene Noa, Peking, 1928.” L: 22 3/4, W: 16 in. Weight: 62 oz. t. (approx.) provenance: Purchased from Moving & Storage Co., Irving Street, 1980s. The Carmichael/Pelsinger Collection. $1,000-1,500

108 A Mexican sterling silver sevenpiece tea and coffee service otaduy, 20th century Comprising a teapot, coffeepot, pitcher, creamer, sugar, waste bowl, and tray. (7). H: 9 in. (pitcher); Total weight: 264.66 oz. t. $3,000-5,000

109 An American sterling silver five-piece tea and coffee service reed & barton, taunton, ma, 20th century In the ‘Hampton Court’ pattern, comprising a teapot, coffeepot, creamer, covered sugar bowl, and wastebowl. (5). H: 9 in. (coffee pot); Total weight: 80.02 oz. t. $1,500-2,500

110 An American sterling silver seven-piece flatware service for twelve reed & barton, taunton, ma, 20th century In the ‘Francis I’ pattern, comprising twelve each dinner knives, dinner forks, salad forks, butter knives, tablespoons, and demitasse spoons; twenty-four teaspoons; three serving spoons; a serving fork; a carving knife and fork; a ladle; a cracker spoon; and a melon spoon. (approx. 105). L: 13 in. Total weight: 117 oz. t. (excl. knives) provenance: The Estate of John Rufus Rhamstine, Larchmount, New York. $2,000-3,000

111 An assembled American sterling silver four-piece flatware service for eighteen reed & barton, taunton, ma, 20th century In the ‘Francis I’ pattern, comprising thirty teaspoons; eighteen each dinner knives, dinner forks, salad forks, and cream soup spoons; eleven cocktail forks; ten butter knives; two serving spoons; a pair of salad servers; and one each fish server, ladle, and small cracker spoon; some monogrammed “D.” (approx. 130). L: 9 in. (dinner knives); Total weight: 155.91 oz. t. (excl. knives) $2,500-3,500

112 An American sterling silver Art Nouveau three-handled vase reed & barton, taunton, ma, circa 1890 The three-handled vase cast and chased with representations of poppies on handles, body, and base, the sides with three blank cartouches. H: 17 3/4 in. Total weight: 113.74 oz. t. $4,000-6,000

113 An American sterling silver eight-piece flatware service for eighteen towle silversmiths, newburyport, ma, 20th century In the ‘King Richard pattern’ patented in 1932, comprising 32 teaspoons; 30 salad forks; eighteen each butter knives, cream soup spoons, luncheon forks, luncheon knives, and iced teaspoons; twelve seafood forks; four serving spoons; and one each serving fork, sauce ladle, tomato server, and cake slice. (approx. 172). L: 10 1/2 in. (cake knife); Total weight: 241.4 oz. t. (approx.) $2,000-3,000

114 An American sterling silver handhammered five-piece tea and coffee service whiting mfg. co., north attleboro, ma, circa 1900 Comprising a coffeepot, teapot, covered sugar, creamer and wastebowl, all monogrammed “AEF”. (5). H: 7 3/4 in. (tallest); Total weight: 74.3 oz. t. (approx.) $1,200-1,800

115 An American sterling silver six-piece tea and coffee service whiting mfg. co., north attleboro, ma, circa 1890 With allover repoussé decoration in the Persian style, comprising a coffeepot, two teapots, covered sugar, creamer, and kettle on stand. (6). H: 12 1/2 in. (tallest); Total weight: 150 oz. t. (approx.) $3,000-5,000

116 An American sterling silver twohandled serving tray gorham mfg. co., providence, ri, 20th century Centered by a monogram “G.” L: 24 1/2, W: 18 in. Weight: 112 oz. t. $1,500-2,500

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117 An extensive American sterling silver fifteen-piece flatware service for twelve gorham mfg. co., providence ri, 20th century In the old â&#x20AC;&#x2DC;Baronialâ&#x20AC;&#x2122; pattern, comprising 24 teaspoons; twelve each bouillon spoons, citrus spoons with gilt bowls, iced tea spoons, ice cream spoons with gilt bowls, coffee spoons with gilt bowls, dinner forks, luncheon forks, fish forks, pastry forks, seafood forks, terrapin forks, dinner knives, luncheon knives, fish knives with silver blades, and butter knives; three each serving trowels and table spoons; two sets of carving knives and forks; two each meat forks, serving spoons, serving forks, sauce ladles with gilt bowls; a pair of sugar tongs; and one each sharpening steel, crumber, cheese scoop, jam spoon with gilt bowl, master butter knife, sardine fork, and olive fork; sold together with original custom fitted box. (approx. 230). Weighable silver: 227.3 oz. t. (approx). $4,000-6,000

118 An American sterling silver two-handled tray tiffany & co., new york, 1907-1947 Of rounded rectangular form, the border with engraved geometric segments. L: 26 1/2 in. Weight: 168.23 oz. t. $2,500-3,500

119 Twelve American sterling silver service dishes tiffany & co., new york, 1907-1947 Shaped with molded edge, the underside stamped with model number “17807” and maker’s mark “23038.” (12). Dia: 10 1/2 in. Total weight: 189.6 oz. t. $3,000-5,000

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120 An extensive American sterling silver twenty-three flatware service for eighteen tiffany & co., new york, circa 1900 In the ‘Renaissance’ pattern, comprising, eighteen dinner knives, luncheon knives, fish knives, butter knives, fruit knives, steak knives, dinner forks, luncheon forks, ice cream forks, fish forks, salad forks, oyster forks, fruit forks, strawberry forks, teaspoons, tablespoons, iced-tea spoons, demitasse spoons, bouillon spoons, cream soup spoons, dessert spoons, and egg spoons; seventeen grapefruit spoons; a two piece salad server; and one large ladle; sold together with original custom fitted box. (approx. 416). Weighable silver: 500 oz. t. (excl. stainless, approx.) literature: See, Hood, William (et. al.), Tiffany Silver Flatware 1845-1905, Antique Collectors’ Club, New York: 2003, pp.252-253.

note: “Renaissance” was the last and possibly the most ornate of all the patterns designed by Paulding Farnham (American, 1859-1927) for Tiffany & Co. According to William P. Hood, Farnham had designed an extraordinarily successful Renaissance style centerpiece which had been exhibited to great acclaim at the Exposition Universelle of 1900 in Paris. That centerpiece, with its herms based on Italian Renaissance models likely served as an inspiration for this important flatware service. The pattern has five different individual motifs which are repeated throughout the wide variety of implements in this opulent service. “Renaissance” style hollow ware was also offered, allowing a wide range of objects to be available to Gilded Age silver buyers. Hood also notes that this is one of the rarer Tiffany patterns to come to market. Few large services in this pattern were ordered due to its great expense (it required hours of handchasing and finishing for every piece), and impressive and complete services such as the offered lot are rarely available. $30,000-50,000

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121 A pair of George II Brittania silver armorial candlesticks likely ebenezer coker, london, no visible datemark The cast baluster-form pillars on square shells, each marked to candle nozzles (bobeches missing), one with Brittania mark, the other with Brittania mark and indistinct mark “EC,” the bases engraved with unknown arms; weighted. (2). H: 9 in. $700-900

122 A George II sterling silver footed tray likely robert rew, london, 1755 Of shaped moulded form with shells and foliate decoration to rim, the face centering arms possibly those of Seagrave. Dia: 18 in. Weight: 72.44 oz. t. $1,500-2,500

123 A George II sterling silver pierced swing-handled basket possibly edward aldridge ii, london, 1759 Of shaped oval form, marked on rim, the sides with beaded whorldivided lattice-pierced sections in three diaper patterns, the center engraved with unknown arms on a field of ermine, the dexter chief quadrant sable a lion rampant, the underside engraved ‘Martha Deere Ob. 17 May 1794 Al. 73’ and with scratched inventory number ‘2513’ and the weight ‘oz./26 dwt/13’. L: 14 in. Total weight: 26.29 oz. t. note: Edward Aldrige II is known to have been working in silver with an unregistered hallmark, and his mark E*A is also recorded in 1760. $2,000-3,000

124 A George III sterling silver footed salver thomas hannan & john crouch, london, 1766-67 The center chased with floral and foliate rocailles, marked to underside. Dia: 8 in. Weight: 9.74 oz. t. $400-600

125 A pair of George III sterling silver candlesticks jonathan alleine, london, 1766 The gadrooned bobeche and candleholder above a tapering octagonal shaft, above a modeled and gadrooned base above a square foot with gadrooned molding, the sticks struck to one bobeche, each candleholder, and to bases, each candleholder engraved with a pair of indistinct crests. (2). H: 10 1/4 in. Total weight: 40 oz. t. $3,000-5,000

126 A George III sterling silver small footed salver richard riggs, london, 1773 Of shaped form with garlands and rosettes to rim, centering unidentified ribbon-tied arms, on claw and ball feet, marked to underside. Dia: 8 in. Total weight: 12.93 oz. t. $800-1,200

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127 A George III sterling silver swing-handled cake basket burrage davenport, london, 1780 The reticulated basket decorated with swags descending from ram and lion masques and draped over medallions depicting classical figures; the center engraved with a crest depicting a rooster and three stars possibly for the Heath Family of Middlesex; marked to rim at base of handles and with inscription to underside. H: 4 1/2, W: 15 1/4, D: 11 1/2 in. Weight: 47.6 oz. t. $1,500-2,500

128 A George III sterling silver footed tray david smith & robert sharp, london, 1786-87 Marked to underside. Dia: 12 1/2 in. Weight: 29.6 oz. t. $800-1,200

129 A George III sterling silver two-handled tray unknown maker hs, london, 1802 Of octagonal form, the surface engraved with acanthus leaf decoration and an interior cartouche. L: 21 1/2 in. Total weight: 58.46 oz. t. $1,000-1,500

130 A fine George III sterling silver epergne thomas pitts, london, 1787 With central oval bowl engraved with the coat of arms of Jones-Parry with looped handles above a draped urn support, the frame with pierced scrolling foliate and rosette decoration, supporting six leaf-decorated branches each individually marked and numbered, supporting four circular and two navette shaped baskets with pierced and chased decoration, the circular bowls with engraved stag crest, the whole raised on four paw feet with festoons between, struck to bowl, baskets, arms and base. H: 16, W: 24 1/2 in. Weight: 98.63 oz. t. provenance: Eric Shrubsole, Ltd., New York, December 7, 1976. The collection of Mrs. E.I. duPont. Private collection, South Carolina.

note: Thomas Pitts was apprenticed to Charles Hatfield on December 6, 1737, and subsequently released to the service of David Willaume (II) in February of 1742. He is recorded as a free master by January 16, 1744. He appears as plateworker in Air Street, St. James’s in the Parliamentary Report list of 1773. Heal records him as working silversmith and chaser, Golden Cup, 20 Air Street, Piccadilly, 176793. The ‘Workmen’s Ledgers’ of Parker and Wakelin (Garrard MSS., Victoria & Albert Museum) contain many pages of accounts from Pitts for epergnes from 1766, This evidence of his mastery of epergnes and centerpieces shows that he was considered one of the top sources for material such as this in Georgian London. The epergne was likely engraved in the early 19th century with the arms of Thomas Jones, who acquired an estate at Madryn Park, Wales, from his cousin Margaret Parry in 1807, taking Parry as an additional surname. The Parry arms are seen inescutcheon. His son, LieutenantGeneral Sir Love Parry Jones-Parry (1781-1853) was a British army officer, politician and later High Sheriff of Anglesey, and his grandson was Sir Thomas Duncombe Love Jones-Parry, 1st Baronet (1832-1891). Freeman’s is grateful for the assistance of Mr. Richard Lichten of the International Heraldry Society for his assistance in researching the arms present on this lot. $8,000-10,000

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131 A pair of George III sterling silver candlesticks john roberts & co., sheffield, 1802 The gadrooned bobeches and candleholders above an entrelac frieze raised on columnar shaft above a gadrooned knop and circular conforming base; marked on bobeches and bases to each; weighted. (2). H: 13 1/4 in. $1,500-2,500

132 A George III sterling silver tureen and cover henry nutting, london, 1805 The circular gadrooned tureen surmounted by a lid with lion finial, the sides mounted with lion masques suspending ring handles, above a conforming circular base, marked to rim of lid and base. H: 13 in. Total weight: 100 oz. t. (approx) $2,000-3,000

133 A pair of George III sterling silver repoussé ginger jars samuel hennell, london, 1811 Each marked to underside. (2). H: 8 3/4 in. Total weight: 23.83 oz. t. $800-1,200

134 A George III sterling silver small footed salver edward edwards, london, 1817 With shaped gadrooned and leaf-moulded and chased decoration to rim centering an unidentified crest, on three acanthus-cast scrolling lions’ paw feet. Dia: 9 in. Weight: 21.53 oz. t. $800-1,200

135 A George III sterling silver salver william shard, london, 1819 Of shaped round form, the molded rim with acanthus decoration, the center engraved with scrolling foliate decoration and centering the arms of Powys of Westwood impaled with that of Birkett of Hadley above the motto “Parta Tueri” (Defend what you have won), on scrolling acanthus-form pad feet. D: 18 1/2 in. Total weight: 107.3 oz. t. note: This salver, though executed in 1819, was likely later engraved in the William IV period to celebrate the marriage of Thomas Powys, Esq. of Westwood and Miss Sarah-Margaretta Birkett, on 17 April, 1828. (cf. Burke’s Genealogical and Heraldic History of the Landed Gentry, Volume 2, 1847, p. 1065). $3,000-5,000

137 An Edward VII sterling silver four-piece tea and coffee service george nathan & ridley hayes, chester, 1901-2 Comprising a coffee pot, teapot, open sugar, and creamer; each piece marked and monogrammed “EBP.” (4). H: 8 1/2 in. (coffee pot); Total weight: 81.3 oz. t. $800-1,200

136 A pair of Victorian gilt and silvered bronze and etched glass figural tazze elkington & co., birmingham, england, 1867-68 The bowls finely etched with grapevine motif supported by figural stands in the form of bacchic putti, the bases decorated with allegories of wine and music; each raised on four volute feet with alternating vacant reserves and cornucopia; each marked to side and underside of base. (2). H: 8 3/4, Dia: 9 in. provenance: Property of a Pennsylvania collection. $1,500-2,500

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138 A fine Victorian silver-gilt five-piece dessert service for ten hunt & roskell and benson & webb, london, 1890-93 In the ‘Open Vine’ pattern, with date marks for 1890 and 1893, and with various maker’s marks for Robert Roskell, Allan Roskell & John Mortimer Hunt; Alfred Benson & Arthur Henry Benson; and Alfred Benson & Henry Hugh Webb; comprising ten each dessert knives, ice cream spoons, and demitasse spoons; nine each dessert forks and table spoons; five salt spoons; three open salts; a pair of sugar tongs; and one each nut cracker, ice cream scoop, sugar sifter, and sauce ladle. (61). L: 8 1/2 in. Total weight: 102.5 oz. t. provenance: Private Collection, Pennsylvania. note: For another set of the same pattern, see Christie’s New York, October 26, 2007, lot 127. $6,000-8,000

139 A pair of Edward VII sterling silver two-light candelabra in the Adamesque taste possibly george fox, london, 1906 The urn-form nozzles with beaded drip-pans above scrolling interlaced arms centering a classical covered urn raised on an open table-form mount with rams’ headed cabriole legs above a conforming oval base with garland and swag feet. (2). H: 10, W: 12 3/4 in. Total weight: 69 oz. t. (approx.) $2,000-3,000

140 A George V vermeil two-piece flatware service for twelve garrard & co., london, 1926 Each engraved with a crest of a hound in a crown. (24). L: 6 3/4 in. Weight: 36 oz. t. $800-1,200

the collection of samuel marcus lots 141 - 163

orn and raised in the Lower East Side of Manhattan, Samuel Marcus (1908-1989) likely learned his life-long love of the metal arts from his father, an engraver. He grew up in a tenement building before enrolling in the Brooklyn College of Pharmacy, which he attended on scholarship. He worked as a pharmacist before starting a printing business in Brooklyn with his brothers, where their successful factory produced tags and labels for the garment industry. He eventually settled into a comfortable lifestyle with his family in Great Neck, Long Island, where he furthered his love of collecting silver and chess sets, and breeding prize canaries and fancy goldfish. Mr. Marcus only bought from the best, acquiring many pieces from Sotheby’s London in the early 1960s, as well as from dealers in New York, San Francisco, and Philadelphia. His fondness for silver, particularly English silver, is evident in the offered lots, which include many fine examples from some of the most accomplished silversmiths of 18th century London—including William Cripps, Charles Wright, Robert Hennell, Thomas Hannam, and more—alongside early- to mid-20th century pieces by H. Meyen & Co., Georg Jensen, and Gorham.

141 A George I Britannia silver mug marks heavily rubbed, likely london, 1723 H: 4 1/2, Dia: 4 in. Weight: 9.82 oz. t. provenance: The Collection of Samuel Marcus, Long Island, New York. By descent. Private Collection. $400-600

142 A small George II sterling silver mint boat dinah garmon, london, 1741 Marked to underside and initialed in large script, “SD.” H: 2 3/4, L: 5 1/4 in. Weight: 3.9 oz. t. provenance: S. Wyler, Inc., New York, January 23, 1962. The Collection of Samuel Marcus, Long Island, New York. By descent. Private Collection. $300-500

143 A George II sterling silver salver john cafe, london, 1742 With shaped and moulded edge cast with shells, allover engraved with diapered and imbricated reserves centering a vacant cartouche; marked to underside. H: 1 1/4, Dia: 9 3/4 in. Weight: 15.27 oz. t. provenance: The Collection of Samuel Marcus, Long Island, New York. By descent. Private Collection. $800-1,200

144 A fine George II sterling silver swing-handled cake basket william cripps, london, 1749 With yoke-form scrolled handle and heavily modeled pierced foliate rim decorated with wheat chaffs, grape vines, and roses, the body pierced with arabesques and diapered pattern and centering a finely engraved crest with arms of Sir John Webb, 5th Baronet Webb of Odstock House, Wiltshire; raised on volute legs headed by pierced rocailles; marked to underside and incised with scratched weight. H: 10, W: 14, D: 12 in. Weight: 60.45 oz. t. provenance: Sotheby’s London, July 12, 1962, lot 158. The Collection of Samuel Marcus, Long Island, New York. By descent. Private Collection. note: A basket of similar wheat and grape vine motif by William Cripps, dated 1746-47, is in the collection of the Metropolitan Museum of Art, New York, accession number 26.260.64. That example is nearly identical to another, also dated 1746, sold Sotheby’s New York, March 30, 2011, lot 211. This pair of examples has identical handles to the present lot and a similar decorative agenda representing abundance, but each is moulded with masques at the base of each handle and has legs headed by symmetrical architectural medallions and terminating in shell feet. The present lot possesses a more dynamic and heavily modeled Rococo border with large pierced rocailles and flowers, and rests on rocaille legs on volute feet, representing a fuller expression of George II Rococo as Cripps’ style evolved away from the Baroque. $6,000-8,000

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145 A George III sterling silver armorial chamber stick william cafe, london, 1759 Marked to underside. H: 4, Dia: 6 1/4 in. Weight: 12.85 oz. t. provenance: Fortunoff, New York, January 28, 1974. The Collection of Samuel Marcus, Long Island, New York. By descent. Private Collection. $400-600

146 A George III sterling silver wick trimmer on stand john carter, london, 1768 The trimmer cast floral and foliate rocailles and marked, the base with beaded edge and engraved with a coat of arms, now rubbed; marked to underside. (2). H: 2 1/2, W: 7 1/2, D: 3 1/2 in. Total weight: 12.18 oz. t. provenance: The Collection of Samuel Marcus, Long Island, New York. By descent. Private Collection. $600-800

147 A set of four George III sterling silver salt cellars with cobalt glass liners david & robert hennell, london, 1770 Each engraved with a crest and marked to underside. (4). H: 2 1/4, L: 3 1/4 in. Total weight: 12.12 oz. t. provenance: Sotheby’s London, July 18, 1963, lot 55. The Collection of Samuel Marcus, Long Island, New York. By descent. Private Collection. $400-600

148 A George III sterling silver sweets basket william plummer, london, 1772 Marked to side near base of handle. H: 5, L: 5 3/4 in. Weight: 3.0 oz. t. provenance: J. E. Caldwell & Co., Philadelphia, November 6, 1962 (illustrated in 1962-63 catalogue, page 22). The Collection of Samuel Marcus, Long Island, New York. By descent. Private Collection. $300-500

149 A George III sterling silver baluster mug thomas whipham & charles wright, london, 1763 The scrolled handle engraved “J*M/1763” at thumbpiece, raised on stepped foot; marked to underside. H: 4 1/2, Dia: 3 in. Weight: 9.91 oz. t. provenance: Sotheby’s London, July 18, 1963, lot 107. The Collection of Samuel Marcus, Long Island, New York. By descent. Private Collection. $600-800

151 A George III sterling silver hot water urn charles wright, london, 1774 Of typical Neoclassical form, the bell-form cover with beaded urn finial and mounted to shoulders with foliate scrolled handles, the body further beaded at edges and finely engraved with a crest of a fox and further engraved above the spigot with an ribbon-tied and swagged impaled coat of arms, the whole raised on beaded shaped base on four ball-and-claw feet; marked to flange of lid and lower flange of body. H: 21 1/2, W: 10 3/4, D: 10 in. Weight: 89.97 oz. t. provenance: Sotheby’s London, June 14, 1962, lot 44. The Collection of Samuel Marcus, Long Island, New York. By descent. Private Collection. $3,000-5,000

150 A George III sterling silver hot water urn thomas whipham & charles wright, london, 1766 Of impressive Rococo style, the body boldly spiral fluted and reeded with watersplashes and mounted to sides with irregular beaded foliate handles, the cover similarly modeled, raised on quatrefoil pierced base on four ball-and-claw feet; marked to interior of kettle and to neck flange of base. H: 21, W: 12 1/4, D: 13 in. Weight: 89.1 oz. t. provenance: Sotheby’s London, January 17, 1963, lot 143. The Collection of Samuel Marcus, Long Island, New York. By descent. Private Collection. $3,000-5,000

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152 A large George III sterling silver cylindrical armorial tankard john robins, london, 1784 The body with two reeded bands flanked by bright cut foliate and egg-and-dart bands centering the arms of Chapman of Essex impaled with Bell of Middlesex, the flat lid similarly decorated; the interior with drink guard and marked to underside of lid; engraved to underside: “The Gift/of Jonathan Bell/to Abel and Rebecca Champman/1784.” H: 6 1/4, Dia: 4 1/4 in. Weight: 33.38 oz. t. provenance: The Collection of Samuel Marcus, Long Island, New York. By descent. Private Collection. note: Abel Champan of Woodford, Essex, was an Elder Brother of Trinity House. His wife, Rebecca (m. 1784), was the daughter of Daniel Bell of Stamford Hill, Middlesex. This tankard was presented to the couple upon their marriage by Jonathan Bell, her uncle or brother. $1,000-2,000

153 A George III sterling silver chamber stick with snuffer john crouch & thomas hannam, london, 1786 The chamber stick engraved with a coat of arms with bird and three stars and motto “Fide et Virtute,” the bobeche and snuffer each engraved with a crest of a lion; marked to underside, bobeche, and snuffer. (2). H: 3 3/4, Dia: 5 1/4 in. Total weight: 9.86 oz. t. provenance: James Robinson, Inc., New York, November 18, 1961. The Collection of Samuel Marcus, Long Island, New York. By descent. Private Collection. $400-600

