Sale 1157 | Property from the Fred and Kay Krehbiel Collection - Part I

Property from the Fred and Kay Krehbiel Collection

PART I 15 MARCH 2023

Property from the Fred and Kay Krehbiel Collection

PART I

SALE 1157

15 March 2023 10am CT Part I | Chicago Live + Online

SALE 1159 16 March 2023 10am ET Part II | Palm Beach Live + Online

SALE 1158 17 March 2023 10am CT Part III Online

CHICAGO HIGHLIGHTS PREVIEW PART I Auction Room and Galleries 1550 West Carroll, Suite 106, Chicago, IL

PALM BEACH HIGHLIGHTS PREVIEW PART II Auction Room and Galleries 1608 South Dixie Highway, West Palm Beach, FL

March 10 - 16 10:00 - 5:00 pm Weekdays 10:00 - 2:00 pm Saturday 12:00 - 3:00 pm Sunday

All lots in this catalogue with a lower estimate value of $5,000 and above are searched against the Art Loss Register database

To view the complete catalogue, sign up to bid, and read our Conditions of Sale, visit hindmanauctions.com or the Hindman App. All bidders must agree to Hindman’s Conditions of Sale prior to registering to bid.

FRONT COVER Photographer, Tom Rossiter

It isn’t every day that an auctioneer brings his own parents’ collection to market, so it is with some mixed emotions that Hindman presents herein the collection of my parents, Fred and Kay Krehbiel.

My father was a collector from his earliest days. While mother’s interest in the decorative arts came later, her affection for learning about objects - their makers, their histories - matched my father’s. Their interests were complementary: while Dad’s focus was mostly furniture, Mother loved porcelain, and both loved traveling the world in search of beautiful things. It is those combined passions which are represented in the objects highlighted in this catalog.

The contents presented here are almost entirely from my parents’ home in Hinsdale, Illinois, a suburb 20 miles to the west of Chicago. My parents moved to this house in 1974, a year after their marriage, and it was to this house that my brother and I were brought home from the hospital and grew up in. My father and mother lived in the house until he died, the day after his 80th birthday. Part II of their collection will include items from their home in Palm Beach, and it will have a separate catalog.

While my father was always adding to his collection, the house at 505 South County Line Road was substantially redecorated three times. The first time was shortly after they moved in, a second time in the early 1980s working with Imogen Taylor and Colin Orchard from Colefax & Fowler, and then a third time, promptly after my brother and I had left for boarding school, again working with Imogen.

As children, we had mixed feelings about antiques. My father enjoyed retelling a story of my brother asking him at a young age if the family business was doing well. Yes, he replied; but why do you ask? Liam’s reply was something along the lines of: ‘I thought we couldn’t afford new furniture, which was why we have this old stuff.’

Another time, while chasing me through the dining room with a baseball bat, Liam took a swing. He missed hitting me but managed to smash a cut glass candelabra into a million pieces. “You are going to be in trouble,” I said with the smug victory that comes easy to a younger brother.

In time, both my brother and I would come to appreciate the elegance of the surroundings that my parents had created for our family. In many, if differing ways, we have carried those sensibilities into the design of our own homes, and we have very happily kept a number of objects from their collection that now furnish those homes.

Perhaps the greatest joy that collecting provided my father and mother were the friendships that it started. Nearby, Robin Kern shares his story of my father’s first arrival at his antique shop, Hotspur. There were so many other friendships made – James Hepworth, Imogen Taylor, Colin Orchard, Ariane Dandois, Pierre Serrurier, William Laffan, Jim Reynolds, to name just a few.

I would like to take the opportunity to thank the entire team at Hindman, but especially Corbin Horn, who led the cataloguing of this collection, as well as my mother’s devoted assistant of more than 20 years, Maggie Banke, who managed the complicated task of disassembling a house lovingly lived in for 48 years.

The joy of our business is that even if there is a sense of loss connected with selling a beloved object, you can know that it will find its way to a new home, a new collection. Rarely is the business so personal, as it is with this collection. Our family hopes the next owners of these objects will get as much joy as my parents did from collecting them.

Jay Frederick Krehbiel Executive Chairman – Hindman Auctions

January 2023

The Collection of Fred & Kay Krehbiel

An Appreciation by Robin

This glorious collection celebrates only a small part of the life of Fred Krehbiel. It is a tribute to Fred and Kay’s extraordinary gift of forming a beautiful home around their love of mainly 18th & early 19th Century furniture and works of art. Their love and appreciation of beautiful things is enhanced by the very capable help of Imogen Taylor of Colefax and Fowler, who together with Fred and Kay formed glorious homes in both the U.S.A and Ireland, where Kay originated. This collection is from their home in Chicago.

I have been privileged to share in helping to form these collections over a period of some twenty-five years, which has given me the reward and pleasure of enjoying a deep friendship with Fred and Kay, which is way past that of a dealer and his client. We have shared so much together, but my introduction to Fred was unusual, to say the least! It occurred one Saturday morning, when Hotspur was open and I let in someone in running shorts from my office on the second floor. Close circuit television of the newly arrived customer caused concern in such unusual gear. I had been hanging a mirror and had a hammer in my hand which I took downstairs should the need arise. My visitor was Fred Krehbiel who was staying at the Berkeley Hotel and he had been running in Hyde Park.

In no time at all we established a rapport sharing an interest in fine 18th Century English furniture that was to blossom into a deep friendship which would last for many years to come. Fred had a second instinct for fine quality craftsmanship, design, colour, and patination that was the basis of business together for many years.

Fred had an extraordinary gift of selecting fine examples of furniture and works of art that contributed to his homes in Chicago and in Ireland at their home, Churchill. The combination of Fred’s keen eye with Imogen Taylor’s amazing ability in creating a wonderful setting (home) proved a great success. It was a truly magnificent thing to see and one that gave me the greatest pleasure when visiting Fred and Kay’s homes.

Fred had enormous energy and was constantly on the move, both for his business which took him all over the

Kern, London

world and to satisfy his desire to acquire works of art for his collections from dealers both in England and in Europe too.

Fred and Kay were very hospitable. They were constantly entertaining and generous in sharing their beautiful homes and collections with friends and dealers. He decided to undertake the restoration of Ballyfin, a huge property, circa 1820, in Ireland that was to take ten years to complete. This grand house and demesne sitting in 680 acres was a huge challenge and Fred’s keen eye for quality and detail was without limit. I was fortunate in watching this restoration take place over these years, which involved many problems and decisions, all of which Fred took in his stride, backed up by a very resilient team of supporters.

On one visit to Churchill, in the south of Ireland, my wife and I were staying for a few days along with John and Neville Bryan and two others. The morning saw two helicopters arrive to transport us to see progress at Ballyfin. We arrived midway through this restoration and camp beds were provided for our stay, along with hot and cold running water. However, the hot water came from the cold tap and vice versa! Fred had fires burning in the huge fireplaces and the dining room had been hung with paintings and a chandelier…just for our visit. He had even organised a small quartet to entertain us during dinner. Fred’s attention to detail knew no bounds!

The next day, we flew to Glin Castle, the home of Desmond Fitzgerald, the Knight of Glin. As we came in to land, I can still see Desmond Fitzgerald trying to lay down a red carpet which proved an impossible task in the face of the helicopter’s landing! These wonderful few days was an example of Fred and Kay’s generosity which knows no bounds.

The sale of the contents for their beautiful Chicago home, although a very sad occurrence, illustrates Fred and Kay’s wonderful taste, but it gives us all the possibility of acquiring and enjoying furniture and works of art that had been specially chosen by the Krehbiels. What more could we want?

Property from the Fred and Kay Krehbiel Collection PART

I LOTS 1-239

1

A Pair of Anglo-Dutch Walnut Side Chairs

FIRST QUARTER 18TH CENTURY

Height 45 1/2 x width 22 1/4 inches.

$1,000 - 1,500

2

A

LATE 19TH CENTURY

in the style of Delftware; each marked ‘MVB 1757’ and with Samson double S mark to the underside. Height 25 1/4 inches. $800 - 1,200

3

A George III Mahogany Tea Table

THIRD QUARTER 18TH CENTURY

Height 27 2/4 x width 25 3/4 x depth 26 inches.

$1,000 - 1,500

Pair of Large Samson Glazed Earthenware Jars and Covers

4

A George II Walnut

CIRCA 1740

Armchair

Height 37 1/2 x width 24 1/2 x depth 23 1/2 inches.

Provenance: The Swaythling Heirlooms, no. 473 Norman Adams Ltd., London, 2 March 1983 (with invoice)

This refined walnut armchair was part of the renowned collection formed by Samuel Montagu, 1st Baron Swaythling (1832-1911). Born Montagu Samuel to Orthodox Jews in Liverpool, he was known as Samuel Montagu by 1853 when he founded a merchant banking company that specialized in foreign exchanges. A prominent philanthropist active in Jewish causes, he was elected as a Liberal Member of Parliament in 1885 by which time his bank was so successful that it was noted that “for all practical purposes it was as good as the Rothschild’s.”

Montagu also followed in the Rothschild’s footsteps as he was an active and voracious collector. The interiors of Townhill Park, Hertfordshire, the home of his son and heir Louis Montagu, 2nd Baron Swaythling (1869-1927) included a vast array of works he had acquired. Townhill had been extensively remodeled in the early 20th century with gardens by Gertrude Jeckyll and it was lavishly illustrated in Country Life in 14 and 21 April 1923. The chair was photographed in the music room (reproduced here) but the image was apparently unused in the April 14th issue. A year later, part of Samuel Montagu’s collection was offered in a series of sales at Christie’s, London, from 6-8 May 1924 and in addition to the present lot, included books, a notable collection of silver, other furniture, and pictures.

$1,000 - 2,000

Photo Credit: Swaythling Armchair, Townhill Park from Country Life 14 April 1923: Future Publishing Ltd.

A George III Mahogany Tall Case Clock DIAL SIGNED JOHN JOHNSON, GRAY’S INN PASSAGE, CIRCA 1760 Height 94 inches.

Provenance: Lee Benkendorf, 10 May 1981 (with invoice) $1,000 - 2,000

6

A Pair of George III Goncalo Alves Demilune Cabinets  CIRCA 1800 having fully mahogany-lined interiors; one with fittings with typed depository label  ‘Mrs. Bouverie-Pusey’ Height 32 3/4 x width 31 x depth 18 inches.

Provenance: Pusey House, Berkshire; thence by descent to Mrs. Philip Bouverie Pusey (1876-1959); Christie’s, London, 18 October 1951, Lot 133, illustrated (1155 gns) Pelham Galleries, London Hotspur Ltd., London, 1985

This pair of highly figured cabinets were once part of the contents of Pusey House, Oxfordshire. Originally designed by John Sanderson in 1753, this Georgian mansion was connected with the Bouverie-Pusey family from 1784 when it was left to Philip Bouverie (1746-1828), who changed his name to Bouverie Pusey upon his inheritance. It remained in the family until 1935 when it was sold two years after the death of Philip Bouverie Pusey (1867-1933).

His widow sold some of the furnishings from Pusey House, including these two cabinets, in three separate auctions at Christie’s in the 1950s. Interestingly, this pair of cabinets were the most expensive of the twenty-eight lots offered, out-performing the two pieces of Kentian furniture originally supplied to Wilton House, Surrey which were a gift of the 2nd Earl of Carnarvon, the father of Lady Emily Herbert when she married Philip Bouverie-Pusey (1799-1855) in 1822. The remaining furniture was very likely equally desirable as the leading furniture dealers of the era, including Mallett, Rodney Lee and Leonard Knight are recorded purchasing a third of this group.

$8,000 - 12,000

A William IV Gilt and Patinated Bronze Six-Light Chandelier CIRCA 1835 Height 34 x diameter 29 inches.

Provenance: Ariane Dandois, Paris, 28 October 1994 (with copy of invoice and Certificate of Guarantee) $2,000 - 4,000

9

A Flight, Barr and Barr Worcester Porcelain Vase  CIRCA 1815

bearing inscriptions to the underside relating to the scenes depicted in each cartouche: ‘Love stole the pipe of sleeping Pan, & play’d, / Then with his voice decoys the list’ning swain. / HUGHES’ and ‘Th’obedient maid / Her form along the narrow vessel laid. / HAYLE’ further marked ‘Flight, Barr & Barr; Royal / Porcelain Works, Worcester.

/ London House, 1 Coventry Street’.

Height 9 1/2 inches.

$1,500 - 2,500

,

Monastery on the Volga oil on canvas signed C. Westchiloff (lower left) 44 3/4 x 53 1/4 inches.

Provenance: Popoff & Cie., Paris, 25 November 1994 (with invoice)

This painting was exhibited at the 1931 Salon in Paris during the 144th Official Exhibition of Fine Arts at the Grand-Palais.

$15,000 - 20,000

Constantin Westchiloff (Russian/American, 1877-1945)

11

A George III Ebony-Strung Mahogany Cellarette CIRCA 1790

having a mahogany-lined interior. Height 27 1/2 x width 16 1/4 x depth 11 1/2 inches.

Provenance: Jeremy Ltd., London, 26 November 1982 (with invoice)

$1,000 - 1,500

12

A Pair of George III Provincial Mahogany Corner Seats LATE 18TH CENTURY

Height 38 1/2 x width 39 x depth 28 1/2 inches.

Provenance: David Pettifer Ltd., London, no. 82/313, 15 January 1983 (with invoice)

$800 - 1,200

13

A George III Mahogany and Ebony-Inlaid Serving Table in the Manner of Thomas Chippendale CIRCA 1775

Height 36 x width 72 x depth 26 1/8 inches.

Provenance: Hotspur Ltd., London, 1980 $5,000 - 7,000

15

A Chinese Export Blue and White Porcelain Jardinière

19TH CENTURY

Height 16 1/4 x width 26 inches.

$1,500 - 2,500

16

A Large Chinese Export Blue Canton Porcelain Basin

LATE 18TH/EARLY 19TH CENTURY

Height 7 x diameter 24 1/2 inches.

$1,000 - 1,500

17

A Chinese Wool Rug  CIRCA 1880 23 feet 4 inches x 11 feet 10 1/2 inches.

Provenance:  Marquis of Bute S. Franses, London, 11 May 1994 (with invoice) $4,000 - 6,000

18

A George III Mahogany Secretary Bookcase  CIRCA 1775 with mahogany-lined drawers and mahogany backboards.

Height 101 x width 50 x depth 24 3/4 inches.

Provenance: Hotspur Ltd., London, 12 February 1992 (with invoice) $5,000 - 7,000

19

An Important Cartier Carved Rock Crystal, Aventurine and Moonstone Lily of the Valley Flower Study CIRCA 1925

the stem with scratched inventory number ‘8614’ Height 5 1/2 inches.

Exhibited:

The Hermitage Museum, St. Petersburg, L’Art de Cartier, 14 May-20 June, 1992 Literature: L’Art de Cartier, Exhibition Catalogue, p. 51 (with catalog)

As one of the first plants to emerge from the ice and cold of European winters, the delicate Lily of the Valley flower symbolizes renewal. This work by Cartier, dated to approximately 1925, embraces that symbolism while communicating the firm’s ascendence to the highest standards of craftsmanship following the closure of the House of Fabergé during the Russian Revolution. Using this motif, and probably employing the lapidary artisans that created Fabergé’s famous “flower studies” at the turn of the twentieth century [1], Cartier transmitted to the world that a French firm stood ready to assume the mantle of the world’s unmatched premiere jeweler.

Fabergé used the Lily of the Valley flower multiple times in works belonging to the Imperial family. First, on a large gold wire basket inset with a nephrite and pearl bouquet presented to Czarina Alexandra Feodorovna in 1896 (now housed in The Metropolitan Museum of Art, L.2011.66.56a, b), and two years later on an easter egg commissioned by Czar Nicholas II in 1898. While the name of the workmaster is typically the only name associated with them, Fabergé relied on the workshop of Carl Woerffel (and later Peter Kremlev) to work precious stones into the realistic leaves and flowers that adorn these objects. Woerffel’s workshop and the lapidarists they employed were not beholden to Fabergé as they also worked for other premiere European jewelers of the day [2]. A closer inspection of this flower study’s workmanship, particularly the carving of the parallel venules of the leaf, reveals distinct similarities and suggests a possible connection between the workshops of Woerffel and the lapidarist who made the present Cartier example.

Amongst the thousands of works produced by Fabergé, fewer than one hundred flower studies are known to exist. Much like this Cartier study, they are set within rock crystal bases and employ a multitude of materials and techniques, their luxurious construction only outdone by their verisimilitude. These works of art naturally found their way into Royal collections and the homes of titans of industry.

Cartier emerged from the 1920s as a premiere jeweler, proving that they could create works as technically and stylistically virtuosic as their now-defunct competitor. Like nature’s Lily of the Valley, Cartier sprang forth from the “winter” of the Russian Revolution and onto the global stage as a worthy successor to Fabergé.

[1] Gilles Chazal, L’Art de Cartier, Hermitage Museum, St. Petersburg, 1992, p. 49.

[2] Ulla Tillander-Godenheilm, Faberge: His Masters and Artisans, London, Unicorn Publishing Group, 2018, pp. 254-255.

$10,000 - 15,000

20

A Meissen Lilac-Ground Porcelain Teapot and Cover

CIRCA 1745

bearing crossed swords in underglaze blue to the underside of the teapot and marked XX in black to the underside of both; the teapot having a wishbone handle and serpent head spout, decorated with two lobed cartouches enclosing grisaille landscape scenes, the cover with two lobed cartouches enclosing grisaille harbor scenes.

Height 3 3/4 inches.

Provenance:

The Meissen Shop, Palm Beach, Florida, no. 5045, 21 February 1998 (with invoice)

$800 - 1,200

21

A Pair of Meissen Magenta-Ground Scenic Porcelain Teacups and Saucers

CIRCA 1740

each bearing crossed swords in underglaze blue and gilt 3t to the underside.

Height of teacups 3 inches; diameter of saucers 5 1/4 inches.

Provenance:

Brian Haughton Antiques, London (both saucers labeled)

$600 - 800

22

A Sèvres Porcelain Plate Later Decorated to Match the ‘Service Petits Vases et Guirlandes’ Ordered for the Comtesse Du Barry THE PORCELAIN 18TH CENTURY, THE DECORATION ALMOST CERTAINLY 19TH CENTURY with incised conjoined Cs forming an X, spurious black interlaced Ls enclosing date letter S and painter’s mark LB ostensibly for Le Bel; the center with a floral script and gilt ‘DB’ monogram, the border with shaded blue urns of flowers linked by swags of flowers suspended from gilt loops and the shaped rim with a blue and gilt ovolo band.

Diameter 9 5/8 inches.

Provenance: Christie’s, London, The Flahaunt Collection of European Porcelain, 12 June 1995, Lot 541 (as from the service of 1771)

Described in the Sèvres sales registers as Service Petits Vases Et Guirlandes, the decoration on the present plate is that found on the first monogramed service produced at Sèvres. Delivered 29 August 1771 to Louis XV’s mistress Jeanne (Bécu) Gomard de Vaubernier, the service of some 322 pieces was likely intended for use at Louveciennes, the château a gift of the King in 1769.

For a detailed discussion of the Service Petits Vases Et Guirlandes, known 19th century additions in forms never included in the original service, and 19th century decorated 18th century pieces, see D. Peters, Sèvres Plates and Services of the 18th Century, Little Berkhamsted, 2005, Vol. II, no. 71-77, pp. 461-464.

$500 - 700

A Sèvres Pink-Ground Porcelain Footed Cream Jug (Pot-à-Lait ‘à Trois

Pieds’, 3ème Grandeur)

CIRCA 1758-1760

of baluster form with a branch handle and three feet, decorated with gilt-enriched sprigged flowers issuing from each foot, a gilt-edged painted bow-tied trellis enclosing flowerheads and with a gilt dentil rim. Height 3 1/2 inches.

Provenance: John Whitehead, London, no. 9, 13 June 1997 (purchased at the International Ceramics Fair, London; with copy of invoice)

A sugar bowl and cover with a pink bow-tied ribbon trellis enclosing flowers (similar to the pattern on the present example) and further reserved with a child in a landscape vignette painted by Viellard and dated circa 1761 is in the collection of the Victoria and Albert Museum (791A/1,2-1882).

$1,000 - 2,000

24

Four

Mennecy Biscuit Porcelain Herm Figures

Emblematic of the Seasons

CIRCA 1755-1760

on waisted square socles, with incised factory mark D,V at the back of each, Spring and Summer further incised ‹DV Pno3› beneath their socles, Fall and Winter incised beneath their respective socles ‘D,V 5’ and ‘D,V, f’; each truncated at the shoulders and draped in a tasseled shawl tied in the front and falling over a striated flat-back pilaster, raised on a separate waisted square socle with an acanthus leaf at each corner; each with the attribute of the season: Winter as a bearded man in a fur-lined cloak, Spring as a female with a wreath of flowers in her hair, Summer similar with wheat sheaves in her hair and Fall as a bacchic nymph with fruiting vines in her hair.

Height of tallest (Winter) 11 inches.

Provenance: Dragesco-Cramoisan, Paris, no. 1326, 14 June 1999 (purchased at the International Ceramics Fair, London; with copy of invoice)

$3,000 - 5,000

25

An Assembled Sèvres Feuille-de-Choux Porcelain Part Service Painted with Trophies CIRCA 1765-1767

bearing blue interlaced Ls, date letters M (1765), N (1766) or O (1767), painter’s mark of an anchor for Buteux to all but two plates and with various incised marks; painted with flower garlands suspended from blue feuille-de-choux cartouches, the center with respective trophies of Gardening, Music, War and the Seasons, comprising: an ice pail, cover and liner nine plates;

trophies

together with an assembled Sèvres feuille-de-choux part service bearing various date letters (second half 18th century), painters’ and gilders’ marks and incised marks; painted with loose bouquets only within blue feuille-de-choux and a loose bouquet in the center of each plate, comprising: a salad bowl 11 plates a cream jug four matched teacups and saucers;

together with a group of non-Sèvres feuille-de-choux replacements, comprising:  a plate (likely hard-paste Paris porcelain)

two Derby ice pails (covers and liners lacking), circa 1820 three Derby feuille-de-choux plates, circa 1820 a Derby saucer, circa 1820; 38 items total.

Height of Sèvres ice pail overall 8 x width over handles 9 inches.

Provenance (cream jug and matched cups and saucers):

The Hillingdon Collection

Adrian Sassoon, London, nos. 3659, 3738, 3739, 3737, and 3741, 13 June 2003 (purchased at the International Ceramics Fair, London; with invoice)

Cf. D. Peters, Sèvres Plates and Services of the 18th Century, vol. II, Little Berkhamsted, 2005, pp. 361-362, no. 65-4 and Dalva Brothers –Parisian Taste in New York, Christie’s, New York, 21 October 2020, sale 19021, lot 206 for the trophy-decorated part service.

