Decorative Arts & Design @1600

Decorative Arts & Design Auction January 22, 2020

@1600

Decorative Arts & Design @1600

AUCT ION

Sale 1652 Wednesday, January 22, 2020 at 11 am 1600 W Girard Ave, Philadelphia, Pennsylvania 19130 Cover: Lot 41, Inside Front Cover: Lot 6, Inside Back Cover: Lot 42

CO NTAC T

CLIE NT SE RVICE S

Tim Andreadis tandreadis@freemansauction.com 267.414.1215

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

Tori Craig Bidding Registration tcraig@freemansauction.com 267.414.1200 Justin Cook Post-Sale Administrator jcook@freemansauction.com 267.414.1226

PRO PERTY FROM A P ROMINE NT P RIVAT E COLLECT ION , WASHINGTON, D.C .

Lots 1-52

Lot 28

T H E RIS E O F A RT NO U V EAU In the provincial city of Nancy, ornately gilded ivy crawls up wrought iron lamp posts, gates, and decorative balconies.

Baroque architecture and an arc de triomphe delineate the city’s cobblestone center Place Stanislas, named for the Polish Duke of Lorraine under whose patronage it was built.

The design and construction of this urban center in the mid eighteenth century brought a cultural renaissance to Nancy.

About a century and a half later the Franco-Prussian War divided the province; as a result, many refugees from France’s easternmost province settled here. Nancy once more saw a large influx of professionals and artisans, giving birth to another cultural renaissance and resulting in a triumph of the decorative arts.

This collection of Art Nouveau decorative art features three artists who were the leading figures of the École de Nancy. Emile Gallé, Louis Majorelle, and Antonin Daum all began work in their respective family businesses; Gallé and Majorelle were from Nancy, while the Daum family emigrated there from a region farther east. These decorative artists led a movement that was deeply rooted in provincial life, and inspiringly embraced modernity for their own expressive purposes.

From a young age, the school’s leading figure Emile Gallé, was fascinated by botany. Throughout his life he would find inspiration in the local flora, fauna, and insects of the region, rooting his style of Art Nouveau in the provincial. Gallé also displayed strong provincial pride by heavily featuring the cross of Lorraine, inherited by the Duke of Lorraine in the fifteenth century, as ornamentation in his work. As a child, Gallé took to sketching the region’s native plants; later they would be acid-etched into the glass and marquetry-inlaid into the wood of his creations. It was because of Gallé’s lifelong study of and passion for natural life that his ornamentation takes on a life of its own. He even took to cultivating a garden around his woodworking shop, organizing it by genus and species. It was filled with local flora, fauna, and weeds that grew freely. His vegetable garden proved to be the perfect space to study local insects. Gallé also found inspiration in flowers native to Japan, which had opened up in the earlier part of the century. Gallé’s knowledge of botanical methodology gives his work a “supernatural” effect, as Maurice Rheims notes in his study of the Art Nouveau moment. Galle showed it possible that nature and science could be reconciled through art.

In 1900, Gallé took the country by storm at the Paris Exposition, proving himself to be an expressive force to be reckoned with. His exhibition included a full size glass furnace from his workshop, glass pieces etched with cultural criticism, and shattered shards of glass that were spread on the ground in front, as proto-performance art.

Louis Majorelle began working with Gallé around 1894.

When the École de Nancy officially opened in 1901, he, along with Antonin Daum, served as Gallé’s Vice Presidents.

Both Daum and Gallé supplied Majorelle with glass as he began exploring the qualities and workmanship of metal.

Majorelle studied under Jean-François Millet known for his rural subjects in a realist mode at the École de BeauxArts. Before developing a more personal style under Gallé’s influence, Majorelle worked primarily with historicist styles for his father’s business. The design of this collection’s Majorelle tables display the sumptuous, dynamic, and naturalistic contours that he came to master as a furniture designer. His masterful curvature of form won him praise and international attention at the Paris Exposition. With the connections formed during his time at the École de BeauxArts, Majorelle secured frequent major exhibitions in Paris.

The Daum family came to settle in Nancy after fleeing Bitche as a result of the War. In 1889, the Daum brothers visited the Exposition Universelle in Paris, during which the Eiffel Tower officially opened. There they saw the work of Gallé and Majorelle. At the Exposition of 1900, Daum and Majorelle exhibited decorative lamps together, where Majorelle’s nuanced metalwork took on the contours of a stem and Daum’s glass, the delicacy of petals. Just as Gallé left an impression on the work of Majorelle, it left an indelible mark on the Daum studio. Like Gallé, Antonin Daum mastered the ornamental acid-etch technique, and, after the death of Gallé in 1904, went on to revitalize the pâte-de-verre technique pioneered by ancient Egyptians.

Another glass designer represented in this Collection is Gabriel Argy-Rousseau. Argy-Rousseau gained recognition with his masterful use of the pâte-de-verre technique, using a molded “glass paste” to produce a richness of texture and color. Whereas Gallé’s ornamentation is inspired by his interest in botany, Argy-Rousseau mastered his technique through an interest in chemistry and was able to experiment with the blending of color and texture of surface.

The thickness of his glass and the rich jewel tones create immensely rich gem-like pieces. Light plays off an ArgyRousseau nightlight (Lot 28) like the stained glass window of a church, instantaneously revealing a rich layer of color and light.

All of these artists were instrumental in one of the twentieth century’s most explosive and fleeting decorative art movements. They revealed a social dimension to decorative work, and worked endlessly to ensure the prosperity of decorative art’s future. The flowers of the École de Nancy’s work are deeply rooted in Lorraine’s soil and they have etched, carved, and molded this region’s natural beauty and rich cultural history into their work.

- Ethan Snyder

1 Émile Gallé (French, 1846-1904)

A “Coeurs de Janette” Vase, France, circa 1890 Acid-etched, enameled, and gilt glass Raised, acid-etched and gilt signature to body: “Gallé” Acid-etched signature to base: “Nancy Depose GesGesch” H: 9 3/4, Dia: 3 1/8 in. provenance

Property from a Prominent Private Collection, Washington, D.C. $1,500-2,500

2 Émile Gallé (French, 1846-1904)

A Jug and A Lobbed Bowl, France, circa 1890 Enameled and gilt glass The jug with decoration of thistle and Cross of Lorraine The bowl with acid-etched, raised floral decoration The bottle with enameled signature: “ E. Galle Depose Nancy” The bowl with raised, acid-etched and gilt signature: “Galle” H: 5 3/8, W: 3 1/2, D: 2 1/2 in. (jug), H: 2 3/8, W: 5 1/4, D: 3 1/2 in. (bowl) provenance

Property from a Prominent Private Collection, Washington, D.C. $700-900

3 Émile Gallé (French, 1846-1904)

A Small Bud Vase, France, circa 1890 Enameled and gilt glass Signed in enamel: “E. Galle” H: 4 3/4, Dia: 2 1/4 in. provenance

Property from a Prominent Private Collection, Washington, D.C. $500-700

4

5

Émile Gallé (French, 1846-1904)

Émile Gallé (French, 1846-1904)

Acid-etched and gilt glass Apparently unmarked.

H: 2 1/4, Dia: 9 1/2 in.

Acid-etched, enameled and gilt glass Acid-etched and gilt signature to base: “Gallé déposé” H: 9 7/8, W: 5 3/8, D: 4 in.

provenance

provenance

$600-800

$2,000-3,000

A Bowl, France, circa 1890

Property from a Prominent Private Collection, Washington, D.C.

6 Émile Gallé (French, 1846-1904)

A Set of Twelve Drinking Glasses, France, circa 1895 Engraved, enamelled and gilt glass Each with engraved signature: “E. Gallé Nancy” H: 4 5/8, Dia: 3 1/2 in. provenance

Property from a Prominent Private Collection, Washington, D.C. $5,000-8,000

A “Cross of Lorraine and Thistle” Vase, France, circa 1890

Property from a Prominent Private Collection, Washington, D.C.

7 Émile Gallé (French, 1846-1904)

A Scent Bottle with Stopper, France, circa 1900 Overlaid and acid-etched glass Raised, acid-etched signature: “Gallé” H: 4, W: 4 1/4, D: 2 in. provenance

Property from a Prominent Private Collection, Washington, D.C. $500-800

8 Émile Gallé (French, 1846-1904)

An Atomizer and Scent Bottle, France, circa 1900 Overlaid, acid-etched glass, metal Each with raised, acid-etched signature: “Galle” H: 8 1/2, Dia: 2 1/4 in. (taller) provenance

Property from a Prominent Private Collection, Washington, D.C. $900-1,400

9 Émile Gallé (French, 1846-1904)

A Scent Bottle with Stopper, France, circa 1900 Overlaid, acid-etched, and fire-polished glass Raised, acid-etched siganature: “Galle” H: 9 3/8, Dia: 4 in. provenance

Property from a Prominent Private Collection, Washington, D.C. $500-700

10 Émile Gallé (French, 1846-1904)

A Banjo-Shaped Bud Vase with Hydrangea, France, circa 1900 Overlaid and acid-etched glass Etched, raised signature to body: “Gallé” H: 6 3/4, W: 3 3/8, D: 2 in. provenance

Property from a Prominent Private Collection, Washington, D.C. $800-1,200

11 Émile Gallé (French, 1846-1904)

Two Floral Vases, France, circa 1900 Overlaid and acid-etched glass Each signed with raised, acid-etched signature to body: “Gallé” H: 5, Dia: 2 7/8 in. (larger) provenance

Property from a Prominent Private Collection, Washington, D.C. $300-500

12 Émile Gallé (French, 1846-1904)

A Bud Vase and A Cabinet Vase, France, circa 1900 Overlaid and acid-etched glass Each with acid-etched, raised signature to body: “Gallé” H: 4 3/4, W: 4 1/4, D: 2 3/4 in. (larger) provenance

Property from a Prominent Private Collection, Washington, D.C. $300-500

13

14

Émile Gallé (French, 1846-1904)

Émile Gallé (French, 1846-1904)

Overlaid and acid-etched glass Each with raised, acid-etched signature: “Gallé” H: 2 3/4, Dia: 4 1/2 in. (jar); H: 1 1/4, W: 4 7/8, D: 3 1/2 in. (dish)

Overlaid and acid-etched glass Raised, acid-etched signature to body: “Gallé” H: 3 1/2, W: 3 1/2, D: 3 in.

provenance

Property from a Prominent Private Collection, Washington, D.C.