154 A George III sterling silver two-handled footed serving tray thomas hannam & john crouch ii, london, 1800 With gadrooned border and handles on four volute feet, marked to underside. H: 3, L: 26 1/2 in. Weight: 115.58 oz. t. provenance: Sotheby’s London, June 27, 1963, lot 12. The Collection of Samuel Marcus, Long Island, New York. By descent. Private Collection. $3,000-5,000

155 A Victorian sterling silver salver edward, edward junior, john, & william barnard, london, 1837 With heavily shaped and moulded rim cast with flowers and engraved with foliate cartouches, marked to underside. H: 1, Dia: 10 in. Weight: 15.25 oz. t. provenance: The Collection of Samuel Marcus, Long Island, New York. By descent. Private Collection. $700-900

156 A Victorian sterling silver mounted cut glass claret jug william & george sissons, sheffield, 1867 In the Renaissance taste with repoussé strapwork, grape bunches, and bacchic masque spout; marked at neck and underside of lid. H: 10 in. provenance: The Collection of Samuel Marcus, Long Island, New York. By descent. Private Collection. $700-900

157 A Victorian sterling silver ewer maker’s mark wjb, london, 1881 Of typical form with beaded edge and fluted body, marked at neck. H: 10 in. Weight: 13.1 oz. t. provenance: The Collection of Samuel Marcus, Long Island, New York. By descent. Private Collection. $700-900

158 A pair of German silver Jugendstil sauce boats otto schneider, berlin, circa 1900 H: 3 1/2, L: 6 in. Total weight: 9.1 oz. t. provenance: The Collection of Samuel Marcus, Long Island, New York. By descent. Private Collection. $600-800

159 A pair of German silver Neoclassical style five-light candelabra h. meyen & co. berlin, late 19th/early 20th century The candlearms removable to form two candlesticks, each with stop-fluted Corinthian column standards issuing four entiwned candlearms and a central nozzle; marked at base. (2). H: 20 1/2 in. Total weight: 102.7 oz. t. provenance: I. Zimmerman, New York, September 1, 1961. The Collection of Samuel Marcus, Long Island, New York. By descent. Private Collection. $2,000-3,000

160 A Danish sterling silver four-piece tea and coffee service georg jensen, copenhagen, 1945-1951 In the ‘Blossom’ pattern designed by Georg Jensen in 1919, comprising teapot, coffeepot, covered sugar, and creamer. (4). H: 8 in. (coffee pot); Total weight: 54.26 oz. t. provenance: The Collection of Samuel Marcus, Long Island, New York. By descent. Private Collection. $4,000-6,000

161 An American sterling silver five-piece tea and coffee service international silver co., providence, ri, 1941 In the ‘Ashley’ pattern, comprising teapot, coffeepot, covered sugar, creamer, and waste bowl. (5). H: 10 1/2 in. (coffee pot); Total weight: 68.27 oz. t. provenance: The Collection of Samuel Marcus, Long Island, New York. By descent. Private Collection. $2,000-3,000

162 An American sterling silver six-piece tea and coffee service gorham mfg. co., providence, ri, 1941 Comprising teapot, coffeepot, covered sugar, creamer, waste bowl, and tray. (6). H: 10 1/2 in. (coffee pot); Total weight: 114.4 oz. t. provenance: The Collection of Samuel Marcus, Long Island, New York. By descent. Private Collection. $3,000-5,000

163 A sterling silver repoussé tray depicting Biblical scenes possibly mexican, 20th century Marked twice to verso “STERLING,” otherwise apparently unmarked. L: 18 1/2 in. Weight: 53.27 oz. t. provenance: The Collection of Samuel Marcus, Long Island, New York. By descent. Private Collection. $700-900

END OF COLLECTION

various owners lots 164 - 168 164 A Georgian gold and ivory mourning pin late 18th century Of oval form, painted with female figure lamenting beside a covered urn on plinth beneath inscription, “HEAVEN HAS IN STORE WHAT THOU HATH LOST.,” the reverse with space for hairwork and fitted with pin; together with two gold and enamel pendants, one circular with woman holding floral garland above recumbent sheep, and the second, oval with woman standing beside bird cage, all seemingly unmarked. (3). L: 2 in. (overall, largest) provenance: Christie’s New York, Important American Furniture, Silver, Folk Art and Dec. Arts, June 21, 1995, Sale 8208, Lot 197. The Collection of Irvin and Anita Schorsch. $800-1,200

165 A Georgian mourning ring and pendant late 18th century The ring with encased hairwork and inscribed, “James Home Obit 9 Octr. 1768”; the pendant of oval form with encased hairwork and ivory surround with inscription, “Where mix’d with God’s, his Lov’d idea lies. Hide it my Heart, within that close disguise,” and gilt monogram “NCH.” (2). L: 2 in. (pendant) $800-1,200

166 A hairwork mourning ring commemorating King Henri IV of France possibly 19th century With gold setting and carved ivory or bone profile of Henri IV against hairwork backing; lacking crystal or glass covering. H: 1 1/8, W: 3/4 in. $600-800

167 A framed silhouette of Joseph Le Bon (French, 1765-1795) early 19th century Depicted in sinister profile surrounded by a laurel-form hair wreath, housed in oval ebonized wood frame. H: 5 in. (frame) note: Joseph Le Bon was a French Revolutionary leader in the north of France. From the town of Arras and originally educated as a priest, he was elected as a delegate to the Convention from 1792-73 and as mayor of Arras near the same time. As mayor and administrator of the Pas-deCalais region, he violently persecuted a number of French nobles from the north of the country. He was eventually tried and convicted under Robespierre for his excessive brutality, and was himself executed on October 10, 1795, a victim of Robespierre’s Reign of Terror. $500-700

168 A Continental miniature portrait of a boy with a whip signed f. grunbaum, 1800 Gouache on card, mounted in mother-ofpearl and bone-inlaid mahogany frame. H: 8, W: 6 1/4 in. $300-500

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the collection of r.m. barokh lots 169 - 262

ith Lots 169-262, Freeman’s is pleased to offer the Collection of R.M. Barokh, with its elegant range of fine and unusual 17th century Italian, 18th century French, and 19th century English highlights. For more than 40 years, Ronnie Barokh has been known as one of the great “eyes” of the decorative arts trade. Barokh is recognized for his ability to find exceptional works hidden in sales at small auction houses, as well as to recognize rare and unusual pieces lost in sales at major ones. His specialty was, and remains, the 17th to early 19th Century British & European decorative arts, unusual furniture, paintings, and objets d’art. The offered lots show his special interest in early furniture, the decorative arts of Italy, and in particular the furniture and decorative arts of the Kingdom of Naples. Barokh opened his first gallery on the Kings Road in London, in 1973, and in 1979, recognizing that his taste was in demand in the US, moved his business to California. First opening a gallery in Santa Barbara, he later established a respected gallery on Melrose Place in Los Angeles. Barokh returned to the east coast, where he served as a valued member of both the Art & Antique Dealers League of America and the Confédération Internationale des Négociants en Oeuvres d’Art (CINOA). He has decided to close his retail business in favor of private sales of exceptional objects to existing collectors.

169 A carved wood panel of the deposition from the cross likely 17th century Depicting Joseph of Arimathea and another figure loosening the Saviour from the cross. H: 12 1/2, W: 21 1/4 in. provenance: Collection of R.M. Barokh, Connecticut. $600-800

170 A Charles VI carved oak choir stall french, largely circa 1480-1500, with repairs With paneled back separated by shaped late Gothic capitals above moulded dividers, the three seats with four ogee arches and central canopy above four hinged seats carved with fantastic animals. H: 46 1/2, W: 94, D: 16 in. provenance: Baron Marcel von Nemescz, Munich Arnold Seligman, Rey & Co. Inc. , 1934 City Art Museum, St. Louis, MO. Private Collection, USA Collection of R.M. Barokh, Connecticut. note: This piece is sold with a copy of the original bill from Arnold Seligmann, Rey & Co., Inc, New York to the City Museum of St. Louis. The bill notes a “von Nemescz” provenance, and contains a guarantee of authenticity. The choir stall was purchased by the museum on May 8, 1934 for $5,450. $2,500-3,500

171 An Henri IV carved oak dressoir-credence likely lyon, largely second half 16th century The two doors and central panel of the upper tier elaborately carved in bas relief, the sides and supports with grotesques and architectural elements; the lower tier divided with four linen-fold panels at back, above a moulded base on block feet. H: 52 1/2, W: 43, D: 18 1/4 in. provenance: Collection Chabrieres-Arles. Duveen Brothers, London. St. Louis Art Museum, St. Louis, Missouri (after 1917). Private Collection. Collection of R.M. Barokh, Connecticut. note: The offered lot is sold together with a copy of the bill from Duveen Brothers, New York for the sale of the DressoirCredence with information about the Chabrieres-Arles Collection. Also included is a copy from “Les Arts” magazine on La Collection Chabriere-Arles, and a xerox of a November 1919 copy of the Bulletin of the City Art Museum of St. Louis, which includes an article on the acquisition of this lot with an illustration. The original museum label from the piece is also included in the file. $3,000-4,000

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172 A Netherlandish Baroque kas with mid 17th century elements With imposing stepped cornice, paneled doors and surrounds with ebonized elements on bun feet. H: 81, W: 69, D: 28 in. provenance: Collection of R.M. Barokh, Connecticut. $2,500-3,500

173 A lapis-set gilt bronze traveling devotional altarpiece with Limoges enamel plaque likely french, limoges, late 16th/early 17th century The Limoges enamel of the Holy Family at the nativity with animals in the manner of Jean de Court, set within a frame of Mannerist architectural form, the pediment and base set with lapis stones and flanked by putti. H: 7 1/4 in. provenance: Collection of R.M. Barokh, Connecticut. note: The enamel of the nativity set within the offered lot is similar in execution to enamels by the artist Jean de Court, a master of Limoges enamel. The de Court dynasty of enamel painters ran an enamel workshop over several generations in Limoges in south-western France. The miniature tabernacle form of the frame is unusual, but likely also of late 16th/early 17th century origin. $4,000-6,000

174 A pair of Italian rustic chestnut doors with metal studs likely 18th century Fine and unusual, the old growth chestnut planks with original hardware and bolts. (2). H: 77 3/4, W: 20 in. provenance: Collection of R.M. Barokh, Connecticut. $1,500-3,000

175 An Italian inlaid walnut prie-dieu possibly northern italian, 17th century Of typical form, with three drawers beneath the armrest above kneeler. H: 34 1/2, W: 27, D: 21 1/2 in. provenance: Collection of R.M. Barokh, Connecticut. $400-600

176 An Italian Renaissance walnut credenza possibly tuscany, late 17th century H: 44, W: 54, D: 19 in. provenance: Collection of R.M. Barokh, Connecticut. $800-1,200

177 An Italian Renaissance style parcel-gilt walnut frame mid 19th century The rectangular mirror plate within a frame with double broken pediments above strapwork, garland and scrolling foliate carving highlighted with gilding. H: 48 1/2, W: 36 1/4 in. provenance: Collection of R.M. Barokh, Connecticut. note: The exceptional quality and scale of this mirror indicates a possible northern Italian origin. Models for frames in the Mannerist style may be seen in Sabatelli, F., La cornice italiana Dal Rinascimento al Neoclassico, Electa, 2004. $1,200-1,800

178 An Italian early Baroque bone-inlaid ebonized table cabinet likely northern italian, 17th century Senteringa cabinet section in the form of a tempietto, flanked on right and left by paneled drawers and doors with ornithological inlay. H: 21 3/4, W: 36, D: 12 3/4 in. provenance: Collection of R.M. Barokh, Connecticut. $2,500-5,000

179 An Italian Baroque style faux marble pedestal 19th century Of hexagonal form, the conforming top and sides in trompe l’oeil marble. H: 31, Dia: 16 1/2 in. provenance: Collection of R.M. Barokh, Connecticut. $500-700

180 An Italian faienza covered vase apparently unmarked, dated 1742 Of lobed baluster form with conforming lid, floral decorated in blue green and ochre. H: 10 1/2, W: 7 1/4 in. provenance: Collection of R.M. Barokh, Connecticut. $300-500

182 A pair of Italian Maiolica vase-form lamps likely 19th century Of baluster form, one depicting an ecclesiastical coat of arms with the galero of an abbot, the other noble arms. (2). H: 17 in. provenance: Collection of R.M. Barokh, Connecticut. $400-600

183 A pair of Italian Baroque style distressed marbleized consoles 20th century Of altar form, with rectangular tops and voluted sides, each centering a marbleized shaped panel with garlanded swag ornament, on stepped molded bases, the faux marble distressed to a state of elegant decay. (2). H: 29 1/2, W: 50, D: 20 in. provenance: Collection of R.M. Barokh, Connecticut. $3,000-5,000

181 Two Continental lacquer-gilt lead bas reliefs of the Four Evangelists 19th century One depicting St. Luke and St. John with eagle and recumbent ox, the other with St. Mark and St. Matthew with lion and winged man. (2). H: 9, W: 9 in. provenance: Collection of R.M. Barokh, Connecticut. $400-600

184 A French Baroque style faux-marbre architectural door surround 19th century The arched pediment above two entasisized columns on pedestal bases, the whole faux-painted in rouge griotte. H: 101, W: 71 1/2, D: 10 1/2 in. provenance: Collection of R.M. Barokh, Connecticut. $3,000-6,000

185 An Italian Baroque parcel-ebonized olive wood secretary-bookcase likely lombardy, mid 18th century The baroque cornice above a two-door bookcase, above a serpentine front secretary base with ebonized details, opening to reveal a secret drawer below the fitted fall front, and another pair of secret drawers to each side of the fall front which engages a locking mechanism consisting of a metal rod within the compartment which locks all the bottom drawers from within. H: 97, W: 46, D: 21 1/2 in. provenance: Collection of R.M. Barokh, Connecticut. $5,000-7,000

186 A Continental late Baroque carved and giltwood mirror possibly swedish, circa 1750 The plate within a carved rocaille and foliate frame with delicate incised diapering in gilt gesso. H: 50, W: 23 in. provenance: Collection of R.M. Barokh, Connecticut. $1,500-2,000

187 A Continental Baroque walnut two-drawer commode possibly german or north italian, mid 18th century The shaped serpentine inlaid top above two conforming drawers with original escutcheons and hardware, the carved base above shaped cabriole legs terminating in scroll feet. H: 33 1/2, W: 45, D: 25 1/2 in. provenance: Collection of R.M. Barokh, Connecticut. $1,500-2,000

188 An Italian late Baroque inlaid walnut drop-front desk likely rome, mid 18th century The fall front concealing a six-drawer fitted interior, the drawers further removable to reveal a hidden well, the sides with cartouche inlay above three drawers with strapwork and scrolling motifs; with gilt-bronze pulls and escutcheons, the whole on bracket feet. H: 39, W: 45, D: 24 in. provenance: Collection of R.M. Barokh, Connecticut. $1,500-2,000

189 A Classical carved marble relief frieze likely late 18th/early 19th century Possibly depicting part of the tale of Asclepius, carved in low relief; framed. H: 4, W: 16 in. provenance: Collection of R.M. Barokh, Connecticut. note: In Greek mythology Asclepius (or Asklepios) was a demi-god and the son of Apollo. His mother was the mortal Koronis of Thessalonika. In some versions, accounts Koronis abandoned Asclepius near Epidaurus and left the baby to be looked after by a goat and a dog. $800-1,200

191 An unusual Swiss Baroque extending walnut dining table with 18th century elements Rectangular with a conjoined X-frame support above an open base, the whole concealing an unusual hinged extension mechanism. H: 31 3/4, W: 60, D: 36 in. provenance: Collection of R.M. Barokh, Connecticut. $2,000-3,000

190 A pair of Italian still lives of fruit on vellum in the manner of giovanna garzoni, possibly late 17th century Depicting two still lives of bowls of fruit, painting in watercolor on vellum. (2). H: 7 3/4, W: 11 1/4 in. (sight) provenance: Collection of R.M. Barokh, Connecticut. note: Giovanna Garzoni (1600–1670) was an Italian painter who began her career painting allegorical subjects but soon became better known for her botanical subjects. Scholars have speculated Garzoni may have been influenced by fellow botanical painter Jacopo Ligozzi although details about Garzoni’s training are widely unknown. The offered lots may have been influenced by the botanical artist. $2,000-3,000

192 A pair of gilt-bronze recumbent lions possibly venice, early 18th century The recumbent lions with their paws resting on half globes, now mounted on verde antico marble bases. (2). H: 4 1/2, W: 3 1/2, D: 7 1/2 in. provenance: Collection of R.M. Barokh, Connecticut. $600-800

193 A pair of Italian Rococo trompe l’oeil painted wall appliques 18th century In the shape of architectural cartouches swagged with laurels and painted with flowers, with iron mounting brackets at front originally for candlearms. (2). H: 29 3/4, W: 22 1/4 in. provenance: Collection of R.M. Barokh, Connecticut. $600-800

194 A set of three neoclassical style gessoed wood appliques 19th/20th century Each with shaped panel surmounted by urns en flambeau and with fruiting laurel garlands, the metal arms with reeding and bellflower decorated nozzles and drip pans, the base with pendant fruiting acanthus finial. (3). H: 31 in. provenance: Collection of R.M. Barokh, Connecticut. $600-800

195 A pair of Florentine silk brocade hangings likely 18th century With floral patterns, the handwoven brocade backed. (2). H: 99 1/2, W: 20 in. (largest). provenance: Collection of R.M. Barokh, Connecticut. $800-1,200

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196 A large Venetian Baroque style mirror contemporary With faux mercury mirrored distressed central plate, surrounded by shaped segments. H: 83, W: 40 1/2 in. provenance: Collection of R.M. Barokh, Connecticut. $500-1,000

197 A pair of French faience candlesticks in the form of lions possibly 17th/18th century In the form of smiling lions holding torchères. (2). H: 9 3/4, W: 5, D: 8 in. provenance: Collection of R.M. Barokh, Connecticut. $800-1,200

198 A Continental serpentine-front lacca povera miniature chest possibly south german or north italian, mid 18th century Serpentine front with six drawers, the front decorated with pomegranates and floral motifs, the sides with images of St. Catherine of Alexandria and of the Crucifixion. H: 16 1/2, W: 17 1/2, D: 11 1/2 in. provenance: Collection of R.M. Barokh, Connecticut. $600-800

199 A pair of Italian polychromed porcelain and etched glass specchiere veneto region, 19th century The pair with unusual porcelain frames likely from Bassano del Grappa, with scrolling foliate designs with masques, centering shaped etched mercury mirror panels depicting Commedia del Arte characters. (2). H: 26 3/4, W: 13 3/4 in. provenance: Collection of R.M. Barokh, Connecticut. $3,000-5,000

200 A pair of Venetian Rococo giltwood armchairs mid 18th century The carved and re-gilt armchairs with inverted bellflower carvings at the knees, the scrolling cabriole legs above a shaped stretcher, the pair now upholstered in muslin. (2). H: 41, W: 25, D: 20 in. provenance: Collection of R.M. Barokh, Connecticut. $2,000-3,000

201 An Italian walnut fall-front desk likely veneto region, mid 18th century A late Baroque form with chamfered serpentine front below a fall-front opening to reveal eight drawers, the whole on block feet. H: 40, W: 46, D: 19 in. provenance: Collection of R.M. Barokh, Connecticut. $1,500-2,000

202 An Italian Rococo style chinoiserie painted table possibly naples, mid 18th century elements Rectangular, the cream painted and japanned top above a single frieze drawer, the shaped cabriole legs joined by a shaped X-form stretcher, similarly decorated throughout. H: 30, W: 39, D: 23 1/2 in. provenance: Collection of R.M. Barokh, Connecticut. $3,000-5,000

203 An Italian Rococo painted and parcel-gilt three-drawer commode possibly emiglia-romagna, 18th century The cream and gold-painted commode of bombé form, the shaped moulded fauxmarble top above three drawers decorated with gilt arabesque designs, above cabriole legs terminating in scroll feet (redecorated). H: 35 1/4, W: 55, D: 23 1/2 in. provenance: Sir Daniel Donahue, sold Bonham’s, Los Angeles, 4 April 2011, lot 778. Collection of R.M. Barokh, Connecticut. note: This commode, formerly part of a pair attributed with Venetian origin, is actually more closely related to models from the region of Emiglia-Romagna, and is particularly comparable to examples of painted furniture from Modena and Bologna. $3,000-5,000

204 A very fine pair of Carlo VII/Ferdinando IV Rococo ormolumounted kingwood-veneered commodini likely naples, circa 1750 With elegant proportions and allover veneered in bookmatched kingwood, the voluted sides with ormolu mounts and hardware, on shaped cabriole legs, terminating in pierced scrolling sabots. (2). H: 30 1/2, W: 21 1/2, D: 11 1/2 in. provenance: Collection of R.M. Barokh, Connecticut.

note: King Carlo VII of Naples ruled the Kingdom from 1734 to 1759, during which time he initiated several of the most ambitious architectural projects of the Neapolitan kingdom, including the remarkable Caserta palace which began construction in 1752. In 1759, however, Carlo acceded as King Carlo III of Spain, and abdicated his titles of King of Naples and of Sicily to his third son, Ferdinando IV of Naples, who ascended the throne at the age of nine, and ultimately finished the palace. Massive quantities of furniture were constructed in Naples in this period as the King and the Neapolitan aristocracy began to commission furniture of this type for their residences. Today, however, Sicilian Rococo furniture is relatively rare, and is noted for its lively proportions and elegance. Two nearly identical models related to the offered lot are illustrated in Giarrizzo, M., Mobili e Mobilieri Nella Del Settencento (Flaccovio, Palermo: 1992). $5,000-7,000

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205 A Venetian Rococo giltwood and etched glass specchiera circa 1750 The original shaped mirror plate etched with a figure of a man and birds, the conforming frame with pierced scrolling shell-form pediment flanked by two naiads, the sides with similar scrolling carving terminating in a masque with pendant acanthus carving. H: 46 1/2, W: 26 1/2 in. provenance: Collection of R.M. Barokh, Connecticut. $2,000-3,000

207 An Italian Neoclassical overmantel mirror with etched panels likely friuli venezia giuli, third quarter 18th century Of unusual Neoclassical form with a pediment centering an etched oval and two shaped rectangular mirror plates with Baroque floral motifs, the central mirror plate (likely replaced) flanked by two etched mirrors with Baroque figures. H: 35 1/2, W: 48 1/2 in. provenance: Collection of R.M. Barokh, Connecticut. note: This unusual period Neoclassical mirror from the region near Venice appears to incorporate several earlier examples of Venetian Baroque glass, likely from earlier specchiere. $1,200-1,500

206 A Neapolitan bronze sculpture of the Lely Venus after the antique chiurazzi foundry, late 19th century After the antique original by Doidalses of Bithynia, depicting a crouching Aphrodite at her bath on marble plinth. H: 7 in. provenance: Collection of R.M. Barokh, Connecticut. note: The famous “Crouching Aphrodite at her bath” by Doidalses of Bithynia was widely copied, and the most famous surviving model today is that which was first recorded in the collection of the Gonzaga family in Mantua in 1627. The piece was acquired by the English King Charles I (r. 1625-1649) for the Royal Collections. The piece was sold after the King’s execution and came into the hands of the famous painter Sir Peter Lely (1618-1680). In 1682, after the Restoration, it was reacquired by the Royal Collection. Since 2005 it has been on loan to the British Museum. Copies of this work were extremely popular in the 19th century. $800-1,200