$6,000 - 8,000

26

A Sèvres White Biscuit Porcelain Figure of ‘La Petit Fille au Tablier’ 1757-1766

incised F to the underside; modelled by Falconet, the girl standing holding grapes in her apron, her head tied with a scarf, standing barefoot by a tree stump on a shaped oval rockwork base. Height 9 inches.

Provenance: Dragesco-Cramoisan, Paris, 1997

The present figure and her pair, ‘Le Jeune Suppliant’, were both first modelled after Boucher by Blondeau in 1752. The original drawing for Le Jeune Suppliant is still at Sèvres and the reverse of the drawing is inscribed ‘dessein de m. Boucher apartenant à la Manufacture de Vincennes, ce 23 aoust 1749’. A similar pair of figures from the renowned collection of Elizabeth Firestone were sold by Christie’s, New York, 21 March 1991, lot 108.

The incised capital F on the underside of the base definitively dates this example to 1757-1766 during which years the renowned sculptor Étienne Maurice Falconet served as head of the sculpture studio at the Sèvres porcelain manufactory. His initial on the completed work indicates his approval of its production and finishing.

$800 - 1,200

27

A Pair of Sèvres Porcelain Triple Salts (Salière ‘à Trois Compartiments’)

1759

bearing blue interlaced Ls enclosing date letter F and painter’s mark of an anchor for Buteux; modeled as three conjoined tightly fluted baskets with common tripartite bail handle entwined with gilt-edged beau bleu ribbon, the bow as a finial, the beau bleu rims and footrims of each basket ‘whip stitched’ in gilt, the interior of each painted in colors with a flower spray.

Width across base 3 1/2 inches.

Provenance:

The Hillingdon Collection

Adrian Sassoon, London, no. 3651, 13 June 2003 (purchased at the International Ceramics Fair, London; with copy of invoice)

Perhaps best known for his trophy painting, Charles Buteux l’aîné (later père, active 1756-1782) is recorded at Sèvres as a painter, also specializing in figures and flowers. The flowers in the bowls of the present pair of triple-salts will have been among his early works.

$1,500 - 2,500

28

An Assembled Sèvres Porcelain Part Service Painted with Loose Bouquets (Fleurs Détachées) SECOND HALF 18TH CENTURY bearing interlaced Ls mark with various date letters, painters’ and gilders’ marks and incised marks; each painted with loose bouquets within variant borders, comprising a set of fourteen dinner plates with six beau bleu feuillede-choux scrolls overlapping at the tips and edging the shallow lobed rims, six soup plates (assiette creux) and six luncheon plates (assiette uni) with blue-line-and-gilt-dash rims, a similar slightly larger plate and two blue-lineand-gilt-dash teacups and saucers (gobelets ‘Bouillard’ et soucoupes, 1ère grandeur); together with twelve English dessert plates with iron-red pattern number 7116. Diameter of beau bleu plates 10 inches.

$6,000 - 8,000

29

A Pair of French Green-Ground Porcelain Potpourri Urns

LIKELY BY JACOB PETIT (FRENCH, 1796-1868), 19TH CENTURY bearing illegible incised mark to the underside of each.

Height 10 1/2 x width 8 1/2 x depth 7 1/2 inches.

$800 - 1,200

30

A Sèvres Green Ribbon Decorated Porcelain Plate (Assiette ‘à Guirlandes’) CIRCA 1760

bearing blue interlaced Ls enclosing date letter G, painter’s mark of a fleur-de-lis for Taillandier and incised 6o; painted with a flower spray, the wide border with a looped gilt-edged green ribbon suspending flower garlands arching into the curve of the loop, the scalloped rim of the plate molded with a trailing vine, gilt ciselé crossed flowering branches at the intersection of each ribbon loop, the same green filling the scallop behind, with gilt line rim. Diameter 10 inches.

Provenance: Dragesco-Cramoisan, Paris, no. D.1375, 14 June 1999 (purchased at the International Ceramics Fair, London; with copy of invoice)

Two services were made at Sèvres in 1760 to which the present plate may belong:

One service, its 48 plates priced at 30 livres each, was sold on 29 March to the Marquis de Paulmy. Antoine-René de Voyer d›Argenson, Marquis de Paulmy, was Minister of War (1757-1758), French Ambassador to Poland (1760-1764), Ambassador Extraordinary to Saxony (1760-1763) and Ambassador to Venice (1767-1768).

A second service, its 48 plates for some reason priced at double or 60 livres, was sold during the second quarter of 1760 to Madame Lair. Madame Marie Herbin Lair was a marchand-mercier whose name appears regularly in the Sèvres sales records. She was the widow of Michel-Joseph Lair and successor in business to Gilles Bazin, rue de Roule, Paris.

Both services are discussed by David Peters, Sèvres Plates and Services of the 18th Century, Little Berkhamsted, 2005, pp. 317-320, service nos. 60-1 and 60-2 respectively.

Three plates from one of these two services, each with flowers painted by Louis-Jean Thévenet, were sold by Christie’s, London on 12 May 2010, lot 235; 3 June 2014, lot 38 and 24 November 2014, lot 13. The present example was painted by his colleague Vincent Taillandier (active 1753-1790), recorded at Vincennes and Sèvres as a painter specializing in flowers as well as patterns and ground patterns.

$3,000 - 5,000

A Sèvres Beau Bleu Porcelain Coffee Can and a Saucer (Gobelet ‘Litron’, 2ème Grandeur et sa Soucoupe, 3ème Grandeur) CIRCA 1785

the cup with gilt interlaced Ls and incised 36D F, the still life painting attributed to Micaud, the gilding to Le Guay, the saucer with blue interlaced Ls enclosing date letter HH, painter’s mark for Julien le jeune, unidentified PR and incised 117; the cup painted in colors with a still life of fruit and flowers in a basket on a marble ledge reserved within a gilt ciselé band and with tiny gold foil stars applied to the cobalt blue ground, the substitute saucer with a central jewelled star within a sunburst, the border with gilt foil stars between gilt bands.

Height of cup 2 3/4 inches; diameter of saucer 4 5/8 inches.

Provenance:

Mary Poter Walsh, Oklahoma City; Christie’s, New York, Fine French and Continental & European Ceramics and [...], 16-18 November 1999, Lot 221  Rinceaux, Palm Beach, no. 1101, 30 May 2000 (with invoice)

The present gobelet ‘Litron’ is almost certainly a cup missing from a part cabaret retained in the British Royal Collection.

In 1826, an inventory of the Confectionary at Carlton House noted ‘no. 239...Bason.’ A Dejeuni of blue with gold stars, painted in fruit and flowers. Consisting of five Cups & Saucers, Teapot, Sugar Bason and Cover, Cream Ewer and Slop Bason. Of these, only the sugar bowl and cover (pot à sucre ‘Calabre’ 1ère grandeur), one cup (gobelet ‘Litron’, 2ème grandeur) and two saucers (soucoupes, 2ème grandeur) remain in the Royal Collection. A comparison of the present cup with the illustrations in Sir Geoffrey’s comprehensive catalogue leave little doubt that the still lifes of a basket of flowers on a marble table found on each piece are by the same hand. That the factory mark on the present cup also corresponds to the other pieces in this cabaret helps solidify the attribution of the lush still life painting on the present cup to Jacques-François Micaud père (active 1757-1810 as a flower painter), the stars and gilding to Le Guay (active 1751-1797 as a gilder), and the piece itself as originally part of this service.

See Sir Geoffrey de Bellaigue, French Porcelain: In the Collection of Her Majesty the Queen, London, Vol. III, cat. no. 251, pp. 895-898 for a detailed discussion of these pieces and of what is almost certainly the payment records for Micaud and Le Guay when they worked on this service, executed between May 1784 and April 1785.

Julien le jeune (active 1784-1786), is recorded at Sèvres as a painter specializing in flowers and as a gilder. His mark appears only on the slightly small replacement saucer with gilt decoration.

$3,000 - 5,000

32

A Sèvres Porcelain Teapot and Cover (Théière ‘Calabre’ et sa Couvercle, 1ère Grandeur) CIRCA 1780

bearing blue interlaced Ls enclosing date letters cc below painter’s mark of a comma for Méreaud le jeune and incised 6/D; the oviform pot with angled spout, ear handle and slightly domed cover with gilt berry finial, painted with scattered flowers, the shoulder with a blue ribbon entwined with a berried vine and enclosing flowerheads below an orange ground border gilt with oeilde-perdrix at the mouth of the pot and cover rim.

Height 5 1/8 x width 6 1/4 inches.

Charles-Louis Méreaud le jeune (active 1756-1780) is recorded at Sèvres as a painter specializing in flowers and patterns.

$1,500 - 2,500

33

A Sèvres Partially Beau Bleu Jewelled Porcelain Coffee Can and Saucer (Gobelet ‘Litron’ et sa Soucoupe, 1ère Grandeur) THE PORCELAIN CIRCA 1782

both bearing gilt interlaced Ls mark flanked by date letters ee above decorator’s mark L. for L’Ecot, the cup further incised 73, the saucer incised 38A; jewelled between bands of white enamel ‘pearls’ with a wide band of gilt foil interlaced S-scrolls enriched with turquoise and red cabochons, the cup with gilt ribbon-tied white beaded swags suspended from the band running around the mouth of the cup, the saucer with a central medallion. Height of cup 2 7/8 inches; diameter of saucer 6 1/8 inches.

Provenance: Drouot, Paris, Anonymous sale, 23 October 1996, Lot 71 Dragesco-Cramoisan, Paris, June 1997 (purchased at the International Ceramics Fair, London)

Introduced at Sèvres circa 1779, jewelling was at the height of its popularity during the early years of the 1780s. It was an extremely laborious and, therefore, expensive process resulting in an exceptionally delicate finished product.

Making the ‘jewels’ involved the application of drops of enamel in imitation of precious stones—opaque white for pearls, translucent blue, red and green for sapphires, rubies and emeralds, ochre for topaz, purple for amethyst, etc.—onto gold foils stamped by steel dies and then engraved and tooled in shallow relief with star bursts and other patterns, these tooled patterns remaining visible through the translucent enamel, giving depth to the ‘cabochons’.

Applied in the eighteenth century to both hard- and soft-paste porcelain, jewelling was used at Sèvres in combination with a wide range of ground colors. In addition to the rich blue (beau bleu) of the present example, undoubtedly the most popular and successful ground color, examples are known on green, bleu céleste, lapis lazuli, black, merde d’oie (an olive green), boue de Paris (a taupe-beige), mauve, red, lilac, and maroon grounds, as well as on white, perhaps the least successful.

One other jewelled beau bleu cup and saucer of 1782 virtually identical in decoration to the present example is known. It has been in the British Royal Collection since 1907 and is currently on display at Windsor Castle in the Green Drawing Room (Sir Geoffrey de Bellaigue, French Porcelain: In the Collection of Her Majesty the Queen, London, Vol. II, cat. no. 216, pp. 828-830, inv. 58189a-b). The cup has the same capital L mark for Louis-François L’ Écot (active 1761-1764 and 1772-1800), one of the few decorators at the factory skilled in jewelling. Recorded as a gilder and painter, he also specialized in chinoiseries and arabesques. Its saucer, with a variant central medallion and a different date letter, has been identified by de Bellaigue as a later replacement.

Catalogue entry no. 216 references two other bleu nouveau examples known on the Paris art market in the mid-1990s. These are, in fact, one example—the present cup with its original saucer. A third cup and saucer with the same jewelling pattern but on a bleu céleste ground was in the collection of René Fribourg, sold The René Fribourg Collection – V: French Faience and European Porcelain, Part II, Sotheby’s, London, 15 October 1963, lot 434.

$3,000 - 5,000

35

A Sèvres Lavender-Ground Chinoiserie Hard-Paste Porcelain Cup and a Saucer (Gobelet ‘Litron’ et une Soucoupe, 1ère Grandeur) CIRCA 1777

the cup with iron-red crowned interlaced Ls enclosing date letter Z above painter’s mark LG for Legrand, further incised CS, the saucer with iron-red crowned interlaced Ls, painter’s mark BY probably for Bailly fils, further incised SC; both richly painted and gilt with chinoiserie figures, those on the cup and the border of the saucer at leisure pursuits, reserved within gilt-banded angled panels on the lavender ground which is further decorated with a green ribbon trellis having carmine flowerheads at the angles, the trellis on the cup enclosing gilt oeil-de-perdrix and that on the saucer enclosing four reserved white dots, exhibiting a trailing vine of flowers between gilt bands at all rims and enclosing the central saucer decoration showing two cranes in a garden, the bands on the cup chased.

Height of cup 3 inches; diameter of saucer 6 1/4 inches.

Although at first glance the present cup and saucer appear to have identical decoration, close scrutiny reveals the small differences noted in the catalogue entry. Also different are the tooling patterns enclosing the chinoiserie panels, and the style of painting of the trailing vine. If one looks closely, it is possible to discern a very subtle difference in the ground color on the two pieces, that of the saucer being very slightly bluer.

For these reasons, the two pieces have been described as matched. It is not impossible that one was made as a slightly later replacement, or that the two pieces were originally part of a small set, painted by different hands and at some point the cups and saucers mis-matched.

Louis-Antoine Le Grand fils (later père, active 1776-1824), recorded at Sèvres as a painter specializing in figures, chinoiserie, birds and flowers and as a gilder, is likely responsible for the chinoiserie panels on the present lot. Bailly fils (active 1773-1779), recorded at Sèvres as a painter specializing in flowers and chinoiseries and as a gilder, is more likely responsible for the flowers and the gilding.

$2,000 - 4,000

34

A Sèvres Porcelain Cup and Saucer (Gobelet ‘Litron’ et sa Soucoupe, 3ème Grandeur)

CIRCA 1784

both bearing blue interlaced Ls with date letters gg below and painter’s mark of a stemmed flower for Bouchet to the right, further incised 26 to the cup and 45 to the saucer; the cup painted within a faux pear and emerald beaded surround with ships coming into a harbor and a blue forked flag flying at the right, the saucer with a ruin and a tree at the right of a riverscape, the border with alternate swags of pink roses and blue cornflowers suspended from vertical ‘stripes’ of entwined berried and gilt laurel, both with gilt dentil rims.

Height of cup 2 3/8 inches; diameter of saucer 4 3/4 inches.

Provenance:  Ursula Riedi, Zurich (the saucer labeled)

The faux-jewelled surround enclosing the painted scenes is similar to decoration found on services made as gifts from Louis XVI to his queen, Marie Antoinette, and to King Gustave III of Sweden.

Jean Bouchet (active 1757-1793) is recorded at Sèvres as a painter specializing in landscapes, animals, birds, figures and flowers and as a gilder.

$800 - 1,200

36

A George II Petit Point and Gros Point-Upholstered Gilt-Gesso Library Armchair

CIRCA 1750

Height 41 1/2 x width 29 3/4 inches.

$8,000 - 12,000

37

A George II Mahogany Library Armchair

CIRCA 1755

Height 38 1/4 x width 28 1/2 inches.

Provenance: Mallett, New York, 19 November 2013 (with copy of invoice)

$6,000 - 8,000

A Pair of Regency Revival Ormolu Mounted Satinwood and Amaranth-Inlaid Bookcases

SECOND QUARTER 19TH CENTURY on casters.

Height 31 x width 24 x depth 15 inches.

Provenance: Mallett Ltd., London, 25 March 1994 (with copy of invoice)

The high quality timbers and refined, finely executed design of this pair of bookcases could be the work of the London firms Morel and Seddon or Banting, France and Company, both of whom supplied related furniture for George IV at Windsor Castle in the 1820s. Morel and Seddon were the primary source of the furnishings from Windsor’s extensive renovation from 1827-1830, furnishing 59 rooms.

$7,000 - 9,000

39

A

DIAL SIGNED WILLIAM EDWARDS, LONDON, CIRCA 1765 the twin train movement with strike/silent dial and date aperture.

Height 19 1/4 inches x width 11 1/2 x depth 8 inches.

Provenance: Malcolm Franklin, Inc., Chicago, 12 June 1973 (with invoice)

$1,500 - 2,000

40

A Continental Boxwood Lever-Action Nutcracker PROBABLY SOUTH GERMAN, 16TH CENTURY together with a later screw-action example.  Height 10 3/4 inches.

$3,000 - 5,000

41

A

LATE 18TH CENTURY

Height excluding handle 17 1/4 x diameter 15 inches.

$1,000 - 2,000

George III Brass Mounted Mahogany Peat Bucket

George III Gilt Bronze Mounted Ebonized Fruitwood Bracket Clock

A Set of French Walnut and Fruitwood Library Steps LATE 18TH/EARLY 19TH CENTURY having a folding mechanism which allows the steps to flatten for storage. Open: height overall 75 x width 23 3/8 x depth 37 1/4 inches; height to tallest step 40 1/4 inches.

Jeremy Ltd., London, 7 November 1994 (with invoice) $2,000 - 4,000

43

Attributed to Harry Hall (British, 1815-1882) Horse in Stall oil on canvas 20 1/4 x 26 inches.

$2,000 - 3,000

44

Attributed to Harry Hall (British, 1815-1882) Horse in Stall oil on canvas 20 1/4 x 26 inches.

Provenance: Possibly Ex Collection of Lord Alexander Paget (labeled) 2,000 - 3,000

45

A Pair of Louis XVI Style Gilt Bronze Three-Light Sconces

EARLY 20TH CENTURY

Height 21 x width 13 x depth 8 inches.

$800 - 1,200

46

A Pair of French Tôle Peinte Figural Vases

SECOND QUARTER 19TH CENTURY each in Eastern European-inspired dress, on wood bases.

Height overall 14 3/4 inches.

$800 - 1,200

47

A George III Leather-Upholstered Carved Mahogany Library Chair

MID-18TH CENTURY AND ADAPTED

Height 41 1/4 x width 32 1/2 inches.

$800 - 1,200

48

A George III Mahogany Partners’ Desk

EARLY 19TH CENTURY

Height 29 x width 59 x depth 36 1/4 inches.

$1,000 - 2,000

A Pair of George III Style Leather-Upholstered Mahogany Armchairs

19TH/20TH CENTURY possibly incorporating earlier elements. Height 36 1/2 x width 25 1/2 inches.

$600 - 800

50 An English Leather-Upholstered Brass Club Fender LATE 19TH/EARLY 20TH CENTURY Height 24 x width 70 x depth 28 inches. $800 - 1,200

51

A Pair of French Bronze and Sienna Marble Sculptures of Voltaire and Rousseau

SECOND QUARTER 19TH CENTURY with lamp stands and shades.

Height of taller (figure and base) 18 1/4 inches; height overall 29 inches.

$1,000 - 2,000

52

A Pair of Louis Philippe Gilt and Patinated Bronze Seven-Light Candelabra CIRCA 1840 mounted as lamps.

Height of candelabra 30 x width 12 1/4 inches; height overall 44 inches.

$1,500 - 2,500

Thomas Chippendale (1718-1779)

Known as ‘the Shakespeare of English furniture’ Thomas Chippendale (1718-1779) is responsible for England’s most renowned interiors to an extent unmatched by his contemporaries. His oeuvre, with its unique blend of creativity, craftsmanship, and design represents the pinnacle of English furniture. From iconic commissions, such as the interiors for Harewood House, Yorkshire in the 1770s to a mahogany tripod table for an unknown patron, Chippendale furniture has attained almost mythical status among connoisseurs and collectors.

Chippendale launched his career with the 1754 publication of the Gentleman and Cabinet-Maker’s Director which served as a clever promotion of his trade. Sold by subscription to fund its publishing cost, it was the first comprehensive publication of a broad variety of furniture and contained 160 designs. The Director was also a departure from earlier published design books as it depicted three different tastes—Chinese, Gothic and ‘Modern,’ the last of which was an interpretation of the French Rococo style. Hugely successful, it led to subsequent reprints and updates; the 1763 edition included the newly fashionable Neoclassical taste. Interestingly, although the Director ensured Chippendale’s legacy, virtually all of his documented commissions occurred after the publication of the Director. The Krehbiel collection has a copy of the second edition, Lot 55, an apt preface to their furniture.

departure legacy, virtually all of his documented commissions occurred after the publication of the Director also

Extraordinarily versatile, Chippendale’s workshop fulfilled commissions from Robert Adam (17281792), the era’s foremost architect, but Chippendale also had the unique ability to design and supply fully conceived interiors including wallpaper, ironwork and carpets. As no records from Chippendale’s workshop have survived, documentation has come through country house archives as well as the presence of his workshop’s unique constructional features. Both simple mahogany case furniture as well as the magnificent marquetry and lacquer commissions are an alchemy of precise construction, proportion, ornament and high quality timbers which make his work almost instantly recognizable.

constructional magnificent commission, it shares specific stylistic elements that appear in work Chippendale supplied to some of

Although none of the furniture in the Krehbiel collection can be definitively attributed to a documented commission, it shares specific stylistic elements that appear in work Chippendale supplied to some of his most important patrons. They include Edward Lascelles for Harewood House, Yorkshire; Viscount Penistone Lamb for Brocket Hall, Hertfordshire; and the Duke of Gloucester, son of George III, for Clarence House, London. Their construction also exhibits key features. The chairs in the Krehbiel collection (lots 56, 57, 59, 60) have the distinctive notches, called cramp cuts, used to secure the shape of the seatrails together and some have the tiny holes, known as batten carrying holes, which secured the chairs on the wagons for delivery (C. Gilbert, The Life and Work of Thomas Chippendale Vol. II, London, 1978, p. 113). Chippendale’s construction techniques could also be innovative as in the case of the secrétaire (lot 58) which has an internal counterbalance system Chippendale invented to ensure the smooth movement and suspension of its fall front.

The Life and Work of Thomas Chippendale Vol.

Chippendale

Chippendale

53

A George III Carved Mahogany Settee

ATTRIBUTED TO THOMAS CHIPPENDALE, CIRCA 1775

Height 38 x length 86 1/2 x depth 34 inches.

Provenance:

Pauline Stanbury Woolworth (1906-1994); Sotheby’s, New York, Important English Furniture and Decorations, 13 October 1994, Lot 354 (with invoice and catalog)

This settee’s form and ornament relates closely to those found on documented Chippendale commissions from the 1770s. Although the distinctive curved handholds to the arms are one of his most common features on seat furniture, the design on the arm supports and the legs are both identical to bergères which were part of the suite supplied to the actor David Garrick (1717-1779) for his London townhouse on Adelphi terrace in 1772 (C. Gilbert, The Life and Work of Thomas Chippendale Vol. II, London, 1978, p. 98, fig. 160).

