Fine Art, Rare Books, Silver & Antiques Day 2

Lot: 1001 - Emile A. Gruppe (1896-1978) American, Oil on Canvas

Emile A. Gruppe (1896-1978) American, Oil on Canvas. Depicts a stunning winter wonderland. Signed bottom right. Salmagundi Club exhibition label on back with artist name, original price ($50.00), and title: "Winter, Vermont."  Overall Size: 11 1/2 x 13 3/4 in.  Sight Size: 9 1/2 x 11 3/4 in.  #4653  Emile Albert Gruppé was born in 1896 in Rochester, New York. His childhood was spent in the Netherlands as his father, Charles P. Gruppé, painted with the Hague School of art and acted as a dealer for various Dutch painters in the United States. The family returned permanently to the States around 1913 when rumblings of World War I were brewing. All of Emile’s siblings became involved in the arts: Paulo Mesdag (1891-1979) was a cellist, Karl Heinrich (1893-1982) was a sculptor, and Virginia Helena Gruppé (1907-1980) was a watercolorist. He studied at the National Academy in New York City and then traveled to Paris in 1916 to study at the Académie de la Grande Chaumière. In 1917 he enlisted in the United States Navy, serving with them for a year. When the war ended he settled in Gloucester, Massachusetts, and became a member of the Cape Ann school of artists, eventually opening his own studio. Although Gruppé is best known for his variety of impressionistic landscapes, he also painted figures and portraits. His modern style was heavily influenced by the French Impressionist Monet. From 1940 to 1970 he ran the Gloucester School of Painting at Rocky Neck on Smith Cove. From 1960 onward he wintered in Naples, Florida, where he painted tropical scenes. In the 1970s he wrote two books about brushwork, color, and technique. He was a member of the Salmagundi Club, the North Shore Art Association, the Rockport Art Association, the Gloucester Society of Artists, the Allied Artists of America, the Longboat Key Art Association, and the Sarasota Art Association. Gruppé died in 1978 at his home in Gloucester. His son, Robert C. Gruppé, also became a painter and maintains the Gruppé Gallery at Rocky Neck, while his daughter Emilie Alexander runs the Emile A. Gruppe Gallery in Jericho, Vermont. Both galleries feature their father’s paintings, among others from the Cape Ann group, and his pieces are found in many private collections along the East Coast.

Lot: 1002 - Attr: Jasper Francis Cropsey (1823-1900) American, "View of Paestum"

Attr: Jasper Francis Cropsey (American 1823-1900) "View of Paestum". A late 1880's oil painting similar in size to "Evening at Paestum" painting in 1856 based on sketches from Cropsey's first visit to Italy in 184844. In Cropsey's Later years, while living in Hastings on Hudson, Cropsey painted primarily local scenes and views based on sketches he had completed through the years. Condition: Oil on canvas in untouched condition. Remnants of a label on the stretcher. Overall Size: 14 3/8 x 20 1/2 in. Sight Size: 9 1/4 x 15 1/2 in. #4835

Lot: 1003 - Edward Butler (1853 - 1928) British, Oil on Canvas

Edward Butler (British, 1853 - 1928) Oil on Canvas, Cabin Painting. Oil on canvas painting of a rural cabin. Framed. Signed lower right. Overall Size: 20 x 16 in. Sight Size: 13 3/4 x 9 3/4 in. #4547 Artist Biography: Edward Butler (1853–1928) was a British landscape and figure painter known for his delicate, atmospheric works that captured the serene beauty of rural England. A member of the Newlyn School, Butler embraced plein air painting, often depicting pastoral scenes, village life, and coastal landscapes with a soft, impressionistic touch. His use of light and color emphasized the natural harmony of his subjects, creating a sense of tranquility in his works. Although not as widely recognized as some of his contemporaries, Butler's art is appreciated for its poetic charm and its contribution to the 19th-century British art movement.

Lot: 1004 - Jon Corbino (1905-1964) American, Oil on Canvas, Dancing Girls Dressing Room

Jon Corbino (1905-1964) American, Oil on Canvas, Dancing Girls Dressing Room. Oil on canvas impressionist painting of two dancing girls as they prepare for a show in their dressing room. Inscription lower verso, "For my lovely wife Dorothy (for her to keep)" by gallery owner Frank Oehlschlaeger. Signed lower right. Attributed and titled verso. Framed. From the Frank Oehlschlaeger Gallery. Overall Size: 15 3/4 x 14 in.  Sight Size: 9 1/2 x 7 3/4 in.  #5280 Artist Biography: Jon Corbino (1903–1964) was an American painter known for his dynamic and vividly colored works that often depicted dramatic scenes of industry, maritime activity, and human struggle. Born in Vittoria, Italy, he immigrated to the United States as a child and studied at the Art Students League of New York. Influenced by European Expressionism and the social realism of the 1930s, Corbino's art combined vigorous brushwork and bold compositions to portray themes of resilience and the human condition. His murals and easel paintings garnered national recognition, earning him commissions from the WPA Federal Art Project and prominent exhibitions at institutions like the Whitney Museum of American Art. Corbino's work remains celebrated for its emotional intensity and visual power.

Lot: 1005 - Jon Corbino (1905-1964) American, Oil on Canvas

Jon Corbino (1905-1964) American, Framed Color Lithograph. Shows various circus performers in Corbino's vibrant signature style, and a rare image with no horses in it. Title: "Florentine Interlude."  Overall Size: 23 1/4 x 17 1/4 in.  Sight Size: 15 1/2 x 9 3/4 in.  #5406 .  Jon Corbino was born on April 3rd, 1905 in Vittoria, Sicily and immigrated with his parents to the

Lot: 1006 - Jon Corbino (1905-1964) American, Painted Glazed Ceramic Charger Attached to Frame

Jon Corbino (1905-1964) American, Painted Glazed Ceramic Charger Attached to Frame. Image divided into two circles with blue backgrounds, with the inner circle displaying a horse with a circus rider in mid-prance, surrounded by disembodied watching eyes and a frolicking nude, ringed in a continuous pattern by the outer circle full of other horses, performers, and symbols of the

Lot: 1007 - Jon Corbino (1905-1964) American, Painted Glazed Ceramic Plate Attached to Frame

Jon Corbino (1905-1964) American, Painted Glazed Ceramic Plate Attached to Frame. Image of a stylized nude figure next to a virile bull with a vibrant sun in the distance. Signed bottom middle of image. Inserted and attached to the frame, which surrounded it with burgundy felt and an intricate gilt border. Label from the Frank Oehlschlaeger Gallery in Sarasota attached to the back.  Overall

Lot: 1008 - Jon Corbino (1905-1964) American, Painted Glazed Ceramic Plate Attached to Frame

 Jon Corbino (1905-1964) American, Painted Glazed Ceramic Plate Attached to Frame. Image shows a circus performer standing on a prancing horse with two other figures nearby and a blue border with red dots. Unsigned. Inserted and attached to the frame, which surrounded it with burgundy felt and an intricate gilt border. On the back is another image of a demure dark-haired woman

Lot: 1009 - Late 19th Century Jiang Feilin Chinese Painting on Silk

Late 19th Century Jiang Feilin Chinese Painting on Silk. Artist Jiang Feilin, Qing Dynasty. The subject is  Guan Yu Reading the Spring and Autumn Annals at Night  is a famous scene from Chinese history and folklore, often depicted in literature, art, and opera. It portrays  Guan Yu (关羽) , a legendary general from the Three Kingdoms period, as a figure of loyalty, bravery, and dedication.  Overall Size: 89 x 43 in. Sight Size: 75 x 33 1/2 in. #4767.  The Story : The scene typically highlights Guan Yu's discipline and perseverance. Even during times of war or when injured, he is said to have stayed up late at night reading the  Spring and Autumn Annals (《春秋》) , a Confucian classic attributed to Confucius. This symbolizes his commitment to self-improvement and his adherence to Confucian values, such as righteousness and moral integrity. Symbolism: Loyalty and Dedication : Guan Yu's study reflects his unwavering commitment to his lord, Liu Bei, and to the values ​​he upheld. Wisdom and Learning : His interest in the Spring and Autumn Annals showcases his pursuit of wisdom, not just martial prowess. Role Model : In Chinese culture, Guan Yu is often revered as a symbol of loyalty and righteousness, making this story an inspiring example of personal virtue. This scene is widely celebrated in Chinese culture, and Guan Yu himself is often deified as the  God of War  or  Martial Sage (武圣) , revered for both his military skills and moral character.

Lot: 1010 - Chinese Sterling Silver Dragon Handle Tankard - 22.060 ozt.

Chinese Sterling Silver Dragon Handle Tankard. Marked on underside.  Body of the mug is cylindrical and extensively decorated with repousse and chased designs of dragons amidst clouds. Handle is formed by a sculpted dragon, its body curving to create a comfortable grip. The dragon's head resting near the top rim.  Likely made in the late 19th or early 20th century.  Size: 6 1/4 x 3 1/4 x 6 in. Gross Weight: 22.060 ozt. #5474

Lot: 1011 - (6) Piece Jensen / La Paglia Sterling Coffee and Tea Serving Set - 198.94 ozt. 

(6) Jensen / La Paglia Sterling Silver Serving Items - 198.94 ozt.. lot comprised of six sterling silver serving items, including tray, sugar bowls, and coffee and tea pots. Monogrammed EM Sterling on base. Bowls and pots standing on three paw feet. Pots with lacquered wood sheaths on handles. Alphonse La Paglia (1907-1953), was born in Sicily, according to "Silver in American Life" (Yale University, 1979) he studied silversmithing with Georg Jensen in Denmark. LaPaglia emerged in the U.S. in the early 1940's, designing and creating jewelry for the firm of Frederick Lunning (Georg Jensen USA Inc.), he also worked independently crafting jewelry and holloware in his Summit, New Jersey workshop.   Tray Size: 27 x 17 1/2 in.  Gross Weight: 198.94 ozt.  #8769

Lot: 1012 - Dual Handle Georg Jensen / La Paglia Sterling Silver Bowl 18.310 ozt

Dual Handle Georg Jensen / La Paglia Sterling Silver Bowl 18.310 ozt.  Original sterling tray.  ALPHONSE LA PAGLIA - Meriden, CT Alphonse La Paglia was born in Italy and worked in the 1940' for Georg Jensen Inc.   He emigrated to the United States in the early 1940s.    Working for Georg Jensen USA, he initially worked as a designer for Georg Jensen USA, a renowned Danish silversmith company with a branch in the United States. Alphonse La Paglia worked in America from the early 1940s until his death in 1953. His work spanned roughly a decade, during which he contributed to the design of silverware and other metal ware for both a prestigious international brand and a large American company. Size: 12 1/2 x 9 1/2 x 2 in.  Gross Weight: 18.310 ozt.  #8770

Lot: 1013 - Japanese Tea Caddy Mixed Metal and Sterling - 9.085 ozt.