A Covered Jar and Oblong Dish, France, circa 1900

Property from a Prominent Private Collection, Washington, D.C. $600-800

A Floral Vase, France, circa 1900

provenance

$800-1,200

15

16

Émile Gallé (French, 1846-1904)

Émile Gallé (French, 1846-1904)

Overlaid and acid-etched glass Raised, acid-etched signature: “Gallé” Applied paper label: “Galle Nancy Paris” H: 9 5/8, Dia: 3 5/8 in.

Overlaid and acid-etched glass Raised, acid-etched signature to body: “Gallé” H: 9 7/8, Dia: 5 1/8 in.

provenance

Property from a Prominent Private Collection, Washington, D.C.

$800-1,200

$2,000-4,000

17

18

Émile Gallé (French, 1846-1904)

Émile Gallé (French, 1846-1904)

Overlaid and acid-etched glass Raised, acid-etched signature to body: “Gallé” H: 6, W: 4 5/8, D: 3 3/4 in.

With eye-cut top Overlaid and acid-etched glass Raised, acid-etched signature: “Galle” Applied paper label: “Emile Galle Nancy Paris” H: 5 3/4, W: 4 3/4, D: 2 1/2 in.

A “Thistles” Vase, France, circa 1900

Property from a Prominent Private Collection, Washington, D.C.

A “Seaweed” Vase, France, circa 1900

provenance

Property from a Prominent Private Collection, Washington, D.C. $600-800

A “Dragonfly” Jar and Cover, France, circa 1900

provenance

A Scenic Landscape Vase, France, circa 1900

provenance

Property from a Prominent Private Collection, Washington, D.C. $1,000-1,200

19

20

Émile Gallé (French, 1846-1904)

Émile Gallé (French, 1846-1904)

Acid-etched overlaid glass Raised, acid-etched signature: “Gallé” H: 18 1/2, Dia: 7 1/4 in.

Overlaid, acid-etched, and fire-polished glass Raised, etched signature to body: “Gallé” H: 8, Dia: 3 in.

provenance

provenance

$2,000-4,000

$400-600

A Tall “Wooded Landscape” Vase, France, circa 1910

Property from a Prominent Private Collection, Washington, D.C.

A “Sunflowers” Vase, France, circa 1900

Property from a Prominent Private Collection, Washington, D.C.

21 Émile Gallé (French, 1846-1904)

A “Spiderweb” Perfume Bottle, France, circa 1900 Overlaid, acid-etched, and fire-polished glass Raised, acid-etched signature: “Galle” H: 4, Dia: 4 1/2 in. provenance

Property from a Prominent Private Collection, Washington, D.C. $500-800

22

23

24

Émile Gallé (French, 1846-1904)

Daum (French, est. 1878)

Daum (French, est. 1878)

Overlaid, acid-etched and fire-polished glass Acid-etched and gilt signature to base: “Cristallerie de Gallé Nancy déposé” with chrysanthemum.

H: 15 3/4, W: 6 1/2, D: 5 1/4 in.

Wheel-carved, acid-etched, and overlaid internally-decorated glass Engraved signature: “Daum Nancy” with Cross of Lorraine Base with engraved numerals: “16” Retailer’s foil label: “Casa Vignes de M.P. Sanchez Florida 431 Buenos Aires” H: 18 1/8, Dia: 5 1/2 in.

Acid-etched and enameled interallydecorated glass Enameled signature: “Daum Nancy” with Cross of Lorraine Enameled artist’s initials: “L.W.” H: 20 1/2, Dia: 6 5/8 in.

A Tall “Chrysanthemum” Vase, France, circa 1900

provenance

Property from a Prominent Private Collection, Washington, D.C. $2,000-3,000

A Tall “Fleurs de Tabac” Vase, Nancy, France, circa 1900

provenance

Property from a Prominent Private Collection, Washington, D.C. $2,000-4,000

A Tall “Winter Landscape” Vase, Nancy, France, circa 1900

provenance

Property from a Prominent Private Collection, Washington, D.C. $4,000-6,000

26 Daum (French, est. 1878) and Edgar Brandt (French, 1880-1960) A Table Lamp, France, 20th century

Wrought iron, internally-decorated glass, patinated metal The glass shade with engraved signature: “Daum Nancy” with Cross of Lorraine The iron with stamped signature: “E. Brandt, Made in France” H: 25, W: 14 1/2 in. sq. provenance

Property from a Prominent Private Collection, Washington, D.C. $3,000-5,000

25 Daum (French, est. 1878)

A Floor Lamp, France, circa 1920 Internally-decorated glass, patinated wrought iron The glass signed with wheel-carved signature: “Daum Nancy” with Cross of Lorraine.

H: 63, Dia: 19 3/4 in. provenance

Property from a Prominent Private Collection, Washington, D.C. $3,000-6,000

27 Legras (French, est. 1864)

A “Sailboats” Table Lamp, circa 1920 Acid-etched and enameled glass, patinated metal Enameled signature: “Legras” H: 18 1/4, Dia: 7 1/4 in. provenance

Property from a Prominent Private Collection, Washington, D.C. $1,500-2,500

28 Gabriel Argy-Rousseau (French, 1885-1953)

A “La Coupe Fleurie” Night Light, France, circa 1923 Pâte de verre, wrought iron Molded signature: “G. ARGY ROUSSEAU” H: 5 5/8, Dia: 4 1/8 in. provenance

Property from a Prominent Private Collection, Washington, D.C. $3,000-5,000

29 Gabriel Argy-Rousseau (French, 1885-1953) A “Sousis” Vase, France, circa 1920

Pâte-de-verre Molded signature: “G. ARGY-ROUSSEAU” H: 6, Dia: 4 in. provenance

Property from a Prominent Private Collection, Washington, D.C. $3,000-5,000

30 Gabriel Argy-Rousseau (French, 1885-1953)

A “Losanges de Feuilles” Vase, France, circa 1927 Pâte-de-verre Molded signature: “G. ARGY-ROUSSEAU” and “FRANCE” H: 6 1/4, Dia: 3 1/2 in. provenance

Property from a Prominent Private Collection, Washington, D.C. $2,000-4,000

31 Gabriel Argy-Rousseau (French, 1885-1953)

A Small Vase with Purple Flowers, France, circa 1900 Pâte-de-verre Molded signature: “G. ARGY-ROUSSEAU” H: 4 1/8, Dia: 2 1/2 in. provenance

Property from a Prominent Private Collection, Washington, D.C. $1,000-2,000

32 Henry Bergé (French, 1870-1937) and Amalric Walter (French, 1870-1959) A “Trois Capricornes du Chêne” Bonbonnière, France, circa 1920

Pâte-de-verre The cover with molded signature: “Berge” and “AW N” The bowl with molded signature: “A Walter Nancy” to body The bowl base with molded inscription: “A La Marquise de Séviené” H: 5, Dia: 7 in. provenance

Property from a Prominent Private Collection, Washington, D.C. $1,500-2,500

Lot 36

33

34

Émile Gallé (French, 1846-1904)

Émile Gallé (French, 1846-1904)

Various wood marquetry Signed in marquetry: “Galle” H: 29 1/4, W: 24 3/4, D: 15 1/2 in.

Various wood marquetry inlay depicting landscape and butterfly Signed in marquetry: “Emile Galle” H: 30, W: 21 1/4 in.

A Two-Tier Occasional Table, France, circa 1900

provenance

Property from a Prominent Private Collection, Washington, D.C. $1,000-2,000

A Two-Tier Occasional Table, France, circa 1900

provenance

Property from a Prominent Private Collection, Washington, D.C. $1,500-2,500

35 In the manner of Émile Gallé (French, 1846-1904) Burr Wood Lift-Top Liquor Cabinet, circa 1900

With marquetry landscape panel to the front and sides.

H: 34 1/2, W: 36 3/4, D: 19 1/4 in. provenance

Property from a Prominent Private Collection, Washington, D.C. $1,000-2,000

36 Louis Majorelle (French, 1859-1926)

Armchair and Side Chair, France, circa 1900 Carved walnut, reupholstered in a Bauhaus-designed fabric.

H: 30 3/4, W: 27 1/2, D: 25 in. (armchair), H: 38, W: 16 1/2, D: 15 1/4 in. (side chair) provenance

Property from a Prominent Private Collection, Washington, D.C. $1,000-2,000

37

38

Louis Majorelle (French, 1859-1926)

Louis Majorelle (French, 1859-1926)

Carved walnut, reupholstered in “Lanthe” print Liberty London fabric.

H: 37 3/4, W: 17, D: 14 in.

Carved and gilt wood, reupholstered in “Lanthe” print Liberty London fabric.

H: 38, W: 18, D: 16 1/2 in.

provenance

provenance

A Pair of Side Chairs, France, circa 1900

Property from a Prominent Private Collection, Washington, D.C. $700-1,000

Side Chair, France, circa 1900

Property from a Prominent Private Collection, Washington, D.C. $500-800

39 Louis Majorelle (French, 1859-1926)

A Five-Piece Salon Suite, France, circa 1900 Comprising a settee, pair of armchairs, and pair of side chairs Carved and gilt wood, velvet upholstery.