$20,000 - 30,000

54

PALLADIO, Andrew (1518-1580). The Architecture of A. Palladio. London: John Darby for the author, 1721.

2 volumes in one, folio (465 x 284 mm). Engraved frontispiece, engraved portrait of Palladio, 230 copper-engraved plates by Bernard Picart, Michael Vandergucht, John Harris and others (most full-page, 5 double-page and a few in text). (Some toning and spotting, a few marginal repairs.) Contemporary calf (rebacked and repaired, some wear).

Second edition in English of Palladio’s influential architectural treatise, translated by Giacomo Leoni. The two editions form ‘’a turning point in the history of British Palladianism,’’ marking not only the first complete English translation of I Quattro Libri but the first use of ‘’worthwhile engraved copies of the original woodcuts’’ (RIBA). While portions of the original Italian text had been translated into English during the 17th century, the first edition in English in 1715 sparked a Palladian architectural revival in Great Britain and its American colonies. Fowler 224; Berlin Kat. 2598; ESTC T22366; RIBA 2392.

$2,000 - 3,000

55

CHIPPENDALE, Thomas (1718-1779). The Gentleman and Cabinet-Maker’s Director: being a large collection of the most elegant and useful designs of household furniture. London: J. Haberkorn for the author and others, 1755.

Folio (439 x 278 mm). Title printed in red and black, engraved dedication, 4pp. list of subscribers, 161 copper-engraved plates (including plate 25 [bis]). (Lacking half-title, some toning and light spotting, a few short marginal short tears.) Contemporary mottled calf gilt, tan morocco lettering-piece gilt, stamp-signed by Riviere (front cover detaching, old repairs to hinges reinforced, some light wear). Provenance: J. Hafford (18th-century signature on titlepage); Granville George Leveson-Gowe, second Earl Granville (1815-1891), Leader of the House of Lords (armorial bookplate, note of his sale 10/3/92); Thomas George Baring, 1st Earl of Northbrook (1826-1904), Viceroy of India (armorial bookplate).

Second edition of Chippendale’s breakthrough furniture design book. The Director was the most extensive pattern book to be created by a craftsperson and the first to have a wider audience outside tradesmen. The immense popularity of the 1754 first edition and subsequent reissues increased commissions for Chippendale›s firm and cemented his position as one of the most premier 18th-century cabinetmakers. ESTC T14876.

$5,000 - 7,000

A Matched Pair of George III White-Painted and Parcel-Gilt Armchairs ONE ATTRIBUTED TO THOMAS CHIPPENDALE, CIRCA 1775; THE OTHER POSSIBLY SUPPLIED IN THE EARLY 19TH CENTURY with minor differences in scale, carving and construction; redecorated. Height of larger 38 1/4 x 28 inches.

Provenance: Hotspur Ltd., London, 15 August 1990 (with invoice)

The design of this pair of armchairs presents another variation of Chippendale’s repertoire of Neoclassical ornament for chairs produced in the 1770s which are considered to be among the most expressive of his oeuvre. Their ‘French’ form is clearly evident with their guilloche-carved backs, laurel leaf-carved frames and the vertical cross strut on the back of one chair. Although they are almost identical to the other pair of chairs in the Krehbiel collection (Lot 57), differences in the treatment at the tops of the legs as well as the scale and handling of both the carved medallions and the borders on the backs and seatrails indicate they were a separate commission.

Moreover, the differences in the carving, construction and scale between the two present chairs may indicate the larger chair was supplied afterwards; the side chairs in the set attributed to Chippendale supplied to the Duke of Gloucester are one documented example (RCIN 100201, 100202) of Chippendale enlarging an earlier commission. The set of seat furniture supplied to Sir Penistone Lamb for the Saloon at Brocket Hall is the most closely related documented example to the present lot (C. Gilbert, The Life and Work of Thomas Chippendale Vol. II, London, 1978, p. 109, fig. 186) but the guilloche border and medallion back is also seen on the set for the Saloon at Nostell Priory around 1778 (Ibid., p. 108, fig. 184).

$20,000 - 30,000

A Pair of George III Carved Giltwood Open Armchairs ATTRIBUTED TO THOMAS CHIPPENDALE, CIRCA 1775 Height 37 1/4 x width 26 5/8 inches.

Provenance: Probably part of the suite supplied to Prince William Henry, Duke of Gloucester (1745-1805) Phillips, London, Fine English and Continental Furniture, Carpets, Tapestries and Works of Art, 9 February 1999, Lot 98 (with catalog) James Hepworth, London, 1999 (with copy of invoice)

This pair of armchairs are probably part of the only known Royal commission executed by Thomas Chippendale. It originally consisted of a set of eight armchairs and two sofas followed by the later addition of thirteen side chairs and two bergères probably supplied to Prince William Henry, Duke of Gloucester (1743-1805), younger brother of George III. Two armchairs, seven side chairs, the sofas and the bergères remain in the Royal Collection and are at Clarence House, London (RCIN 100201, RCIN 100202, RCIN 100204, RCIN100205).

Although no specific records have surfaced in the Royal Archives, a surviving portion of the Duke of Gloucester’s bank account from 17641766 details payments to Chippendale that totaled £134 15s 6d. Though this date is too early to refer to this suite, it does confirm a preexisting relationship. This commission is very likely the one Chippendale mentions in his 1767 letter to Sir Roland Winn in the apparently universal way of all craftsmen rationalizing why their work was delayed as he writes he…’had a great quantity of business…mostly for the Royal Family’ (A. Bowett and J. Lomax, Thomas Chippendale 1718-1779 A Celebration of Craftsmanship and Design, Catalogue of the Tercentenary Exhibition, Leeds City Museum, 2018, p. 130).

Stylistically, the chairs reflect the French fashioned chairs supplied to Chippendale’s documented commissions from the early 1770s. Although the distinctive arched handholds were almost a leitmotif for Chippendale chairs, the armchairs in the set of seat furniture supplied to Sir Penistone Lamb for the Saloon at Brocket Hall around 1773 are the most closely related to the present lot, featuring guilloche backs surmounted with a medallion and a laurel leaf carved apron (C. Gilbert, The Life and Work of Thomas Chippendale Vol. II, London, 1978, p. 109, fig. 186).

The dispersal of this suite from the Duke of Gloucester presumably occurred after his death in 1805 when his estate went to his two children, William Frederick and Sophia Matilda. The part of the suite in the Royal Collection presumably went to George IV as they have his inventory brand. As the other three pairs of chairs are not accounted for in the entries for the suite at the Royal Collection, they were presumably kept by Gloucester’s descendants, fulfilling his command to bequeath his property to ‘share and share alike.’ Another pair of identical armchairs also lacking the inventory brand and presumably from this original set were sold anonymously at Sotheby’s, London, 27 September 2012, lot 135 (£73,250); the whereabouts of the remaining pair is currently unknown.

58

A George III Satinwood, Tulipwood and Amaranth Marquetry Fall-Front Secrétaire

ATTRIBUTED TO THOMAS CHIPPENDALE, CIRCA 1775 Height 49 3/8 x width 31 1/8 x depth 16 inches.

Provenance: Mallett Ltd., London (with memorandum)

This secrétaire, with its elegant, restrained Neoclassical marquetry occupies a rare, if not unique position in Chippendale’s oeuvre. Not only is it directly based on a French secrétaire à abattant, a form seldom seen in English furniture, it is one of a pair which were presumably supplied to an unknown patron. Although French furniture designs had been an enduring source of inspiration for English cabinet-makers, so much so their drawings became known as the “French Taste’, few were copied directly and were almost always the work of French trained émigirés such as Pierre Langlois (1718-1767) or Christopher Furlohg (1740-1787).

This secrétaire and its pair are part of a distinct group of closely related secrétaires attributed to Thomas Chippendale. Unlike most of his ‘French’ furniture, they are the rare occasion where a distinctly French form is kept intact and used as a backdrop for Chippendale’s creativity and ingenuity. Their prototype were the two secrétaires supplied to Edwin Lascelles for two rooms in the State Apartments at Harewood House, Yorkshire from 1772-1773 and are the richest examples of this form. One, now in the collection of Temple Newsam, Leeds, was part of a suite of black lacquer and japanned furniture for the State Bedroom. It appears on Chippendale’s 12 November 1773 invoice as ‘a Lady’s Secretary veneer’d with your own Japann with additions of Carved Ornaments…the front of the secretary to rise with balance weights.’ The second, inlaid with marquetry against a satinwood ground, was supplied to the State Dressing Room and remains at Harewood (J. Sellers, ed., The Art of Thomas Chippendale, Master Furniture Maker, Leeds, 2000, p. 30).

Chippendale’s mention of the secretary’s balance weight mechanism is particularly relevant as it was his own invention and allowed for the seamless rising and falling of the fall front. Hidden within the construction of the case, it allowed the writing surface to appear as if it was suspended in the air with no distracting brackets. This secrétaire as well as the others in the group have this unique feature. Other constructional hallmarks of Chippendale’s workshop are the hardware used on the drawers whose construction bears the typical finely executed details such as the mitered corners to the undersides, the triangular stoppers to the interior of the carcass for the drawers and the distinctive red wash visible in areas on the case.

In addition to the present lot’s pair, which was sold anonymously at Sotheby’s, London, 16 December 1990, lot 345 (£35,200 including premium), the other secrétaires of this group display only minor variations. They have the same richly figured satinwood ground, Neoclassical marquetry central medallions punctuated by rosettes in the incurved corners, a single lower door and apparently identical interiors. They comprise:

(1) A virtually identical example with square tapering legs from Lady Frye, Oare House, Wiltshire sold Christie’s, London, 21 April 1966, lot 68 and most recently sold from the collection of Zeinab and Pierre Marcie Riviere, Christie’s, Paris, 8 June 2016, lot 185 ($50,065 including premium).

(2) Another with ebonized pilasters and square tapering legs supplied to William Windham (1708-1789) for Earsham Hall, Norfolk (Ronald Phillips, The Legacy of Thomas Chippendale, Exhibition Catalogue, 2018, no. 19, pp. 89-93).

(3) One with marquetry fan medallions and identical legs to the present lot sold anonymously (Property of a Lady) at Christie’s, New York, 20 January 1996, lot 335 ($34,500 including premium).

$30,000 - 50,000

59

A George III Giltwood Bergère

ATTRIBUTED TO THOMAS CHIPPENDALE, CIRCA 1775

Height 38 x width 29 inches.

Provenance: Hotspur Ltd., London, 21 June 1986 (with invoice)

This bergère can be attributed to Thomas Chippendale based on two virtually identical bergères which were part of the documented suite supplied to the actor David Garrick (1717-1779) for his London townhouse on Adelphi terrace in 1772 (C. Gilbert, The Life and Work of Thomas Chippendale Vol. II, London, 1978, p. 98, fig. 160). The only apparent difference is the laurel leaf-carved apron which is on another bergère supplied to the Duke of Gloucester and is now in the Royal Collection at Clarence House, London (RCIN 100205).

$6,000 - 8,000

60

A George III White-Painted and Parcel-Gilt Open Armchair ATTRIBUTED TO THOMAS CHIPPENDALE, CIRCA 1775

Height 37 1/2 x width 24 1/2 inches.

Provenance: Hotspur Ltd., London, 1990

This elegant chair, designed in the ‘French fashion’ of the 1770s, corresponds closely to Chippendale’s neoclassical designs with its swag-draped oval and fluted legs. Their overall form was essentially a template that would be cleverly customized by the combination of specific ornamental designs which ensured each client had a unique set. In addition to the typical construction of its seatrail, this chair shares stylistic elements with documented Chippendale commissions. In particular, the ribbon-tied husk cresting, curved handholds and fluted sections on the legs are all seen on a set of twelve chairs supplied to Sir Penistone Lamb (1745-1828) for Brocket Hall, Hertfordshire in 1773 (C. Gilbert, The Life and Work of Thomas Chippendale Vol II, London, 1978, p. 109. fig. 186) while its laurel leaf-carved seatrail appears on another set of chairs supplied to Sir Roland Winn (1739-1785) for Nostell Priory, Yorkshire (Ibid, p. 108, fig. 184).

$8,000 - 12,000

61

A Pair of George III Cream and Green-Painted Octagonal Tables

CIRCA 1790-1800

Height 27 3/4 x width 23 1/4 x depth 23 1/2 inches.

$3,000 - 5,000

62

A George III Carved Giltwood Bergère

ATTRIBUTED TO INCE AND MAYHEW, CIRCA 1780

Height 33 3/8 x width 28 inches.

$5,000 - 7,000

63

A Pair of George II Carved Mahogany Side Chairs

POSSIBLY IRISH, CIRCA 1745

Height 37 3/4 x width 24 1/2 inches.  $1,000 - 1,500

64

A

LATE 18TH CENTURY

Height 29 1/4 x width 30 x depth 16 1/4 inches.

Provenance: Jeremy Ltd., London, 14 April 1983 (with invoice) $600 - 800

65

A George III Mahogany, Padouk and Amboyna Pembroke Table

CIRCA 1775

opening to a fitted mahogany-lined interior.

Height 28 1/2 x width (closed) 22 7/8 x depth 27 inches.

Provenance: Hotspur Ltd., London, 2 February 2002 (with invoice)

The sophisticated combination of exotic timbers, refined proportions and use of mahogany to line the drawers indicate this pembroke table was the product of one of London’s finest cabinetmakers during the height of ‘French fashioned’ designs in the 1770s. Potential candidates could be Thomas Chippendale (1718-1779) who supplied a related lady’s writing table to Nostell Priory in 1767 (NT 959738) and whose work also features the same distinctive pattern to the legs. John Cobb (d. 1778) is also a possibility as he was renowned for his refined French fashioned tables that incorporated highly figured exotic timbers.

$8,000 - 12,000

66

A George III ‘Lac Bergaute’ and Black and Gilt-Japanned Secrétaire Cabinet-on-Stand

CIRCA 1765, INCORPORATING 17TH CENTURY CHINESE LACQUER PANELS

Height overall 61 x width 26 x depth 18 1/4 inches.

Provenance: Sir Phillip Sassoon, Bt., Trent Park, Herefordshire, recorded in Sir Philip’s bedroom in 1939; Christie’s, London, Works of Art from Collections of The Cholmondeley Family and the Late Sir Philip Sassoon, Bt. from Houghton, 8 December 1994, Lot 117 (with catalog) James Hepworth, London, 5 June 1996 (with copy invoice)

Literature: C. Hussey, “Japanned Furniture at Trent Park,” Country Life, 18 October 1930, p. 498, fig. 4 P. Macquoid and R. Edwards, The Dictionary of English Furniture, London, rev. ed., 1954, Vol. I, p. 85, fig. 43 R. Edwards, The Shorter Dictionary of English Furniture, London, 1964, p. 101, fig. 30

With its 17th century Chinese lacquer panels lushly inset with mother of pearl, this elegant secrétaire epitomizes the height of the English fascination with the East popularized by the designs in Thomas Chippendale’s The Gentleman and Cabinet-Maker’s Director, 1754-1763. Their frequent combination of Chinese elements within an at times blinding array of naturalistic and Classical forms served as inspiration and a creative ideal. Elements from Chippendale’s designs, such as the fretwork seen on the legs of the present lot, depicted in China Shelves (plate CLXI) and the Chinese Cabinet (plate CXXIII) from 1761, were likely drawn upon by this as yet unknown cabinet-maker. The secrétaire’s sophisticated mélange of Chinese and Western ornament, and particularly its use of lac bergaute, an incredibly rare and expensive form of Chinese lacquer, indicates it was almost certainly a specific commission by an unknown aristocratic patron similar to the 4th Duke of Badminton (1704-1759). His Chinoiserie bedroom apartment at Badminton, Gloucestershire, which was supplied by William and John Linnell in the 1750s has two related japanned china cabinets which show yet another interpretation of this allencompassing aesthetic (H. Hayward, William and John Linnell, London, 1980, fig. 218).

The descendant of two prominent Jewish banking families, the Sassoons and the Rothschilds, politician, patron and connoisseur Sir Phillip Sassoon (1888-1939) was at home in the highest aristocratic circles. Sassoon’s aesthetic eye saw the potential of Trent Park, an unremarkable house with grounds designed by the pre-eminent 19th century landscape architect Humphry Repton (1752-1818) and hired the architect Philip Tilden (1887-1956) to transform the house into a Georgian mansion worthy of this setting. The eminent British architectural historian Christopher Hussey (1899-1970) said that Sassoon captured “that indefinable and elusive quality, the spirit of a country house... an essence of cool, flowery, chintzy, elegant, unobtrusive rooms that rises in the mind when we are thinking of country houses.” Trent Park and its grounds were documented in the 18 October 1930 issue of Country Life. After Sassoon’s death, this cabinet and other works from his collection went to Houghton, the home of his sister Sybil, Marchioness of Cholmondeley (1894-1989).

$15,000 - 25,000

Photo Credit: Japanned Cabinet, Trent Park from Country Life 18 October 1930: Future Publishing Ltd.

An Irish George II Mahogany Tea Table CIRCA 1750

Height 27 3/8 x width 30 x depth 21 1/8 inches.

$8,000 - 12,000

68

A George III Brass-Bound Mahogany Peat Bucket LATE 18TH/EARLY 19TH CENTURY with brass liner. Height (excluding handle) 11 3/4 inches. $500 - 700

69

A George II Carved Mahogany Stool CIRCA 1750 Height 16 1/2 x width 21 x depth 17 inches.

Provenance: Mallett Ltd., London, 15 November 1983 (with invoice)

A very similar pair of stools, possibly supplied to James Peachey, 1st Lord Selsey (1743-1808) was sold from the Collection of Edward James, West Dean Park, Christie’s, London, 2-6 June 1986, Lot 190. That pair is now in the Gerstenfeld Collection, Washington, D.C. (Illustrated in E. Lennox-Boyd, Masterpieces of English Furniture: The Gerstenfeld Collection, London, 1998, no. 59, p. 221, pl. 92).

$2,000 - 4,000

70

A George III Style Mahogany, Amboyna, Tulipwood and Satinwood Sofa Table

SECOND HALF 19TH CENTURY with mahogany-lined drawers.

Height 28 1/4 x width (open) 58 1/8 x depth 25 5/8 inches.

$1,000 - 1,500

71

A George I Walnut Demilune Game Table  CIRCA 1720

with a felt-lined gaming surface, the interior fitted with mahogany veneer.

Height 29 x width 33 x depth 16 1/2 inches.

$1,000 - 1,500 ‘

PROBABLY IRISH, CIRCA 1790 with cedar-lined drawers and mahogany bottom boards, the ormolu mounts probably later; minor differences in size. Larger: height 37 x width 43 1/8 x depth 19 inches; smaller: height 37 x width 41 1/4 x depth 18 7/8 inches.

Provenance: Lord Louth, Louth Hall, County Louth, Ireland Partridge, London, 19 April 1994 (with invoice)

The design of these elegant cabinets, with their distinctive burr yew panels and delicate Neoclassical swag marquetry, closely relates to the work of Dublin cabinet-makers of the era. Though William Moore is perhaps the most-well known potential candidate, other cabinet-makers, such as John Wisdom, also employed the same pattern of burr yew panels on their documented work including a table supplied to Thomas Cobb at Newbridge (Glin and J. Peill, Irish Furniture, New Haven, 2007 p. 167, fig. 228). As the authors note, much has been attributed to William Moore without documented evidence (Ibid, p. 166) and indeed only two works have been substantiated as by Moore—a demilune commode supplied to William Henry Cavendish-Bentinck, 3rd Duke of Portland (d. 1809) when Viceroy of Ireland around 1782 and a demilune Pianoforte inscribed ‘W Moore’, circa 1785, the only signed example of his work. The location of the signed example is currently unknown.

$10,000 - 20,000

A Pair of George III Gilt Bronze Mounted Tulipwood, Burr Yew and Satinwood Marquetry Demilune Cabinets

A Pair of George III Giltwood Wall Brackets

CIRCA 1760

Height 9 1/2 x width 7 1/8 inches.

Provenance: Jeremy Ltd., London (with memorandum)

$3,000 - 5,000

74

A Pair of George III “Chinese Chippendale” Giltwood Wall Brackets

CIRCA 1765

Height 43 1/2 x width 14 5/8 inches.

Provenance: British Antique Dealers’ Association Hotspur Ltd., London, 17 March 1997 (with memorandum)

$8,000 - 12,000

75 A Pair of George III Giltwood Mirrors AFTER A DESIGN BY THOMAS JOHNSON, CIRCA 1765 together with four Chinese blue and white porcelain pots from the Vung Tau Cargo. Height 51 3/8 x width 33 3/8 inches.

Provenance: Hotspur Ltd., London, 21 January 1994 (with invoice)

The published designs of the Soho carver Thomas Johnson (1714-1778) were a seminal influence in disseminating the Rococo taste in England. Both Twelve Girandoles from 1750 and A New Book of Ornament in 1758 depict naturalistic, almost fanciful designs that often featured Chinamen and animals inspired by Aesop’s Fables. Even the renowned cabinetmaker Thomas Chippendale paid homage to Johnson’s creative genius as he credits him with several Rococo designs in the Third Edition of the Director. These mirrors closely correspond to the center design of a mirror illustrated on page 65 of One Hundred and Fifty New Designs published in 1761 (reproduced here).

Although no specific documented commissions by Johnson have been found, he is known to have supplied mirrors in the early 1760s to Paul Methuen of Corsham Court, Wiltshire and the Duke of Atholl at Blair Castle, Perthshire. $30,000 - 50,000

Hayward, Helena. Thomas Johnson and English Rococo. London: A. Tiranti, 1964. Image courtesy of the Art Institute of Chicago, Ryerson and Burnham Libraries

76

A Pair of George III Gilt Ormolu-Mounted Chinese Lacquer Corner Cabinets

ATTRIBUTED TO PIERRE LANGLOIS, CIRCA 1765

one with an ink label inscribed Whitburn Hall, 1957. Height 34 3/4 x width 34 x depth 25 1/2 inches; length of each side 24 inches.

Provenance:  (First example)

Difford’s Antiques, Edinburgh (labeled) Hotspur Ltd., London, 2002 (with invoice)

(Second example)

Private Collection; Sotheby’s, New York, 21 October 2005, Important English Furniture & Decorations from a Private Collection, Lot 4 (with copy of invoice)

This striking pair of corner cabinets incorporating Chinese lacquer panels are perhaps the only currently known examples that can be attributed to the renowned cabinet-maker Pierre Langlois (1718-1767). They are part of an elite group of furniture in the French or ‘modern’ style which were commissioned by some of the era’s foremost patrons and connoisseurs, including Sir Horace Walpole and the Duke of Bedford.