Japanese Tea Caddy Mixed Metal and Sterling. Marked on underside.  Ornately decorated with a raised floral design. Features a lid with a similar floral design.  Size: 3 1/4 x 3 1/4 x 5 in. Gross Weight: 9.085 ozt.  #5473

Lot: 1014 - Italian Old Master Oil on Canvas Religious Portrait

Italian Old Master Oil on Canvas Religious Portrait. Depicts religious scene, with John the Baptist watching over the Madonna and child. In as is condition, commensurate with age.  Overall Size: 35 x 28 3/4 in.  Sight Size: 22 x 18 in.  #4299 .  In art history “Old Master” refers to any painter of skill who worked in Europe before about 1800, or a painting by such an artist. In theory “Old Master” applies only to artists who were fully trained, were Masters of their local artists’ guild, and worked independently, but in practice paintings produced by pupils or workshops are often included in the scope of the term. Artists, most often from early periods, whose hand has been identified by art historians, but to whom no identity can be confidently attached, are often given names by historians such as Master E.S. (from a monogram), Master of Flemalle (from a previous location of a work), Master of Mary of Burgundy (from a patron), Master of Latin 757 (from the shelf mark of a manuscript he illuminated), and Master of the Embroidered Foliage (from a characteristic technique).

Lot: 1015 - After Raphael (1483-1520) Italian, Grand Tour Oil on Canvas Madonna & Child

After Raphael (1483-1520) Italian, Grand Tour Oil on Canvas Madonna & Child. Italian Grand Tour reproduction of Raphael's painting of the Madonna and child. In ornate gilt frame. The Italian Grand Tour was a cultural and educational journey undertaken by European elites, particularly young men from the 17th to the early 19th centuries, to complete their education and gain exposure to the classical heritage of antiquity and the Renaissance. Italy was the centerpiece of this tour, with key destinations including Rome, Florence, Venice, and Naples, where travelers explored ancient ruins, Renaissance art, and Baroque architecture. The journey was considered a rite of passage that cultivated cultural refinement, artistic appreciation, and knowledge of history and geography. Often accompanied by tutors, these tours also served as opportunities to collect art and antiquities, influencing the cultural tastes of the era and fostering the neoclassical movement in Europe. Condition: Craquelure throughout. Overall Size: 29 x 25 1/4 in. Sight Size: 12 1/2 x 12 1/2 in. #5166

Lot: 1016 - Franklin Dullin Briscoe (1844-1903) American, Oil on Board

Franklin Dullin Briscoe (1844-1903) American, Oil on Board. Signed and dated 1893 in the lower right. Luminist painting depicting seagulls flying over the shoreline surf, a clump of multi-color debris on the wet sand lower right quadrant. Housed in a deep gold-tone gesso on carved wood frame.  Overall Size: 23 x 28 3/4 in. Sight Size: 16 1/4 x 21 3/4 in.  Franklin Briscoe (1844-1903) was a renowned American marine painter. Born in Baltimore, he moved to Philadelphia as a child and trained with the esteemed artist Thomas Moran. Extensive travels, particularly by sea, deeply influenced his work, resulting in masterful depictions of the ocean and ships in all weather conditions. Briscoe's career flourished, culminating in the creation of a monumental 230-foot-long mural depicting the Battle of Gettysburg. He exhibited widely and gained recognition for his skill and dedication. Beyond his marine paintings, Briscoe also excelled in portraiture and historical subjects, leaving a lasting legacy as a versatile and accomplished artist.

Lot: 1017 - Attributed to Rose Lamb (1843-1927) American, Oil on Canvas

Attributed to Rose Lamb (1843-1927) American, Oil on Canvas. A portrait of a gallant figure. Unsigned. Attribution on label on back, with information including the provenance and title: "The Toreador."  Overall Size: 18 x 12 in.  Sight Size: 16 x 9 1/2 in.  #5301   Rosanna “Rose” Duncan Lamb was born in 1843 in Boston, Massachusetts. Her family was prominent in the community, and she was able to focus on art from an early age. She became a student of William Morris Hunt in the 1870s, concentrating on portraiture. She exhibited to the public infrequently, but her portraits were in high demand from members of the Boston elite and she particularly excelled at painting children. She made several trips to Europe to study and gather inspiration, and beginning in 1884 she was a drawing instructor at the South Boston School of Art. She was friends with the poet Celia Thaxter and after Thaxter’s death she and Annie Adams Fields edited and published Thaxter’s letters. Letters to her from Mary Cassatt and Childe Hassam are in the collection of the Museum of Fine Arts in Boston, and Lamb’s own papers are at the Smithsonian Archives of American Art which have revealed a great deal about the artist’s work, philosophy, and experience. Around 1900 she gave up painting after an illness from which she never fully recovered, and she passed away in her home in 1927. Given that almost all her work is held in private collections, most of what is known about her today comes from the collection donated to the Smithsonian by Aimee and Rosamond Lamb, her nieces.

Lot: 1018 - Attributed to Joseph Mallard William Turner (1775-1851) British

Attributed to Joseph Mallard William Turner (British 1775-1851). A Packet Ship unloading cargo. Oil on canvas.  Condition: Slight damage on left side of painting. Crackling paint. Cracks on frame.  Overall Size: 33 x 42 in.  Sight Size: 23 x 31 in.  #4932

Lot: 1019 - Old Master Painting "Ecce Agnus Dei" (Behold the Lamb of God) Oil on Canvas

Old Master Painting "Ecce Agnus Dei" (Behold the Lamb of God) Oil on Canvas. The Baptism of the Christ Child. Signed indistinctly and dated 1836 on the back in the upper right corner.    Overall Size: 17 1/4 x 15 in. Sight Size: 13 x 11 in.  #4917

Lot: 1020 - Adrian Kunkler (1829-1866) Swiss, Genre Scene Oil on Masonite

Adrian Kunkler (1829-1866) Swiss, Genre Scene Oil on Masonite. Depicts a man amorously offering a flower to a girl seated beside him who looks skeptical, surrounded by three goats to symbolize his intentions. A charming cottage, tall mountain range, and nearby woods fill the background of the humorous scene. Signed bottom right.  Condition: Some missing paint and cracking, additions to back of frame. Commensurate with age.  Overall Size: 30 x 34 1/2 in.  Sight Size: 20 1/4 x 25 in.  #5135   Jean Jules Adrian Kunkler was born in 1829 in St. Gallen, Switzerland. His father, a textile merchant, moved the family to Morges, a small village on the lake across from Geneva, when Kunkler was seven, and not long after he began his training as a painter under Jean-Léonard Lugardon. He took further private lessons in his teens under the landscape painter Jean Charles Ferdinand Humbert, and was acquainted early on with the developing Realist movement. In 1850 he began studying at the Düsseldorf Art Academy, becoming close friends with fellow students Benjamin Vautier and Alfred Dumont. In 1852 he graduated and began to assist his favorite professor, Karl Ferdinand Sohn, who encouraged him and Vautier to form the Malkasten Artists’ Association. Their interest in rustic subject matter combined with academic precision and naturalistic styles made them the center of the local art scene. In 1854 he returned to Geneva to exhibit his work, which led to commissions from private patrons throughout Switzerland, Germany, and France. Kunkler spent the next three years traveling to Savoy, Provence, and Spain for work, living in both Palma and Barcelona for a time. In 1858 he returned to Geneva to be near his family, who cared for him as he began to suffer the effects of tuberculosis. In 1862 he married, although it is unknown if he had children or not. During the last years of his life he painted sparsely, and he died in 1866 at the age of 35 at the Château de Ostier in Voiron, France. Most of his small body of work remains in private collections throughout Europe, although some can be found in museums, such as his best known work, "An Offer of Marriage," which showcases his humorous mixture of Realism and Romanticism.

Lot: 1021 - Ed Smalle Jr (20th Century) American, Oil on Board

Ed Smalle Jr (American, 20th Century) Oil on Board, "Fire Dept., Sarasota". Oil on board painting of the Sarasota Fire Department, a traditional multi-story white building nestled among trees. Signed lower left, signed and titled verso.  Overall Size: 19 x 23 in.  Sight Size: 12 x 16 in.  #8478

Lot: 1022 - 1930's American Eagle & Shield Sign

1930's American Eagle & Shield Sign. Large hand pained sign for the Townsend for Recovery Plan, a nationwide Depression Era political movement to create a retirement plan, The goal of the plan was to make "the United States the ideal spot on earth in which to live." The Plan failed to win passage in Congress but with over 3400 Townsend Plan Clubs across the country the movements supporters pressured Roosevelt and in 1935 the more conservative Social Security Act was passed. Signed J Gilbert.    Size: 38 x 37 in. #5038

Lot: 1023 - Albert Pennoyer (1888-1957) American, Landscape Pastel on Paper

Albert Pennoyer (1888-1957) American, Landscape Pastel on Paper. Shows an idyllic stream winding its way towards a farmstead in the distance. Signed bottom left.  Overall Size: 21 3/4 x 29 3/4 in.  Sight Size: 19 1/2 x 27 1/2 in.  #4744   Albert Sheldon Pennoyer was born in Oakland, California on April 5th, 1888. His early education was spent at boarding schools in

Lot: 1024 - Katherine Lovell (1877-1965) American, Oil on Canvas Landscape

Katherine Lovell (American, 1877-1965) Oil on Canvas Landscape. A landscape painting depicting a small town spread across the rolling hills of an idyllic countryside. Signed lower right K. Lovell. Framed. Overall Size: 24 x 30 in.  Sight Size: 17 1/2 x 23 in.  #4275    Artist Biography: Katherine Lovell, born in 1877, was an American painter known for her work in various media, including watercolor, oil, and pastels. She was associated with the New Hope School, which emphasized a blend of traditional and impressionistic techniques. Lovell's art often featured landscapes and still lives, capturing the beauty of nature with a distinctive use of color and light. She was active in the early to mid-20th century and exhibited her works in various galleries, contributing to the vibrant artistic community of her time. Her legacy is remembered for its contribution to American art during that period.