208 An Italian chinoiserie painted hanging corner cupboard possibly torino, 18th century Of serpentine form with two shelves above a two door cabinet, the whole with original chinoiserie polychrome decoration. H: 30 1/2, W: 15 1/2, D: 11 in. provenance: Collection of R.M. Barokh, Connecticut. $600-800

209 A rare Italian scagliola tea caddy possibly naples, first half 19th century Of unusual voluted form in the manner of a sarcophagus, the design in imitation of pietre dure, the lid opening to reveal a sable velvet-lined lid, and two tea wells with bone pulls. H: 6 1/4, W: 12, D: 7 3/4 in. provenance: Collection of R.M. Barokh, Connecticut. $1,800-2,200

210 A North Italian polychrome painted armoire possibly piemontese, circa 1800 With a molded cornice above two paneled doorsthe case with canted angles and on bun feet, the whole decorated with grotesques, sphinxes, laurel sprays, and pompeiian style architectural decoration. H: 60 3/4, W: 51 1/4, D: 21 in. provenance: Collection of R.M. Barokh, Connecticut. $2,000-3,000

211 A fine Northern European painted armoire likely swiss, dated 1834 The faux marble background painted in blue and green with ten panels depicting still lives, the sides with brown faux-marble panels. H: 68, W: 37, D: 16 in. provenance: Collection of R.M. Barokh, Connecticut. $1,200-1,800

212 A pair of Régence/Louis XV ormolu chenets partially first quarter 18th century Of rocaille form and centering putti in chinoiserie attire, with later supports. (2). H: 9, W: 9 in. provenance: Collection of R.M. Barokh, Connecticut. $2,000-4,000

213 A pair of French Neoclassical Plaster portrait busts likely late 18th/early 19th century Depicting a chevalier and his lady in 18th century attire, draped. (2). H: 27 1/2 in. (approx.) provenance: Collection of R.M. Barokh, Connecticut. $2,500-3,500

214 A George III giltmetal mounted marble two-tier mahogany dumbwaiter circa 1800 The two tiered circular marble shelves with pierced giltmetal galleries on a central shaft above a tripodal base with scrolling legs terminating in pad feet. H: 42 in. D: 30 in. (of larger shelf). provenance: Collection of R.M. Barokh, Connecticut. $600-800

215 A Louis XV/XVI transitional ormolu-mounted marquetry tulipwood and amaranth commode in the manner of nicolas petit, circa 1760 Apparently unsigned, the moulded breakfronted rectangular gris de Sainte-Anne marble top with canted corners above a conforming case with two drawers inlaid with concentric acanthus rondels within entrelacs, the canted angles headed by ormolu swagged and festooned paterae, above cabriole legs terminating in scrolled acanthus-sheathed sabots. H: 34 1/2, W: 44 1/4, D: 21 in. provenance: Lewis & Simmons, Inc., New York, New York, 1917 St Louis Art Museum, St. Louis, Missouri Collection of R.M. Barokh, Connecticut note: While unsigned, the offered lot bears similarity to other works by Nicolas Petit (maître, 1761), most markedly the style of parquetry which may be seen on a related Sécretaire à abbattant, illustrated in Nicolay, J. L’Art et la Maniére des Maîtres Ébenistes Français au XVIIIe Siecle (Guy le Prat: Paris, 1956), p. 369, Fig. AA. A purchase invoice from 1917 and image of the display at the Museum are supplied with the offered lot. $4,000-6,000

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216 A Charles X Neo-Grec thuya and satinwood inlaid mahogany two-door cabinet possibly by jeanselme frères, mid 19th century The two-door cabinet with semi-gallery on three sides above a rectangular top inset with thuya burl, the waisted top with triple columnar supports at corners; the whole overall inlaid in neo-Grec patterns after the designs of Pelagio Pelagi, the fitted interior opening to reveal pull-out drawers above a stepped base on block feet. H: 40 1/2, W: 57, D: 23 1/4 in. provenance: Collection of R.M. Barokh, Connecticut.

note: Pelagio Pelagi (1795-1865), a Torinese neoclassical architect and designer, published engravings of his neo-Grec designs, which were immediately popularized around Europe. In 1851, the famous Restauration firm Jeanselme Frères showed several pieces of furniture clearly inspired by the published work of Palagi at the Great Exhibition of London (cf. Dickinson’s Comprehensive Pictures of The Great Exhibition of 1851, from the Originals Painted for H.R.H Prince Albert, by Messrs. Nash, Haghe, and Roberts, R.A.). The offered lot, with its oak casing and veneers of rare alpine and exotic hardwoods, is apparently of French construction rather than Italian, and may well be by Jeanselme. See also: Bertrand de Royere, Pelagio Palagi: Decorateur des Palais Royeaux de Turin et du Piemont (1832-1856) (Mare & Martin Arts, Paris, 2018), and Denise Ledoux-Lebard, The French furniture of the nineteenth century, 1795-1889, Dictionary of cabinetmakers and carpenters (Paris, 1989), pp. 374-384. $2,000-3,000

217 A Napoleon III ormolu “grotto” clock apparently unsigned, mid 19th century In the form of a Roman ruin, the enamel dial with Roman chapters and snake-form hands surrounded by garlands, the original pendulum with a grotesque masque. H: 22, W: 13 1/2, D: 5 1/2 in. provenance: Collection of R.M. Barokh, Connecticut. $2,000-3,000

218 After Albert-Ernest Carrier-Belleuse (French, 1824-1887) julius caesar, late 19th century Bronze, parcel-gilt dark bronze patina, depicting the crowned Caesar seated on a classical stool, signed in cast to seat rail “A. Carrier” and raised on a black marble plinth inscribed “IVLIVS CAESAR.” H: 19, W: 10, D: 9 1/4 in. provenance: Collection of R.M. Barokh, Connecticut. $2,000-3,000

219 A Louis Philippe ormolu sculpture allegory of the sciences, first half 19th century Depicting an allegorical female figure holding a telescope and gesturing to the heavens, on a stepped, shaped Carrara marble plinth. H: 15 3/4 in. provenance: Collection of R.M. Barokh, Connecticut. $800-1,200

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220 A giltmetal mounted mulberry box likely french, circa 1840 Of canted rectangular form on moulded base. the gently domed lid with mounts at corners and centering a ring pull, the interior lined in gilt paper, with retail or collection label to underside reading “F. Alibert,” with inventory/stock number 26413 and inscribed “1e Barbier de qualite/c’est l’Amour;” the base with three drilled holes, possibly once a music box. H: 3 1/2, W: 9, D: 6 in. provenance: Collection of R.M. Barokh, Connecticut. $400-600

221 A Louis Philippe ebony-inlaid amboyna coffret de bijoux circa 1840 Of canted rectangular form, the convex inscrolled lid with neo-Grec inlay, the whole on giltmetal and patinated bronze lion paw feet; the interior of the lid inscribed with message, likely to finisher, reading: “velour pomecan (?)/ Cuipon en vert broderie riche/tout satin“ H: 5 1/2, W: 8 1/4, D: 6 1/2 in. provenance: Collection of R.M. Barokh, Connecticut. $400-600

222 A French polychrome decoupage box with an image of Madrid 19th century With domed lid applied with a hand-tinted print titled Vue Perspective de la Prison Royale de Madrid en Espagne, the sides fauxmarbled in ochre and cobalt, the interior lined in block-printed paper. H: 8 1/2, W: 13, D: 9 3/4 in. provenance: Collection of R.M. Barokh, Connecticut. $300-500

223 A Napoleon III ormolu-mounted boulle marquetry encrier mid 19th century Rectangular and with two penwells and fittings for inkwell, sander, and blotter (now missing), the sides decorated in brass and tortoise premier patier, fitted with a Régence style giltmetal handle, and four paw feet. H: 7, W: 13 1/4, D: 10 1/2 in. provenance: Collection of R.M. Barokh, Connecticut. $300-500 224 A pair of Egyptian Revival fleur de pêche and noir belge marble obelisks possibly french, 19th century Of typical form, the fleur de pêche marble obelisks set in noir belge marble bases with hieroglyphics. (2). H: 21 in. provenance: Collection of R.M. Barokh, Connecticut. $800-1,200

225 A Napoleon III ormolu mounted porcelain wall clock circa 1880 The round face with Roman chapters and decorated with flowers within a gold ciselé and cobalt porcelain frame, the whole within a Rococo Revival ormolu pendant frame. H: 13 1/4, L: 10 1/2 in. provenance: Collection of R.M. Barokh, Connecticut. $1,800-2,200

226 A William & Mary oyster-veneered chest late 17th century Of typical form with two short drawers over two long, the whole with fine oyster veneer and mahogany banding, with original drop pulls and escutcheons on moulded base above bun feet. H: 29, W: 33 1/2, D: 21 in. provenance: Collection of R.M. Barokh, Connecticut. $1,500-2,000 227 A Chinese export six-panel polychrome decorated lacquer screen qing dynasty, circa 1900 Overall decorated with peony trees and songbirds within gilt decorated frames. H: 84, W: 15 3/4 in. (each panel), L: 96 in. (overall, approx.) provenance: Collection of R.M. Barokh, Connecticut. $1,800-2,200

he popularity of Asian two door lacquer cabinets on European stands came to its height in the 17th and 18th centuries both in England and on the continent. The importation of lacquer objects from China and Japan set off a wave of enthusiasm for these types of works. While in Asia, such lacquer was often considered artistically inconsequential and therefore suitable for exportation, in Europe, the works were highly prized and prestigious. By the late 18th century, lacquer pieces were more often cannibalized for parts which were then mounted in newly constructed furniture by such makers as Pierre Langlois (active 1754-81 in London) and Adam Weisweiler (German/French, 1744-1820) in Paris. It has been suggested that the offered lacquer cabinet is either Chinese or from the Ryuku islands, dating to the 1st half of the 17th century. The silvered stand’s robustly sculptural form is one which was popular in England from about 1675-80. Adam Bowett’s English Furniture from Charles II to Queen Anne, (plate 5:31) illustrates a similar piece in giltwood on page 163. A cabinet with a related stand was sold Christie’s, London, 21 November 1985, lot 145, and another closely related piece also with a silvered stand was sold Christie’s, New York, 11 October 2007, lot 37. The stand to the offered lot is of late 17th century origin, and has been subject to the expected restorations and redecorations associated with pieces of this type. James Arthur “Jim” Williams (American, 1931-1990) was a Savannah, Georgia, historic preservationist and antique dealer who played a vital role in the preservation of Savannah’s historic district. Williams was known and admired for his work in the city, which culminated in the restoration of his last home, the famous Mercer House (built 1860, and now the Mercer-Williams House Museum). The offered cabinet was a featured piece in his drawing room (see illustration). Williams’ colorful life and ultimate fall from grace was detailed in John Berendt’s 1994 bestseller, Midnight in the Garden of Good and Evil.

228 A Charles II lacquer cabinet on silver-gilt carved stand The lacquer cabinet and stand both 17th century The cabinet decorated in gold and silver on a black ground and inlaid with abalone, the front with two hinged doors decorated with a scene of a garden with a rocky landscape and viewing pavilion with figures, opening to reveal fourteen abalone decorated drawers with pulls, the inner doors similarly decorated, the cabinet with giltmetal fittings comprising an elaborately engraved lock plate and five strap-hinges to each door and with a carrying handle on each side; on an elaborately carved stand silvered and glazed (gilding restored and refreshed), the deep pierced frieze beneath a foliate-carved cornice centered by putti embracing and emerging from acanthus scrolls, the volute supports with scrolling acanthus decoration. H: 58 3/4, W: 41, D: 22 1/2 in. provenance: Mr. Jim Williams, Mercer House, Savannah, Georgia. Collection of R.M. Barokh, Connecticut. $12,000-18,000

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229 A George I parcel-gilt walnut mirror first quarter of the 18th century In original condition and with original plate, the broken pediment above a shaped rectangular frame with egg-and-dart mouldings and foliate carving, the base centering a giltwood rondel; the back with a typewritten note circa 1935-36 showing a provenance and guarantee as being circa 1720 from Arthur Randolph in Baldock, UK. H: 52, W: 26 in. provenance: Mr. Arthur Randolph, Baldock, UK. Private Collection. Collection of R.M. Barokh, Connecticut. $6,000-8,000

230 A George II figured walnut chest on chest mid 18th century Of typical form, the upper case with three short drawers over three long, the lower case with three long drawers; allover veneered in richly figured walnut, with chamfered fluted corners, on bracket feet. H: 71 1/4, W: 40 1/4, D: 21 in. provenance: Collection of R.M. Barokh, Connecticut. $2,000-3,000

231 A George III Chinese Chippendale mahogany armchair mid 18th century The rectangular blue damask upholstered back with blind fret-carving to the downswept arms and square legs joined by stretchers. H: 37 1/4, W: 28, D: 23 in. provenance: Collection of R.M. Barokh, Connecticut. $1,800-2,200

232 A George II walnut side chair circa 1740 With shaped scrolling crestrail above vasiform splat, the shaped seat above acanthus-carved knees on shaped legs terminating in slipper feet. H: 37, W: 22, D: 19 in. provenance: Collection of R.M. Barokh, Connecticut. $400-600 233 A pair of George III pierced ladderback mahogany chairs mid 18th century With inverted bellflower carvings to shaped pierced crestrail, the conforming ladder back backrails with carved central rosettes above saddle seats on square fluted tapering legs. (2). H: 37, W: 21 1/2, D: 21 1/2 in. provenance: Collection of R.M. Barokh, Connecticut. $2,500-5,000

234 A pair of George III satinwood string inlaid figured mahogany card tables circa 1790 The tulipwood banded tops of typical form opening to reveal green baize linings, the whole above tapering square legs terminating in toupie feet. (2). H: 24 3/4, W: 36, D: 17 3/4 in. provenance: Collection of R.M. Barokh, Connecticut. $2,500-5,000

235 An Edwardian painted demi-lune side cabinet in the style of Robert Adam circa 1900 The top with polychrome floral annulated banding around a faux marble panel, above a conforming case fitted with a single door centering a grisaille landscape painting in the manner of Angelica Kauffman, flanked by curved panels similarly decorated; raised on turned legs with foliate capitals and terminating in block feet. H: 35 1/2, W: 51 1/4, D: 21 3/4 in. provenance: Collection of R.M. Barokh, Connecticut. $1,500-2,500

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236 A George III mahogany galleried tilt-top table circa 1750 The circular top with baluster gallery resting on a birdcage movement allowing the table to swivel as well as to tilt, above a central column supported by three shaped bellflower-carved legs terminating in pad feet. H: 29 1/2, Dia: 36 in. provenance: Collection of R.M. Barokh, Connecticut. $1,500-2,000

238 An Anglo-Indian padouk wood cabinet-bureau possibly goa, mid 19th century With two double-paneled doors opening to reveal shelves and a drop front opening to reveal an ogee-shaped colonnade, above four drawers and two cabinet doors with relief carving. H: 87, W: 38, D: 29 in. provenance: Collection of R.M. Barokh, Connecticut. $1,500-3,000

237 A Welsh George III oak dresser circa 1800 The four-shelved display bonnet above a three drawer dresser on turned legs joined by an undershelf on shaped block feet. H: 89, W: 73 3/4, D: 18 in. provenance: Collection of R.M. Barokh, Connecticut. $1,200-2,000

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240 A Regency giltwood girandole second quarter 19th century Well carved scrolling foliate gilt carving above the convex mirror within a reeded and acanthus carved frame with ebonized surround, the whole with pendant acanthus carving. H: 45 1/2, W: 26 in. provenance: Collection of R.M. Barokh, Connecticut. $1,800-2,200

239 A Regency silvered miniature collector’s table cabinet 19th century Rectangular, the exterior silvered in imitation of steel and parcel-ebonized, the two cabinet doors opening to reveal five fitted interior drawers veneered in lacquered brass with turned ivory pulls, the whole on scrolling lion’s paw feet. H: 12, W: 13 1/4, D: 8 1/2 in. provenance: Collection of R.M. Barokh, Connecticut. $800-1,200

241 A pair of Regency polychrome decorated caned armchairs second quarter 19th century The curving crestrails faux-grained and decorated with scrolling foliate motifs above a rosette-centered back splat similarly decorated, the downswept arms above a rectangular caned seat above turned decorated legs (decoration refreshed). (2). H: 33 1/4, W: 57, D: 18 in. provenance: Collection of R.M. Barokh, Connecticut. $2,000-3,000

242 A Regency parcel-gilt and ebonized armchair in the manner of morel & hughes, first quarter 19th century The crestrail with anthemion frieze set within a reeded back, the reeded downswept arms terminating in acanthus supports above a shaped seat with gilt paterae-headed acanthus carved legs terminating in castors. H: 37, W: 26, D: 21 1/2 in. provenance: Collection of R.M. Barokh, Connecticut. note: The offered lot bears a resemblance to other suites of furniture by Morel & Hughes, the first of which was commissioned by Samuel Whitbread II for the Boudoir at Southill, circa 1805, known for the interiors designed by Henry Holland. Nicholas Morel was closely associated with Holland and Daguerre in the decoration and furnishing of Carlton House for the Prince of Wales (later George IV). The firm of Morel & Hughes was also an important supplier to Syon House, the extraordinary london house of the Duke of Northumberland, with state rooms designed by Robert Adam. See also: Frances Collard, Regency Furniture (Woodbridge, 1985), p. 44 Geoffrey Beard and Christopher Gilbert, Dictionary of English Furniture Makers 1660-1840 (Leeds, 1986), pp. 623-625 $2,000-3,000

243 A William IV crystal and cut glass four-light gasolier manner of f & c osler, mid 19th century In fountain form with scrolling tassels hung with pendants above a length of crystal, four tiered arms and five descending layers of crystal prisms; originally fitted for gas, the pipes still present. H: 64, Dia: 38 in. provenance: Collection of R.M. Barokh, Connecticut. $5,000-7,000

244 A William IV mahogany sideboard circa 1840 With two shelves above four panelled cabinet doors. H: 59 1/2, W: 82, D: 14 1/2 in. provenance: Collection of R.M. Barokh, Connecticut. $1,500-2,500

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245 A Regency gilt-brass mounted mahogany bracket clock indistinctly signed a. bartlett (?), circa 1835 Finely carved step pedimented roof surmounted by three gilt-brass finials, the corners carved with foliate motifs, centering an enamel face with Roman chapters, the dial indistinctly signed “A. Bartlett(?)”, the sides with rosette and ring handles above a silk-lined grille, the whole on brass bun feet; with eight-day fusee movement. H: 23 1/2, W: 11 1/4, D: 7 1/4 in. provenance: Collection of R.M. Barokh, Connecticut. $800-1,200

246 A late Regency/William IV brass-inlaid rosewood sofa table second quarter 19th century The rectangular brass-inlaid top with oval dropleaves above two drawers, one drawer to either side with a trompe l’oeil drawer front; the columns joined by a turned and gilt stretcher above downswept legs terminating in leaf sabots and castors. H: 29 3/4, W: 36, D: 24 in. (closed) provenance: Collection of R.M. Barokh, Connecticut. $1,800-2,500

247 A Regency brass-inlaid rosewood sofa table second quarter 19th century With rectangular top with rounded drop leaf corners above a platform base well-inlaid with brass upon a column support and terminating four spread feet with lions’ paw sabots on casters. H: 24 1/2, W: 36, D: 28 in. (closed) provenance: Collection of R.M. Barokh, Connecticut. $2,000-3,000

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248 An unusual pair of Biedermeier walnut armchairs likely budapest, second quarter 19th century Of robust sculptural form with turned crestrail above a rectangular upholstered back flanked by bamboo-form columns, the protruding arms with scrolling volute supports above a square seat on columnar legs terminating in ball feet, upholstered in light tobacco suede. (2). H: 40 1/2, W: 27 1/2, D: 28 in. provenance: Collection of R.M. Barokh, Connecticut. $4,000-6,000

249 A Victorian Sedley Patent Equilibrium Folding Chair and stool a. sedley, london, ca. 1865 The brass folding chair and stool upholstered in tufted leather, one support stamped “Sedley’s Patent”. (2). H: 38 1/2, W: 27, D: 25 in. provenance: Collection of R.M. Barokh, Connecticut. note: “Sedley’s Patent Equilibrium Folding Chairs and Couches” were much in demand in Victorian Britain, and the company had premises at 210 Regent Street, and agents as far away as Calcutta, where Sedley, an engineer, also offered ready-made iron bridges for export, described as “ready-made, and perfectly rigid.” An identical chair is pictured in Sedley advertising in “The London and China Telegraph”, 1865, see image online. $1,500-2,500

250 A Victorian mahogany pedestal desk third quarter 19th century Of typical form, the top inset with green leather, with one long and two short drawers over three short drawers to each side above bracket feet. H: 30, W: 48, D: 35 1/2 in. provenance: Collection of R.M. Barokh, Connecticut. $600-800

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251 A Victorian mother-of-pearl inlaid papier-mâché tilt top table circa 1870 With shaped moulded top with floral decoration in gilding and in mother-ofpearl, the whole on a tilt-top mechanism on a baluster-shaped support. H: 27 1/2, Dia: 26 1/4 in. provenance: Collection of R.M. Barokh, Connecticut. $800-1,200

252 A Victorian papier-mâché tray on stand jennens & bettridge, london, circa 1870 Of shaped form with deep rim, the edges and surface asymetrically decorated with rocailles. H: 19 1/2, W: 31 1/4, D: 24 in. provenance: Collection of R.M. Barokh, Connecticut. note: Jennens & Bettridge were highly regarded for producing quality works in japanned papiermâché. They acquired the workshops of Henry Clay, Japanner to George III and the Prince of Wales, in 1816. The original premises were in Birmingham and they opened a London branch at 3 West Halkin Street, Belgravia in 1837. The firm was awarded a prize medal in its class at the Great Exhibition of the Works of Industry of All Nations, held in London’s Hyde Park in 1851. $700-900

253 A Panderma prayer rug anatolia, circa late 19th/early 20th century Framed and on backing. 6 ft. 1 in. x 4 ft. 3 in. (rug) provenance: Collection of R.M. Barokh, Connecticut. $800-1,200

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254 A large pietra dura table top with associated base the top early 19th century, the base circa 1870 The circular top with specimen marble veneer set into an Aesthetic Movement style ebonized table frame, possibly American. H: Dia: 30 3/4, Dia: 31 in. provenance: Collection of R.M. Barokh, Connecticut. $1,800-2,200

255 An Italian Carrara marble sculpture of a young boy peeling an orange 19th century The infant boy seated on a rock with fruit in his right hand, naturalistically carved. H: 18, W: 14, D: 13 1/2 in. provenance: Collection of R.M. Barokh, Connecticut. $400-600

256 An Aubusson floral carpet 20th century 14 ft. 1/2 in. x 9 ft. provenance: Collection of R.M. Barokh, Connecticut. $1,000-1,500 257 An Hellenistic marble sculpture fragment of a Nike likley greek, possibly 2nd or 1st century b.c.e. Forward leaning and with billowing classically draped garments. H: 47 1/2 in. provenance: Collection of R.M. Barokh, Connecticut. $2,000-4,000

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258 An Italian pietra dura table in the Pompeiian style likely rome, 19th century The circular top veneered with specimen marbles set into a tripodal base with lion-form legs joined by stretchers. H: 30, Dia: 23 1/2 in. provenance: Collection of R.M. Barokh, Connecticut. $1,500-3,000

259 A pair of Italian marble corbels possibly 17th century In the Mannerist taste and comprising two grotesques with scrolling foliate ornament. (2). H: 12 in. provenance: Collection of R.M. Barokh, Connecticut. $1,500-3,000