H: 38 1/4, W: 56, D: 35 in. (settee), H: 31 3/4, W: 27, D: 29 in. (armchair), H: 38 1/4, W: 16 1/4, D: 15 1/4 in. (side chair) provenance

Property from a Prominent Private Collection, Washington, D.C. $8,000-12,000

40

41

Louis Majorelle (French, 1859-1926)

Louis Majorelle (French, 1859-1926)

Mahogany and ormolu-mounted, with various wood marquetry inlay depicting foliate branches Signed in marquetry: “L. Majorelle” H: 29 1/2, W: 19 1/2, D: 14 in.

Mahogany with various wood marquetry inlay depicting fern leaves.

H: 29 1/2, W: 32 1/2, D: 24 1/2 in.

provenance

Property from a Prominent Private Collection, Washington, D.C.

$1,500-2,000

$2,000-3,000

A Two-Tier Side Table, France, circa 1900

Property from a Prominent Private Collection, Washington, D.C.

42 In the manner of Louis Majorelle (French, 1859– 1926)

A Single-Drawer Occasional Table, France, circa 1900 Mahogany with various wood marquetry inlay depicting swans in a lake, with carved and pierced rosette/frond.

H: 29 1/2, W: 43, D: 24 1/2 in. provenance

Property from a Prominent Private Collection, Washington, D.C. $2,000-3,000

An Occasional Table, France, circa 1900

provenance

43 Louis Majorelle (French, 1859-1926) A Dining Table, France, circa 1900

Carved oak With four leaves.

H: 28, L: 135 1/2, W: 51 in. (extended with leaves) provenance

Christie’s, New York, The Barbra Streisand Collection of 20th Century Decorative and Fine Arts, March 3, 1994, lot 96.

Property from a Prominent Private Collection, Washington, D.C. $6,000-9,000

44 Attributed to Eugène Vallin (French, 1856-1922) Vitrine Cabinet and Sofa, France, circa 1905

Mahogany, various wood marquetry inlay, carved and parcelgilt poppy rosettes, leaded glass cabinets, mirrored glass, upholstery, brass.

H: 81 1/2, W: 102 1/4 in. provenance

Property from a Prominent Private Collection, Washington, D.C. $8,000-12,000

45 In the Art Nouveau Style

A Pair of “Pond Lily” Leaded Glass Doors, probably American, 20th century Leaded glass, painted wood.

H: 63 3/4, W: 17 1/4 in. (each) provenance

Acquired at auction in Ohio, 1970s Property from a Prominent Private Collection, Washington, D.C. $2,000-3,000

46 In the Art Nouveau Style

A “Pond Lily” Leaded Glass Panel, probably American, 20th century Leaded glass, wood.

H: 17 1/4, W: 31 in. provenance

Property from a Prominent Private Collection, Washington, D.C.

47 Alfred Jean Foretay (Swiss, 1861-1944) “Elegie,” circa 1900

Verdigris, “bronze” and gilt-patinated terracotta Incised signature: “A. Foretay” Titled: “ELEGIE” H: 21, W: 12, D: 10 1/2 in. provenance

Property from a Prominent Private Collection, Washington, D.C. $500-800

48 Victor Heinrich Seifert (Austrian, 1870-1953)

Figure of a Grecian Nude Holding a Cup Aloft, circa 1925 Alabaster, patinated bronze, gilt metal, marble Signed: “Heinrich” with foundry mark: “Schumacher” Possibly depicting Hygeia.

H: 14 1/2, W: 6, Dia: 5 in. provenance

Property from a Prominent Private Collection, Washington, D.C. $1,000-1,500

$800-1,200

49

50

Ernest Laurent (French, 1861-1929)

Alphonse Mucha (Czech, 18601939)

Portrait of a Lady

Oil on canvas Signed (lower left), dated (lower right) 18 3/4 x 13 in. (48 x 33cm) provenance

Property from a Prominent Private Collection, Washington, D.C. $600-1,000

Sarah Bernhardt - La Dame Aux Camelias Color lithograph 13 1/4 x 4 3/4 in. (34 x 12cm) provenance

Property from a Prominent Private Collection, Washington, D.C. $600-1,000

52 Alphonse Mucha (Czech, 1860-1939) Zodiac

Color lithograph 25 1/4 x 18 1/2 in. (64 x 47cm) provenance

Christie’s, New York, December 1977 Property from a Prominent Private Collection, Washington, D.C. $3,000-5,000

51 Antonio Guby (Italian, active late 19th/early 20th century) Portrait of a Lady, Late 19th/early 20th century Oil on canvas Signed (upper right) 18 1/2 x 9 3/4 in. (47 x 25cm) provenance

Property from a Prominent Private Collection, Washington, D.C. $600-1,000

53 Louis Majorelle (French, 1859-1926)

A Two-Tier Occasional Table, France, circa 1900 Mahogany, ormolu, glass Signed with branded signature: “L. Majorelle Nancy” H: 29 1/2, W: 43 1/4, D: 27 1/4 in. provenance

Private Collection, New York, NY $1,000-2,000

54 Attributed to Louis Majorelle (French, 1859–1926) A Single-Drawer Occasional Table, France, circa 1900 Mahogany, gilt bronze.

H: 29 1/2, W: 33 1/2, D: 19 1/2 in. provenance

Private Collection, New York, NY $500-700

55 Louis Majorelle (French, 1859-1926) A Music Cabinet, France, circa 1900

Mahogany, various wood marquetry, patinated metal Signed in marquetry: “L. Majorelle” H: 56, W: 32, D: 15 in. provenance

Private Collection, New York, NY $1,000-2,000

56 Louis Majorelle (French, 1859-1926)

A Two-Tier Tray Table, France, circa 1900 Various wood marquetry, patinated metal Incised signature: “L. Majorelle” H: 31 1/2, W: 38 1/2, D: 17 1/2 in. provenance

Private Collection, New York, NY $800-1,200

57

58

Louis Majorelle (French, 1859-1926)

French School

Mahogany, tulipwood, ormolu Branded: “L. Majorelle Nancy” H: 30, W: 23 in.

Mahogany, various wood marquetry, gilt-embossed green leather writing surface.

H: 30 1/2, W: 39 1/2, D: 19 3/4 in. (open), W: 19 1/2 in. (closed)

A Two-Tier Gueridon, France, circa 1900

provenance

Private Collection, New York, NY $800-1,200

A Folding Writing Table, circa 1900

provenance

Private Collection, New York, NY $800-1,200

59 European School

An Art Deco ‘Barrel’ Five-Piece Salon Suite, circa 1930 Comprising a settee and four arm chairs Rosewood, mahogany, upholstery, brass.

H: 38, W: 58, D: 24 in. (settee), H: 36, W: 28, D: 22 in. (chairs) provenance

Private Collection, New York, NY $1,500-2,500

60 Émile Gallé (French, 1846-1904)

A “Butterflies” Table Lamp, France, circa 1910 Overlaid and acid-etched glass Raised, acid-etched signature to shade: “Galle” H: 14, Dia: 7 in. provenance

Private Collection, New York, NY $800-1,200

61 French School

A Frosted Glass and Wrought Iron Table Lamp, circa 1925 Molded and frosted glass, wrought iron.

H: 15 3/4, Dia: 9 3/4 in. provenance

Private Collection, New York, NY $300-500

62

63

Émile Gallé (French, 1846-1904)

Louis Majorelle (French, 1859-1926) and Daum (French, est. 1878)

Vase with Oak Leaves and Acorns, France, circa 1900 Internally-decorated, overlaid, acid-etched and firepolished glass Acid-etched signature: “Galle” H: 10, W: 6 1/4 , D: 5 in. provenance

Private Collection, New York, NY $600-800

64 Roby (French, active early 20th century)

An Art Deco Orientalist Tête-à-Tête, France circa 1920s Comprising two cups and saucers, a teapot, a creamer, and a sugar dish with an unassociated tray.

L: 17 1/4, W: 12 (tray), H: 5 1/2, W: 6 3/4 in. (teapot) provenance

Private Collection, New York, NY $600-800

A Large Metal-Mounted Glass Vase, France, circa 1900

Internally-decorated and cased glass, patinated iron Engraved signature: “L Majorelle” and “Daum Nancy” with Cross of Lorraine.

H: 10 1/8, Dia: 10 1/2 in. provenance

Private Collection, New York, NY $600-800

65

66

67

Delphin Massier (French, 1836-1907)

Delphin Massier (French, 1836-1907)

Delphin Massier (French, 1836-1907)

Signed: “D.M. cie. V.” H: 6 3/4, L: 13 in.

Together with a majolica butterfly-form spill vase signed: “Delphin Massier/Vallarius (A.M.)” Centerpiece bowl signed: “Delphin. Massier/ Vallarius (A.M.) V.” H: 9 3/4, W: 18 1/2, D: 11 3/4 in. (largest)

Signed: “Delphin. Massier/Vallauris. (A.M)/V.” H: 10, Dia: 13 in.

A Majolica Grasshopper-Form Jardinière, France, late 19th century

provenance

Private Collection, New York, NY $1,500-2,000

A Majolica Butterfly Centerpiece Bowl, France, late 19th century

provenance

Private Collection, New York, NY

A Majolica Swan Jardinière, France, late 19th century

provenance

Private Collection, New York, NY $600-800

$800-1,200

68

69

70

Delphin Massier (French, 1836-1907) and Jean Massier (French, 1877-1937)

Delphin Massier (French, 1836-1907)

Delphin Massier (French, 1836-1907)

Both signed: “Delphin Massier/Vallauris (A.M.)” to underside.

H: 39 1/2, Dia: 18 in.