Lot: 1025 - Olof Hermelin (1827-1913) Sweden, Oil on Canvas Seascape

Olof Hermelin (Sweden, 1827-1913) Oil on Canvas Seascape. A seascape focusing on a distant lighthouse on a promontory. Signed Hermelin, lower left.  Overall Size: 23 x 35 in.  Sight Size: 18 x 30 in.  #4274    Artist Biography: Olof Hermlin was a Swedish painter and graphic artist known for his surreal and often darkly expressive style that reflected themes of existentialism and social critique. Active during the mid-20th century, Hermlin's work combined elements of abstract and figurative art, with a strong emphasis on bold color contrasts and dramatic, emotional imagery. His art frequently explored human psychology, alienation, and the complexities of modern life, earning him recognition within the Nordic art scene. Hermlin’s unique approach made him a prominent figure in Swedish art, and his works continue to be celebrated for their evocative depth and commentary on the human condition.

Lot: 1026 - Edward Moran (1829-1901) American, Watercolors

 Edward Moran (1829-1901) American, Watercolors. New York Harbor Scenes. Each signed in the lower left. Beautiful seascapes. One a stormy sky with a buoy, birds and ships in the background. The other also cloudy with rough waves and a ship in the background.  Overall Size: 10 3/4 x 13 3/4 in.  Sight Size: 5 x 7 in.  #4860 #4861 .  Born in England, Edward Moran is best known for his marine paintings, and is credited with the Moran family's entry into the art world. His family immigrated to Maryland in 1844 from Lancashire, England, where his father was a hand loom weaver. Edward, who was one of twelve children, left home to work in a cotton factory in Philadelphia. He impressed his employer with the large, wall-sized, sketches he did, and was encouraged to pursue art as a career. He and his brother studied and shared a studio in Philadelphia and then both returned for a time to England. There copying the paintings of J M W Turner heavily influenced them. 

Lot: 1027 - Daniel Kotz (1848-1933) American, Maritime Harbor Scene Oil on Canvas

Daniel Kotz (1848-1933) American, Maritime Harbor Scene Oil on Canvas. Title: "Fishing Boat at Wharf - Provincetown." Signed bottom right. Attribution and title on plaque bottom middle.  Overall Size: 30 1/2 x 26 in.   Sight Size: 24 x 20 in.  Frame Thickness: 3 1/4 in.  #4274 #1  Daniel Kotz was born in a log cabin in South Bend, Indiana, near Notre Dame, on March 21st, 1848. He spent much of his youth working on the family farm, where he enjoyed nature and the countryside around him. In his spare time, he discovered he had an interest in drawing and sketching his surroundings, including trees, open meadows, hayfields and more. On the advice of Dr. Buchtel, the family physician, he began to devote himself to studying art. While he traveled around the area of the St. Joseph River and the Lake Michigan area, his interest in landscapes grew, as did his ability to capture it on paper and canvas. Daniel went to Northwestern College in Napiersville, Illinois, where he wrote a column called “Kotz’s Mite” for their monthly publication. In 1870, he went to Chicago where he studied etching under Henry F. Spread, and in 1875 he worked with Henry Arthur Elkins. He became well known throughout the area as an accomplished etcher and engraver, and was a charter member of the Chicago Art League. In the 1880s, he was commissioned by then Vice-President Schuyler Colfax to execute a painting for his wife, and in 1886 he exhibited his first paintings at the National Academy of Design. Around 1890 he went to New York City to open his own studio, and built a large home on a New Jersey hillside at Park Ridge. He was one of the founders of the Salmagundi Club around the turn of the century, as well as a member of the Nanuet Painters, the American Artist Professional League, and the Beachcombers’ Club in Provincetown, Massachusetts. He is known to have exhibited at the New York Etching Club, the Boston Art Club, and many other galleries up into the later 1910s, but began to work less and less in the 1920s as his health diminished. He found more and more of his favorite subject matter throughout the western New England area, where he painted until his death at his New Jersey home in 1933.

Lot: 1028 - Katherine Lovell (1877-1965) American, Floral Still Life Watercolor

Katherine Lovell (1877-1965) American, Floral Still Life Watercolor. Shows a bright yellow spread of flowers in bright blue vases. Signed bottom left.  Overall Size: 26 x 23 1/2 in.  Sight Size: 22 x 19 1/2 in.  #4308  Katherine Adams Lovell was born in New York City in 1877. She worked in oils, watercolors, and acrylics to create brightly colored impressionistic coastal scenes, landscapes, interiors, and genre paintings. Her most common works usually included scenes of children playing in the sun, landscapes of  paths cut through a brush covered cliff, and small boats docked along the water’s edge, as well as the occasional floral or dinnerplate still life. Lovell’s early formal art training started at the Pratt Institute in Brooklyn, before she began to study privately with William Merritt Chase (1849-1916), Charles Webster Hawthorne (1872-1930), and John Fabian Carlson (1874-1945).  She was a prominent member of the National Association of Women Painters and Sculptors (NAWPS), the National Association of Women Artists (NAWA), the Pen and Brush Club for Women Artists, the Brooklyn Society of Artists, and the Studio Guild, all based out of New York. In 1929 Lovell moved to Brooklyn as Manhattan began to grow more crowded, although she frequently exhibited throughout the Five Boroughs, including with the National Academy of Design, the Ogunquit Art Club, and the Society of Independent Artists. She died in 1965, having never traveled beyond her home city, but her work is still represented in multiple museums around the country, including the Wright Museum of Art in Beloit, Wisconsin and the Staten Island Institute of Arts and Sciences.

Lot: 1029 - Late 19th Century Chinese Painting on Paper

Late 19th Century Chinese Painting on Paper. Artist unknown. The subject is Birthday Wishes from All the Immortals. The scene of immortals offering their blessings is a popular subject in traditional Chinese art, often depicted with vibrant colors and intricate details. Birthday Wishes from All the Immortals (群仙祝寿) is a popular tale in Chinese mythology and folklore. It often appears in traditional Chinese art, opera, and literature. This story is associated with the Queen Mother of the West (西王母) and her legendary Peach Banquet (蟠桃会).  Overall Size: 66 1/4 x 35 3/4 in. Sight Size: 55 x 29 1/2 in. #8490 .  The Story: The Queen Mother of the West, a powerful goddess in Chinese mythology, holds a grand banquet to celebrate her birthday every few thousand years. This banquet is famously known as the Peach Banquet, as it features the peaches of immortality (蟠桃), which ripen only once every 3,000 years. These peaches are said to grant eternal life to those who eat them. On this auspicious occasion, all the immortals from heaven and earth gather to pay their respects and offer birthday wishes to the Queen Mother. The immortals include deities, celestial beings, and legendary figures such as: The Eight Immortals (å…«ä»™): A group of Taoist deities known for their unique powers. The Jade Emperor (玉皇大帝): The ruler of heaven. Shou Xing (寿星): The God of Longevity, often depicted with a high forehead and a peach in his hand. Other notable deities like Guan Yin (观音), the God of Wealth (财神), and the Dragon Kings (龙王). Symbolism: Longevity and Prosperity: The story symbolizes the Chinese cultural emphasis on wishing for long life and good fortune. Unity and Harmony: The gathering of immortals represents the idea of universal harmony and celebration. Taoist Beliefs: The tale reflects Taoist themes of immortality, spiritual enlightenment, and reverence for nature.

Lot: 1030 - (2) Pair of Benin Bronze Leopard Sculptures

(2) Pair of Benin Bronze Leopard Sculptures. Benin bronzes are cast in the traditional lost wax method in which the mold must be destroyed after each casting to reveal the piece. Because of this, no two Benin bronzes are ever identical. From the 13th through the 19th century the Kingdom of Benin lay along the shore of the Atlantic ocean in modern day Nigeria. This prime trading location placed Benin and its capital city of Ile-Ife among the wealthiest most powerful African Kingdoms. The leopard is central to the Benin creation myth and enjoys status comparable to that of the King (Oba). Size: 30 1/2 x 12 x 47 in. #4706

Lot: 1031 - (2) African Wood Carved Brass Covered Ibeji Statues

(2) African Wood Carved Brass Covered Ibeji Statues. The Yoruba of Nigeria have the highest recorded rate of twin births in the world, with an estimated 45 sets of twins in every 1,000 births. For Yoruba families, the birth of twins is greeted with rejoicing because they are believed to possess special powers and the ability to bring good fortune to those who honor them properly. However, multiple births have an increased risk of one of the twins dying during infancy. Figures like these, called ibeji, are memorials to deceased twins. Their elaborate hairstyles and beaded jewelry mark their honored status. When one twin dies, a single sculpture is commissioned and cared for by the mother and later by the surviving twin. If both infants die, a sculptor creates two images. The figures are ritually washed, dressed, and offered favorite foods. Such figures reflect the various styles of individual artists and regions.  Size: 15 1/2 x 15 3/4 x 61 3/4 in. #4705

Lot: 1032 - (2) Pair of Hector Guimard Pair of Art Nouveau Table Lamps Signed

(2) Pair of Hector Guimard Pair of Art Nouveau Table Lamps Signed. Gilt bronze table lamps with hanging hollow crystal tube shade designs. Hector Guimard was a French architect and designer, and a prominent figure of the Art Nouveau style. Today Guimard is regarded as one of the most individualistic artists of his era, one of the innovative founders of Art Nouveau who developed a personal aesthetic that is often instantly recognizable and distinguishable even from his fellow practitioners of the style. Those who visit Paris will recognize the entrances created by Guimard.   Size: 8 x 9 x 23 /2 in. #5114