260 A Portuguese tile frieze late 19th century Consisting of three panels with a still life painting of flowers in a vase. H: 45 1/2, W: 73, D: 2 in. (overall) provenance: Collection of R.M. Barokh, Connecticut. $1,500-3,000

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261 A pair of Italian Neoclassical marble herms depicting the philosophers Homer and Socrates after the antique 19th century Finely carved from Carrara marble and depicting the Greek philosophers Homer (around 850 B.C.E.) and Socrates (469-369 B.C.E.). (2). H: 63, W: 9 1/2, D: 8 in. (largest) provenance: Collection of R.M. Barokh, Connecticut. note: The offered lots are careved after two famous models. A Roman copy of an Hellenistic original of the 2nd century B.C.E., which is a close likeness to the offered Homer, is from the Hamilton Collection in The British Museum, London (Inv. no. 1805,0703.85). A version of the offered Socrates is in the Louvre, and is a Roman copy of the 1st century C.E. likely after the bronze original by Lysippos (Acc. no. Ma 59, MR 652). $5,000-7,000

262 A pair of monumental Italian breccia di Medici marble urns on pedestals 19th century The breccia di Medici urns of krater form with fluted sides, on pedestals with later carrara marble bases. (2). H: 36 in. (the urns alone) provenance: Collection of R.M. Barokh, Connecticut. note: Breccia di Medici also known as breccia di Seravezza, was used in the classical world until Roman times. In the 16th century, its use was revived by the Medici family for outdoor architectural elements and furniture, resulting in the current name, breccia di Medici. Please note that due to size, this lot has been photographically assembled for catalogue purposes only. $7,000-9,000

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ENDfreemansauction.com OF COLLECTION

various owners lots 263 - 348

263 A palatial Italian Renaissance carved marble and walnut doorway 16th century Of impressive post and lintel form, the moulded lintel with egg-and-dart borders centered by a pair of putti presenting a coat of arms; the lintel supported by a pair of stop-fluted Corinthian columns flanking an interior moulding and frieze of flowering and fruiting urns; the central pair of doors with eight coffers each with carved rosettes. H: 150, W: 104, D: 18 1/2 in.

provenance: Deaccessioned from the Virginia Museum of Fine Arts for the benefit of future acquisitions. note: Please note the deconstructed doors and surround are being sold as crated by the Virginia Museum of Fine Arts and will require assembly by an architect. Note further that this lot is sold as is with no guarantee and subject to no return. It will be shipped by the buyer as it was received by Freeman’s. $6,000-8,000

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264 An impressive Baroque Revival walnut refectory table 19th century H: 29, L: 108, W: 35 1/2 in. provenance: From the Collection of a Philadelphia Lady $1,000-1,500

265 A Neapolitan bone, mother-of-pearl, and specimen wood inlaid spruce and Italian cypress mandolin attributed to the vinaccia family, circa 1750-60 With tortoiseshell plectrum guard inset into spruce soundboard, and Italian cypress body; the neck veneered with bone, pernambuco, @lotProvenance:exhibited: and ebony; the fingerboard veneered with bone and tortoiseshell and with brass and ebony frets; unlabeled, and sold together with fitted canvas case. L: 22, W: 6 3/4, D: 5 in. note: A nearly identical example by Antonio Vinaccia (Neapolitan, active 1763-1784) is in the collection of the Victoria & Albert Museum, London, accession number 10-1894. $1,500-2,500

266 A pair of Portuguese Rococo parcel-gilt and ebonized side chairs 18th century With burt orange velvet upholstered seats. (2). H: 38, W: 21, D: 17 in. $300-500

267 A pair of Italian Rococo giltwood and etched glass specchiere 18th century Each mounted with wrought iron candlearm. (2). H: 34, W: 14 in. $2,000-3,000

268 An Italian Rococo painted and giltwood mirrored three-tier wall shelf late 18th/early 19th century H: 33, W: 17 3/4, D: 6 in. $300-500

269 An Italian Neoclassical pier mirror late 18th/early 19th century The mirror plate replaced. H: 46 1/2, W: 17 in. $800-1,200

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270 An Italian Neoclassical style parcel-gilt and redpainted mirror 20th century H: 52 3/4, W: 40 in. $800-1,200

271 Angiolo Vannetti (Italian, 1881-1962) lions protecting their cubs, early 20th century Large and impressive pair of giallo antico marble lions, each muscularly depicted in a defensive pose atop rustic base, signed “A. Vannetti” to base. (2). H: 13 1/2, W: 23, D: 9 in. $2,000-3,000 272 After Vincenzo Vela (Italian, 1820-1891) last days of napoleon, circa 1867 Bronze, dark gold patina, signed and dated in cast “V. VELA F. 1867” and “F. BARBEDIENNE, Fondeur. Paris,” and with Achille Collas Reduction Mecanique pastille. H: 15, W: 11 1/2 in. $2,000-3,000

273 After Tadeusz Błotnicki (Polish, 1858-1928) chopin, early 20th century Bronze, warm brown patina, signed and dated in cast “T. Błotnicki, 1907,” the composer’s head and shoulders atop an Art Nouveau formed herm. H: 14 3/4 in. note: Tadeusz Błotnicki was born in 1858 in Łwów, Poland. A highly respected academic sculptor whose best known works are in Cracow, he was a student of Parys Filippi and Marcel Guyski. He was the creator of many sculptures and busts related to the arts in Galicia, and is, perhaps, best known for his Allegory of Poetry, Drama and Comedy on the facade of the Słowacki Theatre in Cracow. $600-800

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274 A Neoclassical white marble portrait plaque dated 1873 Depicting a classical lady in profile, signed and dated “E. HAKE. 1873;” mounted in parcel-gilt walnut circular frame. Dia: 25 in. (overall) $1,000-1,500

275 A black painted cast iron figure of Vulcan late 19th/early 20th century Depicting the God leaning against his forge. H: 69, W: 35, D: 17 in. provenance: Gump’s, San Francisco. The Carmichael/Pelsinger Collection. $1,500-2,500

275A Two large Continental late Gothic stained glass panels 16th/17th century The first depicting God the Father, the second depicting an angel. (2). H: 55, W: 22 in. (God) provenance: Property from a private Rittenhouse Square, Philadelphia collection. $1,000-2,000

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276 A whimsical collection of Gothic Revival cast and wrought iron fire tools 19th century, some elements earlier Comprising a fire screen, a pair of andirons, a fire poker, an ash shovel, a fire fork, and a fire hook, and a fire fender. (8). H: 52, W: 30 1/4 in. (andirons) provenance: The Richard Gimbel Estate. From the collection of Beverly Goldberg, of The Goldbergs television fame. $2,000-3,000

277 A Dutch cast iron fireback circa 1700 Depicting Persephone surrounded by motifs of spring and water, and embossed “FRVH LING” (“Season of Spring”). H: 29, W: 20 1/4 $1,500-2,000

278 A pair of Dutch Delft tulipières 18th century Each now drilled as lamps and mounted to bases. (2). H: 24 in. $800-1,200

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279 A pair of Meissen covered figural vases 1774-1815 With blue underglazed crossed swords and star mark to undersides. (2). H: 17 1/2 in. $1,200-1,800

281 A Meissen porcelain figure of a flower seller 1815-1860 After the model by Johann Carl Schoenheit (German, 1730-1805), in the form of one of the five senses, smell, depicting a seated lady selling flowers; with blue underglaze crossed swords mark to underside, and further incised with model number “E 5” and with impressed mark “122.” H: 4 3/4 in. $600-800

283 A Meissen porcelain tray 19th century Of scalloped lozenge form, with parcelgilt raspberry imbricated rim centered by a hand-painted scene of a fête galante; with blue underglaze crossed sword mark to verso. W: 14, D: 11 in. $400-600

280 A Meissen porcelain figural group of a courting couple 1815-1860 With blue underglazed crossed swords mark to underside, incised “612” and impressed “122.” H: 4 1/2 in. $600-800

282 A pair of Meissen figural sweetmeat dishes 1815-1860 Each with blue underglaze crossed sword mark, the male figure impressed “2863X” and the female figure incised “2858.” (2). H: 6 1/2, W: 12 1/2, D: 7 in. $600-800

284 A K.P.M. hand-painted and parcelgilt four-piece solitaire 19th century Comprising teapot, covered sugar, creamer, and tray, each with reserves depicting landscape and village scenes; each with blue underglaze scepter mark to verso. (4). H: 6 1/2 in. (teapot) $800-1,200

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285 A large and very fine K.P.M. painted porcelain plaque after Paul Delaroche (French, 1797-1856) la jeune martyr, signed f. wagner, late 19th century Exceptionally finely painted, the verso signed “P. Delaroche/Martyre chretienne/cop. F. Wagner Wien,” and with blue bindenschild mark and impressed scepter mark over “K.P.M.,” “H,” and “W,” and with further incised dimensions “20 1/2 - 14 3/4;” housed in carved gesso and giltwood frame. H: 14 1/2, W: 20 1/2 in. (plaque) $6,000-8,000 286 A large pair of ormolu-mounted Royal Vienna hand-painted and parcel gilt covered urns late 19th century Each painted in the round with scenes from The Odyssey, with black bindenschild mark to underside of lids; mounted on ormolu bases. (2). H: 35, Dia: 14 in. (approx.) $4,000-6,000

287 Six Austrian carved ivory orchestra figures 19th century Comprising a conductor, an accordion player, a cellist, a flautist, a bagpipe player, and a mandolin player. (6). H: 6 1/2 in. (tallest) $800-1,200

288 A Black Forest carved walnut bearform umbrella stand late 19th century H: 50, W: 16, D: 20 in. $2,000-3,000

289 A large Continental Neoclassical ebonized and parcel-gilt firescreen first quarter 19th century H: 55, W: 34 1/2 in. $800-1,200

290 Three Neoclassical fruitwood armchairs circa 1820-30 With green silk bengaline upholstery. (3). H: 36, W: 23, D: 17 in. $800-1,200

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291 Four Continental Neoclassical ebonized and parcel-gilt fauteuils circa 1825 The rectangular backrests issuing four downswept parcel-gilt acanthuscarved armrests, raised on four outswept legs; upholstered in salmon silk moiré. (4). H: 36, W: 24, D: 18 1/2 in. $2,000-3,000

292 An Austrian Biedermeier fruitwoodveneered writing table circa 1820-30 After the design of Josef Danhauser (Austrian, 1780-1828) the oval bookmatched top with single frieze drawer raised on four spiral-veneered supports united by a turned stretcher and raised on two scrolled plinth feet. H: 31 3/4, W: 52, D: 30 3/4 in. $1,200-1,800

293 A Biedermeier cherry and walnut veneered center table in the Gothic style circa 1830-40 H: 29, Dia: 56 in. $800-1,200

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295 A Neo-Grec gilt-bronze mounted red-painted giltwood and frosted glass ceiling light in the style of edward f. caldwell, early 20th century H: 7, Dia: 34 1/2 in. $800-1,200

294 A Neo-Grec red-painted gesso and giltwood cartel clock and barometer edward f. caldwell & co., new york, first half 20th century The clock dial signed “EDW. F. CALDWELL & CO., INC./NEW YORK,” the barometer possibly later replaced with movement signed “Tycos/ROCHESTER, N.Y. U.S.A./ TORONTO, CAN.” (2). H: 30, W: 17 1/4 in. $2,000-3,000

296 A stained glass panel of St. George in the style of tiffany, late 19th century Mounted in electrified lightbox. H: 48, W: 36 in. provenance: Property from a private Rittenhouse Square, Philadelphia collection. $1,000-1,500

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297 A Surrealist red-painted and carved giltwood mirror after Salvador Dali (Spanish, 1904-1989) 20th century The verso re-lined with felt. H: 34 1/2, W: 30 in. $2,000-4,000

298 A Syrian specimen wood and mother-ofpearl inlaid games table late 19th century With fully fitted interior for backgammon and cards, the corners with brass-lined chip holders. H: 32, W: 34, D: 17 in. (closed) provenance: From the collection of Kansas City area collectors. $800-1,200

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299 An Oushak carpet early to mid 20th century 11 ft. x 8 ft. 8 in. $2,000-3,000

300 A Lavar Kerman Persian rug 20th century 5 ft. 10 in. x 5 ft. 10 in. $1,500-2,500

301 A Heriz carpet mid to late 19th century 9 ft. 10 in. x 7 ft. 10 in. $800-1,200

302 An Armenian long rug 20th century 11 ft. 2 in. x 9 ft. 1/2 in. $2,500-3,000

303 A Bijar rug late 19th century 8 ft. 4 in. x 5ft. 9 in. $1,000-1,500

304 An Indian carpet 20th century 13 ft. 1/2 in. x 8 ft. 1 in. $1,000-1,500

305 A Spanish Savonnerie rug late 19th/early 20th century 14 ft. 10 1/2 in. x 11 ft. 8 in. $3,000-5,000

306 An English garden needlepoint rug early to mid 20th century 9 ft. 4. in. x 9 ft. 2 in. $2,000-3,000

307 A Bijar ballroom carpet late 19th/early 20th century 18 ft. 10 1/2 in. x 12 ft. 9 1/2 in. $10,000-15,000

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308 A William & Mary featherbanded walnut traveling chest on stand late 17th century In two parts, the upper cabinet mounted to sides with brass handles and with two banded plank drawers enclosing eight drawers; the lower stand with single frieze drawer and five tapering legs united by stretchers raised on bun feet. H: 45 1/2, W: 28, D: 13 1/2 in. $800-1,200

309 A William & Mary featherbanded and figured walnut chest on stand the chest late 17th century, the stand partially later With moulded rectangular top above two short drawers over three long drawers, the stand with a single frieze drawer on later associated carved walnut legs. H: 50, W: 40, D: 24 in. $800-1,200

310 A pair of Queen Anne style silvered wood and parcel-gilt walnut girandoles early 20th century Of typical form with beveled glass mirror plates, each mounted with two candlearms and a central switch; wired. (2). H: 36, W: 20 in. $1,500-2,500

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311 A George I figured walnut center table early to mid 18th century The rectangular banded top with moulded edge finely veneered in figured walnut, raised on four cabriole legs terminating in pad feet. H: 32, W: 57, D: 28 1/4 in. provenance: Property of a Pennsylvania collection. $1,500-2,500 312 A George II oak apothecary chest mid 18th century On a later conforming stand. H: 53 3/4, W: 23 1/2, D: 11 1/4 in. (overall) $800-1,200

313 A George II banded burl and figured walnut secretary desk second quarter 18th century The moulded rectangular top above two glazed doors enclosing three bookshelves and a series of drawers; the fall-front enclosing an assortment of six drawers and seven pigeonholes above a center compartment and later writing surface; the carcass with lappets above two short drawers over three long drawers raised on bracket feet. H: 82 1/2, W: 37 1/2, D: 23 1/4 in. $800-1,200

314 A provincial George III walnut three-drawer sideboard late 18th century H: 31 1/2, W: 66, D: 17 in. $800-1,200

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315 A George III style string inlaid mahogany partner’s desk late 19th/early 20th century H: 31, W: 59 1/2, D: 33 1/4 in. $800-1,200

317 A George III figured mahogany ship’s chest of drawers circa 1790 The moulded rectangular top above a blind fretcarved frieze over eight graduated drawers with all pulls and escutcheons replaced; the sides mounted with likely original brass handles and the whole raised on bracket feet. H: 68, W: 39, D: 23 in. $800-1,200

316 A George III figured mahogany breakfront bookcase late 18th/early 19th century One small glass pane in proper left door now lost. H: 95 1/2, W: 88, D: 16 in. provenance: Christie’s, New York. Private Collection. $3,000-5,000

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318 A George III mahogany secretary bookcase circa 1790 With divided pediment lacking urn finial over a pair of glazed cabinet doors (one pane cracked) enclosing shelves; the fall front enclosing an assortment of drawers and pigeonholes over a pair of lappets, the carcass with four graduated drawers on bracket feet. H: 101, W: 44, D: 23 1/2 in. $1,000-1,500

319 A large bronze portrait bust of Homer after the antique 19th century Raised on Siena marble base. H: 28 1/2, W: 14 in. provenance: Private Collection. $800-1,200

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320 After Joseph Nollekens (English, 1737-1823) arthur wellesley, 1st duke of wellington, early 20th century Painted plaster, raised on circular socle. H: 26 1/2 in. $600-800

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321 A large and impressive George III boiserie panel with carved giltwood mirror late 18th/early 19th century The mirror plate a modern antiqued replacement. H: 88, W: 48 in. note: This panel has been authenticated and conserved by Pascale Patris, Conservator at the Metropolitan Museum of Art. $3,000-5,000

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322 Eight George III style mahogany dining chairs late 19th/early century Comprising six side chairs and two armchairs, with leather upholstered seats. (8). H: 40 1/2, W: 25 1/2,D: 19 in. (armchair) $800-1,200

323 A Regency style satinwood banded mahogany triple pedestal extending dining table late 19th/early 20th century With two leaves. (5). H: 30, W: 48 1/2, L: 120 1/2 in. (closed), L: 168 1/2 in. (open) $3,000-5,000

324 A Regency brass-mounted figured mahogany pedestal sideboard first quarter 19th century H: 44, W: 89, D: 29 1/2 in. $2,000-3,000

325 A Regency rosewood and satinwood inlaid mahogany sewing stand circa 1820 H: 27 3/4, W: 16 1/4, D: 13 in. $600-800

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327 A William IV figured mahogany folding games table circa 1830-40 H: 31 1/2, W: 37, D: 18 in. (closed) provenance: The Collection of Joseph and Geraldine Ostrov, Cherry Hill, New Jersey. $700-900

326 A Regency tôle peinte and fauxgrained tray on stand 19th century H: 19 3/4, W: 30 1/4, D: 22 1/2 in. $700-900

328 A William IV figured mahogany sideboard first half 19th century The two center drawers with locks by Secure Lever Lock Co. flanked by two cabinets, the proper left vacant and the proper right with shelves; the whole raised on six square tapering legs. H: 36 1/4, W: 78 1/2, D: 25 in. provenance: Property of a Pennsylvania collection. $1,000-1,500

329 A Victorian Chinese style ‘zitan’ mahogany console late 19th century The shaped and moulded lift lid enclosing an interior storage compartment, raised on pierced pedestal base on four monkey feet, the mahogany stained in imitation of zitan wood. H: 31, W: 40, D: 19 in. $2,000-3,000

330 A Victorian Gothic Revival banded figured mahogany tall case clock timothy graham, cockermouth, 19th century The bonnet with scrolled divided pediment housing a painted dial with Roman chapters, signed “Graham/Cockermouth” and painted to spandrels with scenes of country houses; the case with finely veneered figured mahogany and centering a Gothic style door. H: 94, W: 25, D: 10 1/4 in. $800-1,200

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331 A Victorian brass-mounted calamander veneered lap desk 19th century The interior with three covered interior compartments together with two glass inkwells and pen tray. H: 4 1/2, W: 14 in. provenance: Private collection, Philadelphia. $500-700

332 A Victorian brass skeleton clock 19th century The chapter ring with enameled Roman numerals, the single fusee movement within an open scrolling frame mounted on red velvet and ebonized wood base; enclosed in glass dome. H: 16, W: 7 1/2 in. $500-700

335 A Tunbridgeware box mid 19th century H: 5 1/2, W: 9 3/4, D: 7 in. $400-600

333 A Victorian brass skeleton clock 19th century Of Gothic architectural form, enclosed in glass dome. H: 18 1/2, W: 16 1/2 in. $800-1,200

334 A large Victorian brass skeleton clock 19th century Enclosed in glass dome. H: 23 1/2, W: 19 in. $1,500-2,500

336 A pair of English sporting scoreboards circa 1900 H: 15 1/2, W: 37 1/4 in. (larger) $1,500-2,500

337 An Edwardian painted satinwood occasional table early 20th century H: 28 1/4, W: 29 1/2, D: 19 3/4 in. $700-900

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338 A Chinese export porcelain giltbronze mounted octagonal inkstand circa 1740 Mounted with two inkpots and two pen-holders each with space for three pens; the underside unmarked. L: 6 3/4, W: 6 3/4 in. $800-1,200

339 A Chinese export porcelain tureen late 18th century Decorated en grisaille with vine motifs, the lid and base each with vacant reserve for a later-decorated armorial. H: 10 1/2, W: 14 1/2, D: 9 in. provenance: Evelyn A. Cohen Antiques at the Craft Cellar, Baltimore, Maryland, 1952. $800-1,200

340 A large Chinese export porcelain armorial circular platter 19th century Dia: 14 in. $800-1,200

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341 A Chinese export porcelain blue ‘Fitzhugh’ armorial six-piece service 19th century Comprising two handled oval serving dishes, two oval serving dishes, and two rectangular serving dishes. (6). H: 5, W: 12 1/2, D: 10 in. (largest) $2,000-3,000

342 Two Chinese export porcelain bowls 19th century The smaller a famille rose floraldecorated bowl, the larger a large iron red decorated punch bowl; both unmarked. (2). H: 4 3/4, Dia: 11 1/4 in. (larger) $1,200-1,800

343 Two sets of Japanese export porcelain plates 19th century Comprising nine ‘Samurai’ plates and twelve ‘Imari’ plates, all in blue and white palette. (21). Dia: 9 3/4 in. (Samurai) $1,200-1,800

344 A set of eleven Royal Crown Derby ‘Imari’ plates with Royal association first quarter 19th century Each with iron red mark to verso. (11). Dia: 10 in. provenance: By repute from the collection of H.R.H. The Duke of Kent. Vardi, New York, 1948. $500-700

345 A set of twelve Minton ciselé and cobalt plates with views of Britain circa 1880 Each monogrammed “ELS,” some signed “J. E. Dean” and some titled to verso; all with printed and impressed Minton mark to verso. (12). Dia: 9 3/8 in. $800-1,200

346 A pair of Minton pâte-sur-pâte cabinet plates by Albion Birks circa 1880 Manufactured for Gilman Collamore & Co., New York, each with reticulated and parcel-gilt rim centered by a putto against salmon ground and signed “AB” for Albion Birks; each with gold overglaze Minton stamp to verso. (2). Dia: 9 1/2 in. $800-1,200

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347 A set of ten Coalport parcel-gilt and handpainted porcelain reticulated cabinet plates circa 1890 Retailed by Tiffany & Co., each centered by a reserve depicting a classical maiden and titled to verso; with green underglaze Coalport mark and gold overglaze retailer’s mark to verso. (10). Dia: 9 1/4 in. $800-1,200

348 Two Royal Worcester hand-painted fruit study covered vases second quarter 20th century The first a ginger jar signed “D. Shinnie,” the second a two-handled vase signed “P. Platt;” each with printed black Royal Worcester mark to underside. (2). H: 8 1/2 in. (tallest, overall) $500-700

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the collection of barry & rochelle magarick lots 349 - 374

arry and Rochelle Magarick have enjoyed a happy lifetime of collecting over nearly four decades. With a shared passion for the grace and timelessness of early 19th century classicism, together they filled their elegant Federal Philadelphia townhome with antiques and paintings from Empire France, Regency England, and early America. Warmed with rich mahogany and lush crimson silks, their stunning home presents a modern example of how to live and entertain alongside truly exceptional antiques. Most notable among these are very fine ormolu and bronze clocks and candelabra from the Empire period, brought to vivid vibrancy by the sparkling crystal chandeliers and gold walls that decorated the Magaricks’ formal rooms. Shrewd buyers with a discerning eye, the Magaricks bought from Paris, London, and New York dealers, as well as from small and large auction houses worldwide, in order to find special pieces to complement their existing collection. Now nearing retirement, the Magaricks hope this selection of objects from their beloved collection will continue to bring joy and style to new homes with new collectors.