Together with a majolica woodpecker wall applique, unsigned and unstamped Sparrow signed “D.M.cie/V” H: 11 1/2, W: 8, D: 3 in. (sparrow)

Group of Four Majolica Swan-Form Jardinières, France, late 19th/early 20th century Large swan signed: “JMF./Vallauris. A.M.” Medium swan signed: “JM. fils/Vallauris” One small swan signed: “Delphin Massier/Vallauris/ AM” Other small swan signed: “Delphin Massier/Vallauris (A:M)” to underside.

H: 11, W: 13, D: 6 1/2 in. (largest)

A Pair of Majolica Crane Jardinières, France, late 19th century

provenance

Private Collection, New York, NY $1,200-1,800

A Majolica Swallow-Form Wall Pocket, late 19th century

provenance

Private Collection, New York, NY $300-500

provenance

Private Collection, New York, NY $2,000-2,500

71

72

73

Delphin Massier (French, 1836-1907)

Delphin Massier (French, 1836-1907)

Delphin Massier (French, 1836-1907)

Together with a Majolica flamingo figure Pedestal signed: “Delphin Massier/Vallauris (A.M)” Flamingo figure apparently unmarked.

H: 51, Dia: 15 in. (pedestal only)

Signed: “Delphin. Massier/Vallauris. A.M./V.” H: 7, L: 11 1/2 in.

Egret signed: “DM/cie/Vallauris/AM” Flamingo signed: “DM/cie/Vallauris/(AM)” H: 22, W: 12, D: 3 in. (largest)

A Majolica Flamingo Pedestal, France, late 19th century

provenance

Private Collection, New York, NY

A Majolica Flamingo-Form Jardinière, France, late 19th century

provenance

Private Collection, New York, NY $1,000-1,500

$1,200-1,800

74

75

Delphin Massier (French, 1836-1907) and Jean Massier (French, 1877-1937)

Delphin Massier (French, 1836-1907)

Three Continental Majolica Bird-Themed Table Pieces, late 19th/early 20th century Bird basket signed: “Jean Massier./cie/ Vallauris. (A.M.)” Spill vase signed: “Delphin Massier/Vallauris, (A.M.)” Escargot dish unsigned and unmarked.

H: 4 3/4, W: 12 1/2, D: 10 in. (largest) provenance

Private Collection, New York, NY $800-1,200

A Pair of Majolica Iris Vases, France, late 19th century Signed: “Delphin. Massier/cie/Vallauris” H: 14 1/4 in. provenance

Private Collection, New York, NY $1,000-1,500

A Pair of Majolica Appliques in the Shape of an Egret and Flamingo, France, late 19th century

provenance

Private Collection, New York, NY $700-900

76 Delphin Massier (French, 1836-1907)

A Pair of Large Majolica Jardinières, France, late 19th century Together with a pair of French majolica pedestals.

Iris-form jardinière signed: “Delphin. Massier/ Vallauris. (A.M)/V.” Jardinière with female bust signed: “Delphin.

Massier/Vallauris/(A.M)” Pedestals apparently unmarked (4).

H: 37 1/2, Dia: 14 in. (larger pedestal only) $1,000-1,500

77

78

79

Delphin Massier (French, 1836-1907)

Delphin Massier (French, 1836-1907)

French School, Delphin Massier (French, 1836–1907) and others

A Majolica Bouquet-Form Tripartite Serving Dish, France, late 19th century

A Majolica Sunflower-Form Vase, France, late 19th century

Together with a vide poche with female bust, unsigned and unstamped Serving dish signed: “Delphin. Massier/Vallauris./ A.M.” H: 5, W: 15 in. (larger)

Together with a swan serving dish, stamped: “4546” and marked “35.”

Vase signed: “Delphin Massier. Vallauris/A.M” H: 8 1/2; Dia: 15 1/2 in. (largest)

provenance

Private Collection, New York, NY

Private Collection, New York, NY $500-700

provenance

$600-800

Group of Three Majolica Pitchers, late 19th century Pig-form signed: “D.M/V” Asparagus bunch-form with unidentified maker’s mark Flower-decorated stamped: “FFAS” and “Made in France” H: 8 1/4, W: 7 5/8, D: 3 3/4 in. (largest) provenance

Private Collection, New York, NY $800-1,000

80

81

82

Jérôme Massier (French, 1850-1916)

Attibuted to Delphin Massier (French, 1836– 1907)

In the style of Delphin Massier (French, 1836–1907)

Attached to chain for hanging Apparently unsigned and unmarked.

H: 24 1/2, W: 14, D: 8 in.

Comprising six majolica-handled knives, four blades marked: “Uchatius Bronce,” the other two marked: “Bronze” (7).

H: 3 in. (apple); L: 6 5/8 in. (knife)

A Pair of Majolica Anemone Compotes, France, late 19th century One signed: “Jerome Massier fils/Vallauris/A.M.” The other stamped with illegible stamp.

H: 4 1/2, Dia: 10 1/4 in. provenance

Private Collection, New York, NY $1,500-2,500

A Life-Size Majolica Parrot, France, late 19th century

provenance

Private Collection, New York, NY $800-1,200

A Continental Majolica Fruit Knife Set with AppleForm Stand, late 19th century

provenance

Private Collection, New York, NY $200-400

83

84

85

In the style of Delphin Massier (French, 1836–1907)

Portuguese School

European School

Stamped: “Portugal” and “146A” with an unidentified circle.

H: 2 1/2, L: 7 1/4, W: 7 1/4 in.

One marked: “Onnaing 712” The other two unmarked and unsigned.

H: 12 1/2; W: 5; D: 6 1/2 (largest)

provenance

provenance

$400-600

$1,000-1,200

Two Majolica Jardinières on Stands, late 19th century Red jardinière with indecipherable stamp to bottom Green jardinière and both stands unsigned and unmarked.

H: 44, Dia: 17 in. (largest) provenance

Private Collection, New York, NY

A Majolica Palissy Style Spider Crab Lidded Dish, circa 1900

Private Collection, New York, NY

Three Continental Majolica Duck-Form Pitchers, late 19th century

Private Collection, New York, NY

$800-1,200

86 English School

A Majolica Stilton Cheese Stand Cover, late 19th century Unmarked and unstamped.

H: 8, Dia: 10 5/8 in. provenance

Private Collection, New York, NY $400-600

87

88

In the style of George Jones (British, c. 1824– 1893)

English School

With accompanying serving spoon and tray Unidentified stamp.

L: 12 1/4, W: 9 3/4 in. (tray)

Together with a Minton “Chinaman” teapot, circa 1877, stamped: “Minton,” “I383,” and year cypher with a hand painted square Toby jug stamped: “164” and “F” and marked: “7” Larger Asian caraciature-form pitcher stamped: “395/1” Other Asian caraciature-form pitcher stamped: “A/2” H: 11 1/2, W: 5, D: 7 in. (largest)

A Majolica Strawberry Server, late 19th century

provenance

Private Collection, New York, NY $500-700

A Group of Four Majolica Figural Pitchers, late 19th century

provenance

Private Collection, New York, NY $1,500-2,000

K AYS ERZ INN PE WTE R: T HE COLLECT ION OF RU DO LF (RUDI) AMMANN, PART I Lots 89 - 118 Around the turn of the twentieth century, Engelbert Kayser, the son of a metal merchant, reimagined the expressive potential of an age old and quintessentially vernacular German metal: pewter. The beginning of Kayserzinn’s Jugendstil work shows it to be primarily ornamental, but as the brand developed this style further, it began not only to dictate ornamentation, but form as well, so that the natural world would become the limitations of Kayserzinn’s man made designs. Collaborations with artists such as Carl Geyer, Hugo Leven, and Hermann Fauser would define the development of Kayserzinn’s style. The definition of the brand’s style would not end with these artists, but permeated their wide and eclectic range of influences. Leven and Fauser’s experimental work proves to be an interesting study in form and function, challenging and expanding Art Nouveau’s limitations.

Hugo Leven was, at the age of twenty-one, an early collaborator of Kayserzinn. Beginning from as early as 1895, Leven was instrumental in Kasyerzinn achieving its potential. The artists of Leven’s surroundings, such as Tiffany, Daum, and Gallé, influenced his work and can be seen in his designs for Kayserzinn. The opening of Japan in the second half of the nineteenth century, which helped define the Art Nouveau movement, was also a critical influence on Leven’s work; aesthetically Japanese florals ornament Kayserzinn’s pewter around the turn of the twentieth century. A tray from 1898, overlaid with lily pads and swirls is made to look like a Japanese inspired pond.

With the birth of Kayserzinn pewter, the “Arts and Crafts movement began to bear fruit,” as Eckard Wagner and Gerhard Dietrich have asserted in their all-encompassing historicization of the artistic firm. Kayserzinn pewter found a catalyst in the Arts and Crafts movement, marrying the arts with mass production. Kayserzinn’s advertisements focused on the functionality, aesthetic superiority, affordability, and quality craftsmanship. An international audience took notice. Kayserzinn was awarded at international fairs and expositions in Paris, Turin, Dȕsseldorf, and St. Louis.

The Cologne of Kayser’s time was undergoing vast changes that came along with the twentieth century’s new modernity; these changes are reflected in some of Kayserzinn’s motifs, although these representational embraces of modernity are few and far between in the Kayserzinn canon. Developing technologies such as the railway, funicular, and construction crane can be found in relief on a wine cooler from around 1902, reflecting the modernization of Cologne The Collection of Rudolf (Rudi) Ammann (1937-2019) represents one of the largest collections of Kayserzinn pewter ever assembled. As a young man, after schooling and military service, Rudi Ammann left his large and long established family in Gstaad Switzerland for travel, eventually settling in Brooklyn, New York. Early on he became lifelong friends with Don Magner, an abstract expressionist painter, then filmmaker who worked in England with Tony Richardson. Beginning in the 1960s, Magner became a seminal dealer and collector of Early Modernist design. Although Rudi and Don were comrades “on the hunt”, each collected with a different approach. Don bought widely, from Herter Bros. to Mission Oak and eventually to Memphis, while Rudi collected ‘fin de siecle’ pewter with focus and scholarly zeal. It was all displayed, throughout his apartment, integrated with a very good collection of minimalist Mission Oak furnishings, a most fitting counterpoint. Rudi’s successful career on Wall St. as an export broker of heavy construction equipment, demanded extensive travel; but frequently returning to Brooklyn Heights with a new work to add to the Collection. Rudi also bought regularly from top New York dealers. From October 12, 1989 to January 9, 1990, the Museum of Modern Art staged the first American exhibition recognizing Kayserzinn’s contributions to the cannon of Art and Design. Several pieces were lent to that exhibition from Rudi’s Collection, and are offered for sale herein.