Lot: 1033 - Hector Guimard Art Nouveau Table Lamp Signed

Hector Guimard Art Nouveau Table Lamp Signed. Nickel plated bronze table lamp with hanging hollow crystal tube shade design. Raised on an octagonal tiered base with tapered, floral relief support. Signed on base.   Hector Guimard was a French architect and designer, and a prominent figure of the Art Nouveau style. Today Guimard is regarded as one of the most individualistic artists of his era, one of the innovative founders of Art Nouveau who developed a personal aesthetic that is often instantly recognizable and distinguishable even from his fellow practitioners of the style. Those who visit Paris will recognize the entrances created by Guimard.   Size: 15 x 9 x 31 in. #5117

Lot: 1034 - Hector Guimard Art Nouveau Chandelier Signed

Hector Guimard Art Nouveau Candlestick Signed. The chandelier has a nickel plated bronze foundation fitted with hanging glass tubes and bronze rods in the Art Nouveau style. Hector Guimard (1867-1942) was a renowned Art Nouveau architect and designer, celebrated as one of France's most influential figures of the movement. Signed. Condition: One of the bronze rods is damaged, otherwise in excellent condition. Size: 10 1/2 x 22 x 35 in. #5148

Lot: 1035 - Fantastic Pair of Antique Baccarat "Dauphin" Crystal Lamps

Antique, Late 19th-Early 20th Century Baccarat France (French) "Dauphin" Crystal Hurricane Lamps. Marked with Baccarat stamp on the underside and near base of shades. Depicting two dauphin (dauphine, dolphin fish) holding up a candle holder surrounded by cut crystal prisms with etched glass floral design hurricane shades.  Size: 7 x 7 x 23 in.  #5082

Lot: 1036 - (2) Exquisite Bradley & Hubbard Brass Dolphin Andiron Decorations

(2) Exquisite Bradley & Hubbard Brass Dolphin Andiron Decorations. The dolphins look like the embellished creatures found on highly illustrated maps, near where there be dragons. Matched pair.   Size: 12 1/2 x 7 x 2 in.  #4383 .  In 1852 a businessman named Nathanial Bradley and a smithy named Walter Hubbard formed the Bradley & Hubbard Manufacturing Company in Meriden, Connecticut. Starting with just six workers (including Hubbard), over the next forty years they became known throughout the United States for producing elegant artistic brass tables, call bells, candlestick holders, clocks, match safes, lamps, architectural grilles, railings, and much more. Overall the company patented 238 designs and mechanical devices. By the 1890s the Bradley & Hubbard name was synonymous with high quality and artistic merit, and in 1895 they expanded their factory space, having grown to over 1,500 workers there, in offices, and at sales rooms in New York, Boston, Chicago, and Philadelphia. The United States National Museum (now the Smithsonian Institute) acquired a massive collection of Bradley & Hubbard pieces in the 1920s which are still on display to this day. In 1940 the business was sold to the Charles Parker Company, who closed the Meriden facility and continued to produce their designs for a decade before phasing them out. Their stylish and timeless works can be found in the Baltimore Museum of Art, the Brooklyn Museum, the Canadian Centre for Architecture in Montreal, the Carnegie Museum of Art in Pittsburgh, the Connecticut Historical Society, and many more museums and libraries. One of their greatest surviving collections is a customized interior installation that has been preserved exactly as it was built in the James Blackstone Memorial Library in Branford, Connecticut. Their pieces are highly sought for their grandeur and their status as 19th Century architectural masterpieces of Americana.

Lot: 1037 - Brass Dolphin Table Lamp

Brass Dolphin Table Lamp. A brass figural lamp in the shape of a dolphin/mahi-mahi, balanced on its head with its tail snaking upward to where it curls around the base of the light socket. Electrified. Condition: We have not confirmed working order. Size: 6 7/8 x 23 in. #4393

Lot: 1038 - Chinese Jade Snuff Bottle

Chinese Jade Snuff Bottle. Pale green jade with russet bar, decorated with floral designs in low relief. Has a compressed oval or gourd-like shape, narrow neck, and small opening. Standing on raised ovoid foot. Chinese snuff bottles are small, intricately crafted containers designed to hold powdered tobacco, introduced to China during the Qing dynasty. Used for both practical and decorative purposes, these bottles reflect the artistry and craftsmanship of their time, often made from materials like glass, jade, porcelain, or metal and adorned with detailed carvings, paintings, or inlays. The designs range from traditional motifs such as dragons, flowers, and landscapes to more personal or symbolic imagery. Snuff bottles were not only functional items but also status symbols and collectibles, reflecting the owner's taste and social standing. They remain highly prized by collectors worldwide for their historical significance and exquisite artistry. Size: 1 5/8 x 5/8 x 3/8 in. #5479

Lot: 1039 - Antique Chinese Carved Jade Snuff Bottle

Antique Chinese Carved Jade Snuff Bottle. Snuff bottle of carved pale rose jade decorated in low relief with scene of mountains and lake, with focus on a blooming flower on one side. Compressed ovoid form on raised oval foot. Chinese snuff bottles are small, intricately crafted containers designed to hold powdered tobacco, introduced to China during the Qing dynasty. Used for both practical and decorative purposes, these bottles reflect the artistry and craftsmanship of their time, often made from materials like glass, jade, porcelain, or metal and adorned with detailed carvings, paintings, or inlays. The designs range from traditional motifs such as dragons, flowers, and landscapes to more personal or symbolic imagery. Snuff bottles were not only functional items but also status symbols and collectibles, reflecting the owner's taste and social standing. They remain highly prized by collectors worldwide for their historical significance and exquisite artistry. Size: 1 3/4 x 3/4 x 2 3/4 in. #5481

Lot: 1040 - Antique Chinese Jade Snuff Bottle

Antique Chinese Jade Snuff Bottle. Snuff bottle of pale green jade in compressed ovoid form with raised relief of birds on branch along edge. Raised ovoid foot. With stopper. Chinese snuff bottles are small, intricately crafted containers designed to hold powdered tobacco, introduced to China during the Qing dynasty. Used for both practical and decorative purposes, these bottles reflect the artistry and craftsmanship of their time, often made from materials like glass, jade, porcelain, or metal and adorned with detailed carvings, paintings, or inlays. The designs range from traditional motifs such as dragons, flowers, and landscapes to more personal or symbolic imagery. Snuff bottles were not only functional items but also status symbols and collectibles, reflecting the owner's taste and social standing. They remain highly prized by collectors worldwide for their historical significance and exquisite artistry. Size: 2 x 3/4 x 2 1/2 in. #5480

Lot: 1041 - Authentic 1500 BC Egyptian Faience Necklace

Authentic 1500 BC Egyptian Faience Necklace. Acquired from a well-known Egyptologist in NYC 1981. Appears to be missing one attendant pendant on the right-hand side of the necklace. Absolutely authenticated and confirmed by an institutional Egyptologist. Case Size: 9 1/4 x 6 x 2 3/4 in. #5004 The necklace is purported to have been imported decades previously. Encased in a Lucite Clear Case. Museum Quality. n ancient Egypt, objects created with faience were considered magical, filled with the undying shimmer of the sun, and imbued with the powers of rebirth. For Egyptians, the sculptures, vessels, jewelry, and ritual objects made of faience glimmered with the brilliance of eternity. While faience is made of common materials—quartz, alkaline salts, lime, and mineral-based colorants—it maintained important status among precious stones and metals. Faience may have been developed to simulate highly prized and rare semi-precious blue stones like turquoise. This man-made substance allowed the Egyptians to make a wide variety of objects covered in shiny, bright blue glaze—a color that was closely linked with fertility, life, and the gleaming qualities of the sun. Faience first appeared at the end of the fifth millennium B.C. and has occurred in various forms up to the present day. It may have been invented in the ancient Near East following the development of an alkaline glaze on quartz stones. Its technological refinement and major triumphs, however, were surely accomplished in Egypt. Some of the earliest faience objects made in Egypt were beads, soon followed by small votive temple offerings and royal tomb objects. Faience was inlaid into furniture and into walls as tomb and temple decoration.  Location O5

Lot: 1042 - Ancient Egyptian Pharaonic Seated Bronze Figure, Isis Suckling Horus

Ancient Egyptian Pharaonic Seated Bronze Figure, Isis Suckling Horus. Antique Egyptian figure depicting the goddess Isis, wearing the Egyptian crown and adorned with the Sun Disk, suckling an infant Horus.. On Lucite base. Condition: Heavily patinated. In ancient Egyptian mythology, Isis and Horus are among the most revered deities. Isis, a goddess of magic, motherhood, and healing, was married to Osiris and played a crucial role in his resurrection after he was killed by his brother Set. She gave birth to Horus, her divine son, and raised him in secrecy to protect him from Set’s wrath. Horus, a falcon-headed god, symbolizes kingship and protection and is associated with the sky and divine justice. Together, their story represents themes of restoration, the triumph of good over evil, and the divine legitimacy of Egyptian pharaohs, who were believed to be Horus incarnate. Size: 2 5/8 x 2 5/8 x 6 5/8 in. #5400

Lot: 1043 - Ancient Egyptian Polymorphic Bronze Statue

Ancient Egyptian Polymorphic Bronze Statue. A polymorph representing 9 to 10 Egyptian gods in one figure. The head has the crown of Upper and Lower Egypt. The most interesting is an erect phallus with the head of a cat. This could represent the god Bess..god of fertility and pleasure. As you face the front of the figurine it is missing a left pectoral arm/wing and missing the head of the left snake. Size: 2 5/8 x 3 3/8 x 6 1/4 in. #5401

Lot: 1044 - Letter Handwritten and Signed by Louis XIV 1699

This letter was handwritten by Louis XIV, also known as the Sun King - Le Roi Soleil. Louis (1638 - 1715) was the longest reigning monarch in Europe - he became king at five years old, after the death of his father, Louis XIII, and ruled for 72 years - and he believed in the divine right of kings. By 1699 he had the largest army in Europe, and under his rule, he reorganized and standardized