349 A George III sterling silver salver james morison, london, 1760 Centered by an engraved crest, marked to underside. Dia: 9 1/4 in. Weight: 18.1 oz. t. provenance: Property from the collection of Barry and Rochelle Magarick, Philadelphia, Pennsylvania. $500-700

350 A George III sterling silver coffeepot indistinct maker’s mark *g, london, 1771-72 Baluster form with spiral fluted body raised on stepped circular foot, engraved with feline crest to one side; marked to neck and rim of lid. H: 11 1/2 in. Weight: 31.47 oz. t. provenance: Property from the collection of Barry and Rochelle Magarick, Philadelphia, Pennsylvania. $800-1,200

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351 A George III string inlaid mahogany barometer and thermometer p. introssi, chatham, early 19th century H: 43 1/2, W: 13 in. provenance: Property from the collection of Barry and Rochelle Magarick, Philadelphia, Pennsylvania. $600-800

352 A George III brass-banded and inlaid leadlined mahogany cellarette late 18th/early 19th century H: 23, Dia: 19 1/4 in. provenance: Property from the collection of Barry and Rochelle Magarick, Philadelphia, Pennsylvania. $800-1,200

353 A Regency brass-bound and brasslined mahogany spittoon first quarter 20th century H: 19 1/2, Dia: 13 in. provenance: Property from the collection of Barry and Rochelle Magarick, Philadelphia, Pennsylvania. $700-900

354 A pair of Regency blue jasperware and cut-glass candlesticks probably wedgwood, first quarter 19th century H: 11 3/4 in. provenance: Property from the collection of Barry and Rochelle Magarick, Philadelphia, Pennsylvania. $1,500-2,500

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355 A portrait miniature of a lady circa 1820 H: 10, W: 9 in. (overall) provenance: Property from the collection of Barry and Rochelle Magarick, Philadelphia, Pennsylvania. $400-600

356 A William IV silver-gilt magnifying glass maker’s mark mb, london, 1829-30 Marked to handle. L: 7 1/2 in. provenance: Property from the collection of Barry and Rochelle Magarick, Philadelphia, Pennsylvania. $500-700

357 An assembled collection of eight Victorian sterling silver shell-form salts robert hennell iii, london, 1871-71, and henry holland, london 1879-80 Comprising four by each maker, sold together with eight associated silver spoons by various makers; each marked to rim or underside. (16). H: 1 1/4, L: 3 in. Weight: 10.29 oz. t. provenance: Property from the collection of Barry and Rochelle Magarick, Philadelphia, Pennsylvania. $800-1,200

358 An Italian marble bust of the Apollo Belvedere after the antique late 19th/early 20th century Sold together with associated onyx pedestal. (2). H: 63 1/2 in. (overall) provenance: Property from the collection of Barry and Rochelle Magarick, Philadelphia, Pennsylvania. $2,000-3,000

359 An Italian white marble portrait bust of Caesar Augustus after the antique 19th century Sold together with a white marble Classical style pedestal. (2). H: 63 in. (overall) provenance: Property from the collection of Barry and Rochelle Magarick, Philadelphia, Pennsylvania. $1,500-2,500

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360 A Louis XV ormolu and varnished-gilt bronze pendule à l’éléphant signed jean-baptiste baillon, with 18th century elements and 19th century restorations and movement The white enamel dial with blue enamel Roman numerals and signed “J BAPTISTE/BAILLON,” housed in a circular case surmounted by a monkey atop a trumpeting elephant raised on rocaille and foliate base with applied ormolu flowers, the ormolu with lacquer coating; the movement largely a late 19th century replacement without pendulum, the backplate bearing spurious signature “J Bte Baillon Paris.” H: 13 1/2, W: 12 in. provenance: Property from the collection of Barry and Rochelle Magarick, Philadelphia, Pennsylvania. $8,000-12,000

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his celebrated model, originally designed by the bronzier Jean-Joseph de Saint-Germain (French, 1719-1791), was one of the most popular clock models of the 18th century. Such ‘ménagerie’ clocks often took the forms of rhinoceros, camels, bulls, lions, and other ‘exotic’ animals, but the cheerful and unusual elephant was, by far, the most desirable. In the form of a trumpeting elephant ridden by a monkey on a flower-encrusted rocaille base, the design deeply embodies the whimsical and insouciant spirit of French Rococo and the mystique of the Orient which captivated 18th century French society.

361 An Empire style ormolu and gilt-brass encrier 19th century H: 5 1/2, W: 12 1/2, D: 5 1/2 in. provenance: Property from the collection of Barry and Rochelle Magarick, Philadelphia, Pennsylvania. $600-800

Jean-Joseph de Saint-Germain was elected a maître fondeur in 1748. He is known specifically for his magnificent work on bronze clock cases, many of which are now housed in the Louvre and the Metropolitan Museum of Art. Most especially, he is associated with his ménagerie clocks, which evidenced his careful observation of the natural world, an emerging discipline during the years of Enlightenment, and whose irregular forms displayed to stunning effect his abilities at working bronze. Jean-Baptiste III Albert Baillon (French, 1715-1772) was born in Paris to a family of accomplished clockmakers. Displaying great skill at a young age, Baillon received his maître at only twelve years old, in 1727. That same year he is recorded as valet de chambre-horloger ordinaire de la Reine, and then premier valet de chambre de la Reine in 1748 and, finally, Valet de chambre-horloger to Marie-Antoinette in 1770. He established a storefront at Place Dauphine in 1738, then expanded to rue Dauphine in 1751, with his private manufactory located outside of Paris in Saint-Germain-enLaye. As a royal horloger, he collaborated with a number of the most important ébénistes and bronziers of the Louis XV period, including sculpteur du Roi Jean-Jacques Caffieri (French, 1725-1792) and Jean-Joseph de Saint-Germain, with whom he is known to have produced a number of clocks of the offered model. The present example appears to be comprised of an 18th century bronze case with later restorations and movement. The dial and backplate each bear signatures of Baillon, though these marks may be spurious or simply serve to replace original 18th century Baillon elements which were not salvageable.

362 An Empire ormolu figural mantel clock depicting Euterpe apparently unsigned, early 19th century The white enamel dial with Roman numerals housed in a finely cast case depicting Euterpe with her attributes above a base cast with frieze depicting the Twelfth Labour of Hercules; the eightday movement with silk suspension, the backplate impressed “301/C,” otherwise unmarked. H: 14, W: 10 in. provenance: Property from the collection of Barry and Rochelle Magarick, Philadelphia, Pennsylvania. $1,500-2,500

Other examples of this model by Baillon were sold Christie’s Paris, Le Goût français dont “Le Pavillon de Ribourg,” April 13, 2017, lot 212 and Christie’s London, April 21, 2005, lot 29. Another with movement also by Baillon is illustrated in Ottomeyer, Pröschel et al., Vergoldete Bronzen (Munich, 1986), Vol. I, p. 124, fig. 2.8.5.

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363 An Empire ormolu and patinated bronze figural mantel clock of Odysseus lesieur à paris, the case possibly etienne blavet, ca. 1810-20 The dial with black enamel Roman numerals and decorated with anthemia, the base mounted with motifs of owls; the eight-day movement with original silk suspension and stamped “LESIEUR.” H: 21, W: 15, D: 6 1/2 in. provenance: Property from the collection of Barry and Rochelle Magarick, Philadelphia, Pennsylvania. note: There is very little information available regarding the life and work of Lesieur, but Tardy notes that by 1806 he was established at Vieille rue du Temple, and between 1812-20 and 1830-50 he was listed in the rue de la Verrerie. Lesieur was, nevertheless, a highly respected Parisian clockmaker responsible for a number of significant timepieces throughout the Empire period. Lesieur is known to have used gilt bronze cases by Etienne Blavet, most notably one portraying Achilles swearing to avenge Patroclus (illustrated in Jean-Dominique Augarde, Les Ouvriers du Temps, 1996, p. 141, pl. 101). It is entirely plausible that this unsigned case, also depicting an Homeric subject, is the work of Etienne Blavet (French, 1751-1827). Lesieur executed clocks under Imperial commission, including one depicting Jason and the Golden Fleece now housed in the rooms of the Empress Josephine at the Musée de la Malmaison. Lesieur also made a limited number of astronomical bureau clocks with dual dial plinths after a design by Percier and Fontaine. Lesieur and G. Meyer also provided the movements for an interesting pair of figural clocks featuring female and male classical warriors seated upon cannons, in which one with dial, signed Lesieur à Paris, indicates the calendar indications and the other, signed G. Mayer à Chalon-sur-Saône, indicates the hours and minutes (illustrated in Pierre Kjellberg, La Pendule Française du Moyen Age au XXe Siècle, 1997, p. 410, pl. E). $4,000-6,000

364 A fine pair of Empire ormolu and patinated bronze figural three-light candelabra attributed to thomire, duterme, et cie., circa 1810 Each very finely cast in the form of a putto holding aloft three scrolled candlearms and a central torch, each standing atop an orb above an engineturned columnar base. (2). H:â&#x20AC;&#x2026;23â&#x20AC;&#x2026;in. provenance: Property from the collection of Barry and Rochelle Magarick, Philadelphia, Pennsylvania. note: Another pair of the same model was sold at Tajan, Paris, November 29, 2016, lot 117. The model is further illustrated in Hans Ottomeyer and Peter PrĂśschel, Vergoldete Bronzen (Munich: Klinkhardt & Biermann), page 331, illustration 5.2.8. $3,000-5,000

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365 A pair of Charles X gilt and patinated bronze figural four light candelabra aux victoires on Siena marble base circa 1820 Drilled for wiring. (2). H: 25, Dia: 10 in. provenance: Property from the collection of Barry and Rochelle Magarick, Philadelphia, Pennsylvania. $2,500-3,500

366 A pair of Louis Philippe gilt and patinated bronze candlesticks second quarter 19th century H: 11 1/2 in. provenance: Property from the collection of Barry and Rochelle Magarick, Philadelphia, Pennsylvania. $700-900

367 A pair of Louis Philippe ormolu and patinated bronze figural three-light candelabra circa 1830-40 H: 22 in. provenance: Property from the collection of Barry and Rochelle Magarick, Philadelphia, Pennsylvania. $2,000-3,000

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368 A small pair of Restauration Paris porcelain parcel-gilt and hand-painted vases circa 1840 H: 8 3/4, W: 5 in. provenance: Property from the collection of Barry and Rochelle Magarick, Philadelphia, Pennsylvania. $300-500

369 A Restauration Paris porcelain parcel-gilt and hand painted tea service second quarter 19th century Each with green reserve decorated en grisaille with scenes of Cupid, comprising a coffeepot, covered sugar, creamer, and six cups and saucers; unmarked. (15). H: 8 in. (tallest) provenance: Property from the collection of Barry and Rochelle Magarick, Philadelphia, Pennsylvania. $800-1,200

370 A Sèvres style parcel-gilt bisque figural centerpiece bowl 19th century The basket a contemporaneous replacement; unmarked. H: 12 1/4, Dia: 8 3/4 in. provenance: Property from the collection of Barry and Rochelle Magarick, Philadelphia, Pennsylvania. $700-900

371 A Charles X silver cruet stand maker’s mark sjd, paris, circa 1820-30 Marked to underside. H: 13, W: 9, D: 4 1/2 in. Weighable silver: 21 oz. t. provenance: Property from the collection of Barry and Rochelle Magarick, Philadelphia, Pennsylvania. $800-1,200

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372 A Napoleon III brass-inlaid amboyna and etched glass tantalus set third quarter 19th century The interior with removable fitting with four stoppered decanters and sixteen cordial glasses. H: 11, W: 13 1/4, D: 9 1/2 in. provenance: Property from the collection of Barry and Rochelle Magarick, Philadelphia, Pennsylvania. $800-1,200

373 An Austrian silver four-piece coffee service early 20th century Comprising coffeepot, sugar, creamer, and tray. (4). H: 4 1/2 in. Total weight: 42.18 oz. t. provenance: Property from the collection of Barry and Rochelle Magarick, Philadelphia, Pennsylvania. $800-1,200

374 An American sterling silver six-piece flatware service for eighteen international sterling co., meriden, ct, 20th century In the ‘Royal Danish’ pattern and monogrammed, comprising thirty tablespoons; nineteen dinner knives; eighteen each dinner forks, salad forks, soup spoons, and butter knives; and three serving spoons; sold in fitted case. (approx. 124). Total weight: 150 oz. t. (excl. dinner knives) provenance: Property from the collection of Barry and Rochelle Magarick, Philadelphia, Pennsylvania. $2,000-3,000

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various owners lots 375 - 419 375 A French mythological tapestry fragment mid 17th century Depicting figures in a triumphant procession, with later ochre selvage and lining. H: 112, W: 75 in. $4,000-6,000

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376 After Jean-Louis Lemoyne (French, 1665-1755) bust of jules hardouin-mansart (french, 1645-1708), 19th century White marble, raised on circular socle. H: 25, W: 16 in. $800-1,200

377 A Louis XV beechwood and tooled leather caned fauteuil de bureau circa 1750 Of typical form with rounded caned and stamped leather back and caned seat, on cabriole legs. H: 33, L: 23, D: 21 1/2 in. $300-500

378 A Louis XV/XVI transitional amaranth and kingwood parquetry table en chiffonier circa 1760 With brèche d’Alep marble top. H: 27 1/2, W: 16 1/2, D: 12 1/2 in. $800-1,200

379 A Louis XV ormolu-mounted acajou and kingwood parquetry petit secrétaire à abattant pierre migeon ii (french, 1701-1758), mid 18th century With brèche d’Alep marble top above fall front over a pair of cabinet doors. H: 42 3/4, L: 26 1/2, D: 14 1/2 in. $2,000-3,000

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380 A Louis XV/XVI transitional ormolu mounted kingwood and amaranth parquetry commode circa 1760 Apparently unsigned, with gris de Sainte Anne marble top. H: 34 1/2, L: 48 1/2, D: 22 1/2 in. $1,500-2,500

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381 A pair of Louis XVI white-painted fauteuils à la reine upholstered in chocolate silk velvet circa 1780 H: 38, W: 26, D: 22 1/4 in. provenance: The Meinig Family Collection $2,000-3,000

382 A pair of Louis XVI white-painted fauteuils à la reine upholstered in chocolate silk velvet circa 1780 H: 38, W: 26, D: 22 1/4 in. provenance: The Meinig Family Collection $2,000-3,000

383 A Louis XVI white-painted settee upholstered in chocolate silk velvet circa 1780 H: 38, W: 75 1/2, D: 27 in. provenance: The Meinig Family Collection $2,000-3,000

384 A Louis XVI brass-mounted figured mahogany console dessert late 18th century With Carrara marble top and inset lower shelf. H: 33 1/2, W: 32 1/4, D: 13 3/4 in. $1,500-2,500

385 A pair of Louis XVI white painted fauteuils 18th/19th century H: 39 1/2, W: 27 1/2, D: 20 in. $1,500-2,500

386 Two French polychrome faience dishes 18th/19th century Dia: 15 in. provenance: The collection of Georges Perrier, Philadelphia, Pennsylvania. $500-700

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387 A bisque centerpiece from the ‘Cameo Service’ depicting Telemachus and Calypso attributed to the manufacture royal de sèvres, circa 1776-1780 After the model by Louis-Simon Boizot (French, 1743-1809), depicting the nymph Calypso and her attendants dining and listening to the tales of Mentor and Telemachus from The Odyssey; the underside unmarked and with damage. H: 12 1/2 in. note: This exceptional bisque figural group attributed to the Manufacture Royale de Sèvres is after one of the models for allegorical centerpieces in bisque porcelain created by Louis-Simon Boizot (French, 1743-1809) for the famous ‘Cameo Service’ of 1777. It is possible that it was a trial casting or a factory second deemed of insufficient quality for presentation. The ‘Cameo Service’ was ordered by the Empress Catherine II in 1777 for Prince Grigory Potemkin, her lover and the hero of the RussoTurkish Wars of 1768-1774 which brought Kabardia and the Crimea into the sphere of influence of the Russian Empire. It was the fashion to order sumptuous and valuable porcelain dinner services as rewards for exceptional achievements, and this commission by the Empress was no exception. All of the pieces of the ‘Cameo Service’ feature exquisitely rendered classical cameo motifs, copied from models in the Imperial Collections. More than sixty individual

designs depicting scenes from classical mythology were painted by Jean-Baptiste-Etienne Genest, head of the Sèvres painting workshop. The work on the service was prodigious, and required more than half of the painters at the Sèvres factory, and a third of its gilders. The final bill for the project was 331,317 livres ($40-50M in today’s money), which Catherine initially refused to pay. The bill was finally settled, it is said, after the revolution in 1792 when it became known that the factory would close due to financial difficulties, and the Empress made good on her twenty-year debt. The sculptural groups intended to serve as centerpieces were modeled by Louis-Simon Boizot. Boizot was the son of a designer at the Gobelins tapestry factory, and grew up within the circle of Court suppliers. His artistic training included study at Académie Royale in Paris, and later in Italy after winning the Prix de Rome in 1762. In 1773 he became the Director of the sculpture studio at the Manufacture Royale de Sèvres, and so the ‘Cameo Service’ was among his first major commissions in porcelain. The present lot depicts a scene from Homer’s Odyssey, in which the nymph, Calypso, entertains the warrior Telemachus and Mentor as they relate the stories of the victory at Troy. Calypso seduces Telemachus’ father Odysseus with her beauty and lavish hospitality, forcing the entire crew of the Argos to remain on her magical island for seven years; a fitting classical parallel to the lovers Catherine II and Prince Potemkin. $1,000-1,500

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388 An Empire ormolu-mounted mahogany and Carrara marble coiffeuse bearing stamps of jacob frères, partially early 19th century with later elements The rectangular mirror supported by a pair of Corinthian columns above a Carrara marble dressing surface, the frieze with a single hidden drawer and mounted to all four sides with a continuous frieze of victoires and laurel festoons; the front legs with ormolu caryatids, the rear legs with anthemion appliques; the substrate and underside bearing various Napoleonic and inventory stamps, with one spurious mark “JACOB FRÈRES/R*MESLEE,” the upper edge of drawer further marked “JACOB FRÈRES” twice; with additional later “dP” firebrands to interior of drawer and underside for duPont. H: 70, W: 49 1/4, D: 23 3/4 in. provenance: William duPont, Montpelier, Orange County, VA. Marion duPont Scott, Montpelier, Orange County, VA. Henry E. I. duPont and Martha Verge duPont. The Estate of Martha Verge duPont. note: This curious coiffeuse was acquired in 1901 by William duPont and his second wife, Annie Rogers, shortly after their purchase of Montpelier, president James Madison’s famed estate, in 1900. As part of their extensive renovation and modernization of the house, Annie designed an “Empire Parlour,” in which this coiffeuse was installed. It was purchased as an authentic work by Jacob Frères, allegedly hailing from the private collection of Pauline Bonaparte. Indeed, this piece bears a number of stamps and Napoleonic firebrands, as well as three different Jacob Frères marks, all of which appear likely spurious based on modern research. Nevertheless, it includes many fine early 19th century structural and decorative elements, including a set of exceptional ormolu mounts for the column supports of the mirror as well as the caryatids on the front legs. The additional mouldings, frieze mounts, paterae, and classical appliques were likely added in the late 19th century when the piece was substantially reworked by an unscrupulous dealer catering to America’s newly moneyed classes and the their taste for all things French. William and Annie’s daughter, Marion duPont Scott (18941983), inherited Montpelier in 1928 and initiated a new round of updates. She replaced the “Empire Parlour” with the “Red Room” — an equestrian style club room more in keeping with the duPonts’ beloved country pastime — but retained many of the handsome Empire furnishings. Upon her death, her nephew, Henry E. I. duPont (1927-2002), acquired the coiffeuse, which later passed to his wife, Martha Verge duPont. It was clearly prized by this important family for its beauty as well as its alleged history; to collectors today it serves as a fascinating pastiche of French Empire restraint and Gilded Age excess. $4,000-6,000

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389 An Empire ormolu mounted mahogany bergère with dolphin-carved arms 19th century Upholstered in gold silk brocade. H: 36, W: 24, D: 20 in. provenance: William duPont, Montpelier, Orange County, VA. Marion duPont Scott, Montpelier, Orange County, VA. Henry E. I. duPont and Martha Verge duPont. The Estate of Martha Verge duPont. $800-1,200

390 An assembled Empire style ormolu threepiece garniture 19th century Comprising a vase and an associated pair of Renaissance Revival candlesticks. (3). H: 14 1/2 in. (vase) $2,000-3,000

391 A pair of Charles X patinated bronze and Siena marble campana-form urns second quarter 19th century Now wired as lamps. (2). H: 19 in. (urns) H: 33 1/2 in. (overall) $2,500-3,500

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392 A pair of Charles X gilt and patinated bronze seven-light candelabra circa 1830 Now wired as lamps. (2). H: 28 3/4 in. $3,000-5,000

393 A pair of Louis Philippe gilt and patinated bronze mounted bleu turquin marble three-light candelabra mid 19th century H: 12 in. $800-1,200

393A An Empire ormolu figural mantel clock of Cupid and Psyche claude galle (french, 1759-1815), circa 1810 Depicting Cupid and Psyche blowing bubbles, the white enamel dial with Roman numerals signed “Gallé/rue Vivienne No. 9,” above rectangular base with applied frieze of finely cast laurel wreathes and anthemia over foliate-cast band; the eight-day movement with silk suspension, the backplate unmarked. H: 20 1/2, W: 16 1/2, D: 7 in. provenance: Private collection, Philadelphia. $2,000-3,000

394 A Paris porcelain parcel-gilt and green ground table service 19th century Comprising one reticulated centerpiece, two compotes, two serving dishes, four teacups and five saucers. (14). H: 7 1/2, W: 19 1/2, D: 9 3/4 in. (largest) $800-1,200

395 A Jacob Petit hand-painted and parcel-gilt porcelain flacon and jardinière on stand circa 1840 Each hand-signed and with “JP” blue underglaze mark to underside. (3). H: 9 3/4 in. (flacon) $600-800

396 A pair of Jacob Petit hand-painted and parcel-gilt porcelain vases on stands circa 1840-50 Each hand-signed and with “JP” blue underglaze mark to underside. (4). H: 12 in. $800-1,200 397 A pair of French tôle peinte covered chestnut urns second quarter 19th century With red dappled ground centered by reserves depicting provincial landscapes, decorated with parcel-gilt oak motifs and terminating in acorn finial. (2). H: 12 1/2 in. $600-800

399 A Samson parcel-gilt and faux-marbre porcelain pseudoarmorial sweetmeat set mid to late 19th century Comprising a center bowl with carp-form handles and four sweetmeat dishes; unmarked. (5). H: 4 1/2, Dia: 8 1/2 in. (bowl) $800-1,200

398 A French papier peint seven-panel floor screen 19th century Depicting an Alpine fête galante; panels currently separate for mounting to wall. H: 77 1/4, W: 134 3/4 in. provenance: Property of a Pennsylvania collection. $1,500-2,500

400 A large Samson gu vase of unusual color palette with Louis XV style ormolu ‘exotic’ mounts 19th century The vase with alternating reserves in fuchsia and chartreuse segmented by navy diapered bands, the finely cast foliate mounts depicting African motifs with crocodiles and Sultan masques. H: 24 1/2, W: 16 in. $4,000-6,000

401 A pair of Régence style ormolu-mounted Sancai glazed porcelain three-light candelabra 19th century Each with porcelain foo lion-form standard mounted with three scrolling foliate candlearms and raised on serpentine ormolu base with four dragon-form feet. (2). H: 12 in. $3,000-5,000