Unlike his contemporaries, Langlois, the child of French émigrés, learned his trade in Paris where it is thought he worked under Jean Francois Oeben. Langlois’ French training resulted in an oeuvre which was very distinctive from English cabinetmakers. His forms show both the familiarity and the technical skill required to closely emulate contemporary French prototypes. A related pair of encoignures by the Parisian ébéniste Jacques Dubois (P. Kjellberg, Les Mobiliers Français du XVIII Siècle, Paris, 1989, p. 270) also demonstrates the expertise required to shave panels from a Chinese screen and transform them into curved doors. Yet, Langlois’ workshop was not a faithful recreation of a Parisian atelier. His cabinet work had French styled paneled backboards made out of softwood but the exterior carcasses were almost always stained black which was unique to his workshop. The corner cabinets’ black lacquer tops are another departure from French examples which featured marble. Although Langlois’ mounts were clearly derived from French prototypes, they were almost certainly the work of his son-in-law, the French émigré metalworker Dominique Jean (d. 1807); the large-scale beaded border seen below the tops is also found on other Langlois furniture, including three richly mounted commodes, one in the King’s Bedchamber at Windsor Castle (RCIN 21235) and a pair also in the Royal Collection (RCIN 2549).

These corner cabinets are part of a select group of furniture produced by Langlois that incorporate Chinese lacquer panels and are among his richest, most technically advanced work. Two pairs of commodes from around 1765 incorporate Chinese lacquer which is remarkably similar and could suggest they were all cut from the same Chinese screen. One pair was supplied to Sir Matthew Fetherstonhaugh (1714-1774) for Uppark, Sussex (NT 13647.1 and NT 13647.2) also have lacquer tops; the other pair are at Powis Castle, Wales and feature marble tops (NT 181049). A further single commode commissioned by Sir Horace Walpole for Strawberry Hill is now at the Fine Arts Museum of San Francisco (1985.58).

Whitburn Hall, County Durham, was acquired by Sir Hedworth Williamson, 6th Bt. before his death in 1810 and the house was subsequently enlarged and refurbished by his successors throughout the 19th century. The pair of corner cabinets were likely acquired by the 9th Bt., also Sir Hedworth Williamson (d. 1942), who inherited a massive fortune and was an active collector. He purchased the magnificent rococo paneling from Chesterfield House, London, which he installed at Whitburn in 1937.

$20,000 - 30,000

77 French School, Late 19th/Early 20th Century French Interiors (three works) oil on panel Largest: 14 1/2 x 28 1/2 inches; two smaller: 14 1/4 x 21 inches. $1,000 - 2,000

78

A Régence Needlepoint-Upholstered Giltwood Stool CIRCA 1720

with associated 18th century needlepoint upholstery. Height 10 5/8 x width 22 3/8 x depth 19 1/4 inches.

Provenance: Perrin, Paris, 29 September 1992 (with invoice) $1,000 - 1,500

79

A George III Giltwood Window Bench CIRCA 1775

Height 15 1/4 x width 49 x depth 21 1/2 inches. $2,000 - 4,000

80

A Large Needlepoint Wool Rug

20TH CENTURY

17 feet 11 inches x 12 feet 4 inches.

$2,000 - 4,000

81

A Needlepoint Wool Rug

20TH CENTURY

9 feet 3 inches x 7 feet 9 inches.

$1,000 - 1,500

82

A Pair of Late Louis XVI Gilt Bronze Mounted

White Marble Cassolettes

CIRCA 1790

Height 14 x width 7 inches.

Provenance: Kraemer & Cie., Paris, November 1994 (with invoice) $3,000 - 5,000

83

Gabriel-Jacques de Saint-Aubin (French, 1724-1780)

La Leçon de Harpe brown ink and wash over black chalk 7 3/8 x 5 7/8 inches (sight).

Personnages de Fête Villageoise black chalk and sanguine 5 x 6 3/4 inches (sight).

(La Leçon de Harpe)

Provenance: Marquis Charles de Valori, Paris Hôtel Drouot, Paris, Valori sale, 25-26 November 1907, Lot 222

Albert Besnard

Galerie Charpentier, Paris, Anonymous sale, 22 February 1937 H.W. Calmann, Old Master Drawings, cat. 1953, no. 2 Dr. Victor Bloch, London; Sotheby’s, London, Collection of Dr. Victor Bloch, 16 November 1963, Lot 22

Private Collection Perrin, Paris, October 1989

Exhibited:

Royal Academy of Arts, London, Old Master’s Drawings, Diploma Gallery, 1953 (loaned by Dr. Victor Bloch)

Literature: Emile Dacier, Gabriel de Saint-Aubin Catalogue Raisonné, Paris, 1931, Vol. II, no. 695, p. 121

(Personnages de Fête Villageoise)

Provenance: Private Collection Perrin, Paris, October 1989

$4,000 - 6,000

84

An Empire Gilt Bronze and Tortoiseshell Two-Light Candelabrum à Écran

EARLY 19TH CENTURY

the screen of tripartite form. Height 13 7/8 x width 8 1/2 inches.

$2,000 - 4,000

85

A Pair of Directoire Ormolu and Patinated

mounted as lamps, with shades. Height to top of urn 19 inches; height overall 30

$4,000 - 6,000

86

A Pair of Directoire Parcel-Gilt Bronze Candlesticks CIRCA 1800

mounted as lamps, with shades; each with a tripod base and eagle monopodia.

Height of candlesticks 8 1/2 inches; height overall 18 inches.

$1,000 - 2,000

87

A Pair of Louis XVI Gilt Bronze Two-Light Lamps CIRCA 1770

with tôle shades, the blue intaglio on one example Becker Height overall 27 3/4 inches.

$3,000 - 5,000

88

Attributed to Gilles-Lambert Godecharles (Belgian, 1750-1835)

Putti Playing Music (two works), circa 1785 terracotta Plaques: 8 x 10 1/4 inches.

Provenance: J. Kugel, Paris, 24 June 2002 (with invoice) $1,000 - 2,000

89

Four Italian Neoclassical Painted and Parcel-Gilt Papier-Mâché Relief Plaques LATE 17TH/EARLY 18TH CENTURY 26 1/2 x 19 1/4 inches.

Provenance: Ariane Dandois, Paris, 20 October 2003 (with copy of invoice) $1,000 - 2,000

90

François Boucher (French, 1703-1770)

Putti in the Clouds (two works) pen and brown ink with red chalk on paper 7 5/8 x 9 1/4 inches (sight).

Provenance: Didier Aaron Ltd., London, 14 March 1990 (with invoice)

$8,000 - 10,000 91

A Pair of Continental Faux Marble, Yellow and Chocolate Brown-Ground Porcelain Vases

LIKELY FRENCH, CIRCA 1815-1830

each of shield shape, with faux marble trumpet form mouth and waisted socle foot, upright scroll handles suspending fixed rings issuing from the rounded shoulder with a fruiting vine on lemonyellow ground, beaded bands separating the central panel from the shoulder and socle, the front reserved within a burnished gilt band on the dark reddish brown ground with either a mounted jockey or a Turk on a leaping stallion and the reverse en grisaille with a musical trophy enriched in gilt, each on modern square ersatz quartz base. Height of vases 18 5/8 inches.

Provenance: Ariane Dandois, Paris, 18 November 1994 (as Russian; with Certificate of Guarantee)

$5,000 - 7,000

92

A Fabergé Silver-Mounted Rosewood Stamp Box

MOSCOW, FIRST QUARTER 20TH CENTURY

scratched number ‘18201’ to underside of lid rim, marked with ‘84’ standard and assay of Ivana Lebedkin on interior lid rim, additional assay mark of Ivana Lebedkin on exterior of lid rim at front of box Height 1 1/2 x width 2 1/4 x depth 2 1/4 inches.

Similarly decorated examples are attributed to the workmaster Hjalmar Armfelt.

$3,000 - 5,000

94

A Cartier Yellow Gold, Lapis and Jade-Cased Desk Clock

SECOND HALF 20TH CENTURY

the Roman Numeral dial signed ‘Cartier’, the case stamped ‘HYA 128 / 2904’ to the reverse, the movement stamped ‘Made in Switzerland’ and ‘CAL 57’ in an oval.

Height 3 1/8 x width 2 5/8 x depth 3 inches.

$8,000 - 12,000

93

A Cartier Belle Époque Yellow Gold, Diamond, Enamel and Smoky Quartz Table Clock CIRCA 1915

the dial inscribed ‘L’amitié / Vous l’offre’, the backplate engraved ‘Cartier’, the reverse stamped ‘1028’, ‘1815’ and ‘0198’, the movement stamped ‘M’ and a further plate stamped ‘RASF’, with a later applied plaque bearing engraved presentation inscription Diameter 4 1/4 inches.

$6,000 - 8,000

95

A Cartier Brown Onyx, Green Jade, Yellow Gold, Enamel and Diamond Picture Frame with applied ‘HA’ monogram, the reverse stamped ‘Cartier’ and ‘HYA 79’.

Height 4 3/8 inches.

$8,000 - 12,000

96

A Pair of Vincennes Gilt-Metal Mounted Porcelain Orange Tubs (Caisses à Fleurs Carrées, 2ème Grandeur) Fitted with Porcelain Flowers on Papier-Mâché Stems

THE PORCELAIN POTS 1755

one bearing blue interlaced Ls enclosing date letter B and unidentified flower painter’s mark O, the other with a mark of four dots forming a “lozenge for Fontaine”, the finials later metal replacements, the porcelain flowers also of later date; each square tub on bracket feet with each panel painted in colors with a loose bouquet within a camieu bleu trailing vine, fitted with papiermâché-wrapped metal stems, paper leaves and porcelain flowerheads issuing from the papier-mâché ‘earth’.

Height of cache pots overall 5 5/8 inches; height overall (including plants) 15 1/2 inches.

Provenance:

Carlton Hobbs, London, 8 July 1996 (with invoice)

The present flowerpots are in the shape of the large square tubs designed specifically to hold orange trees. They were produced at both Vincennes and at Sèvres in a variety of sizes of which the present pair are an example of the second largest.

A pair of orange tubs, similar in size and decoration to the present two, both with blue interlaced Ls and the painter’s mark of a comma for Charles-Louis Méreaud, one also with date letter G for 1760, is in the collection of The Metropolitan Museum of Art,

Gift of Barbara Lowe Fallas, 1964 (64.159.2a, b, .3a, b).

The flower painting on the present caisses carrées is by Jacques Fontaine (active 1752-1807), recorded at Vincennes and Sèvres as a painter specializing in flowers, figures, patterns and the highly specialized techniques of cameo decoration popular in the late 1770s and 1780s. He is also recorded as a gilder. His younger sister Mlle. Marie-Louise Fontaine also used a similar mark, but as she is recorded as a painter specializing in flowers and patterns from 1777-1794, the mark on the present orange tubs cannot be hers.

$6,000 - 8,000

97 A Vincennes Bleu Céleste Plein Porcelain Sugar Bowl and Cover (Pot à Sucre ‘à Cerceau’ ou ‘à Cuvier’, 1ère Grandeur) CIRCA 1754 bearing blue interlaced Ls enclosing date letter A, incised 3; of flaring cylindrical form, the conforming cover with bracket finial, the finial and molded edges gilt, with gilt dentil rims. Height 4 1/2 x width 5 inches.

Provenance:  Dragesco-Cramoisan, Paris, June 1996 (purchased at the International Ceramics Fair, London)

The Sèvres archive retains a drawing dated 19 February 1753 that corresponds to the present Vincennes form, describing it as an accompaniment to both a gobelet ‘à cuvier’ and a gobelet ‘à cerceau’ (2011.3.249.1, reproduced here). A simplified variant without the molded banding also exists, designed to pair with a gobelet à la reine

The present bleu céleste plein pot à sucre ‘à cerceaux’, made the following year (1754), is covered in the first ground color produced by the factory, famously used for the first service made for King Louis XV of France, patron of the factory. It displays the lovely ‘cloudy’ yet translucent quality for which early bleu celéste is so prized.

Of the 42 sugar-bowls of this rare model recorded, the present lot and the pot exhibited at the Grand Palais in a seminal exhibition of Vincennes porcelain held October 1977- January 1978 would appear to be the only survivors. Later sold in The Arts of France, Christie’s, New York, 16 November 2000, lot 113, this second pot, decorated with loose bouquets (fleurs détachées) between blue-line-and-gilt-dash banding, is an example of one of the least expensive versions—flower-decorated examples were priced at 18 livres. The present lot is an example of the most expensive version, priced at 54 livres for a sugar-bowl covered overall with a turquoise sky blue (bleu céleste plein) ground. Cf. Porcelaines de Vincennes, les origins de Sèvres, Exhibition Catalogue, Grand Palais, 14 October 1977-16 January 1978, no. 184.

$4,000 - 6,000

Photo Credit: © RMN-Grand Palais / Art Resource, NY

98

A Vincennes Bleu Céleste Porcelain Sugar Bowl and Cover (Pot à Sucre et son Couvercle) CIRCA 1755

bearing blue interlaced Ls enclosing date letter B and unidentified flower painter’s mark of a P; of tapering hemispheric form with slightly everted mouth, the domed cover with gilt ranunculus finial, painted in colors with loose bouquets reserved on the rich turquoise ground in shaped oval cartouches with gilt ciselé ‘thorn’ bands, with gilt dentil rims.

Height 4 1/2 x diameter 3 1/2 inches.

Provenance: Drouot Richelieu, Paris, Anonymous sale, 21 April 1997, Lot 33, catalogue cover illustration John Whitehead, London, 13 June 1997 (purchased at the International Ceramics Fair, London; with invoice)

Although the present sugar bowl is not a form to which a specific name was given by the Vincennes factory and although the identity of neither the painter nor the gilder can be confirmed, there can be no doubt that it is a fine early example of the royal factory’s work and of its first essays with a ground color.

An un-named drawing dated 28 April 1752 corresponding to the shape of the present sugar bowl is retained in the factory’s archives. See Porcelaines de Vincennes: Les Origines de Sèvres, Exhibition Catalogue, Grand Palais, Paris, 14 October 197716 January 1978, cat. no. 207 for an example of the same form, painted in monochrome green with landscape vignettes, its ranunculus knop lacking.

The gilding pattern of rose thorns is associated with the first service made for Louis XV, also decorated with a bleu céleste ground. However, neither the ground color nor the gilding pattern was exclusive to the service. Its unidentified flower painter’s mark of a ‘P’ or ‘p’ is found on Vincennes or early Sèvres porcelain of 1755-1756.

$4,000 - 6,000

99

Two Vincennes Bleu Céleste Ribbon Decorated Porcelain Plates (Assiettes ‘à Guirlandes’) CIRCA 1757

bearing blue interlaced Ls enclosing date letter D and painter’s mark of a fleur-de-lis for Taillandier to one, the other unmarked but with incised script Bp; each painted with a flower spray, that of the unmarked example including a tulip, the wide border with a looped gilt-edged bleu celéste ribbon suspending crossed flower garlands or tight bouquets beneath alternate curves of the loop, the scalloped rim of the plate molded with a trailing vine, gilt ciselé crossed flowering branches at the intersection of each ribbon loop and the same mottled turquoise ground filling the scallop behind, with gilt line rim. Diameter 10 inches.

Provenance:  Dragesco-Cramoisan, Paris, nos. 1231 and 1232, 18 September 1996 (with copy of invoice)

The present two plates are probably from a service in the possession of M. de Laborde in the 18th century. David Peters suggests that M. de Laborde’s service was formed from a delivery of recent stock acquired by Duvaux in 1758. See David Peters, Sèvres Plates and Services of the 18th Century, Little Berkhamsted, 2005, Vol. II, pp. 299-302, service no. 58-1. Between 1 January 1758-1 July 1758, the Sèvres sales records note a delivery to M. Duvaux of assiettes fond bleu celéste et verd, 60 (livres each) 4680 livres in total) (Vy 2 fol. 65).

78

Although the factory records do not specify the exact number of green and blue plates in the delivery, we know from Livre Journal de Lazare Duvaux that the twelve plates delivered to Louis XV (no. 3072) and the six delivered to Mme. de Pompadour (no. 3073) were verd and cost 60 livres each. As the service for M. de Laborde included sixty plates, they must have included examples with bleu céleste ribbons scrolling around the border.

Jean-Joseph de Laborde was a merchant, financier and politician from Bayonne who acquired his fortune through maritime trade, particularly supplying the American colonies, became Fermier Général in 1759 and later financier to the French Court during the Seven Years War.

Vincent Taillandier (active 1753-1790) is recorded at Vincennes and Sèvres as a painter specializing in flowers as well as patterns and ground patterns.

$8,000 - 12,000

100

A Sèvres Silver-Gilt Mounted Bleu Céleste Porcelain Hot Milk Jug and Cover (Pot à Lait ‘Duvaux’) CIRCA 1763

bearing blue interlaced Ls enclosing date letter K, painter’s mark of an anchor for Buteux and incised M; the small squat pearshaped pot with flat slightly domed cover hinged to the loop handle with a silver-gilt mount and shell-shaped thumb rest, painted front and back either with a trophy emblematic of Autumn (ribbon-tied thyrsus, wine ewer, fruiting vine) or of Spring (pilgrim’s straw hat with scallop shells on the brim, walking stick, Cupid’s arrow and flaming torch, flower garland) reserved on the bleu céleste ground within a concentric gilt ciselé band and a further trailing vine, the cover with a less elaborate trophy, the handle and applied spout left in the white within gilt banding, with gilt dentil rims. Height 4 1/4 inches.

Provenance: Elizabeth Parke Firestone, Detroit, Michigan; Christie’s, New York, The Elizabeth Parke Firestone Collection, Part I, 21 March 1991, Sale 7254, Lot 246 (as part of a déjeuner losange à baguette) Dragesco-Cramoisan, Paris, no. D.1062, 18 September 1996 (as a marabou; with copy of invoice)

Exhibited: Detroit Institute of Arts, Detroit, French Taste in the Eighteenth Century, 2 April-2 June 1956, loan nos. 469a-d as a part déjeuner losange à baguette comprising a lozenge-shaped tray, the present hot milk jug and cover, a sugar bowl and cover, a cup and saucer

The shape of the present squat pear-shaped hot-milk jug and cover takes its name from a plateau ‘Duvaux’, a serpentine pentagonal two-handled tray for a tea or coffee service. One such déjeuner is in the Rothschild Collection at Waddesdon Manor, painted with reserves on a bleu nouveau ground after David Teniers. See Tamara Préaud and Marcelle Brunet, Sèvres des origines nos jours, Fribourg, 1978, plate XXXI, no. 121 and Svend Erikson, The James A. De Rothschild Collection at Waddesdon Manor: Sèvres, Fribourg, 1968, no. 58.

When its loop handle is replaced with a vari-baluster handle repositioned to the side, the shape of the present model is known as a ‘marabou’. Described as a coffee pot when the handle is at the side, an example painted with loose bouquets within blueline-and-gilt-dash rims was included in Elizabeth Parke Firestone’s collection sale, lot 216. Whether sold on their own or as part of a small service, neither pots à lait ‘Duvaux’ nor marabou are commonly found. A gold-mounted example painted with a muddy landscape reserved on a rose marbré ground from the New England Collection was sold Christie’s, New York, 5 May 1999, sale 9182, lot 63. A frises riches Déjeuner Losange of 1763 that included a marabou as a coffee pot along with a sugar bowl and cover and a cup and saucer, was sold Christie’s, New York, Treasures of France, sale 2762, 23 October 2012, lot 157.

Charles Buteux l’aïné, later père (active 1756-1782), is recorded at Sèvres as a painter specializing in figures, trophies and flowers, but it is trophy painting for which he is best known and on which his reputation as a skilled decorator rests.

$6,000 - 8,000

101

A Pair of French Soft-Paste Porcelain White Bouquetière Figures

PROBABLY SAINT-CLOUD OR MENNECY, CIRCA 1750 modelled as a peasant couple in mid-18th century dress, the woman seated with a shallow oval basket supported on her skirt between her knees, her hands resting on either side of the basket’s rim, the man seated on a rockwork base, the man seated with a storage basket resting on the ground between his knees, both baskets with fixed covers pierced to receive flowers. Height of taller figure (man) 9 1/2 inches.

Provenance:  Dragesco-Cramoisan, Paris, February 1998 (as Mennecy)

The present pair of cut flower holders modeled as flower sellers were inspired by the hard-paste porcelain models by Johann Joachim Kändler of circa 1745 for the Meissen factory.

Conclusively identifying the factory responsible for unmarked French glazed soft-paste porcelain examples can be difficult. The present pair are certainly mid-18th century in date. The only question is whether they were made at Mennecy or at Saint-Cloud, as they exhibit traits of both manufactories.

The corn kernel-like molding of the basket between the male figure’s knees is not dissimilar to the molding of a potpourri box and cover modeled as a basket of flowers sold as Saint Cloud in the sale of French porcelain from the Collection of Elizabeth Parke Firestone, sold Christie’s in New York, 21 March 1991, lot 1. Acquired by MaryLou Boone at the auction, it is now in the collection of the Los Angeles County where it is attributed instead to the Sceaux porcelain factory of Jacques Chapelle. See Elizabeth A. Williams, ed., Daily Pleasures: French Ceramics from the MaryLou Boone Collection, Exhibition Catalogue, Los Angeles County Museum of Art, 2012, cat no. 111.

Cat. no. 107 in the same Boone catalogue are two French soft-paste white figures—one a cobbler, the other an itinerant worker. Attributed to Mennecy, they too share marked similarities with the present bouquetières, particularly the color of the paste, pooling of the glaze and modeling of the clothing and facial features.

$3,000 - 5,000

102

A French Biscuit Porcelain Bust of François-Marie Arouet, Called Voltaire 1766-1773

after a model by Jean Houdon, with incised script monogram JB at the rear truncation for Bachelier; en déshabille wearing a jacket, an open-necked lace-edged shirt and no wig, his head to the left, truncated at the shoulders and on waisted circular socle.

Height 7 1/4 inches.

Provenance: Dragesco-Cramoisan, Paris, no. 1229, 18 September 1996 (with copy of invoice)

Another example of the present model, also acquired from Dragesco-Cramoisan, along with its pendant, a portrait of the composer Jean-Philippe Rameau, are in the collection of The British Museum (1988,0701.2 and 1988,0701.1, respectively), both socles ormolu enrichments. The sculptor Jean Claude François Rosset was traditionally assigned authorship of the informal likeness of the playwright and philosophe. However, there is no basis for the attribution in the factory records. Jean-Jacques Caffieri has also been posited as a potential source (see Emile Bourgeois, Le Biscuit de Sèvres au XVIIIe Siècle, Paris, 1909, Vol. I, pp. 91-92).