Lot: 1045 - Letter Handwritten And Signed By A. A. Milne 1926

This letter was written by A. A. Milne at his home in Chelsea, England and is an endearing letter to someone he is thanking for a previous letter from her.  Milne (1882 - 1956) was an English writer best known for his books about the teddy bear Winnie-The-Pooh, he was a playwright and wrote children’s poetry, he served in World I and World War II, and he was the father of Christopher Robin Milne, who was the inspiration for the Christopher Robin character in the Winnie-The-Pooh books.  The letter reads “Dear Mrs Cultver, I have just come across your letter among a pile of others, and feel rather sad that I didn’t say ‘Thank you’ for it at the time, for it is such a nice one. So I say it now, and send my love to your Silly Man and his sister. Mine was five last August - and gets more adorable every month. I suppose you think that they are practically dead at 5, but they are not. Perhaps at 6 - but we shall see. Yours sincerely,      A. A. Milne”  The child Milne calls “mine” was Christopher Robin Milne, A. A. Milne’s only child, born in August 1920, so even though the date on the letter is indistinct, we believe the letter was written in 1926, and this seems to be confirmed by the postmark on the envelope the letter was sent in. (The postmark is dated “18 Jan 26”, which is January 18, 1926.)  The letter was sent to Mrs. Hugh Cultver [Cullver?] at 156 97th St. in Brooklyn, N.Y., according to the address on the envelope.  The letterhead also reads “13, Mallord Street, Chelsea S.W. 3, Tel. Kensington 2074”, and Milne lived at that address from 1919 until around 1940. Chelsea is just outside London, and while living there, he wrote both of his Winnie-The-Pooh books and two collections of poetry.  The letter is in great condition, and housed in a frame that measures 15 1/2 x 9 1/2 inches wide, with an orange brown mat that surrounds the letter, the letter itself measures 6 3/4 x 5 1/4 inches wide up to the mat, and it is wired on the backside of the frame, so it is all ready to hang.  Overall Size: 15 1/2 x 9 1/2 in. Sight Size (Upper): 3 3/4 x 5 3/4 in. Sight Size (Lower): 6 3/4 x 5 3/4 in. #4654

Lot: 1046 - Winnie The Pooh by A A Milne, Signed First Edition 1926

This book is the famous children’s book Winnie-The-Pooh by A. A. Milne. It is a signed first edition published by Methuen in London in 1926 and meets all the points of issue for the first edition: it has the green cloth binding with illustrations of Pooh and Christopher Robin in gilt on the front cover, the endpapers on front and back show the map of 100 Aker Wood and Pooh Bear’s home, it was published in the UK by Methuen, and the copyright page says it was first published in 1926, with no additional printings. It is also considered a deluxe first edition because it is published in a green binding, it has gilt lettering and decorations on the spine and double-ruled gilt borders on the covers, and only 3000 copies of the deluxe first edition were ever published - 1000 in green, 1000 in red, and 1000 in blue; the regular first edition has just   a title and author in gilt letters on the spine and single gilt-ruled borders on the covers.  The book is 7 1/2 x 5 inches wide and is signed by Milne on the title page, it has the double-gilt ruled borders on the covers, the gilt-decorated spine, the map of Aker Wood on the endpapers (with a bookseller’s label in the bottom left corner of the front endpapers), followed by blank endpapers, the half-title, and the title page, the copyright page says “First Published in 1926” and “Printed in Great Britain” below the logo at the bottom of the page, an Introduction on pages ix and x, a list of Contents on page xi, 158 pages of text with numerous illustrations by  E Shepard, an illustration by Shepard after page 158, it was printed by Jarrold and Sons in Norwich, according to the last page before the rear endpapers, all the edges are gilt, and it has the original green ribbon marker inside.  The book lacks the original glassine dust jacket and the original paper box the book came in, but it is clean and tight, with wear at the heel, crown, and at the tips, the ribbon marker is split part-way down, and an attractive deluxe edition for anyone looking for a signed copy of this rare and wonderful children’s book.  Size: 5 x 7 1/2 x 3/4 in. #5467

Lot: 1047 - Winnie-The-Pooh by Milne, Signed and Numbered First Edition 1926

This book is the large paper edition of Winnie-The-Pooh by A A Milne. It is a signed first edition published by Methuen in London in 1926, with the dark blue spine and light blue boards, a clean paste-down label on the front board as called for, blank endpapers, the half-title followed by the title page, and the limitation page says the book was made on handmade paper in 1926, it was signed by A. A. Milne and by Ernest H. Shepard, the illustrator, and it is number 329 of only 350 copies that were ever printed, so a rare book indeed. It has a two-page Introduction (ix and x), a list of Contents (page x), 158 pages of text, a fold-out map of 100 Aker Wood at the rear with tissue guards protecting the map, blank endpapers at the rear, and a dust jacket. The page after the last illustration says the book was printed by Jarrold and Sons in Norwich too, and it measures 8 3/4 x 7 inches wide.  The dust jacket has the correct 42/- Net price on the spine and has served its purpose very well, because the label on the front cover and both boards are very clean, the book is clean and tight, and the only condition issues we could find are light wear at two tips, a faint brown spot on page 55, the hinges have faint shadows along the joints, and the dust jacket has chips and splits on the spine and there is tape on the vertical strip of the spine - we don’t know whether it is archival tape or not and we chose not to remove it - and part of the author’s name is missing at the top of the spine, and there is light browning and wear along the top of the dust jacket. Still a rare copy of this signed and numbered title b A. A. Milne.  Size: 7 1/4 x  9 x 1 in. #8486

Lot: 1048 - The House at Pooh Corner, Signed and Numbered First Edition 1928

This book is titled The House At Pooh Corner and is a limited first edition that was signed by Milne and Ernest Shepard, the illustrator, and published in 1928. The book has blue cloth on the spine and cream-colored boards with a paper label on the front cover, blank endpapers, the half-title, a frontis drawing by Shepard, the title page with Methuen & Co. at the bottom of the page, the book was published in London, followed by the limitation page, which says the book was printed on hand-made paper in 1928, and it is number 225 of only 350 copies that were signed by the author and the illustrator. Then a Contradiction - Milne’s introduction - on pages ix and x, a list of Contents on page xi, 178 pages of text, followed by a silhouette of Christopher Robin and Pooh, the book was printed by Jarrold and Sons in Norwich, and it has the dust jacket with the title, the author’s name, a price of 42 / - Net and the publisher’s name on the spine.  The book measures 8 7/8 x 7 1/4 inches wide and is in very good condition. It is clean and tight, with a small blemish to the left of the paper label, a bruise at the bottom of the front board, light wear at the tips, light shadows along the hinges in front and back, and the dust jacket has light soiling and chips at the heel and crown of the spine, a small hole on the front  cover of the jacket, small nicks or tears at the top and bottom of the dust jacket, and the flaps have light wear at the top edges, and still an attractive copy of this rare limited edition signed by Milne and Shepard.  This is A. A. Milne’s second and final novel about Winnie-The-Pooh, and you won’t get many chances to acquire this book because there are only a limited number of copies that were ever published.  Size: 7 1/4 x 9 x 1 in. #7487

Lot: 1049 - Henry Fielding Signed Letter Circa 1750

This letter was written by Henry Fielding (1707 - 1754), an English writer and magistrate known for his humor and satire. He wrote The History of Tom Jones, a Foundling, and along with Samuel Richardson, he was considered the founder of the traditional English novel. Fielding was appointed justice of the peace in 1748 and became a court magistrate for Westminster and Middlesex along the way, and he established London’s police force at a time when the city was infested with crime; his appointment to magistrate was part of an effort to restore law and order to the city.   The letter is undated, but it probably was written between 1748 and 1754, when Fielding served as justice of the peace and court magistrate. The letter reads “For whatever has past your Judgement may I think without any Imputation of [Immodesty] refer Want of Success to Want of Judgment in an Audience. I Shall do myself the Honour of waiting on your Ladyship   at Twickenham next Monday to receive my Sentence and am Madam with the most devoted Respect your Ladyship, most Obedient most humble Servant Henry Fielding”.  Twickenham is a suburb of London near the Thames, just south of Charing Cross, and it sounds like a woman of means or nobility was going to receive a sentence of jail time for something she had done, and we believe that is a fair reading of the letter, especially in light of Fielding’s position as court magistrate. His residence on Bow Street in London was also his own courthouse.  The letter is handwritten by Fielding and the black frame measures 9 1/8 x 10 1/2 inches wide, the letter measures 6 7/8 x 5 1/8 inches high, and it is already wired on the back, so it’s ready to hang, and the letter and frame are in very good condition. There are no condition issues, as far as we can tell, and an interesting document by an interesting writer and court person of the 18th century.  Henry Fielding (1707–1754) was an influential English novelist, playwright, and magistrate, widely regarded as a pioneer of the modern novel. Born in Somerset, England, he studied law at the University of Leiden but turned to writing to support himself. Fielding gained early recognition as a playwright, often using satire to critique political corruption, though his works were curtailed by the Licensing Act of 1737. He then turned to prose, producing some of the greatest works of 18th-century literature, including Joseph Andrews (1742) and Tom Jones (1749), celebrated for their humor, vivid characters, and social commentary. Later in life, Fielding became a magistrate and helped reform London's justice system, co-founding the Bow Street Runners, an early police force. His literary and civic contributions solidified his legacy as a key figure of the Enlightenment era. Overall Size: 9 1/8 x 10 1/2 in. Sight Size: 5 1/8 x 7 in. #4657