- Ethan Snyder

Lot 89

Installation view of the exhibition, "Kayserzinn Pewter." October 12, 1989 - Januaery 9, 1990.

The Museum of Modern Art, New York, NY. Photographer: Katherine Keller.

Photographic Archive. The Museum of Modern Art Archives The Museum of Modern Art, New York, NY, U.S.A. Digital Image © The Museum of Modern Art/Licensed by SCALA / Art Resource, NY

89

90

Kayserzinn (German, active 1862-1925)

Kayserzinn (German, active 1862-1925)

A Pewter Lamp Base, Cologne, Germany, circa 1903–1904 Model #4602 Marked.

H: 19 1/2, W: 8 7/8, D: 8 3/8 in. provenance

The Collection of Rudolf (Rudi) Amann, Brooklyn Heights, New York exhibited

A Set of Six Pewter Liquor Beakers and Liquor Waiter (Tray), Cologne, Germany, circa 18951896 Models #4441 and #4442 The cup design attributed to Hermann Fauser (German, 1874-1947) All marked.

H: 1, W: 4 5/8, D: 13 1/2 in. (tray)

91 Kayserzinn (German, active 1862-1925)

Two Pewter Egg Cups and Egg Tray, Cologne, Germany, circa 1902-1904 Model #4522 All marked.

H: 3/4, W: 5 1/2, D: 8 1/4 in. (tray) provenance

The Collection of Rudolf (Rudi) Amann, Brooklyn Heights, New York

provenance

“Kayserzinn Pewter”, Museum of Modern Art, New York, October 12, 1989–January 9, 1990

The Collection of Rudolf (Rudi) Amann, Brooklyn Heights, New York

$400-600

$50-150

92

93

94

Kayserzinn (German, active 1862-1925)

Kayserzinn (German, active 1862-1925)

Kayserzinn (German, active 1862-1925)

Model #4498, designed by Hugo Leven (German, 1874-1956) Marked: “4 KAYSERZINN 4498 P” Retaining paper exhibition label, numbered: “89.491” H: 8, W: 4 1/2, D: 7 in.

Model #4531 Marked.

H: 10 1/2, W: 9 1/2, D: 5 1/2 in.

Together with another tray of the same model The trays Model #4431 The cups Model #4463 Marked Paper exhibiton labels: “89.735.1” to “89.735.7” H: 3 7/8, Dia: 2 1/8 in. (cups), H: 2, W: 17 1/2, D: 7 1/8 in.

A Jug, Cologne, Germany, 1900-1901

provenance

The Collection of Rudolf (Rudi) Amann, Brooklyn Heights, New York exhibited

A Pair of Pewter Two-Light Candelabra, Cologne, Germany, circa 1902-1904

provenance

The Collection of Rudolf (Rudi) Amann, Brooklyn Heights, New York $300-500

“Kayserzinn Pewter”, Museum of Modern Art, New York, October 12, 1989–January 9, 1990

$50-150

A Set of Six Pewter Liquor Beakers and Tray, Cologne, Germany, circa 1895-1902

provenance

The Collection of Rudolf (Rudi) Amann, Brooklyn Heights, New York exhibited

$200-300

(Tray and Beakers) “Kayserzinn Pewter”, Museum of Modern Art, New York, October 12, 1989–January 9, 1990 $150-250

95

96

97

Kayserzinn (German, active 1862-1925)

Kayserzinn (German, active 1862-1925)

Kayserzinn (German, active 1862-1925)

With crane, funicular railway, and lighthouse Model #4525 Marked.

H: 9 1/2, W: 9 1/4 in.

Model #s 4447 and 4448, design attributed to Hugo Leven (German, 1874-1956) Marked.

H: 14 1/2, W: 19 in. (overall)

With stylized floral decoration, model #4408 One with handles Identically marked “58 KAYSERZINN 4408” H: 11 1/2, W: 4 3/8, D: 3 3/4 in. (larger)

provenance

provenance

provenance

$150-250

$50-150

$100-200

98

99

Kayserzinn (German, active 1862-1925)

Kayserzinn (German, active 1862-1925)

100

A Pewter Wine Cooler, Cologne, Germany, circa 1902-1904

The Collection of Rudolf (Rudi) Amann, Brooklyn Heights, New York

A Group of Four Cigar Lamps, Cologne, Germany, circa 1901-1904

A Pewter Water Jug and Wash Basin, Cologne, Germany, circa 1900-1901

The Collection of Rudolf (Rudi) Amann, Brooklyn Heights, New York

A Large Pewter Centerpiece with Figures, Cologne, Germany, circa 1901-1902

Including a pair Model #4439, and smaller lamp Model #4524, and lamp #4535, the design by Hugo Leven (German, 1874-1956) All marked.

H: 10 3/8, W: 4 1/2, D: 6 in. (one of pair)

Model #4444, designed by Hermann Fauser (German, 1874-1947) and Hugo Leven (German, 1874-1956) Marked.

H: 10 3/4, W: 24, D: 13 in.

provenance

provenance

$150-250

$500-700

The Collection of Rudolf (Rudi) Amann, Brooklyn Heights, New York

The Collection of Rudolf (Rudi) Amann, Brooklyn Heights, New York

A Near Pair of Pewter Vases, Cologne, Germany, circa 1900-1901

The Collection of Rudolf (Rudi) Amann, Brooklyn Heights, New York

Kayserzinn (German, active 1862-1925)

A Pair of Pewter “Bat” Candleabra, Cologne, Germany, 1901-1902 Model #4506, the design attributed to Hugo Leven (German, 1874-1956) Marked.

H: 12, Dia: 11 in. provenance

The Collection of Rudolf (Rudi) Amann, Brooklyn Heights, New York $600-800

101

102

103

Kayserzinn (German, active 1862-1925)

Kayserzinn (German, active 1862-1925)

Kayserzinn (German, active 1862-1925)

With glass liner Model #4530, the design attributed to Hugo Leven (German, 1874-1956) Marked.

H: 13 1/2, W: 18, D: 13 in.

Comprising a Mocha pot, Model #4613 with design attributed to Karl Berghof (German, 1881-1967); a Chocolate pot or Water jug, Model #4615 with design attributed to Karl Berghof or Karl Geyer (German, 1858-1912); and a Chocolate pot, Model #4636 with design by Karl Berghof.

H: 9 1/2, W: 3 1/2, D: 6 in. (largest)

With decoration of lily pads and beatles Model #4252 and #4235 Marked.

H: 15 1/2, Dia: 5 1/2 in. (vases)

A Punch Bowl with Frog and Snail Decoration, Cologne, Germany, 1902-1903

provenance

The Collection of Rudolf (Rudi) Amann, Brooklyn Heights, New York $300-500

Three Pewter Pots with Cane-Wrapped Handles, Cologne, Germany, circa 1904-1906

provenance

The Collection of Rudolf (Rudi) Amann, Brooklyn Heights, New York

A Pair of Pewter Vases and A Match Safe Holder, Cologne, Germany, circa 1897-1900

provenance

The Collection of Rudolf (Rudi) Amann, Brooklyn Heights, New York $50-150

$50-150

104

105

106

Kayserzinn (German, active 1862-1925)

Kayserzinn (German, active 1862-1925)

Kayserzinn (German, active 1862-1925)

Comprising two vases model #4309 designed by Hugo Leven (German, 1874-1956) and model #4642 design attributed to Karl Berghof (German, 1881-1967); two trays model #4679 and #4264; and bread basket model #4245 All marked.

H: 16, Dia: 6 in. (larger vase)

The jugs in the shape of birds, the larger designed

by Hugo Leven (German, 1874-1956) Model #s 4358 and 4433 All marked The large jug with post-production engraved monogram to “chest” H: 12 1/4, W: 4 3/8 , D: 6 1/2 in. (larger jug)

Pewter, cane Model #4382 Marked.

H: 7 1/2, W: 6 1/2, D: 5 1/4 in.

provenance

provenance

$150-250

$200-400

107

108

109

Kayserzinn (German, active 1862-1925)

Kayserzinn (German, active 1862-1925)

Kayserzinn (German, active 1862-1925)

Comparising a pair of pudding or vegetable dishes (one with lid), designed by Herman Fauser, model #4479, and a lidded soup tureen, model #4557 Together with two serving ladles All marked.

H: 7 1/2, W: 14 1/4, D: 8 1/4 in. (larger)

Model #s 4403 and 4440 Both marked.

H: 8 1/2, W: 24, D: 11 1/2 in.

Comprising a tray, model #s 4617, possibly designed

by Karl Berghof (German, 1881-1967); a bread and sweetmeat basket, model #4585, designed by Karl Berghof; another bread and sweetmeat basket, model #4603; and a vase, model #4624, designed

by Karl Berghof All marked.