According to the factory inventory of 1 January 1770 (SCS, Archives de Sèvres, I 7), the bust of Voltaire and that of Rameau each sold for 60 livres. Subsequent inventories show the price coming down. See Aileen Dawson, A Catalogue of French Porcelain in the British Museum, London, 1994, no. 150, pp. 185-186 for a detailed discussion of the model, its pair, and what details the factory records do reveal of the model’s history and commercial success. The museum’s website also provides a comprehensive discussion (https://www.britishmuseum.org/collection/object/H_1988-0701-2).

At Sèvres, incised control marks, generally the initials of the head of the sculpture studio, were added to finished biscuit sculpture as a mark of approval and quality control. They help date the piece, as neither an incised nor a painted interlaced Ls mark with a date letter was ever used on sculpture.

Jean-Jacques Bachelier served twice as head of the sculpture studio at Vincennes/Sèvres—from 1751-1757 and again from 1766-1773, taking over from Etienne-Maurice Falconet when he went to Russia.

$2,000 - 4,000

103

A Sèvres Lilac-Ground Hexagonal Hard-Paste Porcelain Teapot and Cover (Théière ‘Chinoise Fragonard’) CIRCA 1819 bearing stenciled blue interlaced Ls enclosing a fleur-de-lis mark with incised kiln date cypher 14-10 for October 1814 and gilt m, 11, n, 18 (sic) M... for gilding on 11 November 1818 (sic) possibly by Moyer; the hexagonal baluster pot with conforming slightly domed hexagonal cover with gilt coral flower finial, a molded gilt-edged central frieze painted in coral red with a key pattern, the applied upright loop handle also coral with stylized gilt leaf terminals, the angled faceted spout with gilt wolf-head mouth with a bell suspended as the terminal, the neck of the pot coral with a gilt ball resting at the angle of each of the six facets. Height 5 1/2 inches.

Provenance: Nicolier, Paris (labeled) Dragesco-Cramoisan, Paris, 16 June 1995 (purchased at the International Ceramics Fair, London; with invoice)

Exhibited: New York, Bard Graduate Center for Studies in the Decorative Arts, The Porcelain Manufactory at Sèvres, 1800-1847: Alexandre Brongniart and the Triumph of Art and Innovation, 14 October 1997-31 January 1998, cat. no. 47

Washington, D.C., Hillwood Museum and Gardens, Sèvres Then and Now: Tradition and Innovation in Porcelain 1750-2000, 12 September-10 December 2006, cat. no. 41

Literature: Tamara Préaud, ed., The Porcelain Manufactory at Sèvres, 1800-1847: Alexandre Brongniart and the Triumph of Art and Innovation, Exhibition Catalogue, Bard Graduate Center for Studies in the Decorative Arts, 1997, cat. no. 47 Liana Paredes, Sèvres Then and Now: Tradition and Innovation in Porcelain 1750-2000, London, 2009, cat. no. 41, pp. 84-85

Designed for Sèvres by Alexandre-Evariste Fragonard in April 1818, the thèière chinoise Fragonard was put into production immediately. The present teapot and the other example in this sale (lot 104) are two of the earliest examples made, the form produced between 1818 and 1846 as a standalone teapot. Later examples featured more elaborate decoration such as that of 1827 now in the collection at Sèvres-Cité de la céramique (MNS 24.784).

Three of the five easily located extant examples were at one time in the collection of Mr. and Mrs. Fred Krehbiel. The third, an agate blue-ground pot painted and gilt in the style of Chinese cloisonné enamel, purchased from Dragesco-Cramoisan in October 2006, was a gift to the Art Institute of Chicago in 2010.

Fragonard was paid 30 francs for his design. His watercolor of it, retained in the factory’s archives (2011.3.900, reproduced here), is almost identical to the present pot, with decoration of a coral red fretwork frieze enriched in gilt on a powdered lavender ground.

The salesroom entry records for 26 December 1818 include the first eight examples of the thèière chinoise Fragonard. The Sèvres factory held its annual selling exhibition at the Palais du Louvre 29 December 1818-8 January 1819. In total, seventeen examples are recorded between 1818 and 1821, each priced at 36 francs. These were almost certainly a solid ground color with a fretwork frieze similar to the two examples in the present sale. The present sale (lot 103 and 104), with its incised kiln date of October 1819 is obviously from this group.

Two with a blue ground enriched in gilt and priced at 55 francs may be similar to an example of 1819-1820 sold at auction at Drouot by Audap & Associés, Paris, 10 December 2020, lot 134. Between 1827 and 1846, eight further examples of the form are recorded with richer decoration. The teapot now at the Art Institute dated 1832-1835 (2010.583a-b) may be from this group.

The factory markings on this teapot present a conundrum, in that the gilder’s mark appears to predate the kiln date. The incised kiln date 1910 is written in a typical 18th century hand, the loop of the 9 not closing completely. It is the inscribed gilding date of 1818 that must be incorrect. M…. may be for Jean-Louis Moyer (active 1818-1848), recorded at Sèvres as a gilder who used a wide capital M as his mark. Looking at the dates involved, the present teapot with its patently incorrect gilding year will have been one of his first pieces, so perhaps one can excuse the error.

$7,000 - 9,000

104

A Sèvres Powdered Pale Blueish Grey-Ground Hexagonal Hard-Paste Porcelain Teapot and Cover (Théière ‘Chinois Fragonard’) CIRCA 1819-1820 bearing stenciled blue interlaced Ls enclosing a fleur-de-lis with incised kiln date cypher 19-10 for October 1819 and gilt m 24 Mr 20 for an unknown gilder on 24 March 1820; the hexagonal baluster pot with conforming slightly domed hexagonal cover with gilt coral flower finial, a molded gilt-edged central frieze painted in coral red with a key pattern, the applied upright loop handle also coral with stylized gilt leaf terminals, the angled faceted spout with gilt wolf-head mouth with a bell suspended as the terminal, the neck of the pot coral with a gilt ball resting at the angle of each of the six facets. Height 5 1/2 inches.

Provenance:  Dragesco-Cramoisan, Paris, 16 June 2001 (with copy of invoice)

The present teapot was likely gilt by Jean-Louis Moyer (active 1818-1848), recorded at Sèvres as a gilder and using a wide capital M as his mark.

$5,000 - 7,000

Photo Credit: © RMN-Grand Palais / Art Resource, NY

105

An Italian Polychrome and Cream-Painted and Parcel-Gilt Cabinet

LATE 18TH CENTURY decorated with flowers, foliage and butterflies throughout. Height 93 x width 41 1/4 x depth 18 inches.

Provenance: Mallett Ltd., London, 30 March 1987 (with invoice) $1,500 - 2,500

106

A Pair of Victorian Cream and Green-Painted Cast Metal Jardinières

LATE 19TH CENTURY

the planters of campagna urn form with latticework, on faux bois bases. Height overall 46 x width 18 x depth 18 inches. $2,000 - 4,000 107

A Set of Four George III Cream and GreenPainted Ladder-Back Dining Chairs

THREE EXAMPLES LATE 18TH CENTURY, ONE EXAMPLE 20TH CENTURY comprising two armchairs and two side chairs, one of the armchairs a modern example painted similarly to match the set.

Height of armchairs 37 x width 22 inches.

Provenance: John Allsopp Antiques Ltd., London, 7 November 1986 $800 - 1,200

108

108 Gordon Davies (British, 1926-2007)  South View, Hastingleigh, Ashford, Kent (two works), 1995 oil on board signed and dated (lower right), further inscribed to verso 54 x 36 inches; 53 78 x 36 inches. $1,000 - 2,000

Lot 108A Fabienne Verdier (French, b. 1962) Cercie – Ascese (from Silencieuse Coincidence), 2006 ink, pigments and varnish on canvas signed (verso) 73 x 59 inches.

Provenance: Ariane Dandois, Paris, 24 October 2006 (with invoice) $60,000 - 80,000

109

A Louis XVI Provincial Stained Fruitwood Marble-Top Console Table CIRCA 1785 previously painted. Height 35 1/4 x width 83 1/2 x depth 27 1/2 inches. $2,000 - 3,000

110

Philip and Kelvin LaVerne (American, 1907-1987 | American, b. 1937) Chan etched, patinated and polychromed bronze, pewter raised signature Height 17 1/2 x diameter 47 1/4 inches. $4,000 - 6,000

coffee table

20TH CENTURY

Height 84 x width of each panel 24 inches.

Provenance: Colefax and Fowler, London, 8 July 1983 (with invoice)

$2,000 - 3,000

112

A Pair of French Polychrome Glazed Faience Jardinières

VEUVE PERRIN, MARSEILLE, 18TH CENTURY each marked VP to the underside.

Height 11 3/4 x diameter 12 1/2 inches.

$500 - 700

113

A Near Pair of George III Giltwood Oval Mirrors CIRCA 1795

Height 16 1/4 x width 14 1/8 inches.

Provenance:

Ronald Phillips Ltd., London, 3 July 2000 (with invoice)

$2,000 - 3,000 114

A Set of Six George III Cream-Painted and Parcel-Gilt Armchairs

CIRCA 1790 after a design by Gillows.

Height 36 5/8 x width 22 1/2 inches.

$5,000 - 7,000

115

A Northern European White-Painted and Parcel-Gilt Oval Firescreen  LATE 18TH CENTURY with later inset toile de Jouy wallpaper panels. Height 35 x width 20 3/4 x depth 16 inches. $800 - 1,200

116

A Set of Four Louis XVI Provincial Blue and White-Painted Side Chairs BY JEAN-BAPTISTE DEMAY, CIRCA 1785 one seat rail stamped I.B. DEMAY Height 34 1/4 x width 17 inches. $2,000 - 4,000

117

Four Framed Groups of Grand Tour Plaster Intaglios  19TH CENTURY, THE FRAMES 20TH CENTURY Frames: 20 1/2 x 20 1/2 inches.

$1,000 - 2,000

118

A Pair of Louis XVI Provincial White-Painted Fauteuils POSSIBLY NORTH EUROPEAN, LATE 18TH CENTURY Height 36 x width 24 inches.

$1,000 - 2,000

119

A Custom Two-Piece Banquette Sofa 20TH CENTURY

Each: height 33 1/2 x length 56 x depth 37 inches. $800 - 1,200

120

A Pair of Chinese Export Black Lacquer and Parcel-Gilt Low Tables

LATE 19TH/EARLY 20TH CENTURY

Height 18 x width 15 x depth 15 inches.  $1,000 - 1,500

122

A Set of Four Louis XVI Grey-Painted Fauteuils  BY NICOLAS LEXELANT, PARIS, CIRCA 1775 each stamped on the reverse of the seat rail. Height 35 1/2 x width 23 inches.

Provenance: Jean Hourcade, Paris, 7 July 1979 (with invoice) $3,000 - 5,000

123

An Aubusson Style Oval Rug CIRCA 1920

11 feet 10 inches x 7 feet 11 inches.

Provenance: Stair & Company, New York, 20 January 1990 (with invoice)

$1,000 - 1,500

124

A Sèvres Green-Ground Porcelain Sugar Bowl and Cover (Pot à Sucre ‘Bouret’ et son Couvercle, 2ème Grandeur)

CIRCA 1780

bearing blue interlaced Ls mark; painted in colors with a flowering vine below a band of gilt rosettes reserved on gilt-edged green ovals, with gilt dentil rims and a gilt filet along the foot, the domed cover with gilt berry finial.

Height 4 1/2 x diameter 3 3/8 inches.

A gobelet ‘Litron’ and saucer similarly decorated to the present example with gilt rosettes and flowers but on a bleu céleste ground, marked with interlaced Ls enclosing date letters cc for 1780, with painter’s mark of a ‘y’ for Bouillat and gilder’s mark ‘LG’ for Le Guay is in the collection of the Victoria and Albert Museum (3612-1856).

$1,000 - 2,000

125

A Sèvres Bleu Céleste Porcelain Seven-Piece Tea Service (Dejeuner ‘Courteille’) CIRCA 1780

each bearing blue interlaced Ls enclosing date letters cc below painter’s mark of a comma for Méreaud le jeune and above gilder’s mark ‘#’ for Chavaux père, with various incised marks; painted with trailing flower garlands and wreaths, the shaped turquoise border richly gilt and chased with a laurel garland, echoing the shape of the border edged with a gilt ciselé band, comprising a shaped rectangular two-handled tray, a teapot and cover, a sugar bowl and cover and four cups and saucers; 7 items total.

Length of tray over handles 14 1/4 inches.

A ‘déjeuner’ is the name given to a small tea or coffee set with a matching tray, the name for the overall set dictated by the shape name given the tray. In this case, it is a shaped serpentine rectangular tray or plateau ‘Courteille’ with rounded corners and angled side handles, named after the marquis de Courteille, the King’s representative in charge of the Vincennes/ Sèvres manufactory, to whom the first example of this tray was presented in December 1753. Sales records show Déjeuner ‘Courteille’ produced from 1757 into the 1780s.

The selection of pieces making up the set can vary, as can the size and shape of the tray and of the individual pieces, the complement of pieces dictating the use for the déjeuner. The present déjeuner of a théière ‘Calabre’, 3ème grandeur, a pot à sucre ‘Bouret’, 2ème grandeur, and four gobelets ‘Litron’ et soucoupes, 3ème grandeur resting on a plateau ‘Courteille’ originally will have included a pot à lait à trois pieds, likely 2ème grandeur. The individual pieces comprising the set will have been completed at the same time by the same decorators, resulting in identical factory, painters and gilders marks on each piece, as is the case here. With four cups, it is the largest such service produced, although the cups themselves are likely the smallest.

Déjeuner ‘Courteille’ can be found in The Wallace Collection, the Wadsworth Atheneum, and the Victoria and Albert Museum, among others. Cf. Rosalind Savill, The Wallace Collection – Catalogue of Sèvres Porcelain, London, 1988, pp. 615-621, cat. no, C401-6, pp. 615-621. Linda H. Roth and Clare Le Corbeiller, French Eighteenth-Century Porcelain at the Wadsworth Atheneum –The J. Pierpont Morgan Collection, 2000, cat. no. 83, pp. 175-178.

Charles-Louis Méreaud le jeune (active 1756-1780) is recorded at Sèvres as a painter specializing in flowers and patterns. Michel-Barnabé Chavaux père (active 1752-1788) is recorded at Vincennes and at Sèvres as a gilder. Their work on the present déjeuner is typical of that found on tablewares of the late 1770s-1780s, showcasing their talent and expertise of their specialties honed over many years at the factory.

$8,000 - 12,000

126

A Pair of Paris Porcelain Pink-Ground Vine-Decorated Candlesticks and a Jardinière LOUIS MARIE FRANÇOIS RIHOUËT, CIRCA 1825 both candlesticks with gilt ‘Rihouet’, the jardinière marked in black ‘Rihouet rue de la paix No. 7’ and ‘314.’ (the latter partially obscured), each with printed fabric label to the underside with respective inventory numbers ‘T. 7293’, ‘T. 7294’ and ‘T. 7295’

Height of candlesticks 10 inches.

Provenance: Princes von Thurn und Taxis, Schloss St. Emmeram, Bavaria Ariane Dandois, Paris, 16 February 2000 (with Certificate of Guarantee)

$1,000 - 1,500

127

A Napoleon III Gilt Bronze Figural Mantel Clock LEROY ET FILS, PARIS, CIRCA 1850 depicting Victory, the movement stamped ‘No.298?5 / L’EROY ET FILS / HGERS DU ROI A PARIS’ and indistinctly stamped in an oval. Height 19 1/4 x width 15 1/2 x depth 6 inches.

$1,000 - 1,500

128

A Regency Brass Mounted Rosewood and Rosewood Grained Writing Table MANNER OF JOHN MCLEAN, CIRCA 1805 with three quarter Greek key gallery and a green tooled leather inset writing surface, the underside of one drawer front impressed 1379

Height 29 1/2 x width 44 x depth 23 3/4 inches.

Provenance: Colefax and Fowler, London, 1980

A nearly identical example was sold at Christie’s, London, 11 November 1999, lot 60.

$3,000 - 5,000

129

A Regency Style Gilt Metal and Glass Three-Light Lantern 20TH CENTURY

Height 28 1/2 x diameter 12 1/2 inches.

$800 - 1,200

130

A Pair of George III Giltwood Wall Brackets

CIRCA 1765

Height 19 1/4 x width 8 1/4 x depth 6 inches.

$1,000 - 2,000

A Pair of Late George III Rosewood, Satinwood, Ebonized and Parcel-Gilt Side Tables

adapted from pole screens.

Height 29 1/4 x width 18 1/4 x depth 14 inches.

The Earls of Rosse, Birr Castle, County Offaly, Ireland Anthony James & Son Ltd., London, 16 February 1995

$1,000 - 1,500

132

Circle of Jean-Jacques Bachelier, 19th Century Still Lifes with Baskets of Flowers (two works) oil on canvas  Each: 13 7/8 x 13 7/8 inches.

$2,000 - 3,000

A Swedish Neoclassical Gilt Bronze, Cobalt

and Colorless Glass Chandelier

Height 46 1/2 x diameter 41 1/2 inches.

$8,000 - 12,000

A Directoire Mahogany Dining Table  with seven leaves.

Height 28 1/2 x length (fully extended) 212 3/4 x depth 69 3/4 inches.

$3,000 - 5,000

136

A Swedish Baroque Gilt Metal and Cobalt Glass Mirror

ATTRIBUTED TO BURCHARD PRECHT, EARLY 18TH CENTURY

Height 42 x width 26 inches.

Provenance: Ariane Dandois, Paris, 18 November 1994 (with copy of invoice)

Burchard Precht was one of the most prominent sculptors in Sweden during the 17th and early 18th centuries. Born in Bremen, Germany to a lineage of artisans—Burchard’s father was a sculptor and older brother a wood carver for whom Burchard was an apprentice—Precht arrived in Stockholm in 1674 to assist in the decoration of Drottningholm Palace, the private residence of the Swedish royal family; in 1681 he became a court sculptor. Precht traveled to France and Italy later in the decade, alongside Nicodemus Tessin the Younger, where the two initially encountered the Baroque style. Upon his return home, Burchard began incorporating hallmarks of this style into his work, eventually becoming a primary influence on the development and evolution of Swedish Baroque design.

Throughout much of his later career, Precht produced impressive church fittings out of his workshop for such notable churches as the Stockholm Cathedral, Gustaf Vasa Church and Uppsala Cathedral. His oeuvre included royal pews and pulpits, altarpieces, epitaphs, gilded furniture and ornate frames for mirrors and pictures, in addition to some marble sculptures produced for royal buildings. His workshop’s notoriety is most attributed to its production of fine mirrors like the present lot, which were known as examples of the highest quality of Swedish design. Similar works were also built by Precht’s sons Gustav and Christian, both of whom are also renowned for their individual contributions to Swedish design. See lots 178 and 214 for two other Precht mirrors, respectively attributed to Burchard and Gustav.

$8,000 - 12,000

137

A George III Brass and Steel Firegrate

LAST QUARTER 18TH CENTURY

Height 28 x width 32 x depth 15 inches.

Provenance: Mallett Ltd., London, 3 April 1981 (with invoice)

$1,000 - 1,500

138

An Irish Queen Anne Silver Footed Bowl WM. ARCHDALL, DUBLIN, 1713 hallmarked for Sterling on underside 8 ozt 16 dwt

Height 3 1/4 x diameter 5 inches.  $1,000 - 1,500

139

An Irish George I Silver Loving Cup EDWARD WORKMAN, DUBLIN, 1714 hallmarked for Sterling on underside 11 ozt 18 dwt

Height 4 3/4 x width 7 inches.

Provenance: Johnson Antiques Ltd., Chicago, 2 June 2006 (with invoice)

$1,000 - 1,500

140

An Irish George II Silver Footed Bowl WILLIAM TOWNSEND, DUBLIN, CIRCA 1775 hallmarked for Sterling on underside 21 ozt 6 dwt

Height 4 1/4 x diameter 8 1/2 inches.

Provenance: S.J. Shrubsole, New York, 17 December 1997 (with copy of invoice)

$1,200 - 1,800

141

An Irish George III Silver Centerpiece Basket

RICHARD SAWYER, DUBLIN, 1799 hallmarked for Sterling on body and handle 38 ozt 6 dwt

Height 11 x width 15 inches.

$1,000 - 1,500

142

An Irish Silver Dish Ring  T. WEIR AND SONS, DUBLIN, 1915 hallmarked for Sterling on body 13 ozt 12 dwt

Height 4 1/2 x diameter 8 1/2 inches.

$700 - 900

143

A Provincial Irish Georgian Dish Ring MID-18TH CENTURY with an associated blue glass liner. marked with bright cut ‘Sterling’ on interior of base rim 13 ozt 2 dwt

Height 3 3/8 x diameter 7 3/4 inches.

$1,500 - 2,500

144

A George III Silver Epergne  FRANCIS BUTTY AND NICHOLAS DUMEE, LONDON, 1769 hallmarked for Sterling throughout 116 ozt 1 dwt gross Height 19 x width 23 1/2 inches.

$7,000 - 9,000

145

A George III Silver Loving Cup  MATTHEW BOULTON, BIRMINGHAM, 1809 hallmarked for Sterling on footrim 48 ozt 10 dwt

Height 10 3/8 x width 9 1/2 inches.

Provenance: Johnson Antiques Ltd., Chicago $1,000 - 1,500

146

A Paul Storr Silver Fruit Bowl  LONDON, 1814 hallmarked for Sterling on body beneath acanthus banding 19 ozt 12 dwt

Height 4 x diameter 6 1/8 inches.

Provenance: Johnson Antiques Ltd., Chicago, no. 4324, 20 June 1996 (with invoice) $3,000 - 5,000

147

A Pair of George IV Silver-Gilt Shell Form Master Salts both with an engraved image of a crown over a standing lion to the exterior body of shell.

hallmarked for Sterling 17 ozt 10 dwt

Height 1 1/2 x width 4 inches.  $400 - 600

148

A Pair of George III Silver Tumblers  JOHN EMES, LONDON, 1801 hallmarked for Sterling on body 13 ozt 14 dwt

Height 4 x diameter 3 1/4 inches. $800 - 1,200

149

A Scottish George IV Silver Lyre Form Lemon Strainer  ROBERT GRAY AND SON, GLASGOW, 1820 hallmarked for Sterling in strainer bowl 7 ozt 17 dwt

Width 13 3/8 inches.

$1,500 - 2,500

150

A Scottish George IV Silver Pitcher

JAMES MCKAY, EDINBURGH, 1829 hallmarked for Sterling on neck 18 ozt 12 dwt

Height 6 1/4 x width 7 inches.

$500 - 700

151

A Victorian Silver Dish Ring GEORGE FOX, LONDON, 1897 with an associated blue glass liner. hallmarked for Sterling on pierce decoration 16 ozt 10 dwt Height 3 1/2 x diameter 8 1/4 inches.