Lot: 1050 - Letter Handwritten and Signed by Alexandre Dumas 1860

This letter was written by Alexandre Dumas (1802 - 1870), also known as Alexandre Dumas Pere, the French novelist and playwright who wrote historical novels of adventure, such as The Three Musketeers and The Count Of Monte Cristo. Early on he worked as a writer, then fell from favor after the election of Napoleon Bonaparte III in 1851, so he moved to Belgium, then to Russia and Italy, where he founded and published Indipendente, a newspaper which supported Italian unification. He was also the father of Alexandre Dumas fils - Alexandre Dumas the son - and his grandmother was an Afro-Caribbean slave and his father a mulatto, so even though he was a success as a writer, Alexandre faced discrimination based on his mixed ancestry,  He was also a friend and strong supporter of Giuseppe Garibaldi and the Italian unification movement: they shared a commitment to liberal republican principles and Dumas wrote many works praising Garibaldi's leadership, he even provided Garibaldi's forces with resources like muskets and rifles, and he organized propaganda for the unification movement through his newspaper.    The letter is two-sided and speaks about General Garibaldi in the very first two lines, so it has historical significance. The handwriting is hard to decipher, but it mentions salaries and money, ministers and figures like Charles Bonnucci, and the Bureaux. It is signed with a flourish and clearly the signature of Alexandre Dumas the father, not Alexandre Dumas the son - and it is dated 16  7, 1860 - July 16, 1860.   The letter is framed and under glass and in great condition. The frame measures 15 x 13 1/2 inches wide and the letter measures 10 1/4 x 8 1/4 inches wide, with a brown mat on the front and a white mat on the back, and it is already wired to hang. We have not examined the letter out of the frame, but there are no tears or repairs to the letter: some ink on the back side can be seen on the other side, so it seems a little hard to read the letter because of that - and a true gem of a letter - it was written by a famous author and has historical significance - where do you find letters written by Alexandre Dumas and mention Garibaldi together?  Overall Size: 15 x 13 1/2 in. Sight Size: 10 1/4 x 8 1/4 in. #4660

Lot: 1051 - Pair of 19th Century French Bronze and Marble Garniture Set

Pair of 19th Century French Bronze and Marble Garniture Set.  1880s. Exhibits a classic Neoclassical style. The urns are the central focal point with a deep bowl shape and wide rim. They are adorned with intricate gilt bronze embellishments including relief scenes and garlands of leaves and fruits. Each has 4 small, rounded feet. Marking on marble on underside.  Condition: Hole in one of the urns. Some chips on the marble.  Size: 8 1/4 x 7 x 12 1/2 in.  #5299

Lot: 1052 - Late 19th Century Judaica Hanging Brass Shabbat Oil Lamp

Late 19th Century Judaica Hanging Brass Shabbat Oil Lamp. Hanging brass oil lamp with wall fixture attachment  Dated from the late 1800s. Shabbat oil lamps are traditional Jewish ritual objects used to illuminate the home in honor of Shabbat, the weekly day of rest. Historically crafted from materials such as clay, brass, or silver, these lamps often feature multiple wicks and elaborate designs symbolizing devotion and spiritual light. The lighting of Shabbat lamps, typically done by women, marks the transition from the workweek to the sanctity of Shabbat, accompanied by a blessing. Over time, oil lamps have been replaced by candles in many homes, but their significance as symbols of peace and holiness endures. These lamps remain cherished artifacts of Jewish heritage and religious practice. Size: 10 x 10 x 19 in.  #5392

Lot: 1053 - French Gilt Bronze Waldorf Astoria Antique 19th/20th Century Plateau

French Gilt Bronze Waldorf Astoria Antique 19th/20th Century Plateau.  Large Gilt Mirrored French Gilt Bronze Mirrored Plateau Tray. Adorned by cherubs, this beautiful mirrored tray was in the Waldorf Astoria in New York. Wear commensurate with age. Size: 27 x 16 x 8 in.  #4565 .  The Waldorf-Astoria originated as two hotels, built side by side by feuding relatives, on Fifth Avenue in New York, New York, United States. Built in 1893 and expanded in 1897, the hotels were razed in 1929 to make way for construction of the Empire State Building. Their successor, the current Waldorf Astoria New York, was built on Park Avenue in 1931.  

Lot: 1054 - Antique Waldorf-Astoria Marble Top 3-Drawer Cabinet with Brass Hardware Accents

Antique Waldorf-Astoria Marble Top 3-Drawer Cabinet with Brass Hardware Accents.  Rectangular form with a flat top and three drawers. The legs are slightly curved or cabriole. The top surface is made of marble. The drawer pulls and escutcheons (keyhole covers) are made of brass.  Size: 33 1/4 x 16 x 34 1/4 in. #4707

Lot: 1055 - Group of (47) Waldorf Astoria Sterling Silverware - 38.295 ozt.

Group of (47) Sterling Silverware from Waldorf Astoria - 38.295 Ozt. Consisting mostly of R Wallace & Sons Sterling Silverware. Other Makers Marks. Victor & Son Sterling, Lunt Sterling, RLB Sterling, German 800 silver. Size: 1 3/4 x 7 in. Weight: 38.295 ozt #5453

Lot: 1056 - Wedgwood Celestial Dragon Lustre Vase

Wedgwood Celestial Dragon Lustre Vase. Marked on underside. Decorated with the Celestial dragon in guilt on a mixed blue lutsre background. Circa 1920's. By Daisy Makeig-Jones.  Susannah Margaretta "Daisy" Makeig-Jones was a pottery designer for Wedgwood. She is best known for her Fairyland Lustre series. Makeig-Jones was born in Wath-upon-Dearne near Rotherham, Yorkshire, the eldest of seven children.  Condition: Commensurate with age.  Size: 2 1/2 x 2 1/2 x 4 1/4 in.  #7 #3408 .  Wedgwood is an English fine china, porcelain and luxury accessories manufacturer that was founded on May 1st, 1759 by the potter and entrepreneur Josiah Wedgwood (1730-1795) and was first incorporated in 1895 as Josiah Wedgwood and Sons Ltd. It rapidly became one of the largest manufacturers of Staffordshire pottery, exporting as far as Russia and the Americas. It was especially successful at producing fine earthenware and stoneware that were accepted as equivalent in quality to porcelain (which Wedgwood only made later) but were considerably cheaper. Wedgwood is mostly associated with the “dry-bodied” (unglazed) stoneware called Jasperware in contrasting colors, and in particular the “Wedgwood blue” and white color palette. Jasperware has been made continuously by Wedgwood since 1775, although in the 18th Century their table china called Creamware represented most of their sales. The company flourished in the 19th Century, but despite remaining a family business much work began to be contracted to other countries as the pottery business took successive hits from World Wars and economic collapses. After acquiring most of the other Staffordshire ceramics companies in the 1960s and 70s, they merged with Waterford Crystal in 1987 to form Waterford Wedgwood plc, an Ireland-based luxury brands group. In 1995 Wedgwood was granted a Royal Warrant from Queen Elizabeth II. After a 2009 purchase by KPS Capital Partners, a New York-based private equity firm, the group became known as WWRD Holdings Limited (an acronym for Waterford Wedgwood Royal Doulton). This was acquired in July 2015 by Fiskars, a Finnish consumer goods company, under which they continue to produce many lines of highly-sought products.

Lot: 1057 - Wedgwood Lustreware Bowl

Wedgwood Lustreware Bowl. Marked on underside. Made by Daisy Makeig-Jones. Circa 1920. Mottled orange exterior decorated with gold on the inner and outside. Purple and blue mottled interior with gold characters and decorative elements.  Susannah Margaretta "Daisy" Makeig-Jones was a pottery designer for Wedgwood. She is best known for her Fairyland Lustre series. Makeig-Jones was born in Wath-upon-Dearne near Rotherham, Yorkshire, the eldest of seven children.  Condition: Slight rubbing on rim. Chip on top rim. Hairline on one side.  Size: 2 3/4 x 2 3/4 x 1 3/4 in.  #6 #3409 .  Fairyland lustre is a range of bone china shapes and patterns manufactured by Wedgwood from 1915 to 1930. Designed by Daisy Makeig-Jones, the pieces are highly decorated and fantastical. Wedgwood is an English fine china, porcelain and luxury accessories manufacturer that was founded on May 1st, 1759 by the potter and entrepreneur Josiah Wedgwood (1730-1795) and was first incorporated in 1895 as Josiah Wedgwood and Sons Ltd. It rapidly became one of the largest manufacturers of Staffordshire pottery, exporting as far as Russia and the Americas. It was especially successful at producing fine earthenware and stoneware that were accepted as equivalent in quality to porcelain (which Wedgwood only made later) but were considerably cheaper. Wedgwood is mostly associated with the “dry-bodied” (unglazed) stoneware called Jasperware in contrasting colors, and in particular the “Wedgwood blue” and white color palette. Jasperware has been made continuously by Wedgwood since 1775, although in the 18th Century their table china called Creamware represented most of their sales. The company flourished in the 19th Century, but despite remaining a family business much work began to be contracted to other countries as the pottery business took successive hits from World Wars and economic collapses. After acquiring most of the other Staffordshire ceramics companies in the 1960s and 70s, they merged with Waterford Crystal in 1987 to form Waterford Wedgwood plc, an Ireland-based luxury brands group. In 1995 Wedgwood was granted a Royal Warrant from Queen Elizabeth II. After a 2009 purchase by KPS Capital Partners, a New York-based private equity firm, the group became known as WWRD Holdings Limited (an acronym for Waterford Wedgwood Royal Doulton). This was acquired in July 2015 by Fiskars, a Finnish consumer goods company, under which they continue to produce many lines of highly-sought products.

Lot: 1058 - Wedgwood Celestial Dragon Lustre Bowl

Wedgwood Celestial Dragon Lustre Bowl. Marked on underside. Footed bowl. Decorated with the Celestial dragon in guilt on a mixed blue lutsre background. Circa 1920's. By Daisy Makeig-Jones.  Susannah Margaretta "Daisy" Makeig-Jones was a pottery designer for Wedgwood. She is best known for her Fairyland Lustre series. Makeig-Jones was born in Wath-upon-Dearne near Rotherham, Yorkshire, the eldest of seven children.  Condition: Commensurate with age.  Size: 4 1/2 x 4 1/2 x 2 1/2 in.  #8 #3410 .  Wedgwood is an English fine china, porcelain and luxury accessories manufacturer that was founded on May 1st, 1759 by the potter and entrepreneur Josiah Wedgwood (1730-1795) and was first incorporated in 1895 as Josiah Wedgwood and Sons Ltd. It rapidly became one of the largest manufacturers of Staffordshire pottery, exporting as far as Russia and the Americas. It was especially successful at producing fine earthenware and stoneware that were accepted as equivalent in quality to porcelain (which Wedgwood only made later) but were considerably cheaper. Wedgwood is mostly associated with the “dry-bodied” (unglazed) stoneware called Jasperware in contrasting colors, and in particular the “Wedgwood blue” and white color palette. Jasperware has been made continuously by Wedgwood since 1775, although in the 18th Century their table china called Creamware represented most of their sales. The company flourished in the 19th Century, but despite remaining a family business much work began to be contracted to other countries as the pottery business took successive hits from World Wars and economic collapses. After acquiring most of the other Staffordshire ceramics companies in the 1960s and 70s, they merged with Waterford Crystal in 1987 to form Waterford Wedgwood plc, an Ireland-based luxury brands group. In 1995 Wedgwood was granted a Royal Warrant from Queen Elizabeth II. After a 2009 purchase by KPS Capital Partners, a New York-based private equity firm, the group became known as WWRD Holdings Limited (an acronym for Waterford Wedgwood Royal Doulton). This was acquired in July 2015 by Fiskars, a Finnish consumer goods company, under which they continue to produce many lines of highly-sought products.