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402 A Régence style ormolu-mounted Chinese turquoiseglazed porcelain mantel clock late 19th century The white porcelain dial unmarked and with black enamel Arabic numerals mouthed within a porcelain ginger jar-form case with lion’s masque handles raised on a draped and fringed ormolu palanquin-form litter supported by two foo lions above a rusticated base on four hairy paw feet. H: 15 1/2, W: 10 1/2, D: 4 in. $1,500-2,500

403 A Louis XV style ormolu-mounted Chinese turquoise-glazed porcelain pot-pourri bowl and cover 19th century The wide bell-form cover with conical foliate and rocaille knop, the bowl mounted with two foliate scrolled handles and raised on pierced rocaille base. H: 11 1/2, W: 12 1/2, D: 9 1/2 in. $1,000-2,000 404 A Louis XV style ormolu-mounted Chinese famille verte porcelain vase the porcelain kangxi, the mounts 19th century H: 24, W: 11 in. $3,000-5,000

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405 A pair of Louis XVI style ormolu-mounted Chinese export famille verte beaker vases 19th century With beaded rim, each vase painted with a reserve depicting birds, raised on ormolu laurel-wreathed shaped square bases. (2). H: 14, Dia: 6 in. $1,000-1,500

406 A pair of Louis XVI style gilt-bronze mounted white marble three-light candelabra late 19th/early 20th century H: 18 in. provenance: Property from a private Main Line, Pennsylvania collection. $1,000-1,500

407 A pair of Louis XV style gilt-bronze mounted verde ranocchia marble and three-light lamps circa 1890-1900 Each in the form of a baluster vase mounted with finely cast foliate handles and issuing floral sprays including three lights with frosted glass iris-form shades, raised on pierced rocaille base. (2). H: 33, W: 14 in. (approx.) provenance: Property from a private Main Line, Pennsylvania collection. $4,000-6,000

408 A pair of Louis XVI style porcelainmounted mahogany pedestals with serpentine marble tops late 19th/early 20th century H: 38 1/2, W: 12, D: 12 in. provenance: Property from a private Main Line, Pennsylvania collection. $1,000-1,500

409 A French ‘Japonesque’ brass and champlevé enamel dragon-form lamp third quarter 19th century With silk dome shade; now wired for electricity. H: 40 in. $1,000-2,000

410 A Belle Époque enameled bronze and champlevé enamel centerpiece circa 1890-1900 H: 11 1/2, W: 11 3/4 in. $1,500-2,500

411 An Art Nouveau fruitwood floral marquetry trefoil guéridon émile gallé (french, 1846-1904), circa 1900 Signed “Galle à Nancy” and inscribed “Un peu, Beaucoup, Passionnement” in marquetry to top. H: 31 1/4, Dia: 22 in. $800-1,200

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412 An Art Nouveau bronze figural lamp léo laporte-blairsy (french, 18651923), circa 1900 Bronze, gold patina, signed in cast “LEO LAPORTE BLAIRSY” and stamped “58836” and “2;”raised on rouge griotte marble base. H: 12 1/2 in. $2,000-3,000

413 After François-Raoul Larche (French, 1860-1912) david, late 19th century Bronze, signed in cast “RAOUL LARCHE” to base, impressed with “P99 Siot Paris” foundry mark and “Tiffany & Co.” H: 36 in. $2,000-3,000

414 After Antoine-Louis Barye (French, 1795-1875) lion au serpent, late 19th/early 20th century Bronze, black patina, signed in cast “BARYE.” H: 5 1/4 in. $800-1,200 415 After Adrien-Étienne Gaudez (French, 1845-1902) leçon de violon, late 19th century Bronze, dark brown patina, signed in cast “A. GAUDEZ/Hors Concours” and titled in cast at front “LECON DE VIOLON/ PAR A. GAUDEZ. HORS CONCOURS.” H: 27 in. provenance: Property from a private Main Line, Pennsylvania collection. $1,000-2,000

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416 After Hippolyte François Moreau (French, 1832-1927) pair of victoires, circa 1900 Bronze, dark brown patina, signed in cast “Hip Moreau,” each raised on rouge griotte circular base. (2). H: 27 in. (taller) $3,000-5,000

417 After Albert-Ernest CarrierBelleuse (French, 1824-1887) la melodie, 19th century Bronze, parcel-gilt warm brown patina, signed in cast “A. CARRIER.BELLEUSE/Hors. Concours” and with title plaque to front; sold together with a rouge marble pedestal. (2). H: 31 1/2 in. (bronze); H: 39 1/2 in. (pedestal) $3,000-5,000

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418 A Louis Vuitton monogrammed canvas steamer trunk early 20th century The sides painted with red stripe and black monogram “A.J.P./ PITTSBURGH, PA,” the interior fitted with original trinket tray and webbed compartment above three removable gown trays; the interior with original paper label and serial number 129923. H: 27 1/2, W: 43 1/2, D: 24 in. $3,000-5,000

419 A Louis Vuitton monogrammed canvas steamer trunk circa 1930 The sides painted with yellow stripe and blue monogram “M.E.M.,” the interior fitted with original removable tray above a removable fitted shoe valise and a large webbed compartment with two adjustable spacers; the interior label and center exterior lock each with serial number 071048. H: 22 1/2, W: 32, D: 20 in. $4,000-6,000

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property virginia gentleman

lots 420 - 551

reeman’s is pleased to offer the property of a Virginia gentleman as lots 420 - 551. In a quiet area just outside of Richmond, an unusual and comprehensive group of 19th century decorative arts was quietly assembled over several decades by a collector with an eye for opulence. With special concentration in the decorative arts of Venice, as well as that of France in the periods of Louis-Philippe and Napoleon III, the collection brings to mind the lavish décor of the Tuileries Palace and its imitators, or the sumptuous interiors in a film by Visconti. Of particular interest are the diverse collection of polychromed Venetian figures. The first of these types of figures, and perhaps the source for all of them, are to be found in the carvings of Andrea Brustolon (1662-1732). Brustolon trained in the studio of the Genoese sculptor Filppo Parodi, and also studied in Rome at the height of the Baroque period. Brustolon, perhaps inspired by the theatrical nature of Roman churches and the work of Bernini at St. Peter’s, began to produce his elaborately carved boxwood figures depicting North African Moors then employed in Venice as major domos and as accountants on the famous estates of the Veneto. His first piece in this genre was an extravagant work designed and delivered to nobleman Pietro Venier to display Japanese porcelain, using figural allegories including Hercules with the Hydra and Cerberus, Moors, and reclining river-gods. Brustalon had many imitators, and the depiction of the North African residents of Venice continued well into the 19th century – the Venetian sculptor Valentino Panciera Besarel (1829–1902) made upholstered armchairs and figures such as torchéres and consoles in the Brustolon manner from the 1860s on, and which were widely copied in Italy and abroad. Lots 420 - 551 are a reminder of the lavish 19th century European taste for theatrical and exotic historical revivalism, and modern collectors will find ample opportunity to discover objects of interest.

420 Two French tapestry fragments various dates The first an Aubusson verdure fragment of a chateau in a forest, the second a circular figural tapestry fragment incorporated into later needlework panel and with attached Paris Exhibition ‘DOUANE’ customs seal. (2). H: 51 1/2, W: 29 3/4 in.; H: 39 3/4, W: 41 3/4 in. $800-1,200

421 A framed Flemish figural tapestry fragment 17th century H: 31, W: 24 in. (sight) $700-900

422 A pair of Flemish architectural tapestry fragments late 17th/early 18th century Depicting columns. (2). H: 115, W: 24 1/2 in. provenance: Property of a Virginia Gentleman $1,000-1,500

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423 A pair of Italian Baroque polychromed walnut and pine reliquaries 18th century Each centered by a modern reproduction of Italian Gothic paintings. (2). H: 22 1/2 in. $700-900

424 An Italian giltwood crucifix 18th century With painted paper panels and carved wood figure of Christ. H: 26 1/8, W: 17 5/8 in. $400-600

425 An Italian Baroque carved wood and polychrome decorated altarpiece 18th century Architectural form, with faux-marble painted panels and columns, mounted with carved wood saints and and a putto. H: 50, W: 31 in. $1,500-2,500

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426 A pair of Renaissance Revival gilt-bronze candlesticks late 19th century Now wired as lamps. (2). H: 25, W: 5 in. (overall) $500-700

427 An Italian Baroque gilt and hammered copper and giltwood reliquary 18th/19th century Centered by a relic labeled “Ex Velo. B. M. Virgin.” H: 15 1/4 in. $600-800

428 Three Russian icons with brass oklads mid 19th century Depicting St. Nicholas the Miracleworker, Christ the Teacher, and the Feodorovskaya Mother of God. (3). H: 8 3/4, W: 7 in. $800-1,200

429 An Italian Gothic style painted and carved giltwood altarpiece late 19th/early 20th century Sold together with a giltwood circular panel depicting a scene of trumpeting angels. (2). H: 21 W: 8 1/2 in. $500-750

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430 A Louis XV ormolu-mounted and later tortoiseshell-veneered bracket clock françois goyer (maître 1740), 18th century with later elements The segmented enamel dial with blue Roman and Arabic numerals housed within an 18th century case, likely originally with kingwood parquetry veneer and now later tortoiseshell-veneered and with some additional 19th century mounts, stamped to verso “F. GOYER” and with JME stamp; the 18th century movement with later replaced crutch and pendulum, the backplate signed “Joubert a Bonetable,” the interior of case with original kingwood veneers; the conforming bracket 18th century and with later tortoiseshell veneer and additional 19th century mounts. H: 44, W: 16, D: 8 1/2 in. $2,000-3,000

431 A pair of Louis XV style carved giltwood consoles some elements mid 18th century With later shaped Rosso antico marble tops, restorations. (2). H: 33 1/2, W: 35, D: 16 in. $1,500-2,500

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432 A pair of Louis XV style giltwood and monochrome painted wall plaques 19th century Each painted en grisaille with a putto; sold together with a pair of similar ribboned floral wall appliques. (4). H: 19, W: 12 in. (plaques) $400-600

433 A Louis XV style leather-upholstered beechwood corner bergère marquise 19th century H: 37, W: 28, D: 21 1/2 in. $700-900

434 A pair of Louis XV style giltbronze three-light wall sconces 20th century H: 21 1/2 in. $500-700

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435 A pair of Louis XVI style giltbronze and cut-glass five-light wall sconces late 19th/early 20th century H: 24, D: 12 in. $800-1,200

436 Two Louis XVI style bergères en cabriolet 19th century Each with Aubusson style tapestry upholstery. (2). H: 35, W: 25 1/2, D: 20 in. $800-1,200

437 A Louis XV style giltwood salon suite late 19th/early 20th century Comprising two large fauteuils and two side chairs, each with Aubusson style tapestry upholstery. (4). H: 42, W: 31, D: 24 in. $1,000-1,500

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438 A Louis XVI style carved gesso and giltwood overmantel mirror 19th century H: 50, W: 35 in. $800-1,200

439 A pair of Louis XVI style giltwood fauteuils 19th century With Aubusson style tapestry upholstery. (2). H: 35, W: 23, D: 21 in. $600-800

440 A Louis XVI style giltwood salon suite early to mid 20th century Comprising a settee and two side chairs, each with earlier Aubusson style needlepoint upholstery. (3). H: 42, W: 63, D: 25 in. (settee) $800-1,200

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441 A Louis XVI style brass-mounted steel guéridon with gris Sainte Anne marble top 20th century H: 28 1/2, Dia: 20 1/2 in. $500-700

442 A Louis XVI style giltmetal-mounted mahogany trapezoidal occasional table with agate top late 19th/early 20th century H: 34 1/4, W: 20, D: 13 in. $400-600

443 A suite of four Louis XVI style blue painted fauteuils early 20th century With blue silk upholstery. (4). H: 38, W: 26 1/2, D: 21 in. $1,000-1,500

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444 A Directoire style trapezoidal banded acajou and faux-book writing stand late 19th century The galleried Breche d’Alep marble top above an extending leather-inset writing surface over a single cupboard door above a lower shelf, the whole raised on castors. H: 31 1/4, W: 21, D: 13 in. $500-700

446 A pair of Directoire style gray-painted lyre-back side chairs 19th century With teal blue velvet upholstery. (2). H: 35, W: 19, D: 17 in. $600-800

445 A pair of Directoire style greenpainted lyre-back side chairs 19th century With olive green velvet upholstery. (2). H: 35, W: 17, D: 16 1/2 in. $600-800

447 A pair of Louis XV/XVI transitional style mahogany bibliothèque cabinets late 19th century Each with Carrara marble top over faux-book cabinet doors above an extending leather-inset writing surface over a silk-lined cabinet door enclosing shelves. (2). H: 44, W: 16, D: 11 1/2 in. $700-900

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448 A pair of Empire Revival ibis-form carved giltwood wall brackets late 19th/early century H: 16, W: 12, D: 8 1/2 in. $400-600

449 A pair of Empire Revival gilt-bronze three-light sconces circa 1880 Originally gas lights, now electrified. H: 24 1/2 in. $500-700

450 A Charles X carved giltwood portico clock honoré pons, paris, second quarter 19th century The engine-turned steel dial with black enamel Roman numerals; the movement with silk suspension stamped “A.M./1756” and with ‘Medaille d’Or 1827’ pastille. H: 24 1/2, W: 16 in. $800-1,200

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451 An Empire style gilt and patinated bronze four-piece garniture late 19th/early 20th century Comprising a pair of campana-form vases on pedestals and a pair of conforming candlesticks. (4). H: 13 in. $1,000-1,500

452 A Victorian dome diorama depicting a provincial French village mid 19th century H: 21, W: 19, D: 9 in. $300-500

453 A Charles X gilt-bronze mounted figured walnut secrétaire circa 1830 The rectangular top above torus drawer over fall front enclosing an assortment of drawers and gilttooled leather writing surface over three long drawers. H: 57, W: 37 3/4, D: 17 in. $600-800

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454 A group of five Paris porcelain Neoclassical style vases second quarter 19th century Comprising a pair of vases with swan-form handles, a large campana-form vase, a small campana-form vase, and a small footed beaker vase. (5). H: 9 in. (tallest) $600-800

455 A pair of Paris porcelain handpainted and parcel-gilt ice pails 19th century Each decorated in puce camaïeu with provincial landscapes. (2). H: 9 3/4, Dia: 10 in. $600-800

456 A set of six Paris porcelain pots de crème on stand 19th century Each decorated in puce camaïeu depicting provincial landscape scenes. (7). H: 4, Dia: 9 1/4 in. (stand) $600-800

457 A set of twelve Louis Philippe Sèvres style parcel-gilt porcelain dinner plates dated 1848 Sold together with two egg cups, a demitasse cup and saucer, and a single saucer; all with spurious Louis Philippe Sèvres and Château des Tuileries stamps, and inscribed “FRANCE.” (17). Dia: 9 3/4 in. $400-600

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458 A Victorian parcel-gilt and fuchsia-glazed bisque ‘exotic’ figural vase mid 19th century The underside with overglaze mark or inscription now effaced, and with indistinct incised mark. H: 19, W: 14 1/2, D: 8 1/4 in. $800-1,200

459 A pair of Derby porcelain figures of a shepherd and shepherdess 18th/early 19th century century Each with iron red overglaze crowned “D” mark and with impressed number “114/4/S.” (2). H: 10 in. (shepherd) $600-800

460 A Minton hand-painted porcelain dinner service for sixteen late 19th/early 20th century Comprising sixteen dinner plates and three serving stands, each with parcel-gilt and turquoise jeweled braided rim and finely painted with wildflowers; with impressed Minton mark and various date codes to undersides. (19). Dia: 9 in. $700-900

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461 A Louis Philippe Sèvres hand-painted and parcel-gilt bleu céleste part dinner service dated 1846 Each with parcel-gilt bleu céleste ground centered by a reserve depicting two putti flanking a parcel-gilt Louis Philippe cypher; comprising eighteen dinner plates, ten salad plates, seven cups and saucers, five additional saucers, a pair of oval serving platters, a large oval serving platter, a round serving dish, and two additional broken tea cups; all with blue Louis Philippe 1846 Sèvres stamp, Château des Tuileries stamp, and green crowned LP stamp dated 46. (55). Dia: 9 in. (dinner plates); L: 17 3/4 in. (largest) $2,000-3,000

462 An assembled Sèvres style gilt-bronze mounted bleu céleste porcelain vase garniture set late 19th century Comprising a covered vase and a pair of twolight candelabra. (3). H: 13 1/2 in. (vase) $600-800

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463 A large pair of hand-painted and parcel-gilt blue opaline glass vases with portraits of ladies late 19th century H: 16 1/2 in. $400-600

464 A pair of Minton parcel-gilt and turquoise glazed porcelain twolight figural candelabra early 20th century H: 11 1/2 in. $500-700

465 An assembled collection of parcel-gilt blue opaline glass vases late 19th/early 20th century Comprising four pairs of vases, a single vase, and a candlestick. (10). H: 13 3/4 in. (tallest) 466 $500-700 A group of giltmetal-mounted blue opaline glass scent bottles and vases late 19th/early 20th century Comprising a pair of parfums, a stoppered scent bottle, a covered urn, and a baluster vase. (5). H: 9 1/4 in. $500-700

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467 A George III style carved giltwood mirror mid 20th century H: 57, W: 30 in. (approx.) $700-900

468 A pair of French brass and faux-bois tôle peinte bedframes and chamber stand late 19th/early 20th century H: 54, W: 37, L: 74 in. (beds); H: 39, W: 16, D: 14 3/4 in. (stand) $600-800

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469 A pair of gilt and hammered white metal carriage lanterns 19th century H: 26 in. $400-600

470 A French faux-grained and polychrome painted Comtois tallcase clock peigue à bellenave, late 19th century H: 92, W: 19 1/2 , D: 9 1/2 in. $800-1,200

471 A George III style mahogany wingback chair and mechanical footstool with tufted leather upholstery early 20th century H: 47, W: 33 1/2, D: 29 in. (chair) $700-900

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472 A Napoleon III Aubusson carpet late 19th century With edges reduced. 16 ft. 5 in. x 8 ft. 9 in. $800-1,200

473 A Napoleon III Aubusson rug late 19th century With modern lining. 10 ft. 9 in. x 7 ft. 3 in. $700-900

property of a virginia gentleman

474 Two pairs of ‘exotic’ figural candlesticks late 19th century H: 11 in. (tallest) $500-700

475 A pair of Louis XV style Höchst porcelain-mounted gilt-bronze figural three-light candelabra 19th century The figures depicting a farmer and his wife, each with blue underglaze Höchst wheel mark to underside. (2). H: 13, W: 9, D: 6 in. $600-800

476 A pair of Edwardian giltbronze, carved giltwood and cut-glass four-light girandoles early 20th century Now wired as lamps. (2). H: 32, Dia: 14 1/2 in. (overall) $800-1,200

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477 An Empire style giltmetal and cutglass chandelier early 20th century H: 38, Dia: 21 in. (approx.) $800-1,200

478 A Belle Époque three light cut-crystal and etched glass chandelier late 19th century Originally for gas, now electrified, the three shades etched with Art Nouveau motifs. H: 42, Dia: 24 in. (approx.) $1,500-2,500

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479 A Venetian glass three-light chandelier late 19th century H: 37, Dia: 27 in. (approx.) $800-1,200

480 A pair of Regency style gilt-bronze and cut-glass four-light girandoles 20th century H: 19 1/2 in. $700-900

481 A large pair of porcelain-mounted brass and giltmetal garnitures likely french, late 19th/early 20th century The brass urn-form bases issuing a central standard of gilt and pressed metal vines, flowers, and wheat chaffs mounted with pink and violet glazed dahlias and carnations terminating in a single candle nozzle. (2). H: 41 in. $800-1,200

482 A pair of Meissen style porcelain-mounted gilt-bronze figural three light candelabra late 19th/early 20th century Now electrified. (2). H: 25 in. (overall) $500-700

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483 A Meissen porcelain figural mantel clock emblematic of the Four Seasons 1815-1860 In two parts, the case allover encrusted with flowers and four putti representing Spring, Summer, Autumn, and Winter, the movement stamped “R. FLECK” to the backplate; the base similarly decorated; both with blue underglaze crossed sword mark, the clock with additional incised number “2172” and impressed “76.” (2). H: 23 in. (incl. base) $3,000-5,000

484 A pair of Meissen porcelain figural seven-light candelabra emblematic of music 1815-1860 Each allover encrusted with flowers and mounted with three putti playing flute, violin, and mandolin; each with blue underglaze crossed sword mark to underside. (2). H: 22 1/2, Dia: 11 1/2 in. $2,000-3,000

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485 Four K.P.M. style painted porcelain portrait miniatures in florentine frames late 19th century H: 8 1/2 in. (largest frame) $800-1,200

486 Seven pairs of Florentine giltwood wall brackets 19th and 20th centuries H: 8 in. (tallest) $800-1,200

487 Two pairs of large Florentine giltwood wall brackets probably 20th century H: 11 1/2 in. (taller) $400-600

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488 A collection of six rectangular Florentine frames 19th and 20th centuries All now fitted with custom mirrors. (6). H: 14 in. (largest, overall) $700-900

489 A pair of Venetian carved giltwood cartouche mirrors 20th century H: 34, W: 19 3/4 in. $400-600

490 A collection of six circular Florentine frames 19th and 20th centuries All now fitted with custom mirrors. (6). Dia: 18 in. (largest, overall) $700-900

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491 A large Florentine carved giltwood frame 19th century The verso with a partial label from the Metropolitan Museum of Art. H: 48, W: 43 in. $600-800

492 A collection of nine small Florentine frames 19th and 20th centuries Including one double frame and one George III style footed frame, all now with custom fitted mirrors, some with stands. (9). H: 12 1/2 in. (largest, overall) $800-1,200

493 An assembled group of Florentine and Venetian giltwood mirrors late 19th/early 20th century H: 22, W: 14 3/4 in. (largest) $800-1,200

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494 A large Florentine painted pine mirror 19th century H: 58, W: 50 in. $800-1,200

495 A pair of Venetian carved giltwood petits consoles with faux-marble painted tops late 19th/early 20th century H: 34 1/2, W: 16, D: 9 in. $400-600

496 A pair of Venetian giltwood armchairs 19th century With needlepoint upholstery. (2). H: 39, W: 26 1/2, D: 22 in. $800-1,200

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497 An Italian painted canvas four-panel folding screen 19th century Painted to recto with an Arcadian landscape and to verso with a monochrome pattern of floral sprays within reserves. H: 54, W: 56 in. $500-700

498 A Venetian polychrome painted secretary desk late 18th/early 18th century In two parts, the upper section with a mirrored door enclosing a red and parcel-gilt interior with an assortment of pigeonholes and drawers, the lower section with fall front enclosing a similar storage interior over lappets and three drawers; the whole decorated with flowers, birds, and arabesques and raised on bun front feet and bracket rear feet. H: 80 1/2, W: 35 1/2, D: 22 in. $800-1,200

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499 An Italian Neoclassical style giltwood banded pier mirror late 19th century H: 59, W: 22 1/2 in. $600-800

500 An Italian Neoclassical blue-painted and parcel-gilt armchair late 18th century H: 39, W: 25 1/4, D: 21 1/2 in. $700-900

501 Three Italian Neoclassical style white-painted and parcel-gilt side chairs 20th century With crimson silk upholstery and cushions. (3). H: 39 1/2, W: 21, D: 15 in. $600-800

property of a virginia gentleman

502 A pair of Italian Rococo polychromed and parcel-gilt figural corner brackets 18th/19th century H: 17, W: 17, D: 13 1/2 in. $700-900