Provenance: Johnson Antiques Ltd., Chicago, no. WLL 2604, 29 September 1993 (with invoice)

$800 - 1,200

152

A French Silver Flatware Service

MAISON ODIOT, PARIS, 20TH CENTURY

Compiègne pattern, comprising:

12 dinner knives 12 dinner forks 12 salad forks 12 teaspoons 12 soup spoons 12 dessert spoons

11 butter spreaders, together with an associated French silver lemon fork and jelly knife;

85 items total.

149 ozt 3 dwt weighable

Length of dinner knife 10 1/4 inches.

$6,000 - 8,000

153

A French Silver Sauce Boat  MAISON ODIOT, PARIS, 19TH CENTURY marked with ‘950’ standard on underside 12 ozt 5 dwt gross Height 4 3/4 x width 8 inches.

$700 - 900

154

A Pair of Russian Silver Candlesticks CARL HEINE, ST. PETERSBURG, FIRST HALF 19TH CENTURY marked with ‘84’ standard on footrim 39 ozt 10 dwt Height 11 1/4 inches.

Provenance: Sotheby’s, New York, Faberge, Russian Works of Art and Objects of Vertu, 21 June 1994, Lot 151 (with copy of invoice)

$800 - 1,200

155

A Russian Enameled Silver Coffee Cup and Saucer  11TH ARTEL, MOSCOW, CIRCA 1910 with guilloche, champlevé and plique-à-jour enamel decoration and original porcelain liner. marked with ‘84’ standard on underside of plate and cup 9 ozt 9 dwt gross Diameter of saucer 4 1/8 inches.

Provenance: Leo Kaplan, New York, no. 3-784, 8 October 1994 (with invoice)

$2,000 - 3,000

A Fabergé Silver Creamer and Sugar Bowl MOSCOW, CIRCA 1908-1917

each having an engraved monogram on collar.

stamped on underside with ‘84’ standard, Moscow mark, ‘MC’ and ‘FABERGE’, the sugar with scratched inventory number ‘2380’, both with scratched letters ‘MC’ 15 ozt 9 dwt

Height of creamer 3 1/2 inches; height of sugar 3 x width 6 3/4 inches.

$1,000 - 1,500

157

A Fabergé Silver Creamer and Covered Sugar Set  WORKMASTER’S MARK OF JULIUS RAPPOPORT, ST. PETERSBURG, LATE 19TH/EARLY 20TH CENTURY

each marked with ‘84’ standard 22 ozt 14 dwt

Height of sugar 4 3/4 x width 6 1/2 inches.

$4,000 - 6,000

158

A George III Mahogany China Cabinet

Height 63 1/4 x width 53 x depth 20 inches.

Hotspur Ltd., London, 3 April 1987 (with invoice)

Percy Macquoid and Ralph Edwards,  , vol. 1, p. 167, fig. 35

$4,000 - 6,000

The Dictionary of English Furniture $4,000 - 6,000

A Pair of Chinese Sandalwood Lute Tables

both carved with bats at the corners of the apron joined by an interlocking rope design, raised on unusual hoof feet.

Height 33 1/2 x width 45 x depth 15 3/4 inches.

Provenance: Charlotte Horstmann & Gerald Godfrey Ltd., Hong Kong, no. S4/A390, 18 November 1985 (with invoice)

$5,000 - 7,000

160

A Chinese Export Black and Gilt Lacquer Pagoda-Form Stacking Container

CIRCA 1790

comprised of seven separate boxes, with original fitted gilt tooled leather case of European origin with original silk lining.

Height 26 inches.

Provenance: Jeremy Ltd., London, 4 February 1991 (with invoice)

$3,000 - 5,000

A Pair of Delftware Vases and Covers 18TH CENTURY both with conjoining PK mark to the underside. Height overall 29 inches.

$1,000 - 2,000

163

Twelve Blue and White Porcelain Plates from the Nanking Cargo CIRCA 1750 Diameter 9 1/4 inches.

Provenance: Christie’s, Amsterdam, The Nanking Cargo Sale, 28 April-2 May 1986, Lot 3534 (labeled)

$1,000 - 2,000

164

A Chinese Peking Blue Glass Vase FIRST HALF 19TH CENTURY, QING DYNASTY, DAOGUANG PERIOD on blackwood stand. Height of vase 10 x diameter 12 inches.

Provenance: Charlotte Horstmann & Gerald Godfrey Ltd., Hong Kong, 10 November 1997 (with copy of invoice)

$1,500 - 2,500

165

A Restauration Gilt and Patinated Bronze Twelve-Light Chandelier CIRCA 1815

Height 34 x diameter 21 1/4 inches.

$3,000 - 5,000

166

A Set of Eight Regency Black-Painted and Parcel-Gilt Dining Chairs CIRCA 1810

Height 34 x width 18 3/4 inches.

$3,000 - 5,000

167

A Louis XV Gilt Metal Mounted Green-Painted Bracket Clock and Bracket CIRCA 1745, THE BRACKET MODERN Height of clock 31 x width 15 inches; height of bracket 13 1/2 x width 16 3/4 x depth 5 3/4 inches. $800 - 1,200

168

An Empire Gilt Bronze Mounted Marble-Top Mahogany Console

CIRCA 1805 with handwritten paper label inscribed St. Claire Height 39 x width 55 1/2 x depth 20 1/4 inches.

Provenance: Possibly acquired from Renoncourt, Paris (labeled) $5,000 - 7,000

A Pair of Charles X Bronze Candelabra Bases

mounted as lamps, with shades. Height of candelabra 16 1/2 inches.

$1,000 - 2,000

170

A Flight, Barr and Barr Worcester Porcelain Ice Pail with Cover and Liner CIRCA 1813-1820

the underside of the lid marked with an impressed crown and the letters ‘BFB’, the underside of the base inscribed with descriptions of the scenes pictured in each cartouche: ‘Abbey Church, St. Albans, Hertfordshire’ and ‘On the River Usk -Monmouthshire’, further inscribed ‘Flight Barr & Barr / Royal Porcelain Works -- Worcester’ and ‘London House / 1 Coventry Street’.

Height 12 x width 11 x depth 9 inches.

$1,000 - 2,000

171

A Pair of Italian Alabaster Urns and Covers  SECOND QUARTER 19TH CENTURY mounted as lamps, one restored. Height overall 28 1/4 inches.

$1,000 - 2,000

172

An English   Transferware Dinner Service HERCULANEUM FACTORY, LIVERPOOL, EARLY 19TH CENTURY comprising:

Etruscan

8 dessert plates

18 salad plates

16 soup bowls

6 bread and butter plates

7 oval serving dishes (of varying size)

2 rectangular serving dishes

2 covered rectangular tureens

1 oval covered tureen;

60 items total

Diameter of salad plates 8 1/2 inches.

Provenance: Graham and Oxley, London, 1986

$2,000 - 4,000

173

A Charles X Bois Citronnier and Amaranth Line-Inlaid Étagère CIRCA 1825

Height 63 x width 37 1/2 x depth 16 inches.

$2,000 - 3,000

174

A Pair of Restauration Ormolu and Patinated Bronze Figural Candlesticks CIRCA 1815

Height 11 3/4 inches. $800 - 1,200

175

An English Neoclassical Orange-Ground Porcelain Potpourri Bowl and Cover  CIRCA 1815

decorated with stylized acanthus leaves and key pattern, the cover with a figural finial. Height overall 15 inches.

Provenance: Graham and Oxley, London, 4 August 1982 (with invoice)

$800 - 1,200

176

A Set of Six Swedish Neoclassical Gilt Bronze and Cobalt and Colorless Cut Glass Wall Lights

SECOND QUARTER 19TH CENTURY

Height 24 x width 16 3/4 inches.

$3,000 - 5,000

177

An Irish George III Cobalt and Colorless Cut Glass Oval Mirror

CIRCA 1780

Height 24 3/4 x width 16 1/2 inches.

$800 - 1,200

A Swedish Baroque Verre Églomisé and Giltwood Mirror

ATTRIBUTED TO BURCHARD OR GUSTAV PRECHT, FIRST HALF 18TH CENTURY Height 41 x width 22 inches.

See lots 136 and 214 for two other examples of Precht mirrors, respectively attributed to Burchard Precht (father) and Gustav Precht (son).

$10,000 - 15,000

179

A George III Oak and Mahogany-Inlaid Cupboard

PROBABLY CHESHIRE OR YORKSHIRE, CIRCA 1800

Height 84 1/2 x width 67 7/8 x depth 19 1/2 inches.

Provenance: Malcolm Franklin, Inc., Chicago, 2 May 1983 (with invoice)

$800 - 1,200

180

An English Oak Refectory Table

17TH CENTURY AND LATER

Height 28 1/4 x width 89 x depth 28 1/2 inches.

$3,000 - 5,000

A Spode Pale Blue-Ground Botanical Porcelain Dessert Service

19TH CENTURY 2329

16 dessert plates

4 square dishes

4 shaped dishes

4 lozenge form dishes

, comprising:  to the underside;

1 two-handle footed centerpiece bowl, the plates marked with iron-red ‘ 29 items total.

Diameter of plates 8 1/2 inches.

$2,000 - 4,000

182

A Coalport Green-Ground Floral Porcelain Dessert Service

EARLY 19TH CENTURY

comprising two plates, four round dishes, two oval dishes and two square dishes; 10 items total. Width of plates 9 5/8 inches.

$2,000 - 4,000

Four Chamberlain’s

comprising two plates, an oval dish and an oval platter, each decorated with a central botanical image respectively Superb Corn-Flag (plate), Winged Passion-Flower (plate), Chinese Lychnis (oval dish), Prickly Comfrey (oval platter); the border of each bearing a cartouche inscribed in Arabic: ‘Amir Al Hind Nawab Azam Jan Bahadur 1236 Hirji’ (date 1820 AD) and with maker’s stamp to the underside. Width of platter 12 5/8 inches.

Provenance: Eyre & Greig Ltd., London, 29 November 1995 (with copy of invoice)

The articles in the present lot come from one of two services made by Chamberlain’s Worcester for His Highness Willajah Nabob Auzum Jar, the 11th Nawab of the Carnatic, Madras, who reigned from 1819-1825. The botanical images were copied from illustrations in Curtis’s Botanical Magazine.

$2,000 - 4,000

Worcester Porcelain Articles from the Carnatic Service

184

A Chamberlain’s Worcester Bengal Tiger Porcelain Service CIRCA 1840

comprising a meat platter, unmarked; seven teacups, one unmarked, six marked Y in iron-red; eight large plates, six impressed V: and two with gilt H and eight small plates marked Y in iron-red; 25 items total.

Diameter of large plates 9 3/8 inches.

Provenance: Graham and Oxley, London, 4 July 1981 (with copy of invoice)

$4,000 - 6,000

A Chinese Export Porcelain Tureen and Cover  18TH/19TH CENTURY

Height overall 10 1/2 x width over handles 13 inches.

$500 - 700

186

A Chinese Export Tobacco Leaf Reticulated Porcelain Basket and Underplate

CIRCA 1810-1815

the basket with a handwritten paper note taped to the underside that reads ‘The Stirling Tobacco Leaf Service. Once displayed in the China Room at Keir House, London [sic]. Commissioned in 1815 to celebrate the marriage of Archibald Stirling to Elizabeth, daughter of Sir John Maxwell Pollock’.

Height overall 5 3/4 x width 10 7/8 inches.

Provenance:

Probably commissioned in 1815 by Archibald Stirling of Keir House, Stirling, Scotland on the occasion of his wedding to Elizabeth Maxwell, daughter of Sir John Maxwell Pollock

$700 - 900

187 William Skilling (American, 1862-1964)

Elephant oil on canvas signed Skilling (lower right) 48 x 60 inches.

$8,000 - 12,000

188 William Skilling (American, 1862-1964)

Leopard oil on canvas signed Skilling (lower right) 48 x 60 inches.

$8,000 - 12,000

189

A Pair of Large Balinese Carved and Polychrome Decorated Models of Hippocampi CIRCA 1860 Height 61 x length 61 inches.

Provenance:

Lennox Money Antiques Ltd., London, 27 August 1985 (with invoice) $2,000 - 3,000

190

A Victorian Arts and Crafts Oak Bookcase

Height 101 3/4 x width 74 1/2 x depth 19 3/8 inches.

Provenance: Florian Papp, New York, 5 February 1985 (with invoice)

$1,000 - 2,000

191

A Pair of Régence Style Gilt Metal Five-Light Sconces 19TH CENTURY

Height 30 x width 26 inches.

$1,000 - 2,000

192

A Regency Brass Mounted Indian Rosewood Side Cabinet

CIRCA 1820

Height 34 3/4 x width 42 x depth 14 3/4 inches.

Provenance:

Brian Rolleston Ltd., London, 9 March 1995 (with copy of invoice)

$800 - 1,200

193 194

A Late Regency Mahogany and Ebony-Inlaid Sofa

CIRCA 1820

Height 30 x width 26 x depth 34 inches.

$2,000 - 4,000

André Dutertre (French, 1753-1842)

(eight works)

Views of Egypt engravings, with Egyptian Revival frames

Largest: 20 x 40 inches (sight); 27 7/8 x 51 1/4 inches (frame).

$3,000 - 5,000

44 x 62 1/4 inches.

$10,000 - 15,000

After Claude Lorrain (French, 1600-1682)

Cleopatra Disembarking at Tarsus oil on canvas

Claude Lorrain (French, 1600-1682)

197

A George III Polychrome and Cream-Painted Armchair CIRCA 1790

Height 36 x width 26 inches.

Provenance: Charles Saunders, London $600 - 800

198

A North European Neoclassical Painted and Parcel-Gilt Stool

EARLY 19TH CENTURY

Height 20 x width 21 x depth 18 inches. $1,000 - 1,500

A Pair of Italian Painted and Parcel-Gilt Marble-Top Console Tables

FIRST HALF 19TH CENTURY

Height 33 x width 53 1/2 x depth 24 1/2 inches.

$1,000 - 2,000

200

A North European Painted and Parcel-Gilt Center Table

19TH CENTURY AND LATER

Height 35 1/2 x width 40 3/4 x depth 32 inches.

Provenance:

Cedric Dupont, Palm Beach

$2,000 - 4,000

A Neoclassical Green and White-Painted Scagliola and Marble-Top Table

19TH CENTURY, LATER DECORATED Height 29 x diameter of top 38 1/2 inches. $1,000 - 2,000

202

A Victorian White-Painted Cast Iron Marble-Top Radiator Cover

CIRCA 1860 Height 34 x width 83 x depth 36 inches. $2,000 - 4,000

A George III Cream-Painted and Parcel-Gilt Two-Light Wall Appliqué

THE DESIGN PROBABLY BY ROBERT ADAM, CIRCA 1775

Height 53 x width 26 inches.

Provenance: Chandos House, London (according to the invoice) Hotspur Ltd., London, 14 June 1990 (with invoice)

Chandos House, London was designed by the pre-eminent Georgian architect Robert Adam (1728-1792) originally as a speculative investment partially financed by the banker Sir George Colebrooke. It was eventually purchased by James Brydges, 3rd Duke of Chandos (d. 1789) until it’s sale to the Austrian Embassy in 1815.

$5,000 - 7,000

204

A Regency Black-Painted and Parcel-Gilt Japanned Cabinet CIRCA 1810

Height 35 3/4 x width 40 1/2 x depth 12 1/4 inches.

Provenance: Charles Saunders, London, 10 August 1990 (with copy of invoice)

$3,000 - 5,000

205

An Irish George II Gilt-Gesso Table CIRCA 1740

Height 29 1/2 x width 35 1/2 x depth 21 inches.

Provenance:

Moss Harris, London (with ivorine label)

Partridge, London, 17 February 1989 (with invoice)

This table’s distinctive lion’s mask frieze as well as its top which is lushly decorated with sunflowers indicate its Irish origins. As the vast majority of gilt-gesso tables were produced in England, related Irish examples are rare and include a pair almost certainly supplied to the 14th Lord Howth, circa 1738 for Howth Castle (Glin and J. Peill, Irish Furniture, New Haven, 2007, p. 83, fig. 105) and subsequently sold anonymously at Fonsie Mealy, 8 September 2021, lot 522 (€168,000 hammer).

Another pair, also with sunflowers but heavily restored were sold anonymously at Christie’s, London, 14 November 2017, lot 156 (£10,0000).

A related single table sold anonymously at Sotheby’s, New York, 31 March 2011, lot 385 ($37,500). A pier table possibly supplied to Alexander McDonnell, 5th Earl of Antrim (17131775), circa 1740, also features a lion’s mask (Ibid, p. 222, fig. 66).

$20,000 - 40,000

206 Joseph Nash (British, 1808-1878)

Views of the Interior and Exterior of Windsor Castle (twenty-four works) lithographs

Frame (each): 21 1/8 x 26 1/2 inches or 26 1/2 x 21 1/8 inches; largest image: 19 x 13 1/8 inches.

Provenance: Collection of the Earl of Iveagh, Elveden House Partridge Fine Arts Ltd., London, 6 August 1984 (with image of invoice) $3,000 - 5,000

A

Height 26 x width 13 1/2 inches.

Provenance: Jeremy Ltd., London, 15 June 1994 (with invoice) $8,000 - 12,000

Pair of Late George III ‘Ostrich Egg’ and Giltwood Three-Light Candelabra CIRCA 1800

208

A Pair of Baltic Patinated Metal Mounted Painted and Parcel-Gilt Marble-Top Pedestals

FIRST QUARTER 19TH CENTURY with faux marble bases; each inscribed Magasinet to the underside of the top.

Height 37 3/4 x width 16 1/2 x depth 16 1/4 inches.

$3,000 - 5,000

209

An Empire Style Gilt Bronze and

Tôle Eight-Light Chandelier 20TH CENTURY

Height 30 x diameter 23 1/4 inches.

$1,000 - 2,000

Green

A George IV Mahogany Hall Bench

IN THE MANNER OF MARSH AND TATHAM, CIRCA 1825

Height 20 1/2 x width 72 x depth 16 inches.

Provenance: David Pettifer Ltd., London, 26 July 1974 (with invoice) $4,000 - 6,000

212

A George I Line-Inlaid Walnut Chest of Drawers CIRCA 1720

the pull-out brushing slide lined with later tooled leather.

Height 32 1/4 x width 34 x depth 19 3/4 inches.

Provenance: Malcolm Franklin, Inc., Chicago, 11 June 1974 (with invoice) $800 - 1,200

213

A Russian Gilt Metal, Cobalt and Colorless Glass Four-Light Hall Lantern

LATE 18TH/EARLY 19TH CENTURY Height 47 x diameter 22 inches.

Provenance: Ariane Dandois, Paris, 24 November 1994 (with copy of invoice and Certificate of Guarantee)

Exhibited: Carrousel du Louvre, Paris,  internationale de antiquaires, 10-24 November 1994 (exhibited by Ariane Dandois; with copies of related press material)

$4,000 - 6,000

XVII Biennale

A Swedish Giltwood and Verre Églomisé Mirror

ATTRIBUTED TO GUSTAV PRECHT, CIRCA 1720

Height 43 1/2 x width 27 inches.

Provenance:

Ariane Dandois, Paris, 18 September 1996 (with memorandum)

See lots 136 and 178 for two other examples of Precht mirrors, respectively attributed to Burchard Precht (father) and Gustav Precht (son).

$5,000 - 7,000

215

A Continental Giltwood Settee

PROBABLY GERMAN, CIRCA 1750

Height 40 x width 61 1/2 x depth 30 inches.

$4,000 - 6,000

A North Italian Neoclassical Painted and Parcel-Gilt Console Table

Height 31 1/2 x width 54 x depth 29 inches.

$800 - 1,200

A Pair of Louis XV Beechwood Fauteuils CIRCA 1745

each covered in green Chinoiserie silk damask; inscribed 583 in chalk.

Height 36 x width 27 inches.

Provenance:  Probably acquired from Jacques Perrin, Paris (with related document)

$1,500 - 2,500

218 A Louis XVI Provincial Green-Painted and Parcel Gilt Mirror

LATE 18TH CENTURY

Height 45 1/2 x width 23 inches.

$800 - 1,200

219

James Bolton (British, c. 1740-1799)

Coaltit Type Bird; Pair of Finches with Snail; Goldfinch and Butterfly, Moth with Auricula (four works) watercolor and gouache on paper the second signed and dated James Bolton pinxit 1780, the fourth signed and dated J. Bolton pinxit 1790

First: 8 1/2 x 7 1/8 inches (sight).

Provenance: Norman Adams Ltd., London, 19 June 1986 (purchased at the Grosvenor House Antiques Fair, London; with invoice)

$1,000 - 2,000

220

A Empire Burr Elm and Ormolu-Mounted Mantel Clock

CIRCA 1810

the dial signed Le Roy, Palais Royal

Height 14 1/2 x width 7 1/2 x depth 6 3/4 inches.

$800 - 1,200

221

A Charles X Ormolu and Patinated Bronze Beehive Clock

CIRCA 1830

the works stamped ‘H*P 782’. Height 15 1/2 x width 7 1/4 x depth 6 inches.

Provenance: Kenneth Neame, London, 23 September 1985 (with invoice)

$2,000 - 3,000

222

A French Gilt Metal, Porcelain and Tôle Four-Light Latern

LATE 19TH CENTURY

Height 27 1/2 x width 13 x depth 13 inches.

Provenance: Charles Saunders, London, no. B.33, 25 September 1989 (with invoice)

$1,000 - 2,000

A Meissen Porcelain Four-Piece Tea Service CIRCA 1770

comprising a creamer, covered sugar, teacup and saucer, with crossed swords and dot mark in underglaze blue to the underside of each.

Height of covered sugar 4 1/4 x diameter 4 1/2 inches.

$800 - 1,200

Continental School, Likely 18th Century Still Lifes in Landscapes with Birds, Fruit and Flowers

(a pair of works)

watercolor over pencil on paper

7 x 10 5/8 inches (sight).

$3,000 - 5,000

225

A George II Giltwood

CIRCA 1755-1760

Height 25 x width 51 inches.

Provenance: Jeremy Ltd., London, 15 April 1981 (with copy of invoice)

$3,000 - 5,000

Overmantel Mirror

A Pair of George III Polychrome and Green-Painted Open Armchairs CIRCA 1785

Height 35 3/4 x width 23 x depth 24 1/2 inches.

$800 - 1,200

227

A Pair of Northern European Giltwood Wall Brackets

MID-18TH CENTURY

Height of one 12 1/4 x width 8 x depth 5 1/2 inches; height of second 12 x width 8 3/8 x depth 5 3/8 inches.

$1,000 - 1,500

228 A George I Style Red, Gilt and Polychrome Japanned Bureau Cabinet  18TH CENTURY AND LATER, DECORATION MODERN in the manner of John Belchier. Height 87 x width 44 x depth 22 inches.