H: 10 1/4, Dia: 3 1/2 in. (vase)

A Group of Five Pewter Articles with Dragonflies, Cologne, Germany, 1897-1906

The Collection of Rudolf (Rudi) Amann, Brooklyn Heights, New York

A Group of Three Pewter Serving Vessels, Cologne, Germany, circa 1901-1903

provenance

The Collection of Rudolf (Rudi) Amann, Brooklyn Heights, New York $100-200

A Large Pewter Jug and Liquor Service, Cologne, Germany, 1895-1901

The Collection of Rudolf (Rudi) Amann, Brooklyn Heights, New York

Two Pewter Meat Platters, Cologne, Germany, circa 1900-1902

provenance

The Collection of Rudolf (Rudi) Amann, Brooklyn Heights, New York exhibited

(The larger) “Kayserzinn Pewter”, Museum of Modern Art, New York, October 12, 1989–January 9, 1990 $100-150

A Matched Pair of Water Jugs, Cologne, Germany, circa 1900-1902

provenance

The Collection of Rudolf (Rudi) Amann, Brooklyn Heights, New York $30-50

A Group of Four Pewter Articles, Cologne, Germany, 1903/04

provenance

The Collection of Rudolf (Rudi) Amann, Brooklyn Heights, New York $150-250

110

111

112

Kayserzinn (German, active 1862-1925)

Kayserzinn (German, active 1862-1925)

Kayserzinn (German, active 1862-1925)

The candelabra, model #4486, designed by Hugo Leven (German, 1874-1956), and pair of candlesticks, model #4521, designed by Hugo Leven All marked.

H: 19, W: 14 1/2 in. (candelabra)

Comprising a five-piece caster set, model #4538, with cut glass cruets, designed by Hugo Leven (German, 1874-1956), a fruit stand, model #4559, and a jardiniere, model #4461, the design attributed to Hermann Fauser (German, 1874-1947) or Hugo Leven All marked.

H: 8, W: 11, D: 5 1/4 in. (cruet set)

Comprising a milk jug and sugar bowl, model #4510, designed by Hermann Fauser (German, 1874-1947) and Hugo Leven (German, 1874-1956), a cigarette beaker and ashtray, model #4535, designed by Hugo Leven, a biscuit jar, model #4472, designed by Hugo Leven, a tea glass holder, model #4519, the design attributed to Hugo Leven, a sugar tray, model #4435, and a milk jug, model #4402 All marked.

H: 7, W: 6 1/2, D: 4 1/2 in. (biscuit jar)

A Pewter Five-light Candleabra and Pair of Candlesticks, Cologne, Germany, circa 1901-1903

provenance

The Collection of Rudolf (Rudi) Amann, Brooklyn Heights, New York $300-500

A Group of Three Pewter Articles, Cologne, Germany, circa1902-1904

provenance

The Collection of Rudolf (Rudi) Amann, Brooklyn Heights, New York $150-250

A Group of Eight Pewter Articles, Cologne, Germany, circa 1900-1904

provenance

The Collection of Rudolf (Rudi) Amann, Brooklyn Heights, New York $300-500

113

114

Kayserzinn (German, active 1862-1925)

Kayserzinn (German, active 1862-1925)

Model #4428 Marked.

H: 3 1/4, L: 8 1/4, W: 2 3/4 in.

Model #s 4504 and 4514 Marked.

H: 5, W: 9 1/4, D: 7 1/2 in. (biscuit jar)

provenance

provenance

$300-500

$50-150

115

116

Kayserzinn (German, active 1862-1925)

Kayserzinn (German, active 1862-1925)

A Pewter “Torpedo” Cigar Lamp/Lighter, Cologne, Germany, circa 1900-1902

The Collection of Rudolf (Rudi) Amann, Brooklyn Heights, New York

A Pewter Table Bell and Biscuit Jar, Cologne, Germany, 19041906 The bell, model #4610, designed by Karl Berghof (German, 18811967) The biscuit jar, model #4653, designed by Hermann Fauser (German, 1874-1947), possibly with Hugo Leven (German, 18741956) Both marked.

H: 5 5/8, Dia: 3 in. (bell), H: 6 1/4, W: 3 7/8 in. sq.

A Pewter Biscuit Jar and A Jardiniere, Cologne, Germany, circa 1901-1904

The Collection of Rudolf (Rudi) Amann, Brooklyn Heights, New York

A Pewter Christening Jug, Cologne, Germany, circa 1898-1899 Impressed marks: “50 KAYSERZINN 4327” and “PX” H: 10 1/2, W: 5 1/4, D: 6 in. provenance

The Collection of Rudolf (Rudi) Amann, Brooklyn Heights, New York $200-300

provenance

The Collection of Rudolf (Rudi) Amann, Brooklyn Heights, New York $150-250

117

118

Kayserzinn (German, active 1862-1925)

Osiris (German, active 1899-1909)

Including “Frog King” vase, model #4634, designed by Karl Berghof (German, 1881-1967) Together with twin-handled wine cooler with fox and grapes from La Fontaine fable, model #4497, designed by Hugo Leven (German, 1874-1956) Both marked.

H: 12 1/2, Dia: 5 in. (vase), H: 11 3/4, W: 7 1/2 in. (wine cooler)

Including a “jeweled” ewer and “peacock” bud vase, a salt with glass liner and abalone and associated spoon, and a table clock All marked.

H: 15, W: 8 3/4, D: 8 1/2 in. (ewer)

A Pewter Vase and Wine Cooler, Cologne, Germany, circa 1901-06

provenance

The Collection of Rudolf (Rudi) Amann, Brooklyn Heights, New York $150-250

A Group of Pewter Vessels and A Clock, Nuremberg, Germany, circa 1905

provenance

The Collection of Rudolf (Rudi) Amann, Brooklyn Heights, New York $300-500

119

120

L. & J.G. Stickley (American, est. 1900)

Gustav Stickley Company (American, est.

1898)

Onondaga Morris Chair Model #811., Fayetteville, NY, circa 1917

Arm Chair Model #2584, Eastwood, NY, early 20th century

Oak, leather.

H: 39 1/2, W: 32, D: 36 1/2 in.

Oak, leather Branded mark.

H: 43 1/2, W: 29, D: 34 in.

provenance

Private Collection, Virginia

provenance

$600-800

Geoffrey Diner Galery, 27 February 2004 (at the Grove Park Inn) Private Collection, Virginia $400-600

121

122

Gustav Stickley Company (American, est. 1898)

Gustav Stickley Company (American, est. 1898)

Oak, copper Fitted interior.

H: 45, W: 36, D: 15 in.

Oak, hammered copper hardware Applied paper label.

H: 39, W: 43 3/4, D: 20 in.

provenance

provenance

Drop-Front Desk, Eastwood, NY, circa 1912

Private Collection, Virginia $1,000-2,000

Four-Drawer Server, Eastwood, NY, circa 1907

Jordan-Volpe Gallery, New York, 1979 Sydney and Francis Lewis, 2003 Private Collection, Virginia $1,000-2,000

123 Gustav Stickley Company (American, est. 1898) Open Arm Chair Model #320, Eastwood, NY, early 20th century Oak, leather.

H: 36 3/4, W: 27 1/2, D: 20 1/2 in. provenance

Private Collection, Virginia $250-350

124 Gustav Stickley Company (American, est. 1898)

Hammered Copper Umbrella Stand with Original Drip Pan, Eastwood, NY, circa 1905 Hammered copper Model #382 Apparently unsigned.

H: 24, W: 14, D: 13 in. provenance

The Estate of Frederick R. Brandt, former Curator, Virginia Museum of Fine Art Acquired from the above, September 2004 Private Collection, Virginia $300-500

125 Roycroft (American, active 1895-1938)

“Poppy” Bookends and Letterholder, East Aurora, NY, 1912 Hammered copper Each marked with Roycroft logo.

H: 6 1/8, W: 7, D: 2 in. (letterholder); H: 5 3/8, W: 5, D: 3/4 in. (bookend) provenance

The Estate of Frederick R. Brandt, former Curator, Virginia Museum of Fine Art Acquired from the above, September 2004 Private Collection, Virginia $200-400

126 Arts & Crafts

Old Mission KopperKraft inkwell and Roycroft Bowl Model #206, circa 1910 Hammered, patinated copper The inkwell marked with “Old Mission KopperKraft San Francisco” logo and stamped: “Made by Hand” The bowl marked with Roycroft logo.

H: 3, Dia: 5 3/4 in. (inkwell). H: 2, Dia: 4 in. (bowl) provenance

Both: purchased Sept. 2004 from the estate of Fred Brandt, Curator of the Sydney and Francis Lewis Collection at the VMFA Private Collection, Virginia $200-300

127 European Art Nouveau

Pair of Candlesticks in Female Bust Form, early 20th century Patinated bronze Indistinct marking to base.

H: 15, W: 8 1/2, D: 5 1/2 in. provenance

Syndey and Francis Lewis (2003) Private Collection, Virginia $150-250

128 Louis C. Tiffany Furnaces (American, active 19021924) An Enameled Bronze Plate, New York, circa 1900

Signed with firm’s circular mark and impressed: “Louis C. Tiffany Furnaces 319” H: 1/2, Dia: 4 in. provenance

Private Collection, Virginia $100-150

129 Tiffany Studios (American, active 1902-1932)

Gooseneck Favrile Glass Vase, New York, circa 1910 Incised: “LCT” and “N735” and marked with museum accession number: “673.54” H: 12 1/2, Dia: 4 in. provenance

De-accessioned from Metropolitan Museum of Art (673.54) Herbert Trigger Antiques, New York Christie’s, New York, June 13, 2003, lot 457 Private Collection, Virginia $1,000-1,500

130 Tiffany Studios (American, active 1902-1932) Small Harp Desk Lamp, New York, circa 1910

Bronze, favrile glass Shade incised: “LCT” Base stamped: “Tiffany Studios/New York/419” H: 12 1/2, W: 9 1/2, D: 5 3/4 in. provenance

Private Collection, Virginia $400-600

131

132

Tiffany Studios (American, active 1902-1932)

Tiffany Studios (American, active 1902-1932)

Bisque earthenware Incised: “LCT” and “7” H: 7, Dia: 2 1/2 in.