Lot: 1059 - Vilhelm Zillen (1824–1870) German/Danish, Oil on Canvas Landscape

Vilhelm Zillen (German-Danish, 1824–1870) Oil on Canvas Landscape. Oil on canvas landscape painting showing a man herding cattle along riverside road. Signed lower right VH; plaque attributing to Vilhelm Zillen. Overall Size: 13 5/8 x 17 1/8 in.  Sight Size: 7 x 10 1/2 in.  Frame Thickness: 3 in.  #4549   Artist Biography: Vilhelm Zillen (1824–1870) was a German-Danish artist known for his mastery in animal painting, genre scenes, and landscapes. Born in Schleswig, now part of Denmark, he studied at the Düsseldorf Academy and became a prominent member of the Düsseldorf School, renowned for its detailed naturalism. Zillen's works often feature rural life, animals, and pastoral scenes, reflecting his interest in nature and everyday life. His art was highly regarded for its lifelike depictions of domestic animals such as cows, goats, and horses. Zillen also made contributions as an illustrator, working on projects like Ludvig Frederik Both's Natur og Folkeliv i Jylland (1862). His legacy continues to be appreciated in both Denmark and Germany.

Lot: 1060 - Signed Oil on Canvas, Georg Stage Cadet Ship at Sea

Signed Oil on Canvas, Georg Stage Cadet Ship at Sea. Oil on canvas nautical painting depicting a Georg Stage cadet ship sailing away from Copenhagen. Framed. Signed indistinctly lower right. The **Georg Stage** is a historic Danish training ship, originally launched in 1882 to provide maritime education for young sailors. It was named after Georg Stage, the son of shipowner Frederik Stage, who passed away at a young age. The first ship served for over 50 years before being replaced in 1934 by a newer vessel with the same name. This second Georg Stage remains operational and continues to train sailors, preserving a legacy of maritime education. Renowned for its tall ship design, it represents Denmark’s commitment to traditional seamanship and nautical heritage. Overall Size: 24 3/4 x 32 3/4 in. Sight Size: 17 1/2 x 24 1/4 in. #4543

Lot: 1061 - Oil on Canvas Nautical Painting of the HMS Mashona

Oil on Canvas Nautical Painting of the HMS Mashona. Nautical oil on canvas painting depicting the HMS Mashona, a four-masted barque. The HMS Mashona was a Tribal-class destroyer of the Royal Navy, commissioned in 1939. Named after the Mashona people of Southern Africa, the ship was designed for high-speed operation and equipped with advanced weaponry for her time, including torpedoes and anti-aircraft guns. She served in World War II, primarily in convoy escort and patrol duties, and participated in notable actions such as the hunt for the German battleship Bismarck in 1941. Tragically, Mashona was sunk on May 28, 1941, off the coast of Ireland, following an air attack by German bombers. Provenance: Previously displayed in the Waldorf Astoria Bull & Bear restaurant. Overall Size: 19 3/4 x 23 1/4 in. Sight Size: 14 x 17 1/2 in. #4545

Lot: 1062 - Signed Oil on Canvas Landscape

Oil on canvas landscape painting depicting an idyllic countryside, a river running through grassy hills, passing by a large tree and a quiet house. Framed. Signed indistinctly lower right. Overall Size: 31 1/4 x 39 1/4 in. Sight Size: 22 3/4 x 31 1/4 in. #4541

Lot: 1063 - William G. Muller (Born 1937) American, Hudson River Maritime Oil on Canvas

William G. Muller (born 1937) American, Hudson River Maritime Oil on Canvas. Nautical painting depicting some of his favorite subjects: the iconic looming Hook Mountain just north of the modern Tappan Zee Bridge, with a beached vessel in the foreground and a steamship (likely the Hudson River Day Line ship the Alexander Hamilton). Signed lower right. Framed.  Overall Size: 14 5/8 x 17 1/2 in.  Sight Size: 8 3/4 x 11 1/2 in.  Frame Thickness: 2 1/4 in.  #4559    William “Bill” G. Muller was born in a small town along the Hudson River in New York in 1937. From a young age he was enamored with the surviving old-time vessels that still traversed the waterways, particularly the steamships, and while still a teen he served as Quartermaster on the last of the coal-fired Hudson River Day Line vessels, the Alexander Hamilton. He was an artistic prodigy, and studied and painted ships and other historic landmarks with passion and remarkable accuracy. He was encouraged by friends and family to pursue art instead of a nautical career, and attended the Pratt Institute in the late 1950s. After graduating he studied further at the New York School of Visual Art and the Art Students League, where his maritime art got him work with an advertising firm for over fifteen years. His love of boats and the water never diminished, and in 1978 he became the Founding Director and later Fellow of the American Society of Marine Artists. He helped found the Hudson River Maritime Center Museum in 1980 in Rondout, a suburb of Kingston. In the early 1980s he left commercial work to pursue maritime art full time, and was elected a member of the Society of American Historical Artists, as well as an advisor to the National Maritime Historical Society. After his first solo exhibition at the Madison Avenue Gallery in 1985 he was commissioned to design two steamboat-style harbor cruisers for the South Street Seaport Museum in New York City, and in the early 2000s he settled in Rondout, where he continues to paint, considered one of the best modern artists to rediscover and portray maritime scenes from past centuries. His work has been published in American Heritage, Business Week, Yachting, Yankee, Sea History, Art Today, U.S. Art, and on numerous book covers. His work has been exhibited in various marine museums and is represented in many important private and corporate collections.

Lot: 1064 - Louis Icart (1888-1950) French, Art Deco Framed Portrait Print

Louis Icart (1888-1950) French, Art Deco Framed Portrait Print. Titled  "The Sofa". Shows a woman in white sitting on a black sofa, her head cocked to look at the observing artist. Signed bottom right. The original that this print is based on was created circa 1937.  Overall Size: 29 1/4 x 37 1/4 in.  Sight Size: 17 1/2 x 25 1/4 in.  #8331 .  Louis

Lot: 1065 - Louis Icart (1888-1950) French, Framed Art Deco Portrait Print "Venus"

Louis Icart (1888-1950) French, Framed Art Deco Portrait Print "Venus." Depicts a reclining nude smiling demurely, wearing only high heels. Signed bottom right. Informative pamphlet and prior gallery label attached to back.  Overall Size: 21 3/8 x 25 3/8 in.  Sight Size: 14 1/4 x 20 in.  #8334  Louis Justin Laurent Icart was born on December 9th, 1888, in Toulouse, France.

Lot: 1066 - Antique Scottish Oil on Canvas Portrait

Antique Scottish Oil on Canvas Portrait. Depicts a balding man with a flowing white beard in profile. Faded art suppliers mark on back identifies the origin as G. Davidson in Glasgow, Scotland.  Overall Size: 19 1/4 x 17 1/4 in.  Sight Size: 13 3/4 x 11 3/4 in.  #4287  George Davidson (1843-1901) was the son of James Davidson, a spirit merchant. He married Mary Wilson, daughter of the carver and gilder John Wilson, in 1868 in Calton, Glasgow. He opened for business two years later, and was recognized early on for his high quality art supplies, acting as the sole agent for Dr. Schoenfeld of Dusseldorf, a highly-sought after colormaker. He appears in the 1872 directory as a carver and gilder, and in 1877 also as an artists’ colourman. His first premises, 42 Sauchiehall St, had previously been occupied by another colourman, James Miller, and Davidson moved to a much larger space at 123 Sauchiehall Street in 1879, where the company remained for almost 40 years. The Royal Scottish Society of Painters in Watercolours was close by at No. 127, which likely contributed to their thriving business. From 1896 onward the company also offered to clean and restore old portraits and landscapes. The space routinely held not just supplies but a significant rotating exhibition of works by local artists, especially etchings, engraving, watercolors, and oil paintings, and at the height of its success there were 20 full-time employees and roughly three dozen student and master painters using the space to exhibit or to sketch and paint from models. Following Davidson’s death in 1901 his business as art dealer, carver, gilder, plane maker and artists’ colourman was continued by George Stenhouse Davidson, becoming George Davidson Ltd in 1907, with various shareholders. The Fine Art Saloon, as the space had become known to local artists and patrons, closed permanently in 1917, due in no small part to World War I, both in the ability to obtain supplies and the dissolution of their relationship with Germany.

Lot: 1067 - H. Hollins Oil on Canvas

H. Hollins Oil on Canvas. Titled "The Old Man". Oil on canvas portrait of an elderly gentleman sitting in a chair. Signed in lower left. Framed. Overall Size: 23 x 20 in. Sight Size: 16 x 13 in. #4450

Lot: 1068 - Maria Herbays Oil on Canvas

Maria Herbays Oil on Canvas Parlor Interior. Oil on canvas interior scene depicting a well-appointed room within a chateau. Signed lower left. Framed. Overall Size: 37 x 45 in. Sight Size: 31 x 39 1/4 in. #4451

Lot: 1069 - John Charles Terelak (Born 1942) American, Oil on Canvas

John Charles Terelak (b. 1942) American, Oil on Canvas. Titled "Still Life with Lobster." Signed, copyrighted, and dated '89 bottom left. Framed. Condition: Good.  Overall Size: 32 1/2 x 32 1/2 in.  Sight Size: 23 1/2 x 23 1/2 in.  Frame Thickness: 2 1/4 in.  #3727   John Charles Terelak was born in 1942 in Boston, Massachusetts. In 1960 he enrolled at Vesper George School of Art, and became an instructor there after graduating. He became known as an American Impressionist artist, carrying on the tradition by teaching students the fundamentals of the genre and painting New England landscapes, figural scenes, and still lifes. In 1975 he founded the Gloucester Academy of Fine Art, and was elected president of the New England Watercolor Society. When the Vesper George School of Art closed in 1983, he began to divide his time between Massachusetts and New York City, where he has helped numerous artists find commercial employment and put together multi-artist exhibitions at various galleries. His paintings are found in countless collections including the Andrew Mellon Foundation, Sheraton Corporation, Winthrop Financial Corporation, Prudential Insurance Company, Bank of Boston, Shawmut Bank, State Street Bank, Boston, and the Sterling-Regal Publishing Company. He has had many solo exhibitions as well, and his work is on permanent display at the National Academy of Design, the Museum of Fine Arts in Boston, The Springfield Museum, and the Butler Museum.