$3,000 - 5,000

230

A Regency Penwork, Ebonized and Cream-Painted Game Table

CIRCA 1820

the top decorated with a checkerboard pattern having individual designs in each square, surrounded by a floral border, the patterns probably after designs by John Stalker and George Parker. Height 28 1/4 x width 21 x depth 21 inches.

Provenance: Kenneth Neame, London, 29 May 1987 (with invoice) $3,000 - 5,000

229

A Late George III Giltwood Dressing Mirror CIRCA 1785

adapted from a wall mirror. Height 30 1/4 x width 22 1/2 inches. $2,000 - 3,000

231

A George II Walnut Marble-Top Side Table CIRCA 1740

the marble top later. Height 30 3/4 x width 39 1/2 x depth 20 inches.

Provenance: Mallett Ltd., London, 16 February 1981 (with invoice)  $2,000 - 4,000

Irish Landscape (triptych) oil on board

signed Hetherington (center panel, lower left)

Left and right panels: 13 1/2 x 17 3/4 inches (sight); center panel: 23 1/2 x 17 3/4 inches.

$2,000 - 4,000

234

A Régence Provincial Blue-Painted Stool SECOND QUARTER 18TH CENTURY Height 18 1/2 x width 24 1/2 x depth 16 3/4 inches.

$800 - 1,200

Charles Hetherington (Canadian/American, 1855-1938)

235

A Pair of Northern European Cream-Painted Brackets

MID-18TH CENTURY redecorated, with traces of an earlier polychrome painted scheme; slight variations to carving. Height 20 1/2 x width 15 3/4 inches.

$1,000 - 1,500

236

A Louis XV Provincial Blue and Cream-Painted Commode

MID-18TH CENTURY

Height 32 3/4 x width 57 x depth 23 3/4 inches.

$2,000 - 4,000

Five French Limestone Garden Figures of Musicians

19TH CENTURY

Height of tallest 34 inches.

Provenance: A.J.H. Baron Sweerts de Landas Wyborgh, Dunsborough Park, Woking, United Kingdom, 1 July 2002 (with invoice)

$1,000 - 2,000

238

A Patinated Bronze Figure of the Spinario AFTER THE ANTIQUE, 20TH CENTURY Height 28 1/2 inches.

$1,000 - 2,000 239

A Pair of Cast Metal Planters T. CROWTHER AND SON LTD., LONDON, CIRCA 1983 Height 25 x width over handles 31 x depth 18 inches.

$1,500 - 2,500

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THEA ANDRUS CATALOGUER

CAMERON QUADE CATALOGUER

CHRISTINA KIRIAKOS DEPARTMENT COORDINATOR

JOHN MARTINEZ DEPARTMENT COORDINATOR

EUROPEAN FURNITURE & DECORATIVE ARTS

CORBIN HORN VICE PRESIDENT, SENIOR SPECIALIST CORBINHORN @HINDMANAUCTIONS.COM

NICK COOMBS SENIOR SPECIALIST NICKCOOMBS @HINDMANAUCTIONS.COM

DONNA TRIBBY SENIOR SPECIALIST

SAM COWAN NATIONAL HEAD OF SALE, COLLECTIONS

NICHOLAS GORDON ASSOCIATE SPECIALIST

ELIZABETH REED CATALOGUER

ALISON LYNCH ASSOCIATE CATALOGUER

Inquiries

AMERICAN FURNITURE, FOLK & DECORATIVE ARTS

BEN FISHER

VICE PRESIDENT, SENIOR SPECIALIST BENJAMINFISHER @HINDMANAUCTIONS.COM

JENNIFER HOWE SENIOR SPECIALIST JENNIFERHOWE @HINDMANAUCTIONS.COM

LEAH VOGELPOHL SPECIALIST

KATIE BENEDICT CATALOGUER

ANTIQUITIES & ANCIENT ART JACOB COLEY DIRECTOR, SENIOR SPECIALIST JACOBCOLEY @HINDMANAUCTIONS.COM

ELIZABETH KEITHLEY CATALOGUER

DESIGN HUDSON BERRY DIRECTOR, SENIOR SPECIALIST HUDSONBERRY @HINDMANAUCTIONS.COM

SABRINA GRANADOS ASSOCIATE SPECIALIST

JOHN MARTINEZ DEPARTMENT COORDINATOR

NATIVE AMERICAN, PREHISTORIC & TRIBAL ART DANICA FARNAND VICE PRESIDENT, SENIOR SPECIALIST DANICAFARNAND @HINDMANAUCTIONS.COM

ERIN RUST SPECIALIST

WILLIAM NORWOOD CATALOGUER

ARMS, ARMOR & MILITARIA TIM CAREY DIRECTOR, SPECIALIST TIMCAREY@HINDMANAUCTIONS.COM

EMMA FULMER ATF MANAGER AND SENIOR COORDINATOR BARRETT SHARPNACK CATALOGUER

TUCKER ETNOYER CATALOGUER

FINE BOOKS & MANUSCRIPTS GRETCHEN HAUSE VICE PRESIDENT, SENIOR SPECIALIST GRETCHENHAUSE @HINDMANAUCTIONS.COM

KATIE HORSTMAN SENIOR SPECIALIST KATIEHORSTMAN @HINDMANAUCTIONS.COM

DANIELLE LINN SPECIALIST

EMILY PAYNE SPECIALIST

KAYLAN GUNN ASSOCIATE SPECIALIST

FRANCIS WAHLGREN SENIOR CONSULTANT

LESLIE WINTER ASSOCIATE SPECIALIST

JOSHUA MCCRACKEN DEPARTMENT COORDINATOR

ASIAN ART ANNIE WU

VICE PRESIDENT, SENIOR SPECIALIST ANNIEWU @HINDMANAUCTIONS.COM

FLORA ZHANG SPECIALIST

MEGAN SADLER ASSOCIATE SPECIALIST

DATURA ZHOU DEPARTMENT COORDINATOR

JEWELRY & WATCHES

SALLY KLARR, G.G.

DIRECTOR, SENIOR SPECIALIST SALLYKLARR @HINDMANAUCTIONS.COM

KATIE HAMMOND GUILBAULT, G.G.

VICE PRESIDENT BUSINESS DEVELOPMENT DIRECTOR SAN DIEGO, SENIOR SPECIALIST KATIEGUILBAULT @HINDMANAUCTIONS.COM

SEAN JOHNSON SENIOR SPECIALIST, WATCHES SEANJOHNSON @HINDMANAUCTIONS.COM

RUTH THUSTON, G.G. SENIOR SPECIALIST

RUTHTHUSTON @HINDMANAUCTIONS.COM

MARISA PALMER, G.G. SENIOR APPRAISER MARISAPALMER @HINDMANAUCTIONS.COM

KARINA HAMMER, G.G. SPECIALIST KARINAHAMMER @HINDMANAUCTIONS.COM

APRIL MATTEINI, G.G. SPECIALIST APRILMATTENI @HINDMANAUCTIONS.COM

MADELINE SCHROEDER, G.G. ASSOCIATE SPECIALIST

GINA O’CONNOR DEPARTMENT COORDINATOR

MARIELLE EPSTEIN DEPARTMENT COORDINATOR

COUTURE & LUXURY ACCESSORIES

TIMOTHY LONG DIRECTOR, SENIOR SPECIALIST TIMOTHYLONG @HINDMANAUCTIONS.COM

TANNER BRANSON CATALOGUER

MARIELLE EPSTEIN DEPARTMENT COORDINATOR

SPORTS MEMORABILIA JAMES SMITH

DIRECTOR, SENIOR SPECIALIST JAMESSMITH @HINDMANAUCTIONS.COM

JOSHUA MCCRACKEN DEPARTMENT COORDINATOR

MARKETING ASHLEY GALLOWAY VICE PRESIDENT

PHOTOGRAPHY ZOË BARE DIRECTOR OF PHOTOGRAPHY

DAVID JACKSON PHOTOGRAPHY SUPERVISOR

GABBY BOSHARA

AVERY CAMPBELL*

CARMEN COLOME*

CHAD FEIERSTONE

LIM HWOANG

DEOGRACIAS LERMA

ROBERTO MARTINEZ

AMELIA MOORE

LIBBY MOORE

MIKE REINDERS*

BILL ROSS*

RACHEL SMITH*

DALLAS TOLENTINO*

HARLEY WINCE

* LEAD PHOTOGRAPHY TEAM FOR SALE 1157

ESTATE INTERIOR & EXTERIOR PHOTOGRAPHY BY TOM ROSSITER

12/19/22

Guide for Prospective Sellers and Buyers

GUIDE FOR PROSPECTIVE SELLERS

Evaluation of Property

Hindman is pleased to provide complimentary auction estimates for items you’re considering consigning. You are welcome to submit items electronically (consign@hindmanauctions.com) or to contact any of our offices directly.

Our specialists are eager to help you learn more about your collection and current auction sale estimates.

To begin an estimate, our specialists will need:

• At least 3 photos

• Detailed description

• Details on signatures or marks

Shipping Arrangements

Buyers assume full responsibility for the packing and shipping of lots won at auction. Our Recommended Shippers offer a wide variety of local, domestic, and international shipping options.

In the interest of our clients, Hindman requires a written authorization from the buyer in order to release property to anyone other than the purchaser of record (including but not limited to our recommended shippers). You may submit the Shipping Release Form via fax to 312.280.1211 or email to shipping@hindmanauctions.com

Appraisals

Our exceptional team of specialists regularly appraises property by analyzing market trends and conducting comprehensive research. Specialists evaluate thousands of objects each year for auction, allowing them to closely monitor the nuances of the current market.

Professional appraisals are prepared for estate tax, gift tax, charitable contribution, insurance and for equitable distribution purposes.

• Estate Tax

• Gift Tax

• Charitable Contribution

• Insurance

• Appraisals for Corporate Valuation Needs

Our trust and estates department recognizes that each client and appraisal situation is unique and often involves multiple asset categories and residences. Fees for appraisals are determined by the number of specialists, hours involved and the necessary travel and expenses. Our competitive fees are negotiated based upon the express needs of each client and are competitive within the marketplace.

Please contact our Appraisals Department (appraisals@hindmanauctions.com) for more information.

Estate Services

Estate settlement is a meticulous and multi-faceted process. Hindman provides executors, fiduciaries and beneficiaries throughout the country with confidential and customized appraisals and disposition services. All appraisals are prepared fully in accordance with USPAP guidelines and meet all current requirements set forth by the IRS.

We recognize that each client and appraisal situation is unique and often involves multiple asset categories and residences. Our Trusts and Estates department offers services that are tailored to meet our clients’ timelines and specifications.

Our specialists offer complimentary walk-through services with the goal of providing an accurate representation of each items’ value based on the current auction market. A detailed proposal outlining the manner in which a sale will be conducted from the initial value assessment to removal of the property and settlement is provided to all parties involved.

Please contact our Estate Services (inquiries@hindmanauctions.com) team for more information.

Property Pick Up Hours

Monday - Friday | 9:00am - 4:00pm By appointment 312.280.1212

GUIDE FOR PROSPECTIVE BUYERS

Conditions of Sale

All bidders with Hindman LLC must read and agree to Conditions of Sale posted in this catalogue prior to bidding at an auction.

Viewing Auction Items

It is highly recommended that all prospective bidders either view the sale via our online catalogue or contact Hindman LLC for further images or to schedule an appointment to view objects in person.

Estimates

Hindman LLC provides catalogue descriptions and pre-auction estimates for each lot included in the sale. These estimates are a guide for prospective bidders. They are not definitive. All pre-sale estimates are subject to revision.

Condition Reports

We are happy to provide a condition report for lots with a low estimate of $300 and above. Nevertheless, intending buyers are reminded that condition reports are statements of our opinion only, and that each lot is sold “AS IS,” per our Conditions of Sale, as outlined in the back of this catalogue. All lots should be viewed personally by prospective buyers or their agents to evaluate the condition of the property offered for sale due to the highly subjective nature of condition reports.

Bidding at Auction

The highest bidder acknowledged by the auctioneer will be the purchaser. In addition to the hammer price, the buyer agrees to pay Hindman LLC a buyer’s premium as well as any applicable taxes.

Bidding Increments

Bidding generally opens at half the low estimate and advances in the following order, although the auctioneer may vary the bidding increments during the course of the auction.

The standard bidding increments are:

$0 - $500

....................................... $25 $500 - $1,000 $50 $1,000 - $2,000 $100 $2,000 - $5,000 $250 $5,000 - $10,000 $500 $10,000 - $20,000 $1,000 $20,000 - $50,000 $2,500 $50,000 - $100,000 $5,000 $100,000 - $200,000 $10,000

Above > $200,000 At Auctioneer’s Discretion

In-House Bidding

Our auctions are free and open to the public with no obligation for attendees to bid. Registration requires your full contact information, photo identification, credit card information, your signature and agreement to the Conditions of Sale.. If you are the successful bidder, your paddle number and the hammer price will be announced by the auctioneer.

Live Bid Online

Hindman LLC allows absentee and live bidding through our website at hindmanauctions.com as well as absentee and live bidding through third party online bidding providers which vary by sale. For more information regarding online bidding please visit our website at hindmanauctions.com.

Absentee Bidding

If you are unable to attend an auction, you may place an absentee bid, either through our website at hindmanauctions.com or through the bid form provided at the back of this catalogue. An absentee bid is the highest price you are willing to pay exclusive of buyer’s premium and applicable sales tax. Hindman LLC will exercise absentee bids at no additional charge. Absentee bids are always confidential, and bids are executed at the lowest price possible by the auctioneer according to reserves and competing bids.

Telephone Bidding

You may register telephone bid requests either through our website at hindmanauctions.com or through the bid form provided at the back of this catalogue. Upon registering for a telephone bid, you will be called on the day of the auction by a Hindman representative approximately five lots before your item is scheduled to be sold. They will communicate to you the bidding activity and will relay your bids to the auctioneer at your discretion. Please note we can only accept telephone bids for lots with a low estimate of $500 or above unless otherwise noted online. Telephone bids may be requested up to 2 hours prior to the auction start time.

These Conditions of Sale set out the terms upon which Hindman LLC (“we,” “us,” or “our”) sells property by lot in this catalogue. You agree to be bound by these terms by registering to bid and/or by bidding in our auction.

A. BEFORE THE AUCTION

1. LOT DESCRIPTIONS AND WARRANTIES

Our description of a lot, any statement of a lot’s condition, and any other oral or written statement about a lot—such as its nature, condition, artist, period, materials, dimensions, weight, exhibition or publication history, or provenance— are our opinion and shall not to be relied upon by you as a statement of fact. Except for the limited authenticity warranty contained in paragraphs E and F below, we do not provide any guarantee of our description or the nature of a lot.

2. CONDITION

The physical condition of lots in our auctions can vary due to age, normal wear and tear, previous damage, and restoration/repair. All lots are sold “AS IS,” in the condition they are in at the time of the auction, and we and the seller make no representation or warranty and assume no liability of any kind as to a lot’s condition. Any reference to condition in a catalogue description or a condition report shall not amount to a full accounting of condition and may not include all faults, inherent defects, restoration, alteration, or adaptation. Likewise, images in our catalogue may not depict a lot accurately, as colors and shades may appear different in print or on screen than on physical inspection. We are not responsible for providing you with a description of a lot’s condition in the catalogue or in a condition report.

3. VIEWING LOTS

We offer pre-auction viewings, either scheduled or by appointment, that are free of charge. If you believe that the catalogue description or condition reports are not sufficient, we suggest you inspect a lot personally or through a knowledgeable representative before you bid on a lot to make sure that you accept the description and its condition. We recommend you hire a professional adviser if you are not familiar with how to address the nature or condition of an object. Hindman has several salerooms throughout the country and the location of sales, or individual items may vary. It is important to check with our website and be aware of where each lot is located, for both viewing and for shipping purposes.

4. ESTIMATES

Estimates of a lot account for the condition, rarity, quality, and provenance of the object and are based upon prices realized for similar objects in past auctions. Neither you nor anyone else may rely on our estimates as a prediction or guarantee of the actual selling price of a lot or its value for any other purpose. Estimates do not include the buyer’s premium, any applicable taxes, and any other applicable charges.

5. WITHDRAWAL

We may, in our sole discretion, withdraw a lot from auction at any time prior to or during the sale and shall have no liability to you for our decision to withdraw.

B. REGISTERING TO BID

1. GENERAL

We reserve the right to reject any bid. By participating in the sale, you represent and warrant that:

(a) The bidder and/or purchaser is not subject to trade sanctions, embargoes or any other restriction on trade in the jurisdiction in which it does business as well as under the laws and regulations of the United States, and is not owned (nor partly owned) or controlled by such sanctioned person(s) (collectively, “Sanctioned Person(s)”); (b) Where you are acting as agent, your principal is not a Sanctioned Person(s) nor owned (or partly owned) or controlled by Sanctioned Person(s); and

(c) The bidder and/or purchaser undertakes that none of the purchase price will be funded by any Sanctioned Person(s), nor will any party be involved in the transaction including financial institutions, freight forwarders or other forwarding agents or any other party be a Sanctioned Person(s) nor owned (or partly owned) or controlled by a Sanctioned Person(s), unless such activity is authorized in writing by the government authority having jurisdiction over the transaction or in applicable law or regulation.

2. NEW BIDDERS

New bidders must register at least twenty-four (24) hours before an auction and must provide us with documentation of their identity.

(a) Individuals must provide photo identification (driver’s license, non-driver ID card, or passport) and, if not shown on the photo identification, proof of current address (a current utility bill or bank statement). (b) Corporate clients must provide a Certificate of Incorporation or its equivalent bearing the company’s

Conditions of Sale

name and registered address, together with documentary proof of directors and beneficial owners. (c) Trusts, partnerships, offshore companies, and other business entities must contact us in advance of the auction to discuss our requirements. If we are not satisfied with the information you provide us in our bidder identification and other registration procedures, we may refuse to register you to bid, and if you make a successful bid, we may cancel the contract for sale between you and the seller. New bidders may be required to provide us with a financial reference and/or a deposit before we allow them to bid.

3. RETURNING BIDDERS

If you have not bought anything from us recently, then we may require you to register as a new bidder, as described in the paragraph above. Please contact us at least twenty-four (24) hours prior to the auction.

4. BIDDING FOR ANOTHER PERSON

If you are bidding as an agent on behalf of another person, your principal must be a registered bidder and must provide us with written authorization allowing you to bid. You, as the agent, shall accept personal liability to pay the purchase price and all other sums due unless we have agreed in writing before the auction that you are acting as an agent on behalf of your principal and that we will only seek payment from your principal.

5. BIDDING IN THE SALEROOM

If you wish to bid in the saleroom, you must first acquire a bidding paddle at least thirty (30) minutes before the auction.

6. OUR BIDDING SERVICES

We offer the following bidding services as a convenience to our clients, subject to these Conditions of Sale. We shall not be responsible for any error, omission, or failure, human or otherwise, in providing these services.

(a) Phone Bids: You must contact us at least twenty-four (24) hours prior to the auction to arrange a phone bid. We will accept bids by telephone for lots only if our staff is available to take the bids. We agree that we may record telephone bids.

(b) Internet Bids: You can bid in our live sales via our bidding platform or through third-party bidding sites.

(c) Written Bids: You can find a Written Bid Form at the auction location, or online at www.hindmanauctions.com. We must receive your completed Written Bid Form at least twenty-four (24) hours before the auction. We will endeavor to execute written bids at the lowest possible price consistent with the reserve.

If you make a written bid on a lot that does not have a reserve and there is no higher bid than yours, we will bid on your behalf at approximately fifty percent (50%) of the low estimate or, if lower, the amount of your bid. The first written bid we receive of those for identical amounts will be given priority over other bids.

7. CREDIT CARD AUTHORIZATION HOLD

When you register to bid you may be asked to provide us with a valid credit card number. You authorize us to verify the validity of the credit card by placing a temporary authorization hold on the card that will remain until it falls off, usually within 2 to 7 days.

C. DURING THE AUCTION 1. BIDDING IN THE AUCTION

(a) Live Auctions. We will appoint an individual auctioneer to administer a live auction. The auctioneer may accept bids from (a) written bids left with us by bidders before the auction; (b) bidders in the saleroom; (c) telephone bidders; and (d) Internet bidders, including bidders through third-party bidding sites. Bidding generally starts below the low estimate and increases in steps, called bid increments. The auctioneer will decide at his/her sole option where the bidding should start and the bid increments. Bid increments may vary from auction to auction. You shall comply with all laws and regulations in force that govern your bidding.

(b) Online Auctions. The auctioneer will accept bids from Internet bidders, including bidders through third-party bidding sites. Bidding generally starts below the low estimate and increases in steps, called bid increments. The auctioneer will decide at his/her sole option where the bidding should start and the bid increments. Bid increments may vary from auction to auction. You shall comply with all laws and regulations in force that govern your bidding.

(c) Timed Auctions. Bids may only be submitted on our website between the dates and times specified in the lot’s description. Your bid is submitted once you place and confirm your bid amount. You agree that a bid is final once it is placed and that you may never amend or revoke your bid. You are fully responsible for any errors you make in bidding. Bidding generally opens at or below the low estimate and increases in steps (bidding increments) to be determined in Hindman’s sole discretion.

2. AUCTIONEER’S DISCRETION

The auctioneer shall have absolute discretion to (a) admit a bidder into or remove a bidder from the saleroom or online auction; (b) accept or refuse any bid; (c) change the order of the lots in the auction; (d) move the bidding backward or forward; (e) withdraw any lot from the auction; (f) divide any lot or combine any two or more lots; (g) reopen or continue the bidding even after the hammer has fallen; and (h) continue the bidding, determine the successful bidder, cancel the sale of the lot, or reoffer and resell any lot in the event that there is an error or dispute related to bidding or the application of the reserve, whether during or after the auction. You must provide us with written notice within three (3) business days of the date of the auction if you believe that the auctioneer has accepted the successful bid in error. The auctioneer will consider the claim and decide in good faith if the sale of the lot is final, whether he/she will cancel the sale of the lot, or whether he/she will reoffer and resell the lot. The auctioneer’s decision in exercise of this discretion is final. This paragraph does not in any way affect our ability to cancel the sale of a lot under other applicable provisions of these Conditions of Sale, including the rights of cancellation set forth in sections B(1), D(6), E(2), and G(1).

3. BIDDING ON BEHALF OF THE SELLER

The auctioneer may, at his/her sole option, bid on behalf of the seller up to one bidding increment before the reserve by making either consecutive or responsive bids. The auctioneer will not identify these as bids made on behalf of the seller. If a lot is offered without reserve, the auctioneer will open the bidding at a set increment lower than the lot’s low estimate and will solicit higher bids from that amount. If there are no bids on a lot, the auctioneer may deem the lot unsold.