503 Three giltwood and tôle peinte floral garnitures late 19th century Comprising a pair with giltwood urn-form base, and a third conforming garniture with rectangular trompe l’oeil base. (3). H: 28 in. (tallest) $500-700

504 A pair of Italian ebonized giltwood, tôle peinte and cut-glass four-light girandoles early 20th century H: 37 1/2, W: 12 in. $700-900

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505 An Italian brass-mounted wrought iron Savonarola chair with leather upholstery mid 20th century H: 31, W: 21, D: 16 in. $400-600

506 An Italian Baroque style carved giltwood and faux-grain painted vitrine 20th century H: 27 3/4, W: 15, D: 10 1/2 in. $400-600

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507 An Italian Rococo style parcelebonized carved giltwood pier mirror 20th century H: 60, W: 31 in. $500-700

property of a virginia gentleman

508 A pair of large Italian silvered and giltwood twelve-light garnitures early 20th century Each in the form of an elaborate Rococo style urn issuing a silvered floral spray with twelve electrified lights. (2). H: 52 in. $800-1,200

509 An imposing pair of Venetian Baroque style high-back armchairs late 19th/early 20th century Upholstered in crimson velvet and gold and crimson silk and velvet brocade, trimmed with entrelacembroidered grosgrain and silk fringe. (2). H: 54 1/2, W: 32, D: 24 in. $800-1,200

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510 A pair of Italian gilt and polychromed carved wood figures in classical drapery 18th century H: 32 1/2 in. $700-900

511 A pair of Italian Rococo carved giltwood and gesso figural corner consoles 18th century Each with shaped Carrera marble top over moulded edge supported by a polychrome painted putto atop a rocky base. (2). H: 38 3/4, W: 30, D: 21 1/2 in. $2,000-3,000

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512 Two associated Venetian polychromed figural wall brackets 19th century H: 20 in. (largest) $500-700

513 Three small Venetian polychromed figural torchères 19th century H: 24 in. $600-800

514 A Venetian polychromed figural jardinière 19th century H: 35, W: 15 3/4 in $500-700

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515 A Venetian polychromed figural pedestal 19th century H: 36, W: 19 1/2, D: 15 1/2 in. $600-800

516 A Venetian polychromed figural stand late 19th/early 20th century H: 29, W: 12 1/2, D: 11 in. $250-350

517 A Venetian polychromed figure of a gondolier 19th century The feet later replacements. H: 33 1/2 in. (overall) $400-600

518 188042/75 A pair of Venetian polychromed gondolier figures 19th century H: 22 3/4 in. $500-700

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519 A Venetian polychromed figural lamp second half 19th century Originally intended as an oil lamp, the fittings now largely lost. H: 34 1/2 in. $400-600

520 A Venetian polychromed figural torchère 19th century Now wired as a lamp. H: 45 in. (overall) $600-800

521 A Venetian polychromed figural torchère on pedestal late 19th/early 20th century H: 48 in. $600-800

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522 A large Venetian polychromed figural torchère on pedestal late 19th century H: 72 in. $800-1,200

523 A large Venetian polychromed figural torchère on pedestal late 19th century H: 68 in. $800-1,200

524 An unusual Venetian pink polychromed figural torchère on pedestal late 19th/early 20th century H: 57 in. $700-900

525 A large Venetian polychromed figural torchère on pedestal late 19th century H: 71 in. $800-1,200

526 A Venetian polychromed figural torchère on pedestal 19th century H: 73 in. $800-1,200

527 A Venetian polychromed figural torchère 19th century H: 35 1/2 in. $700-900

528 An associated pair of Venetian polychromed figural torchères 19th century Now wired as lamps. (2). H: 34 in. (overall) $400-600

529 A pair of Venetian polychromed figural torchères 19th century H: 32 1/2 in. $800-1,200

530 A pair of Venetian polychromed figural pedestals 19th century H: 41, W: 17 in. $800-1,200

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531 A Venetian polychromed figural mirror 19th century Allover decorated with carved swags and putti. H: 59 1/2, W: 41 in. $1,000-1,500

532 A Venetian polychromed figural pedestal late 19th century H: 42 in. $800-1,200

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533 A large Venetian polychromed figural torchère on pedestal 19th century With finely modeled features, raised on a cushioned and draped canted square pedestal. H: 72 in. $1,000-1,500

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534 A pair of Venetian polychromed figural torchères on pedestals late 19th century H: 63 in. $1,200-1,800

property of a virginia gentleman

535 A pair of large Venetian polychromed figural torchères 19th century Finely modeled, the stately faces inset with glass eyes; sold together with later canted square pedestals. (2). H: 49 in. $1,500-2,500

536 A large Venetian polychromed figural pedestal in the form of a young server late 19th/early 20th century Finely carved and painted, raised on tasseled canted square base. H: 65 in. $1,200-1,800

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537 An unusual pair of large Venetian polychromed figural torchères late 19th century Each in the form of a mother and child; now drilled for wiring. (2). H: 50 1/2 in. $2,000-3,000

538 A pair of large Venetian polychromed figural torchères last quarter 19th century Comprising a male and female figure, eached raised on octagonal pedestal; both retaining elements of original gas lamp fittings. (2). H: 80 in. $3,000-5,000

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property of a virginia gentleman

539 An impressive pair of Venetian polychromed figural torchĂ¨res circa 1870-80 Comprising a male and female figure, each finely decorated and with delicately modeled classical features; each raised on draped columnar base. (2). H:â&#x20AC;&#x2026;90â&#x20AC;&#x2026;in. (taller) $5,000-7,000

540 BRITISH SCHOOL (18th-19th century) PORTRAIT OF A LADY, HALFLENGTH Oil on canvas Oval 40 1/4 x 32 in. (102.2 x 81.3cm) $500-800

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541 BRITISH SCHOOL (late 18th century) PORTRAIT OF A GENTLEMAN, SAID TO BE JOHN MAURICE EYRE; TOGETHER WITH A COMPANION PORTRAIT OF ELIZABETH EYRE Both signed and illegibly dated ‘M. King/pinx 1782’ center left, pastels on paper Sheet size (sight): 26 x 20 in. (66 x 50.8cm) (2) $3,000-5,000

property of a virginia gentleman

542 BRITISH SCHOOL (late 18th century) PORTRAIT OF A LADY, SAID TO BE JANE EYRE; TOGETHER WITH A COMPANION PORTRAIT OF A GENTLEMAN Both signed and dated ‘M. King/pinx 1782’ bottom left, pastels on paper Sheet size (sight): 26 x 20 in. (66 x 50.8cm) (2) $3,000-5,000

543 CONTINENTAL SCHOOL (19th-20th century) VILLAGE SCENE Oil on canvas laid down to panel Framed in the oval Sight size: 28 3/4 x 21 3/4 in. (73 x 55.2cm) $500-800

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544 AFTER LEONARDO DA VINCI (italian 1452-1519) SELF-PORTRAIT Oil on board Oval 8 5/8 x 7 in. (21.9 x 17.8cm) note: The present work is a copy after the original self-portrait by Leonardo Da Vinci, in the Uffizi Gallery, Florence. $500-800

545 AFTER CHARLES LE BRUN (french 1616-1690) “LA VERTU SURMONTE TOUT OBSTACLE”; TOGETHER WITH THREE COMPANIONS FROM THE SERIES OF ALEXANDER THE GREAT’S BATTLES 1672. Etching and engraving by Gérard Audran (french 1640-1703) Image size: 9 7/8 x 20 3/8 in. (25.1 x 51.8cm) together with three companion prints: “LA VERTU PLAIST QUOIQUE VAINCUE”“ “LA VERTU EST DIGNE DE L’EMPIRE DU MONDE” “LA VRAIE VALEUR EST TOUJOURS INVINCIBLE” (4) $500-700

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property of a virginia gentleman

546 AFTER ROSALBA CARRIERA (italian 1675-1757) “NYMPHE DE LA SUITE D’APOLLON” Pastel on paper Sheet size (sight): 25 1/8 x 20 3/4 in. (63.8 x 52.7cm) note: The present work copies the ‘Morceau de Réception’ which Rosalba Carriera presented to the Académie de Peinture et de Sculpture in October 1721. The original is in the Musée du Louvre, Paris. $1,000-1,500

547 ATTRIBUTED TO ARMAND VINCENT DE MONTPETIT (french 1713-1800) PORTRAIT OF A MOTHER AND HER CHILD, THOUGHT TO BE LA COMTESSE DE LA GUIONNIE AND HER SON Oil on canvas Oval 39 1/2 x 31 in. (100.3 x 78.7cm) $2,000-3,000

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548 FOLLOWER OF CLAUDE JOSEPH VERNET (french 1714-1789) SHIPWRECK Oil on panel 13 1/4 x 20 in. (33.7 x 50.8cm) $400-600

549 FRENCH SCHOOL (19th century) COURTING SCENE Oil en grisaille on canvas laid down to board Oval 18 x 14 7/8 in. (45.7 x 37.7cm). $400-600

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550 CONTINENTAL SCHOOL (late 19th-early 20th century) THE ARCHED BRIDGE; TOGETHER WITH THREE COMPANIONS Oil on paper mounted on cardboard Sheet size (sight): 13 1/8 x 18 7/8 in. (33.3 x 47.9cm) (4) $1,000-1,500

property of a virginia gentleman

551 AUSTRIAN SCHOOL (19th century) PORTRAIT OF ARTILLERY OFFICER JULIUS EDLER VON CHALAUPKA (1823-1890) Inscribed ‘Chalaupka/Oberlieu’ bottom right, oil on canvas 28 x 23 in. (71.1 x 58.4cm) note: Julius Elder von Chalaupka began his military career as a cadet in 1842. He later officiated as colonel and commandant of the ‘8 Bohmische Festungs Artillerie-Bataillons’ in Josephstadt, Bohemia. He is pictured in the present work at the age of 27. $2,000-3,000

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old masters and european fine art lots 552 - 619

552 REMBRANDT VAN RIJN (dutch 1606-1669) “THE STROLLING MUSICIANS” C. 1635, a posthumous H.L Basan workshop impression. Etching on laid paper mounted on tissue thin wove paper Plate size: 5 1/2 x 4 9/16 in. (14 x 11.6cm) Sheet size: 6 x 4 7/8 in. (15.2 x 12.4cm) [Bartsch 119; Hollstein (White and Boon) 119; New Hollstein 141, third state of three, with the darkest shadow under the hurdy-gurdy and under the musician’s right hand strengthened with nearly vertical lines] provenance: Private Collection, Maryland. $1,000-1,500

553 CIRCLE OF FRANS FRANCKEN THE YOUNGER (flemish 1581-1642) THE MARTYRDOM OF SAINT CATHERINE Pen, black and gray ink, with brown, grey and blue washes over black chalk on thin laid paper Sheet size: 12 x 10 1/8 in. (30.3 x 25.8cm) provenance: Private Collection, Virginia. note: Relatively few drawings by Frans Francken are known. In addition to three preparatory drawings, Ursula Härting lists only sixteen drawings that cannot be connected to existing paintings. Compostional drawings by Francken were probably not necessary as his workshop was executing versions of well-known compositions by the Master. For more information, see Ursula Härting, Frans Francken der Jüngere (1581-1642). Die Gemälde mit kritische Oeuvrekatalog, Flämische Maler im Umkries der grossen Meister, Freiren, 1989. $800-1,200

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554 CIRCLE OF PIETER BOUT (flemish 1658-1719) A TAVERN SCENE Signed ‘P. Bout’ bottom left, grey brush, pen and various shades of grey ink and washes on paper laid down to card; also with framing lines in black ink Sheet size: 6 15/16 x 8 9/16 in. (17.7 x 21.8cm) Unframed. provenance: Alfred Berdeley (Lugt 421). Private Collection, Pennsylvania. note: Mostly known for his landscapes in the style of Jan Breughel, Pieter Bout also drew occasional genre scenes. A similar drawing, entitled “The Tric Trac Players” can be found in the Collection of the Teylers Museum, Haarlem. $2,000-3,000

555 NEAPOLITAN SCHOOL (late 17th-early 18th century) STUDY OF MOTHER AND CHILD; WITH STUDIES OF A CHERUBIM, AND FOLIAGE VERSO Red chalk on paper Sheet size: 7 5/8 x 6 7/8 in. (19.3 x 17.5cm) Unframed. provenance: Private Collection, Virginia. $1,500-2,000

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556 CIRCLE OF GIOVANNI BATTISTA TIEPOLO (italian 1696-1770) “A NYMPH WITH A SMALL SATYR AND TWO GOATS” Pen and brown ink on thin laid paper Sheet size: 8 3/8 x 12 1/4 in. (21.3 x 30.8cm) Unframed. provenance: Private Collection, Virginia. note: The present work is a copy after the eponymous etching by Giovanni Battista Tiepolo. For more information, see Aldo Ricci, The Etchings of the Tiepolos, London, 1971, p. 92, no. 33. $500-800

557 CIRCLE OF GIOVANNI BATTISTA TIEPOLO (italian 1696-1770) “THREE MAGICIANS BURNING A SNAKE” Pen and brown ink on thin laid paper Sheet size: 12 1/4 x 8 5/8 in. (31.3 x 21.4cm) Unframed. provenance: Private Collection, Virginia. note: The present work is a 18th century copy after the eponymous etching by Giovanni Battista Tiepolo. For more information, see Aldo Ricci, The Etchings of the Tiepolos, London, 1971, p. 36, no. 5. $500-800

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558 CIRCLE OF GIOVANNI BATTISTA PIAZZETTA (italian 1682-1754) STUDY OF A SEATED WOMAN Inscribed ‘Giambattista Piazzetta’ bottom right, red chalk on thin laid paper Sheet size: 10 1/4 x 8 5/8 in. (26.2 x 21.2cm) Unframed. provenance: Private Collection, Virginia. note: This drawing is a detail copied after another drawing by Giovanni Battista Piazzetta, “A Shepherd Family Resting,” at the National Gallery of Art, Washington D.C. (The Armand Hammer Collection). $600-1,000

559 SPANISH SCHOOL (18th century) FIGURATIVE STUDIES Pen and brown ink on thin laid paper Sheet size: 6 1/4 x 8 3/4 in. (15.8 x 22.2cm) provenance: Private Collection, Maryland. $400-600

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560 ATTRIBUTED TO CHARLES DOMINIQUE JOSEPH EISEN (french 1720-1778) ALLEGORY OF ASTROLOGY Pen and black ink, with gray and light brown washes, with touches of blue on a heavy bluff laid paper Sheet size: 11 3/4 x 9 3/8 in. (29.8 x 23.8cm) Unframed. provenance: Private Collection, Texas. note: Both a painter and an engraver, Charles Eisen was known for his wit and humor, which gained him entry into the French court, where he became painter and draftsman to Louis XV, as well as drawing-master to his official mistress, Madame de Pompadour. He later fell in disgrace and ultimately retired to Brussels in 1777, where he died in poverty the following year. Although he executed many paintings throughout his career, Eisen is best known as a designer of illustrations and vignettes for books. This highly finished drawing is likely a design for an engraving, possibly a frontispiece. Many of Eisen’s drawings are smaller, typically in graphite or red chalk. This sheet can be compared to a drawing by Eisen in the National Gallery, Washington, D.C. entitled “The Holy Family in the Carpenter’s Shop” (circa 1755). $2,000-3,000

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561 PETER VAN LINT (flemish 1609-1690) VIRGIN AND CHILD Oil on copper 18 1/2 x 14 1/4 in. (47 x 36.8cm) provenance: Private Collection, Philadelphia. Private Collection, New Jersey.

note: As typified by the present work, Van Lint painted in a classicizing manner. He did not only depict religious subject matter, but also mythological scenes and portraits. In 1633, he became a master in the Guild of Saint Luke and then travelled to Rome, where he was commissioned to decorate the cathedral in Ostia and to fresco the Cibo family chapel in Santa Maria del Popolo. He was also highly regarded as a draftsman, working mainly in chalk. We wish to thank Jan Kosten and Fred G. Meijer of the Rijksbureau Voor Kunthistorische Documentatie, also known as the R.K.D. for authenticating this painting on the basis of photographs. $6,000-8,000

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562 ATTRIBUTED TO PHILIPS WOUWERMAN (dutch 1619–1668) AN EXTENSIVE DUNE LANDSCAPE WITH ELEGANT FIGURES RIDING ALONG A PATH Inscribed with artist’s monogram ‘Ps.W.’ bottom left, oil on canvas 20 1/4 x 26 in. (51.4 x 66cm) provenance: Colonel W.A. Hankey, Beaulieu, Hastings. Galerie Sedelmeyer, Paris, 1900. Collection of Willy Sauerbach, Paris. P. Cassirer & Co., Amsterdam, The Netherlands, 1936. K.A. Volz, The Hague, by 1938. By descent to the owner at the time. Sotheby’s London, sale of April 1st, 1992, lot 52. Christie’s New York, sale of October 7, 1993, lot 187 (as attributed to Philips Wouwerman). Acquired directly from the above sale. Private Collection, California.

exhibited: “100 Paintings by the Old Masters,” Galerie Sedelmeyer, Paris, 1900, no. 50. “Meesterwerken uit Vier Eeuwen 1400-1800,” Boymans Museum, Rotterdam, 1938, no. 165. literature: C. Hofstede de Groot, “A Catalogue Raisonné of the Works of the Most Eminent Dutch Painters of the Seventeenth Century,” London, 1909, vol. 2, no. 1081, p. 609. $3,000-5,000

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563 JACOBUS VAN DER STOK (dutch 1794-1864) THE FROZEN CANAL Signed ‘Jac. Stok’ bottom center left, oil on panel 9/12 x 11 1/4 in. (24.1 x 28.6cm) provenance: Private Collection, Delaware. note: We wish to thank the Rijksbureau Voor Kunthistorische Documentatie, also known as the R.K.D, for confirming the authenticity of this painting on the basis of photographs. $1,000-1,500

565 MANNER OF MICHAEL DAHL (swedish 1659–1743) PORTRAIT OF A LADY IN WHITE PICKING FLOWERS, THREE-QUARTER LENGTH Oil on canvas laid down to panel 49 x 40 in. (124.5 x 101.6cm) provenance: Private Collection, Virginia. $3,000-5,000

564 MANNER OF SIR PETER LELY (british 1618–1680) PORTRAIT OF A GENTLEMAN WITH A RED CAPE, THREE-QUARTER LENGTH Oil on canvas 50 1/8 x 40 1/4 in. (127.3 x 102.2cm) provenance: Private Collection, Virginia. $3,000-5,000

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566 FOLLOWER OF GODFREY KNELLER (british 1646-1723) PORTRAIT OF A LADY Oil on canvas Oval 30 x 25 1/2 in. (76.2 x 64.8cm) provenance: Private Collection, Pennsylvania. $1,000-1,500

567 MANNER OF THOMAS GAINSBOROUGH (british 1727-1788) PORTRAIT OF A LADY WITH WITH A FEATHER HAT, THREEQUARTER LENGTH Oil on canvas 36 1/4 x 25 in. (92.1 x 63.5cm) provenance: Private Collection, Virginia. $3,000-5,000

568 FOLLOWER OF SIR THOMAS LAWRENCE (british 1769-1830) PORTRAIT OF A LADY IN A WHITE DRESS HOLDING A BOOK, THREEQUARTER LENGTH Oil on canvas 52 x 41 1/2 in. (132.1 x 105.4cm) provenance: Private Collection, Pennsylvania. $2,000-3,000

569 FRENCH SCHOOL (17th century) PORTRAIT OF A MAN IN A RED COAT, THREE-QUARTER LENGTH Oil on canvas 30 1/4 x 25 in. (76.8 x 63.5m) provenance: Private Collection, Pennsylvania. $1,500-2,500

570 CONTINENTAL SCHOOL (18th century) HERDER WITH CATTLE IN AN EXTENSIVE LANDSCAPE Oil on canvas 29 1/2 x 40 in. (74.9 x 101.6m) provenance: Private Collection, Virginia. $3,000-5,000

571 ROMAN SCHOOL (17th-18th century) FIGURES IN AN ITALIANATE LANDSCAPE, STORM APPROACHING Oil on canvas. 19 1/2 x 26 in. (49.5 x 66cm) provenance: Frost & Reed, London, United Kingdom (partial label verso). Private Collection, Virginia. $2,000-3,000

572 ITALIAN SCHOOL (17th century) THE THREE GRACES Oil on canvas 59 1/2 x 44 in. (151.1 x 111.8cm) Unframed. provenance: Private Collection, Pennsylvania. $2,500-3,500

573 BALDASSARE CATTRANI (french/italian 1771-1810) A NARCISSUS AND ITS BULB Watercolor on vellum Sheet size: 21 1/8 x 14 7/8 in. (53.7 x 37.8cm) provenance: The Artist. Acquired directly from the above. Collection of Joséphine Bonaparte. By descent to Her son, Prince Eugène de Beauharnais, Duke of Leuchtenberg, Bavaria. By descent in the family. N. Nobhouse, London, 1984. Collection of Martin Reymert, Paris, 1900. Denenberg Fine Arts, San Francisco, California. Private Collection, California. $6,000-10,000

his vibrant watercolor was commissionned by Her Royal Highness, Empress Joséphine Bonaparte, first wife of Napoleon I. It was inherited by her son, Eugène de Beauharnais, the Duke of Leuchtenberg, in the family of which it remained until 1900. Cattrani was a Roman botanist working in Padua at the botanical garden, and is known to have worked at Malmaison for the Empress, along with Pierre-Joseph Redouté. However, contrary to Redouté’s naturalistic watercolors, Cattrani’s are considered more scientific.

574 PAUL BAUDRY (french 1828-1886) “STUDY FOR A DECORATIVE PLATE” Signed ‘Paul Baudry’ bottom right, watercolor on paper Sheet size: 13 1/2 x 13 1/2 in. (34.3 x 34.3cm) provenance: Collection of Martin L. Reymert, Paris. The Drawing Shop, New York, New York. Denenberg Fine Arts, Inc., West Hollywood, California. Private Collection, California. $1,000-1,500

575 ANTOINE BERJON (french 1754-1843) “THISTLES AND OTHER DRIED PLANTS” Estate stamped ‘Berjon’ bottom right, graphite on paper Sheet size: 11 x 9 in. (27.9 x 22.9cm) provenance: Collection of Martin Reymert, Paris and New York. The Drawing Shop, New York, New York. Collection of S. Berney, California. Colburn Alden Jones, California. Denenberg Fine Arts, Inc., West Hollywood, California. Private Collection, California. $800-1,200

576 ATTRIBUTED TO ANDRÉS GINÉS DE AGUIRRE (spanish 1727-1814) PORTRAIT OF KING CARLOS III OF SPAIN Oil on canvas 39 1/4 x 29 1/4 in. (99.7 x 74.3cm) provenance: Private Collection, Pennsylvania. $3,000-5,000

577 FRANCISCO GOYA (spanish 1746-1828) “BAILANDO EN UNE CUERDA FLOJA” (UNA REINA DEL CIRCO), FROM LOS PROVERBIOS: FOUR ADDITIONAL PLATES 1877, edition impression. Published posthumously by L’Art with the title ‘Una Reina Del Circo’ and below ‘(Une reine du cirque)’; also with ‘Goya inv. et sc.’ and ‘L’Art’ bottom left; also with ‘Fçois Liénard. Imp. Paris’ bottom right. Etching, and aquatint on laid paper. Image size (sight): 8 1/4 x 12 1/2 in. (21 x 31.8cm) Sheet size (sight): 10 x 14 1/4 in. (25.4 x 36.2cm) together with: “DOS A UNO, METEN LA PAJA EN EL CULO” (QUE GUERRERO!)