Bisque earthenware Incised: “LCT” and “7” H: 8 1/4, Dia: 3 in.

provenance

provenance

Bud Vase with Embossed Tulips, New York, circa 1904

Private Collection, Virginia $200-300

A Reticulated Floral Vase, New York, circa 1910

Christie’s, New York, March 10, 2004, lot 62 Private Collection, Virginia $300-500

133

134

Tiffany Studios (American, active 1902-1932)

Tiffany Studios (American, active 1902-1932)

Glazed earthenware Incised: “LCT” and “7” H: 6 1/2, Dia: 8 1/4 in.

Glazed earthenware Incised: “LCT” and “7” H: 16, Dia: 8 1/4 in.

provenance

provenance

Favrile Pottery Jardinière, New York, early 20th century

Private Collection, Virginia $800-1,200

Ribbed Favrile Ceramic Vase, New York, circa 1910

Christie’s, New York, September 10, 2004, lot 117 Private Collection, Virginia $1,500-2,500

135

136

137

Teco Pottery (American, active c. 1879-1930)

Teco Pottery (American, active c. 1879-1930)

Gentil & Bourdet (French, est. 1901)

Earthenware with matte Teco Green glaze Impressed: “TECO” twice.

H: 8 3/4, W: 5, D: 3 3/4 in.

Earthenware with matte cream glaze Model #420, designed by Fernand Moreau (American, born France, 1853-1920) Impressed: “TECO” H: 13 3/4, W: 6 1/4, D: 6 in.

Wishbone Handle Pitcher, Terra Cotta, IL, early 20th century

provenance

Private Collection, Virginia $300-500

Buttressed Floriform Vase, Terra Cotta, IL, circa 1910

provenance

Oroboros Antiques Private Collection, Virginia $800-1,200

138 Erhard & Söhne (German, est. 1844) A Casket with Scenes from Wagner’s Siegfried, Germany, circa 1900 Brass, rosewood, quartz Interior lined with red velvet Brass marked: “10” H: 8 3/4, W: 12, D: 8 3/4 in. $2,000-3,000

Monumental Ceramic Vase, France, circa 1900 Marked: “GENTIL/BOURDET/ARCHITECTES/ CERAMISTES,” “271/254,” and “15” H: 19 3/4, W: 8 1/2, D: 8 1/2 in. provenance

Christie’s, New York, June 13, 2003, lot 219 Private Collection, Virginia $200-300

139 French School

A Pair of ‘Japonisme’ Vases, circa 1890 Closionné enamel, bronze.

H: 16, W: 8 1/4 in. $1,500-2,500

140 French School

A Bordeaux Majolica Japonesque Jardinière, late 19th century Hand signed “D.1073” and stamped “779” and “G” with factory mark to underside.

H: 17 3/4, W: 21, D: 21 in. provenance

Private Collection, New York, NY $500-700

141 After Auguste Nicolas Cain (French, 1821-1894) Pair of Bronze Candelabra with Birds’ Nest, late 19th century Bronze, dark brown patina Both signed in cast: “CAiN” H: 20, Dia: 6 1/2 in. $2,000-3,000

142 Attributed to Gillows & Co. (English, est. 1730) An Anglo-Japanese Writing Cabinet, last quarter 19th century

Mahogany, mounted with Japanese Shibayama Panels.

H: 51 1/2, W: 29, D: 19 in. note

Though unlabeled, this cabinet is a finely executed example of a known Gillows model. An identical example, sold Lyon & Turnbull, Edinburgh, April 30, 2003, lot 311, bears a Gillow & Co. label with model number 1668, corresponding to a design date of 1872-74, though the production of the present cabinet could be as late as the early 20th century.

The design itself may originate with E.W. Godwin for Collinson & Lock, or may be attributable to his assistant, George Freer Rope. $750-1,200

143

144

145

After Mathurin Moreau (French, 1822-1912)

After Guillaume Denière (French, 1815-1901)

After Guillaume Denière (French, 1815-1901)

Eurydice et Orpheus II

Silvered bronze Signed in cast: “Moreau” H: 18 1/2, W: 14 3/4 in. $800-1,200

146 French School

A Pair of Garniture Covered Urns, circa 1875 Patinated bronze and black marble.

H: 11, W: 6 in. $1,000-2,000

Romeo et Juliette

Bronze, warm brown patina Signed in cast: “DENiERE” H: 22 1/2, W: 12 in. $1,500-2,500

Faust et Marguerite

Bronze, warm brown patina Signed in cast: “DENiERE” H: 23, W: 11 1/2 in. $1,500-2,500

147 Adolphe Borie (American, 1877-1934) Oil Painting

H: 6 1/2, W: 5 in. (sight), H: 14 1/2, W: 13 in. (framed) provenance

From the collection of a Philadelphia lady $800-1,200

148 Mercier Frères (French, est.

1828) A Louis XVI Style Bureau Plat, late 19th/early 20th century Mahogany, ormolu, leather.

H: 30 1/2, W: 55, D: 27 in. $1,000-1,500

149 French School

A Louis XV/XVI Transitional Style Bureau Plat, late 19th century Mahagony, ormolu, leather.

H: 31, W: 45 1/4, D: 22 1/2 in. $750-1,200

150 French School

A Pair of Louis XVI Style Five-Light Wall Sconces, late 19th/early 20th century Gilt bronze.

H: 42 1/2, W: 13, D: 9 1/2 in. (approx.) $1,000-2,000

151 Edmond Lachenal (French, 1855-1948)

A Turquoise Glazed Part Dinner Service, France, early to mid 20th century Comprising flared bowl, round bulbous vase, four soup bowls with handles, four bowls, six salts, twentyfour butter plates, four luncheon plates, and three dinner plates Signed: “LACHENAL/FRANCE” Dia: 10 in. (dinner plates, approx.) $800-1,200

152 French School

An Impressive Empire Revival Bedstead, circa 1900 Amboyna, fruitwood, ormolu.

H: 55 1/4, W: 63, D: 85 1/2 in. provenance

Property of a Main Line, Philadelphia gentleman. $1,500-2,500

153

154

Attributed to Edmond Lachenal (French, 18551948)

René Lalique (French, 1860-1945)

Turquoise Glazed Covered Vase, France, early to mid 20th century

Glazed earthenware, ormolu With “MADE IN FRANCE” label to underside of foot.

H: 14 in. $400-600

155 Louis Vuitton (French, est. 1854)

A Steamer Trunk, early 20th century Exterior in checked pattern with wood slats and brass hardware Original label to interior: “Paris I. Rue Scribe/Louis Vuitton/149 New Bond Street. W./London” with serial number 140786.

H: 27, W: 39 1/2, D: 23 1/2 in. $2,000-3,000

End of Sale

“Marisa” Vase, France, circa 1927

Now mounted as a lamp Molded glass, patinated metal, imitation parchment.

H: 22, Dia: 18 in. $800-1,200

PURCHASE REMOVAL, SHIPPING & OFF-SITE STORAGE INFORMATION To ensure the safety of your property Freeman’s requests removal within 10 business days of the sale date. Collection hours are Monday–Friday, 9:30am–4:30pm. For larger items, please email Megan Latona at mlatona@freemansauction.com to schedule a loading dock appointment. For purchase release to persons not listed on your contract or invoice, 3rd party authorization is required. Please mail or fax, 215.599.2240, a signed letter stating receipt/item(s) or sale/lot(s) and name of third party collecting property.

Freeman’s does not handle packing or shipping. The shippers listed have worked with Freeman’s clients in the past and will be happy to provide you with quotes for the packing and shipping of your property.

Annie Hauls Michael Topley Lambertville, NJ 08530 609.577.5133 annie@anniehauls.com *East Coast deliveries only

Mr. C’s Charles Cohen 1615 North 10th Street Philadelphia, PA 19122 267.977.9567 mrcees61@gmail.com

Art In Transit Nick Clarke 2052 Coral Street Philadelphia, PA 19125 540.550.7080 nclarke@artintransit.net

Malca Amit ‡ Christine Duke 153-66 Rockaway Blvd New York, NY 11434 718.525.6100 | Fax: 718.425.3703 maa.nyc@malca-amit.com

Atelier Art Services ‡ Katie Campbell 1330 North 30th Street Philadelphia, PA 19144 215.842.3500 | Fax: 215.235.0421 estimates@atelierfas.com

A. Mastrocco Jr. Moving & Storage Roseanne Gebler 1060 Louis Drive Warminster, PA 18991 215.491.0346 | Fax: 215.444.9327 mastroccomovers@snip.net

Aiston Fine Art Service ‡ Mark Aiston P.O. Box 3434 Grand Central Station New York, NY 10163 212.715.0629 | Fax: 718.361.8569 info@aistonart.com

The Packaging Store ‡ Alex Long 1513 Gehman Road Harleysville, PA 19438 215.361.6940 | Fax: 215.361.6941 hello@packandshipnow.com

Cadogan Tate Fine Art ‡ Stacey Ferguson Cadogan House 41-20 39th Street Sunnyside, NY 11104 718.706.7999 | Fax: 718.707.2847 s.ferguson@cadogantate.com Crozier Fine Arts ‡ Catherine Erickson New York, NY 10011 212.741.2024 / Fax: 212.741.5513 shipping@crozierarts.com

U.S. Art ‡ Jessica Pierce 37-11 48th Avenue Long Island City, NY 11101 800.472.5784 | Fax:718.472.5785 jpierce@usart.com FURNITURE & LARGE ITEMS For larger pieces where delivery time is not the primary concern, we suggest getting your items freighted: www.plyconvanlines.com www.freightquote.com

‡ Shippers that can fulfill international deliveries

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 $300,000 of the hammer price of each lot, 20% on the portion from $300,001 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.