4. SUCCESSFUL BIDS AND INVOICES

Subject to paragraph C(2), the contract of sale between the seller and the successful bidder is formed when the final bid is accepted and the auctioneer’s hammer strikes. The successful bid price is the hammer price, and we will issue an invoice only to the registered bidder who made the successful bid. While we send out invoices by mail and/or email after the auction, we shall not be responsible for telling you whether your bid was successful. You should contact us immediately after the auction to find out the success of your bid in order to avoid having to pay storage charges. Please note that Hindman will not accept payments for purchased lots from any party other than the purchaser, unless otherwise agreed between the purchaser and Hindman prior to the sale.

D. AFTER THE AUCTION

1. THE BUYER’S PREMIUM

In addition to the hammer price, the successful bidder agrees to pay us a buyer’s premium on the hammer price for each lot sold. These terms are listed on our website, third-party bidding platforms, and bid forms at time of sale. By registering to bid, bidders agree to these terms.

2. TAXES

The successful bidder is responsible for any applicable taxes, including any sales or use tax or equivalent tax wherever such taxes may arise on the hammer price, the buyer’s premium, and/or any other charges related to the lot. A sales or use tax is dependent upon a number of factors, including, but not limited to, our volume of sale and the place of delivery of the lot, regardless of the nationality or citizenship of the successful bidder. The applicable sales tax rate will be determined based upon the state, county, or locale to which the lot will be shipped or where it is picked-up in person. We collect sales tax in states where legally required.

3. MAKING PAYMENT

(a) Immediately following the auction, you must pay the purchase price, consisting of the hammer price, plus the buyer’s premium, plus any applicable duties and sales, use, or other applicable taxes. Payment is due no later than by the end of the seventh (7th) calendar day following the date of the auction, which we refer to as the due date.

(b) We will only accept payment from the registered successful bidder. Once issued, we cannot change the buyer’s name on an invoice or reissue the invoice in a different name.

(c) You must pay for lots in US dollars in one of the following ways:

(i) Wire transfer.

(ii) Bank checks: You must make these payable to Hindman LLC, and we may impose other conditions. Once we have deposited your check, property cannot be released until five (5) business days have passed.

(iii) Personal checks: You must make these payable to Hindman LLC, and they must be drawn from US dollar accounts from a US bank. The property will not be released until the check has cleared and the funds are received by us.

(iv) Credit card: Credit card payments may not exceed $10,000 and a convenience fee of 3% will be added to each credit card payment.

(v) ACH Bank Transfer

(d) You must quote your invoice number when making a payment. All payments sent by post must be sent to Hindman LLC, 1338 West Lake Street, Chicago, IL 60607, ATTN: Client Accounting Department.

4. TRANSFERRING OWNERSHIP TO YOU

You will not own the lot and title will not pass to you until we have received full payment in good funds of the purchase price, even in circumstances where we have released the lot to you.

5. TRANSFERRING RISK TO YOU

Unless we have agreed otherwise with you, the risk in and responsibility for the lot will transfer to you from whichever is the earlier of the following: (a) when you collect the lot; or (b) the end of the thirtieth (30th) day following the date of the auction or, if earlier, the date the lot is taken into care by a third-party warehouse.

6. YOUR FAILURE TO PAY

If you fail to pay us the purchase price in full in good funds by the due date, we will be entitled to do one or more of the following (as well as enforce any other rights and remedies we have by law) at our sole discretion:

(a) We can charge interest from the due date at a rate of up to one and one-half percent (1.5%) per month on the unpaid amount due.

(b) We can cancel the sale of the lot and sell the lot again, publicly or privately, on such terms as we believe appropriate, in which case you must pay us any shortfall between the amount you owe us and the resale price, plus all costs, expenses, losses, damages, and legal fees we incur due to the cancellation.

(c) We can pay the seller the amount due to them, in which case you acknowledge and understand that we will have all the seller’s rights to pursue you for such amount.

(d) We can hold you legally responsible for the amount you owe us and bring legal proceedings against you to recover the amount owed by you, plus other losses, interest, legal fees, and costs as allowed by law.

(e) We can reveal your identity and contact details to the seller.

(f) We can reject any bids made by or on behalf of you in future auctions or require you to provide us with a deposit before accepting any bids.

(g) We can exercise all the rights and remedies of a person holding security over any property in our possession owned by you, whether by way of pledge, security interest, or in any other way as permitted by the law of the place where such property is located. You will be deemed to have granted such security to us and we may retain such property as collateral security for your obligations to us.

(h) We can take any other action we deem necessary or appropriate.

7. SHIPPING, COLLECTION, AND STORAGE

(a) You must collect purchased lots within thirty (30) days of the auction. We can assist in making shipping arrangements by suggesting art handlers, packers, transporters, or experts, but you must arrange all transport and shipping with them, and we are not responsible for their acts, failure to act, or neglect. Hindman has several salerooms throughout the country and the location of sales, or individual items may vary. It is important to check with our website and be aware of where each lot is located, for both viewing and for shipping.

(b) If you do not collect any purchased lot within thirty (30) days following the auction, we may, at our sole option, (i) charge you storage and insurance costs; (ii) move the lot to another Hindman location or to a third-party warehouse, whereupon we will charge you transport costs, insurance costs, and administration fees for doing so, and you will be subject to the third-party storage warehouse’s standard terms and responsible for paying its standard fees and costs; or (iii) sell the lot in any commercially reasonable way we think appropriate.

(c) In accordance with applicable state law, if you have paid for the lot in full but you do not collect the lot within the time specified by the law of the state where the auction takes place, we may charge you state sales tax for the lot.

(d) Nothing in this paragraph is intended to limit our rights under paragraph D(6).

8. EXPORTING, IMPORTING, AND ENDANGERED SPECIES

(a) The shipping of a lot is affected by United States export laws or the import laws of other countries. If you are outside the United States, then local laws may prevent you from importing a lot. You alone are responsible for seeking advice prior to bidding and meeting the requirements of any law or regulation applying to the export or import of a lot.

(b) Lots made of or including (regardless of the percentage) endangered and other protected species of wildlife—such as, among other things, ivory, tortoiseshell, crocodile skin, rhinoceros horn, whalebone, certain species of coral, and Brazilian rosewood—may be subject to export controls in the US and import controls in other countries. You should check the relevant wildlife laws and regulations before bidding on any lot containing wildlife material if you plan to export the lot from the United States, import the lot into another country, or ship the lot between states. Your purchase of a lot containing endangered and other protected species of wildlife is at your own risk, and you shall be responsible for any scientific test or other reports required for export from the United States or for shipment between states. We will not cancel your purchase and refund the purchase price if your lot may not be exported, imported, or shipped between states, or if it is seized for any reason by a government authority. It is your responsibility to determine and satisfy the requirements of any applicable laws or regulations relating to import, export, and/or interstate shipping of a lot containing endangered and other protected species of wildlife.

1. SELLER’S WARRANTIES

For each lot, the seller gives a warranty that the seller (a) is the owner of the lot or a joint owner of the lot acting with the permission of the other co-owners or, if the seller is not the owner or a joint owner of the lot, has the permission of the owner to sell the lot or the right to do so by law; and (b) has the right to transfer ownership of the lot to the buyer without any restrictions or claims by anyone else. If either of the above warranties are incorrect, the seller shall not have to pay more than the purchase price (as defined in paragraph D(3) above) paid by you to us. The seller will not be responsible to you for any reason for loss of profits or business, expected savings, loss of opportunity or interest, costs, damages, other damages, or expenses. The seller gives no warranty other than as set out above, and as far as the seller is allowed by law, all warranties from the seller to you, and all other obligations upon the seller that may be added to this agreement by law, are excluded. No employee or agent of Hindman is authorized to make a representation or provide other information, whether orally or in writing, that amends the seller’s warranties or creates an additional warranty on behalf of the seller with respect to a lot. Any such representation, other information, or additional warranty shall be null and void.

2. OUR LIMITED AUTHENTICITY WARRANTY

Our limited authenticity warranty, which lasts for one (1) year from the date of a live auction or three (3) months from an online only auction, is that the lots in our sales are authentic as defined in paragraph H, below. You must notify Hindman regarding concerns of authenticity in writing within one (1) year of the date of a live auction or within three (3) months of the date of an online only auction. Following receipt of that written notification, subject to the terms below, Hindman will refund the purchase price paid by the client. The terms of this limited authenticity warranty are as follows:

(a) It will be honored for claims notified in writing within a period of one (1) year from the date of a live auction or three (3) months from an online only auction. After such time, we will not be obligated to honor the limited authenticity warranty.

(b) It is given only for information shown in UPPERCASE type in the first line of the catalogue description (the Heading). It does not apply to any information other than that in the Heading, even if it is shown in UPPERCASE type.

(c) It does not apply to any Heading or part of a Heading that is qualified. “Qualified” means limited by a clarification in a lot’s catalogue description or by the use in a Heading of one of the terms listed in the definition of “qualified” provided in paragraph H, below. Qualified Headings are not covered at all by this limited authenticity warranty.

(d) It applies to the Heading as amended by any saleroom notice.

(e) It does not apply where scholarship has developed since the auction, leading to a change in generally accepted opinion. Further, it does not apply if the Heading either matched the generally accepted opinion of experts at the date of the auction or drew attention to any conflict of opinion.

(f) It does not apply if the lot can only be shown not to be authentic by a scientific process that, on the date we published the catalogue, was not available or generally accepted for use, was unreasonably expensive or impractical, or was likely to have damaged the lot.

(g) Its benefit is only available to the original buyer shown on the invoice for the lot, issued at the time of the sale, and only if, on the date of the notice of claim, the original buyer is the full owner of the lot and the lot is free from any claim, interest, or restriction by anyone else. The benefit of this limited authenticity warranty may not be transferred by the original buyer to anyone else.

(h) In order to make a claim under the limited authenticity warranty, you must (i) give us written notice of your claim within one (1) year of the date of a live auction or three (3) months from an online only auction ; (ii) at our option, pay for and provide us with the written opinions of two recognized experts in the field, mutually agreed upon by you and us, confirming that the lot is not authentic (we reserve the right to obtain additional opinions at our expense); and (iii) return the lot at your expense to the saleroom from which you bought it in the condition it was in at the time of sale.

(i) Your only right under this limited authenticity warranty is to cancel the sale and receive a refund of the purchase price paid by you to us. We will not, under any circumstances, be required to pay you more than the purchase price, nor will we be liable for any loss of profits or business, loss of opportunity or value, expected savings or interest, costs, damages, other damages, or expenses.

(j) No employee or agent of Hindman is authorized to make a representation or provide additional information, whether orally or in writing, that amends the limited authenticity warranty or creates an additional warranty with respect to a lot. Any such representation, other information, or additional warranty shall be null and void.

3. ADDITIONAL WARRANTY FOR BOOKS

If the lot is a book, then we give an additional warranty to the original buyer shown on the invoice for the lot issued at the time of the sale in the following circumstances:

(a) We will refund the purchase price to the original buyer if we, in our sole discretion, are convinced that the book is defective in text or illustration, subject to the following terms:

(i) This additional warranty does not apply to (A) the absence of blanks, half titles, tissue guards, or advertisements; or damage in respect of bindings, stains, spotting, marginal tears, or other defects not affecting the completeness of the text or illustration; (B) drawings, autographs, letters or manuscripts, signed photographs, music, atlases, maps, or periodicals; (C) books not identified by title; (D) lots sold without a printed estimate; (E) books that are described in the catalog as sold not subject to return; or (F) defects stated in any condition report or announced at the time of sale.

(ii) To make a claim under this additional warranty, you must give written details of the defect within twenty-one (21) days of the date of the sale and return the lot within twenty-one (21) days of the date of the sale to the saleroom at which you bought it in the same condition as at the time of sale.

(iii) Paragraphs E(2)(b), (c), (d), (e), (h), and (i) also apply to a claim under this additional warranty. (c) No employee or agent of Hindman is authorized to make a representation or provide other information, whether orally or in writing, that amends the additional warranty for books or creates an additional warranty with respect to a lot. Any such representation, other information, or additional warranty shall be null and void.

4. JEWELRY

(a) Colored gemstones (such as rubies, sapphires, and emeralds) may have been treated to improve their appearance through methods such as heating and/or various clarity enhancements. These methods are considered common by the international jewelry trade but may make a gemstone more fragile and/or cause the gemstone to require special care over time.

(b) All types of gemstones may have been improved by some method. You may request a gemological report for any item that does not have a report if the request is made to us at least three (3) weeks before the date of the auction and you pay the fee for the report.

(c) We do not obtain a gemological report for every gemstone sold in our auctions. When we do get gemological reports from internationally accepted gemological laboratories, such reports are described in the catalogue. Reports from American gemological laboratories describe any improvement or treatment to the gemstone. Reports from European gemological laboratories describe any improvement or treatment only if we request that they do so, but they do confirm when no improvement or treatment has been made. Because of differences in approach and technology, laboratories may not agree on whether a gemstone has been treated, the amount of treatment, or whether that treatment is permanent. The gemological laboratories only report on the improvements or treatments known to them at the date they make the report.

(d) For jewelry sales, estimates are based on the information in any gemological report. If no report is available, assume that the gemstones may have been treated or enhanced.

5. WATCHES AND CLOCKS

(a) Almost all clocks and watches are repaired in their lifetime and may include parts that are not original. We do not give a warranty that any individual component part of any watch is authentic. Watchbands described as “associated” are not part of the original watch and may not be authentic. Clocks may be sold without pendulums, weights, or keys.

(b) As collectors’ watches often have very fine and complex mechanisms, you are responsible for any general service, change of battery, or further repair work that may be necessary. We do not give a warranty that any watch is in good working order. Certificates are not available unless described in the catalogue.

(c) Most wristwatches have been opened to find out the type and quality of movement. For that reason, wristwatches with water-resistant cases may not be waterproof, and we recommend you have them checked by a competent watchmaker before use.

(d) Many of the watches offered for sale in this catalogue are pictured with straps made of endangered or protected animal materials such as alligator or crocodile skin. When straps are shown for display purposes only and are not for sale. We may remove and retain the strap prior to shipment from the sale site. Please check with the department for details on a lot with such a strap.

6. YOUR WARRANTIES

You warrant to us and the seller that (a) the funds you use for payment are not connected with any criminal activity, including tax evasion, and neither are you under investigation, nor have you been charged with or convicted of money laundering, terrorist activities, or other crimes; (b) where you are bidding on behalf of another person, (i) you have conducted appropriate customer due diligence on the ultimate buyer(s) of the lot(s) in accordance with all applicable anti-money laundering and sanctions laws, you consent to us relying on this due diligence, you will retain for a period of not less than five (5) years the documentation evidencing the due diligence, and you will make such documentation promptly available for immediate inspection by an independent third-party auditor upon our written request to do so; (ii) the arrangements between you and the ultimate buyer(s) in relation to the lot or otherwise do not, in whole or in part, facilitate tax crimes; (iii) you do not know, and have no reason to suspect, that the funds

used for payment are connected with or the proceeds of any criminal activity, including tax evasion, or that the ultimate buyer(s) are under investigation for, or have been charged with or convicted of, money laundering, terrorist activities, or other crimes.

F. OUR LIABILITY TO YOU

(a) We give no warranty in relation to any statement made, or information given, by us or our representatives or employees about any lot other than as set out in the limited authenticity warranty or in the additional warranty for books, and as far as we are allowed by law, all warranties and other terms that may be added to this agreement by law are excluded. The seller’s warranties contained in paragraph E(1) are their own, and we do not have any liability to you in relation to those warranties.

(b) We are not responsible to you for any reason (whether for breaking this agreement or for any other matter relating to your purchase of, or bid for, any lot) other than in the event of fraud or fraudulent misrepresentation by us, or other than as expressly set out in these Conditions of Sale.

(c) WE DO NOT GIVE ANY REPRESENTATION, WARRANTY, OR GUARANTEE OR ASSUME ANY LIABILITY OF ANY KIND IN RESPECT OF ANY LOT WITH REGARD TO MERCHANTABILITY, FITNESS FOR A PARTICULAR PURPOSE, DESCRIPTION, SIZE, QUALITY, CONDITION, ATTRIBUTION, AUTHENTICITY, RARITY, IMPORTANCE, MEDIUM, PROVENANCE, EXHIBITION HISTORY, LITERATURE, OR HISTORICAL RELEVANCE. EXCEPT AS REQUIRED BY LOCAL LAW, ANY WARRANTY OF ANY KIND IS EXCLUDED BY THIS PARAGRAPH.

(d) Our written and telephone bidding services, online bidding services, and condition reports are free services, and we are not responsible to you for any error, omission, or failure of these services.

(e) We have no responsibility to any person other than a buyer in connection with the purchase of any lot.

(f) If, despite the terms in paragraphs F(a)–(e) or E(2)–(3) above, we are found to be liable to you for any reason, we shall not have to pay more than the purchase price paid by you to us. We will not be responsible to you for any reason for loss of profits or business, loss of opportunity or value, expected savings or interest, costs, damages, or expenses.

G. OTHER TERMS

1.

OUR ABILITY TO CANCEL

In addition to the other rights of cancellation contained herein, we can cancel a sale of a lot if (i) any of your warranties in paragraph E(4) are not correct; (ii) we reasonably believe that completing the transaction is, or may be, unlawful; or (iii) we reasonably believe that the sale places us or the seller under any liability to anyone else or may damage our reputation.

2. RECORDINGS

We may videotape and/or audio record proceedings at any auction. We will keep any personal information confidential, except to the extent that disclosure is required by law. If you do not want to be videotaped, you may decide to make a telephone or written bid or bid online instead. Unless we agree otherwise in writing, you may not videotape or record proceedings at any auction.

3. COPYRIGHT

We own the copyright in all images, illustrations, and written material produced by or for us relating to a lot, including the contents of our catalogues, unless otherwise noted therein. You cannot use them without our prior written permission. We make no representation and offer no guarantee that the buyer of a lot will gain any copyright or other reproduction rights.

4. ENFORCING THIS AGREEMENT

If a court finds that any part of this agreement is invalid, illegal, or impossible to enforce, that part of the agreement will be treated as being deleted, and the rest of this agreement will not be affected.

5. TRANSFERRING YOUR RIGHTS AND RESPONSIBILITIES

You may not grant a security over or transfer your rights or responsibilities under these terms unless we have given our written permission. This agreement will be binding on your successors or estate and anyone who takes over your rights and responsibilities.

6. PERSONAL INFORMATION

We will hold and process your personal information in line with our privacy policy at www.hindmanauctions.com.

7. WAIVER

No failure or delay to exercise any right or remedy contained herein shall constitute a waiver of that or any other right or remedy, nor shall it prevent or restrict the further exercise of that or any other right or remedy. No single or partial exercise of such right or remedy shall prevent or restrict the further exercise of that or any other right or remedy.

8. LAW AND DISPUTES

This agreement, and any noncontractual obligations arising out of or in connection with this agreement, or any other rights you may have relating to the purchase of a lot will be governed by the laws of Illinois. You and we agree to try to settle the dispute by mediation submitted to JAMS, or its successor, for mediation in Illinois. If the dispute is not settled by mediation within sixty (60) days from the date when mediation is initiated, then the dispute shall be submitted to JAMS, or its successor, for final and binding arbitration in accordance with its Comprehensive Arbitration Rules and Procedures or, if the dispute involves a non-US party, the JAMS International Arbitration Rules. The seat of the arbitration shall be Illinois, and the arbitration shall be conducted by one arbitrator, who shall be appointed within thirty (30) days after the initiation of the arbitration. The language used in the arbitral proceedings shall be English. The arbitrator shall order the production of documents only upon a showing that such documents are relevant and material to the outcome of the dispute. The arbitration shall be confidential, except to the extent necessary to enforce a judgment or where disclosure is required by law. The arbitration award shall be final and binding on all parties involved. Judgment upon the award may be entered by any court having jurisdiction thereof or having jurisdiction over the relevant party or its assets. This arbitration and any proceedings conducted hereunder shall be governed by Title 9 (Arbitration) of the United States Code and by the United Nations Convention on the Recognition and Enforcement of Foreign Arbitral Awards of June 10, 1958.

H. GLOSSARY authentic: a genuine example, rather than a copy or forgery of (a) the work of a particular artist, author, or manufacturer, if the lot is described in the Heading as the work of that artist, author, or manufacturer; (b) a work created within a particular period or culture, if the lot is described in the Heading as a work created during that period or culture; (c) a work of a particular origin or source, if the lot is described in the Heading as being of that origin or source; or (d) in the case of gems, a work that is made of a particular material, if the lot is described in the Heading as being made of that material. buyer’s premium: the charge the buyer pays us along with the hammer price. catalogue description: the description of a lot in the catalogue for the auction, as amended by any saleroom notice. due date: has the meaning given to it in paragraph D(3)(a). estimate: the price range included in the catalogue or any saleroom notice within which we believe a lot may sell. Low estimate means the lower figure in the range, and high estimate means the higher figure. The mid estimate is the midpoint between the two. hammer price: the amount of the highest bid the auctioneer accepts for the sale of a lot.

Heading: has the meaning given to it in paragraph E(2). limited authenticity warranty: the guarantee we give in paragraph E(2) that a lot is authentic other damages: any special, consequential, incidental, or indirect damages of any kind or any damages that fall within the meaning of “special,” “incidental,” or “consequential” under local law. purchase price: has the meaning given to it in paragraph D(3)(a). provenance: the ownership history of a lot. qualified: has the meaning given to it in paragraph E(2), subject to the following terms:

(a) “Cast from a model by” means, in our opinion, a work from the artist’s model, originating in his circle and cast during his lifetime or shortly thereafter.

(b) “Attributed to” means, in our opinion, a work probably by the artist.

(c) “In the style of” means, in our opinion, a work of the period of the artist and closely related to his style.

(d) “Ascribed to” means, in our opinion, a work traditionally regarded as by the artist.

(e) “In the manner of” means, in our opinion, a later imitation of the period, of the style, or of the artist’s work.

(f) “After” means, in our opinion, a copy or after-cast of a work of the artist. reserve: the confidential amount below which we will not sell a lot. saleroom notice: a written notice posted next to the lot in the saleroom and on www.hindmanauctions.com, which is also read to prospective telephone bidders and provided to clients who have left commission bids, or an announcement made by the auctioneer either at the beginning of the sale or before a particular lot is auctioned.

UPPERCASE type: type having all capital letters. warranty: a statement or representation in which the person making it guarantees that the facts set out in it are correct.

Update 12/21/22

Property from the Fred and Kay Krehbiel Collection

PART II | PALM BEACH 16 MARCH 2023