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“QUIEN SE PONDRÁ EL CASCABEL AL GATO?” (OTRAS LEYES POR EL PUEBLO) “AL TORO Y AL AIRE DARLES CALLE” (LLUVIA DE TOROS) (4) provenance: Long Fine Art, New York, New York. Sotheby’s New York, 1997 n.d. Acquired directly from the above. Collection of Jeffrey M. Kaplan, Washington, D.C. $4,000-6,000 opposite page

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578 SPANISH SCHOOL (18th century) TABLETOP WITH ALMONDS IN A SILVER BOWL, EWER AND MIXED FLOWERS IN A VASE Signed illegibly bottom right, oil on canvas 21 x 29 in. (53.3 x 76.7cm) provenance: Private Collection, Rio de Janeiro, Brazil. $1,000-1,500

579 EUGENIO LUCAS Y PADILLA (spanish 1817-1870) FIESTA WITH MONKS AND DANCERS Signed and dated ‘E. Lucas 1899’ bottom right, oil on canvas 17 x 24 1/2 in. (43.2 x 62.2cm)

provenance: Schwarz Gallery, Philadelphia, Pennsylvania. $4,000-6,000

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580 MARIANO ALONZO PÉREZ (spanish 1857-1930) THE HARPSICHORD LESSON Signed ‘Alonso-Pérez’ bottom right, oil on canvas 18 x 22 in. (45.7 x 55.9cm) provenance: Private Collection, New Jersey. $1,000-1,500

581 HUGUES MERLE (french 1823-1881) WOMAN WITH A BLUE BOW Signed ‘Hugues Merle’ center left, oil on canvas 22 1/8 x 18 3/8 in. (56.2 x 46.7cm) provenance: (By repute) James Antiques, Chicago, Illinois. By descent in the family of the present owner. From the Collection of a Chicago Lady. $4,000-6,000

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582 ALFREDO PINA (italian 1883-1966) MAN HOLDING A SKULL Signed ‘A. Pina’ at base; also with ‘Cire Perdue/Paris’ seal at base, bronze with blackish-brown patina Height: 32 in. (81.3cm) Width: 15 in. (38.1cm) provenance: Private Collection, Houston, Texas. $4,000-6,000

583 PIERRE-JULES MÊNE (french 1810-1879) “VAINQUEUR DU DERBY” 1863. Signed ‘P.J. Mêne’ at base, bronze with brown patina Height (excluding wooden base): 17 in. (43.2cm) Width: 17 in. (43.2cm) Executed circa 1870. provenance: Private Collection, Palm Beach, Florida. $3,000-5,000

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584 ALFRED BOUCHER (french 1850-1934) “AU BUT” 1886. Signed ‘A. Boucher’ at base; also titled, and dedicated ‘À Monsieur le Baron de Boudeli/Chevalier de la Légion d’Honneur du 9 Août 1901/Les Chefs et Sous-Chefs de Service du Crédit Lyonnais’ on the rim of the base; also with ‘Siot Decauville’ foundry mark, and inscribed ‘E409” at base, bronze with blackish brown patina Height: 27 in. (68.6cm) Width: 25 in. (63.5cm) Depth: 39 in. (99.1cm) provenance: Private Collection, Ohio. $7,000-10,000

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585 PAUL MAXIMILIEN LANDOWSKI (french 1875-1961) “LE PRINTEMPS” 1912. Signed ‘P. Landowski’ on base; also with ‘Cire Perdue/Leblanc Barbedienne/ Paris’ foundry mark, and ‘FRANCE’ stamp at base, bronze with brown patina Height: 45 in. (114.3cm) Width: 13 in. (32cm) provenance: Private Collection, Paris. Private Collection, Brooklyn, New York. $6,000-8,000

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586 ALEXANDER FRANCOIS LOEMANS (dutch/canadian 1816-1898) THE WILLIAM TELL CHAPEL ON LAKE LUCERNE Signed ‘A.F. Loemans’ bottom center, oil on canvas 32 1/4 x 50 3/8 in. (81.9 x 128cm) provenance: Private Collection, Maryland. $3,000-5,000

587 HENDRIK PIETER KOEKKOEK (dutch 1843-1895) WOMAN ON A WOODED PATH Signed ‘H.P. Koekkoek’ bottom right, oil on panel 8 x 10 in. (20.3 x 25.4cm) provenance: Sotheby’s London, 1990 n.d. Acquired directly from the above sale. Private Collection, Virginia. note: We wish to thank the Rijksbureau Voor Kunthistorische Documentatie, also known as the R.K.D. for confirming the authenticity of this painting on the basis of photographs. $2,500-4,000

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588 EMIL RAU (german 1858-1937) YOUNG WOMAN WITH ZITHER Signed and dated ‘E. Rau/88’ upper right, oil on canvas 32 7/8 x 22 3/4 in. (83.5 x 57.8cm) provenance: Newman Galleries, Philadelphia, Pennsylvania. $1,500-2,500

589 LÉON CHARLES HUBER (french 1858-1928) A CAT AND HER KITTENS ON A KHILIM RUG Signed ‘Léon-Huber’ bottom right, oil on canvas 15 5/8 x 21 3/4 in. (39.7 x 55.2cm) provenance: Private Collection, New York, New York. $2,000-3,000

590 CARL REICHERT (austrian 1836-1918) THREE DOGS AFTER THE HUNT Signed, located and dated ‘C. Reichert Wien *890’ bottom right, oil on canvas 20 1/2 x 17 5/8 in. (52.1 x 44.8cm) provenance: Private Collection, Florida. $2,000-3,000

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591 LIONEL CHARLES HENLEY (british c.1843-1893) “THE TIFF” Signed and dated ‘L.C. Henley 1889’ bottom right; also with London preparer’s stencil verso, oil on canvas 24 x 18 1/8 in. (61 x 46cm) provenance: Health & Brown, Houston, Texas (until 1963). Private Collection, Houston, Texas (until 1995). Private Collection, Washington, D.C. By direct descent from the above. $1,000-1,500

592 ALFRED FRANK DE PRADES (british 1840-1895) THE DILIGENCE COACH Signed with artist’s initials ‘A. de P.’ bottom left, oil on canvas 16 x 26 1/4 in. (40.6 x 66.7cm) provenance: Private Collection, Virginia. $1,000-1,500

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593 EDGAR BARCLAY (british 1842-1913) THE TWO FRIGHTENED SISTERS Signed ‘E. Barclay’ bottom right, oil on canvas 36 1/2 x 48 1/2 in. (92.7 x 123.2cm) provenance: Private Collection, Connecticut. $3,000-5,000

594 ELEANOR FORTESCUE-BRICKDALE (british 1871–1945) WOMAN AND TWO SWANS Signed with artist’s monogram bottom right, gouache on paper Sheet size: 19 1/2 x 15 5/8 (49.5 x 39.7cm) provenance: Private Collection, Vermont. $3,000-5,000

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595 GUISEPPE MAGNI (italian 1869-1956) MORNING SUNLIGHT Signed ‘G. Magni’ bottom left, oil on canvas 33 3/8 x 43 3/8 in. (84.8 x 110.2cm) provenance: Collection of Henry Petronis, Virginia (since 1970s). $4,000-6,000

596 EUGEN MILOTA (continental 19th century) “A REFUSAL” Signed ‘E. Milota’ bottom right, oil on canvas 31 x 25 in. (78.7 x 63.5cm) provenance: The Woodmere Art Museum, Philadelphia, Pennsylvania. Charles Knox Smith, Philadelphia. Bonham’s, New York, sale of April 21, 2010, lot 149. Acquired directly from the above sale. Private Collection, Pennsylvania. $3,000-5,000

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597 PROSPER FEREY (french 19th century) BUSTLING VILLAGE; AND A COMPANION Each signed ‘Ferey’ bottom right, oils on canvas Each: 20 1/2 x 40 1/4 in. (52.1 x 102.2cm) (2) provenance: Property of a Main Line Lady. $3,000-5,000

598 CARL JOSEPH KUWASSEG (french 1802-1877) MOUNTAIN LANDSCAPE WITH VOLCANO Signed ‘C Kuwasseg/père’ bottom right, oil on canvas 40 5/8 x 31 in. (103.2 x 78.7cm) provenance: The Estate of Bess Naide, Bryn Mawr, Pennsylvania. $2,000-3,000

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599 JEAN FRANÇOIS MILLET (french 1814-1875) “LE DÉPART POUR LE TRAVAIL” 1863. Fourth state of seven, after the address has been erased, but before the three dots appear bottom right, etching on paper Image size: 15 1/4 x 12 1/4 in. (38.7 x 31.1cm) [Delteil 19; Melot 19] provenance: Private Collection, Maryland. $1,500-2,000

600 ATTRIBUTED TO THOMAS COUTURE (french 1815-1879) “THE WATER CARRIERS” Signed ‘Thomas Couture’ bottom left, oil on panel 16 x 12 3/4 in. (40.6 x 32.4cm) provenance: Collection of WIlliam Palmer Gray. Bequest from the above. Virginia Museum of Fine Arts, Richmond, Virginia. $2,000-3,000

601 FRANÇOIS LOUIS LANFANT DE METZ (french 1814-1892) TWO SURPRISED CHILDREN Signed ‘Lanfant de Metz’ bottom center right, oil on board 9 3/4 x 7 1/2 in. (24.8 x 19.1cm) provenance: Sotheby’s London, 1980, n.D. Acquired directly from the above sale. Private Collection, Virginia. $2,000-3,000

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he recipient of numerous awards and various honors, Adolf Schreyer is now considered one of the most talented German artists of his generation. Before becoming the leader of the Düsseldorf School of painting, Schreyer worked for many aristocratic circles of Germany. He proved his impeccable talent throughout the several paintings of horses he produced during these early years, a genre he later excelled at. Inspired by Eugène Delacroix and the French Romantics in general, Schreyer is best known today for his elegant and romanesque portrayals of Arab horsemen racing through the deserts of North Africa or relaxing in the cities’ souks. Perhaps, a lesser known part of Schreyer’s career, is the time he spent on the battlefield. Indeed, the artist was invited to accompany the Austrian Prince’s regiment as an assigned reporter, to cover the Crimean War, which opposed the Russian Empire to the Ottoman Empire from 1853-1856. The present composition does not seem to be directly linked to the Crimean War. Instead, it features an earlier episode from the Battle of Temesvár, which is linked to the Hungarian Revolution of 1848. This large scale canvas epitomizes Schreyer’s impressive ability to render the whole energy of a complex battle. He shows a critical moment, when the Hungarian regiment is about to charge against the Austrian troops. The chaotic jumble of horses and men’s bodies in the foreground of the composition highlights Schreyer’s interest in suggesting the drama and the urgency of the scene. Depiste their brave efforts, the Hungarian soldiers lost the battle on August 9, 1849. We wish to thank Dr. Christoph Andreas for confirming the authenticity of this lot.

602 ADOLF SCHREYER (german 1828–1899) ATTACK OF THE HUNGARIAN CAVALRY Signed and dated ‘Adolph Schreyer 1854/fxt’ bottom right, oil on canvas 43 5/8 x 63 1/2 in. (110.8 x 161.3cm) provenance: Galerie Ravené, Berlin. The Minnesota Museum of Art, Saint Paul, Minnesota. Parke-Bernet, sale of April 17, 1974. Private Collection, Pennsylvania. exhibited: (Possibly) “Deutschen allgemeinen und historischen Kunstausstellung in München,” Munich Glaspalast, Munich, Germany, September 5, 1958, no. 408. Adolf Schreyer: An International Exhibition Presented by the Paine Art Center & Arboretum, Paine Art Center & Arboretum, Oshkosh, Wisconsin, June 8-July 30, 1972, p. 40 (illustrated). literature: Friedrich von Boetticher, Malerwerke des Neunzehnten Jahrhunderts, H. Schmidt and C. Gunther, Leipzig, 1901, p. 653, no. 4. $8,000-12,000

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603 ADOLF FREY-MOOCK (german 1882-1954) MAIDEN WITH PAN Signed ‘A. Frey Moock’ bottom right, oil on board 23 9/16 x 19 11/16 in. (60 x 50cm) provenance: Private Collection, Virginia. $1,000-1,500

604 KARL GUSSOW (german 1843-1907) THE WHITE ROSE Signed and dated C. Gussow. Wr. 1872 bottom right, oil on canvas 58 1/2 x 32 1/2 in. (148.6 x 82.6cm) provenance: McColl Fine Art, Charlotte, North Carolina. Private Collection, North Carolina. $5,000-7,000

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605 CARL FREDERICH HEINRICH WERNER (german 1808-1894) ANTIQUE BASILICA IN RUINS Signed and dated ‘C.Werner f. 1849 Rom’ bottom right, watercolor on paper Sheet size (sight): 12 3/8 x 19 1/8 in. (31.4 x 48.6cm) provenance: From the Estate of a Main Line Lady. $3,000-5,000

606 HANS ZATZKA (austrian 1859-1945) LADY WITH A RED PARASOL Signed ‘H. Zatzka’ bottom right, oil on canvas 25 x 12 1/2 in. (63.5 x 31.8cm) provenance: Private Collection, Vienna, Austria. $5,000-8,000

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607 N. ARNOUX (french 19th century) YOUNG ODALISQUE PLAYING THE LYRE Signed ‘N. Arnoux’ bottom right, oil on canvas 36 x 22 in. (91.4 x 55.9cm) provenance: Private Collection, Connecticut. $1,000-1,500

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608 PAUL ANTOINE SIMONI (french 1882-1960) THE RESTING PACHA Signed and dated ‘Paul Antne Simoni/’08’ bottom right, watercolor on paper Sheet size (sight): 25 1/2 x 18 1/2 in. (64.8 x 47cm) provenance: Private Collection, New York, New York. $1,000-1,500

609 ENRICO TARENGHI (italian 1848-1938) ENTRANCE TO THE MOSQUE Signed ‘E. Tarenghi’ bottom right, watercolor on paper Sheet size (sight): 21 x 14 3/4 in. (53.3 x 37.5cm) provenance: Private Collection, New Jersey. note: For a similar composition showing the crowd exiting the mosque, see Bonham’s London, sale of December 13, 2006. $3,000-5,000

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610 PAUL JEAN BAPTISTE LAZERGES (french 1845-1902) THE CARAVAN IN THE DESERT Signed and dated ‘Paul Lazerges/1896’ bottom right, oil on canvas 14 x 19 in. (35.6 x 48.3cm) provenance: Alain Lesieutre, Paris. Private Collection, Washington, D.C. $4,000-6,000

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611 MARIANO JOSÉ MARÍA BERNARDO FORTUNY Y CARBÓ (spanish 1838-1874) ARABS IN THE SOUK Signed ‘Fortuny R’ bottom left, oil on panel 6 x 9 in. (15.2 x 22.9cm) provenance: Private Collection, Philadelphia, Pennsylvania. $2,000-3,000

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612 DEMETER KOKO (austrian 1891-1929) HERDER WITH SHEEP Signed ‘Demeter Koko’ bottom left, oil on board 27 x 38 in. (68.6 x 96.5cm) provenance: The Artist. By descent in the family. Private Collection, New York. $5,000-8,000

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613 DEMETER KOKO (austrian 1891-1929) FLOWERS IN A COPPER POT Signed ‘D. Koko’ bottom right, oil on board 17 1/2 x 23 3/4 in. (44.5 x 60.3cm) provenance: The Artist. By descent in the family. Private Collection, New York. $2,000-3,000

614 GEORGE WALTER HARRIS (british 1835-1912) STILL LIFE WITH A GREEN EWER Signed and dated ‘Harris/1876’ bottom right, oil on canvas 20 1/2 x 26 1/2 in. (52.1 x 67.3cm) provenance: Private Collection, Connecticut. $1,000-1,500

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615 JAMES MCINTOSH PATRICK (scottish 1907–1998) “DRONLEY BRIDGE” (PERTHSHIRE) Signed ‘McIntosh/Patrick’ bottom left; also signed and titled verso, oil on canvas 12 x 14 in. (30.5 x 35.6cm) provenance: Fine Art Society, London, United Kindom, July 1957. Acquired direcrtly from the above by the mother of the present owner. Private Collection, Vermont. $1,500-2,500

616 CONSTANTIN KLUGE (french 1912-2003) PLACE DE LA CONCORDE Signed ‘C. Kluge’ bottom right, oil on canvas 22 3/4 x 28 3/4 in. (57.8 x 73.cm) provenance: Private Collection, New York, New York. $1,500-2,500

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617 ANTONIO BALLERINI (argentinian 1880-1962) “SUBURBIO” (THE SUBURB) Signed and dated ‘A.P. Ballerini 1945’ bottom left; also titled (twice) and dated verso, oil on canvas 21 1/2 x 29 in. (54.6 x 73.7cm) provenance: Collection of Leopold S. Moreno, Virginia. $1,500-2,500

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618 DETLEV NITSCHKE (german b.1935) A STROLL ALONG THE BOULEVARD Signed ‘Nitschke’ bottom right, oil on canvas 11 7/8 x 15 5/8 in. (30.2 x 39.7cm) provenance: Private Collection, New York, New York. $2,000-3,000

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619 DANIEL HERNÁNDEZ MORILLO (peruvian 1856-1932) PORTRAIT OF A LADY Signed ‘Daniel Hernandez’ bottom left, oil on canvas 24 1/8 x 18 1/8 in. (61.3 x 46cm) provenance: Private Collection, Pennsylvania. $5,000-8,000

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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 within 60 days after the sale. Freeman’s will not be responsible for any loss, damage, theft, Unless otherwise indicated, all Property will be offered by Freeman’s or otherwise responsible for any goods left in Freeman’s possession after ten (10) days. If the as agent for the Consignor. 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 2 right to hold the buyer(s) liable for the bid price) Freeman’s, at its option, may either cancel Freeman’s reserves the right to vary the terms of sale and any such the sale, retaining as liquidated damages all payments made by the buyer(s), or resell the variance shall become part of these Conditions of Sale. property. In such event, the buyer(s) shall remain liable for any deficiency in the original 3 purchase price and will also be responsible for all costs, including warehousing, the expense of Buyer acknowledges that it had the right to make a full inspection the ultimate sale, and Freeman’s commission at its regular rates together with all related and of all Property prior to sale to determine the condition, size, repair incidental charges, including legal fees. Payment is a precondition to removal. Payment shall or restoration of any Property. Therefore, all property is sold “AS-IS”. be by cash, certified check or similar bank draft, or any other method approved by Freeman’s. Freeman’s is acting solely as an auction broker, and unless otherwise Checks will not be deemed to constitute payment until cleared. Any exceptions must be stated, does not own the Property offered for sale and has made made upon Freeman’s written approval of credit prior to sale. In addition, a defaulting buyer no independent investigation of the Property. Freeman’s makes no will be deemed to have granted and assigned to Freeman’s, a continuing security interest of warranty of title, merchantability or fitness for a particular purpose, first priority in any property or money of, or owing to such buyer in Freeman’s possession, or any other warranty or representation regarding the description, and Freeman’s may retain and apply such property or money as collateral security for the genuineness, attribution, provenance or condition to the Property of obligations due to Freeman’s. Freeman’s shall have all of the rights accorded a secured party any kind or nature with respect to the Property. under the Pennsylvania Uniform Commercial Code. 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.

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 5 less than the standard commission rate where Freeman’s or its representative is a successful Unless otherwise announced by the auctioneer at the time of sale, all bids are per lot as numbered in the printed catalogue. Freeman’s 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 reserves the right to determine any and all matters regarding the order, precedence or appropriate increment of bids or the constitution Commissions, and all sales are subject to any such interest. 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.

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.

8 14 Upon the fall of the hammer, title to any offered lot or article will Unless exempted by law from the payment thereof, the buyer will be required to pay any and immediately pass to the highest bidder as determined in the exclusive all federal excise tax and any state and/or local sales taxes, including where deliveries are to be discretion of the auctioneer, subject to compliance by the buyer made outside the state where a sale is conducted, which may be subject to a corresponding or with these Conditions of Sale. Buyer thereupon assumes full risk compensating tax in another state. and responsibility of the property sold, agrees to sign any requested 15 confirmation of purchase, and agrees to pay the full price, plus Buyer’s Freeman’s may, as a service to buyer, arrange to have purchased property posted and shipped Premium, therefore or such part, upon such terms as Freeman’s may at the buyer’s expense. Freeman’s is not responsible for any acts or omissions in packing or require. shipping of purchased lots whether or not such carrier is recommended by Freeman’s. Packing 9 and handling of purchased lots is at the responsibility of the buyer and is at the entire risk of No lot may be removed from Freeman’s premises until the buyer has the buyer. paid in full the purchase price therefor including Buyer’s Premium or 16 has satisfied such terms that Freeman’s, in its sole discretion, shall In no event shall any liability of Freeman’s to the buyer exceed the purchase price actually paid. 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 17 sale and, if not so removed, may be sold by Freeman’s, or sent by No claimed modification or amendment of this Agreement on the part of any party shall Freeman’s to a public warehouse, at the sole risk and charge of the be deemed extant, enforceable or provable unless it is in writing that has been signed by buyer(s), and Freeman’s may prohibit the buyer from participating, the parties to this Agreement. No course of dealing and no delay or omission on the part of directly or indirectly, as a bidder or buyer in any future sale or sales. In Freeman’s in exercising any right under this Agreement shall operate as a waiver of such right addition to other remedies available to Freeman’s by law, Freeman’s or any other right and waiver on any one or more occasions shall not be construed as a bar to reserves the right to impose a late charge of 1.5% per month of the or waiver of any right or remedy of Freeman’s on any future occasion. total purchase price on any balance remaining ten (10) days after the 18 day of sale. If Property is not removed by the buyer within ten (10) These Conditions of Sale and the buyer’s, the Consignor’s and Freeman’s rights under these days, a handling charge of 1% of the total purchase price per month Conditions of Sale shall be governed by, construed and enforced in accordance with the from the tenth day after the sale until removal by the buyer shall be laws of the Commonwealth of Pennsylvania and Consignor and Buyer agree to the exclusive payable to Freeman’s by the buyer; Freeman’s shall charge 1.5% of jurisdiction of the Philadelphia, Pennsylvania Court of Common Pleas and the United States the total purchase price per month for any property not so removed 254 for the Eastern District of Pennsylvania. District Court

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. 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. 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. 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.

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. 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. 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. Endangered Species Lots marked * are manufactured in whole or in part of restricted materials that may include tortoiseshell, ivory, mother-of-pearl, coral, rhinoceros horn, whalebone, marine ivory, exotic timbers such as “zitan,” “huanghuali,” “hongmu,” or rosewoods. 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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directory Officers Alasdair Nichol Chairman Margaret D. Freeman Director Emeritus Paul S. Roberts President Hanna Dougher Chief Operating Officer

Specialist Departments

Representatives

20th Century Design Tim Andreadis

New England Darren Winston dwinston@freemansauction.com

tandreadis@freemansauction.com American Art & Pennsylvania Impressionists Alasdair Nichol anichol@freemansauction.com American Furniture, Folk & Decorative Arts Lynda Cain lcain@freemansauction.com

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 Jake Gravelding loadingdock@freemansauction.com Trust & Estates Amy Parenti aparenti@freemansauction.com

Asian Arts Benjamin Farina bfarina@freemansauction.com Books, Maps & Manuscripts Darren Winston dwinston@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 Sarah Riley, GG sriley@freemansauction.com

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