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.

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 or marine ivory. Such materials may require specific licenses, certificates, or CITES documentation for import, export, moving between states in the U.S., or resale.

Obtaining these documents may require scientific, laboratory or other expert analysis, in order to establish which species or genus the material came from. Freeman’s is unable to provide this information, and the obligation is on the purchaser of a lot containing any of these materials to ensure that they are able to obtain all the necessary or required documents should they need to, prior to bidding on the lot.

If proper documentation or licenses etc. cannot be obtained for a purchased lot, the purchaser will still be required to make an on time payment for the lot as per our standard terms and conditions. Freeman’s cataloguing of the lots marked with this symbol * represents the best of our opinion, and the absence of this symbol from any lot description does not form a warranty that the lot will be free from any licensing or certification restrictions.

TERMS & CONDITIONS All property offered and sold (“property”) through Samuel T. Freeman & Co, (“Freeman’s”) shall be offered and sold on the terms and conditions set forth below which constitutes the complete statement of the terms and conditions on which all property is offered for sale.

By bidding at the auction, whether present in person or by agent, by written bid, telephone, internet or other means, the buyer agrees to be bound by these terms and conditions.

1 Unless otherwise indicated, all Property will be offered by Freeman’s as agent for the Consignor.

2 Freeman’s reserves the right to vary the terms of sale and any such variance shall become part of these Conditions of Sale.

3 Buyer acknowledges that it had the right to make a full inspection of all Property prior to sale to determine the condition, size, repair or restoration of any Property. Therefore, all property is sold “AS-IS”. Freeman’s is acting solely as an auction broker, and unless otherwise stated, does not own the Property offered for sale and has made no independent investigation of the Property.

Freeman’s makes no warranty of title, merchantability or fitness for a particular purpose, or any other warranty or representation regarding the description, genuineness, attribution, provenance or condition to the Property of any kind or nature with respect to the Property.

4 Freeman’s in its sole and exclusive discretion, reserves the right to withdraw any property, at any time, before the fall of the hammer.

5 Unless otherwise announced by the auctioneer at the time of sale, all bids are per lot as numbered in the printed catalogue. Freeman’s reserves the right to determine any and all matters regarding the order, precedence or appropriate increment of bids or the constitution of lots.

6 The highest bidder acknowledged by the auctioneer shall be the buyer.

The auctioneer has the right to reject any bid, to advance the bidding at his absolute discretion and in the event of any dispute between bidders, the auctioneer shall have the sole and final discretion either to determine the successful bidder or to re- offer and resell the article in dispute. If any dispute arises after sale, the Freeman’s sale record shall be conclusive in all respects.

7 If the auctioneer determines that any opening or later bid or any advance bid is not commensurate with the value of the Property offered, he may reject the same and withdraw the Property from sale.

8 Upon the fall of the hammer, title to any offered lot or article will immediately pass to the highest bidder as determined in the exclusive discretion of the auctioneer, subject to compliance by the buyer with these Conditions of Sale. Buyer thereupon assumes full risk and responsibility of the property sold, agrees to sign any requested confirmation of purchase, and agrees to pay the full price, plus Buyer’s Premium, therefore or such part, upon such terms as Freeman’s may require.

9 No lot may be removed from Freeman’s premises until the buyer has paid in full the purchase price therefor including Buyer’s Premium or has satisfied such terms that Freeman’s, in its sole discretion, shall require. Subject to the foregoing, all Property shall be paid for and removed by the buyer at his/ her expense within ten (10) days of sale and, if not so removed, may be sold by Freeman’s, or sent by Freeman’s to a public warehouse, at the sole risk and charge of thebuyer(s), and Freeman’s may prohibit the buyer from participating, directly or indirectly, as a bidder or buyer in any future sale or sales. In addition to other remedies available to Freeman’s by law, Freeman’s reserves the right to impose a late charge of 1.5% per month of the total purchase price on any balance remaining ten (10) days after the day of sale. If Property is not removed by the buyer within ten (10) days, a handling charge of 1%of the total purchase price per month from the tenth day after the sale until removal by the buyer shall be payable to Freeman’s by the buyer; Freeman’s shall charge 1.5% of the total purchase price per month for any property not so removed within 60 days after the sale. Freeman’s will not be responsible for any loss, damage, theft, or otherwise responsible for any goods left in Freeman’s possession after ten (10) days. If the foregoing conditions or any applicable provisions of law are not complied with, in addition to other remedies available to Freeman’s and the Consignor (including without limitation the right to hold the buyer(s) liable for the bid price) Freeman’s, at its option, may either cancel the sale, retaining as liquidated damages all payments made by the buyer(s), or resell the property. In such event, the buyer(s) shall remain liable for any deficiency in the original purchase price and will also be responsible for all

costs, including warehousing, the expense of the ultimate sale, and Freeman’s commission at its regular rates together with all related and incidental charges, including legal fees. Payment is a precondition to removal. Payment shall be by cash, certified check or similar bank draft, or any other method approved

by Freeman’s. Checks will not be deemed to constitute payment until cleared. Any exceptions must be made upon Freeman’s written approval of credit prior to sale. In addition, a defaulting buyer will be deemed to have granted and assigned to Freeman’s, a continuing security interest of first priority in any property or money of, or owing to such buyer in Freeman’s possession, and Freeman’s may retain and apply such property or money as collateral security for the obligations due to Freeman’s. Freeman’s shall have all of the rights accorded a secured party under the Pennsylvania Uniform Commercial Code.

10 Unless the sale is advertised and announced as “without reserve”, each lot is offered subject to a reserve and Freeman’s may implement such reserves by bidding through its representatives on behalf of the Consignors. In certain instances, the Consignor may pay less than the standard commission rate where Freeman’s or its representative is a successful bidder on behalf of the Consignor. Where the Consignor is indebted to Freeman’s, Freeman’s may have an interest in the offered lots and the proceeds therefrom, other than the broker’s Commissions, and all sales are subject to any such interest.

11 No “buy” bids shall be accepted at any time for any purpose.

12 Any pre-sale bids must be submitted in writing to Freeman’s prior to commencement of the offer of the first lot of any sale. Freeman’s copy of any such bid shall conclusively be deemed to be the sole evidence of same, and while Freeman’s accepts these bids for the convenience of bidders not present at the auction, Freeman’s shall not be responsible for the failure to execute, or, to execute properly, any pre-sale bid.

13 A Buyer’s Premium will be added to the successful bid price and is payable by the buyer as part of the total purchase price. The Buyer’s Premium shall be: 25% on the first $300,000 of the hammer price of each lot, 20% on the portion from $300,001 through $3,000,000, and 12% thereafter.

14 Unless exempted by law from the payment thereof, the buyer will be required to pay any and all federal excise tax and any state and/or local sales taxes, including where deliveries are to be made outside the state where a sale is conducted, which may be subject to a corresponding or compensating tax in another state.

15 Freeman’s may, as a service to buyer, arrange to have purchased property posted and shipped at the buyer’s expense. Freeman’s is not responsible for any acts or omissions in packing or shipping of purchased lots whether or not such carrier is recommended by Freeman’s. Packing and handling of purchased lots is at the responsibility of the buyer and is at the entire risk of the buyer.

16 In no event shall any liability of Freeman’s to the buyer exceed the purchase price actually paid.

17 No claimed modification or amendment of this Agreement on the part of any party shall be deemed extant, enforceable or provable unless it is in writing that has been signed by the parties to this Agreement. No course of dealing and no delay or omission on the part of Freeman’s in exercising any right under this Agreement shall operate as a waiver of such right or any other right and waiver on any one or more occasions shall not be construed as a bar to or waiver of any right or remedy of Freeman’s on any future occasion.

18 These Conditions of Sale and the buyer’s, the Consignor’s and Freeman’s rights under these Conditions of Sale shall be governed by, construed and enforced in accordance with the laws of the Commonwealth of Pennsylvania and Consignor and Buyer agree to the exclusive jurisdiction of the Philadelphia, Pennsylvania Court of Common Pleas and the United States District Court for the Eastern District of Pennsylvania.

DIRECTORY Officers

Specialist Departments

Representatives

Alasdair Nichol Chairman

20th Century Design Tim Andreadis tandreadis@freemansauction.com

New England Darren Winston dwinston@freemansauction.com

American Art & Pennsylvania Impressionists Alasdair Nichol anichol@freemansauction.com

Mid-Atlantic Samuel T. Freeman III sfreeman@freemansauction.com

Margaret D. Freeman Director Emeritus Paul S. Roberts President Hanna Dougher Chief Operating Officer Samuel T. Freeman III Senior Vice President

Departments

Appraisals Benjamin Farina bfarina@freemansauction.com Business Development Thomas B. McCabe IV tmccabe@freemansauction.com Client Services Mary Maguire mmaguire@freemansauction.com Finance Whitney Long wlong@freemansauction.com Marketing & Communications Whitney Bounty wbounty@freemansauction.com Museum Services Thomas B. McCabe IV tmccabe@freemansauction.com Photography Thomas Clark tclark@freemansauction.com Private Collections Grace Fitts gfitts@freemansauction.com Shipping & Receiving Megan Latona mlatona@freemansauction.com Trusts & Estates Thomas B. McCabe IV tmccabe@freemansauction.com

American Furniture, Folk & Decorative Arts Lynda Cain lcain@freemansauction.com Asian Arts Benjamin Farina bfarina@freemansauction.com Books, Maps & Manuscripts Darren Winston dwinston@freemansauction.com British & European Furniture & Decorative Arts Tessa Laney tlaney@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 Oriental Rugs & Carpets David M. Weiss dweiss@freemansauction.com Prints Anne Henry ahenry@freemansauction.com Silver & Objets de Vertu Tessa Laney tlaney@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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