Lot: 1070 - Henri Matisse (1869-1954) French, Lithograph

Henri Matisse (1869-1954) French, Lithograph. Titled "Fleur-de-Lys: Variation 3." An alternate image and original label on reverse. 1950.  Lithograph in color on Arches paper. From the Charles D'Orleans Poemes Portfolio. Edited by Teriade in 1950, it included 54 lithographic sheets with text on the back. From the total edition of 1200.  Comes with Park West COA and

Lot: 1071 - Framed Late 19th Century Religious Oil on Panel of Madonna with Child

Framed Late 19th Century Religious Oil on Panel of Madonna with Child. Image on mahogany panel shows the Christ and mother figures surrounded by angelic and cherubic forms, similar to the works of Esteban Murillo.  Overall Size: 10 1/2 x 8 3/4 in.  Sight Size: 7 1/4 x 5 1/2 in.  #4750   A mother figure is a central object of worship in several religions; for

Lot: 1072 - Charles Waltensperger (1871-1931) American, Marine Harbor Scene Oil on Panel

Charles Waltensperger (1871-1931) American, Marine Harbor Scene Oil on Panel. Original frame, beautiful Impressionist bright view of an early 20th Century Cape Ann harbor with schooners and a fishing village in the distance, and a man in a hat net fishing in the bottom right foreground. Signed bottom left.  Overall Size: 15 3/4 x 9 1/4 in.  Sight Size: 9 x 13 in.  #5040   Charles E. Waltensperger was born on April 10th, 1871 in Detroit, Michigan. His father, Fred Waltensperger, was a successful merchant, which afforded his son the freedom to explore art at an early age, mostly drawing their home and surrounding property. He studied formally at the Julius Melchers School with fellow students Joseph Kraemer, Myron Barlow, and Fred Leipziger. While working as an elevator operator for the Detroit Free Press, Waltensperger made sketches of the passengers. This attracted the attention of publisher William E. Quinby, who was so impressed with his drawings that he paid for Waltensperger’s tuition at the school of the Detroit Museum of Art. During the early 1890s Waltensperger exhibited his work in a competition at the Detroit Institute of Arts and was awarded a James E. Scripps scholarship that financed his art studies for two years in Europe. In 1893 he studied at both the Académie des Beaux Arts under Jean-Léon Gérôme and the Académie Julian in Paris. He met Benjamin Constant and Jean Paul Laurens, who inspired and befriended him, but his work in this period includes some melancholy aspects that indicate the homesickness he was feeling. When he returned to the United States Waltensperger was employed as a commercial artist, while also working as an illustrator for the Detroit Free Press. He also illustrated books written by M. Quad, the pseudonym of humorist Charles Bertrand Lewis. Waltensperger later established his own studio and turned his interest to creating oil paintings, primarily of Dutch interiors. Missing the inspiration he had found abroad, he traveled extensively in Europe and in New England in his later life, often feeling as if he belonged “everywhere and nowhere.” He had a home for a while in Laaren, Holland, when he became enamored of the scenery and the poor artists living in the area. Each area he spent time in clearly influenced his art, even shifting color and tone depending on where he was in the moment, a remarkably clear indication of the effect of the environment on his style and his wandering, elusive nature. He was a member of a group of Detroit artists known as the Hopkin Club that held exhibitions at the Old Detroit Museum of Art before they established the Scarab Club. Waltensperger never married and during the last five years of his life, ill health forced him to curtail his travels. He died of a heart attack on December 12th, 1931 in Detroit. Today most of his works can be found in the collections of the Detroit Institution of Art, as well as in the Louvre and the Rijksmuseum in Iceland.

Lot: 1073 - Floyd Gahman (1894-1979) American, Oil on Board Landscape

Floyd Gahman (American, 1894-1979) Oil on Board Landscape. A winter landscape scene depicting a small town in the snowy mountains. Signed lower right. Framed. Overall Size: 24 3/4 x 30 1/2 in. Sight Size: 17 1/2 x 23 1/2 in. #5049   Artist Biography: Floyd Gahman (1894–1979) was an American painter known for his landscapes, particularly of the New England and mid-Atlantic regions. Born in Elida, Ohio, he pursued art under noted artists such as Hobart Nichols and Henry Varnum Poor. Gahman's works are characterized by their evocative depiction of natural and built environments. His 1932 painting "Cold Spring Road" is part of the Smithsonian American Art Museum collection, and another work, "The Quarry," is displayed at Pennsylvania State University's Earth and Mineral Sciences Museum. A National Academician as of 1969, Gahman was celebrated for his artistic achievements, receiving awards from institutions like the Salmagundi Club and the American Artists Professional League【54†source】【56†source】.

Lot: 1074 - Signed Antique Danish School Maritime Painting Oil on Board

Signed Antique Danish School Maritime Painting Oil on Board. Shows sailing ships in the foreground with a steamship in the far distance, and the iconic Kronborg Castle on the left. Kronborg, in the town of Helsingør, Denmark, was immortalized as Elsinore in Shakespeare's Hamlet, and remains one of the most important historical sites in the country. Signed indistinctly bottom left, possibly D. F. Johansen, and dated 1912.  Overall Size: 16 1/8 x 22 1/4 in.  Sight Size: 11 1/2 x 17 1/2 in.  Frame Thicknes: 2 7/8 in.  #4548   Maritime art is a form of figurative art (painting, drawing, printmaking, and sculpture) that portrays or draws its main inspiration from the sea. Maritime painting is a particularly popular genre that originated thousands of years ago but reached its zenith starting in the 17th Century during the Danish Golden Age. In practice the art usually depicts shipping on rivers and estuaries, beach scenes and all art showing boats, without any rigid distinction, and can be drawn or painted from dry land or out in the open ocean. Strictly speaking “maritime art” should always include some element of human seafaring, whereas “marine art” is its own genre, showing seascapes with no human element. With the rise of Romantic art, the sea and the coast was reclaimed from the Dutch specialists by many landscape painters, and works including no vessels became common for the first time. The British especially dominated the genre, once Willem Van de Velde the Elder and his son (the Younger) moved from Holland to England to work for King Charles II. Major British artists who specialized in marine and maritime images, especially during the 19th Century, include William Anderson, Robert Cleveley, George Chambers, and Philip de Loutherbourg. The conventions of the Dutch masters remained quite common in maritime art, although there have been outliers in the style as Impressionism, Expressionism, and Surrealism appeared in the late 19th through mid 20th Centuries.

Lot: 1075 - Hudson River School Painting Attr. To Asher B. Durand (1796-1886) American, River Landscape c. 1860

Hudson River School Painting Attr. To Asher B. Durand (American 1796-1886) River Landscape c. 1860. By 1855 Durand had perfected the landscape panorama that became the hallmark of the Hudson River School. Oil on canvas (relined) Later frame. Provenance: Private Collection.    Asher Brown Durand, born in 1796, was best known as the "father" of the Hudson River School of landscape due to his aesthetics and style. Durand studied with the engraver Peter Maverick from 1812-17 and was made a partner in 1820. Durand completed an engraving of John Trumbull's historical painting of the "Declaration of Independence", which launched his reputation nationwide. Durand went on to head three different engraving companies and had many pupils. In 1835, he gave up the business to devote himself to painting, beginning with portraiture but soon moving to landscapes. In 1840, Durand toured Europe and then went on a painting excursion to the Adirondacks, after which he turned exclusively to landscapes. Durand wrote his nine famous "Letters on Landscape Painting", which was printed in The Crayon in 1855. These letters outlined the principals that characterized the Hudson River School. He urged students to peruse individual style and turn away from contrived drama. Durand viewed nature as its own subject, not just scenery. He believed that one should paint from direct observation, realistically, to reach the spiritual moment caught in nature. Durand's work reveals atmospheric affects with precise detail, a finished surface and almost invisible brushwork. Durand died in 1886.   Overall Size: 29 x 38 in. Sight Size: 20 3/4 x 29 1/2 in. Frame Thickness: 3 in. #4836

Lot: 1076 - Attributed to Franklin Eshelman (19th Century) American, Village with Mill Oil on Canvas

Attributed to Franklin Eshelman (19th Century American) Village with Mill Oil on Canvas. Original frame with corn cob inner border. Franklin Eshelman was 19th Century German-American painter; his painting style was naive, and his specialty was landscape paintings of his region in Berks County, Pennsylvania. Franklin Eshelman did a painting of the Snyder Farm, a local landmark, which was part of the collection of Sandy and Julie Palley and which sold at auction by Sotheby's in 2002 to benefit the American Folk Art Museum in New York.   Overall Size: 33 1/4 x 4 1/2 in. Sight Size: 20 1/2 x 33 1/2 in.  #5032

Lot: 1077 - Dietz Edzard (1893–1963) German, Oil on Canvas Portrait of a Young Woman

Dietz Edzard (German, 1893–1963) Oil on Canvas Portrait of a Young Woman. Oil on canvas impressionist portrait of a young, dark-haired woman viewed from the side profile. Signed lower left. Attributed and titled verso, "Growing Girl". From the Frank Oehlschlaeger Gallery. Overall Size: 26 1/2 x 23 1/2 in.  Sight Size: 17 3/4 x 14 3/4 in.  #5279   Artist Biography: Dietz Edzard (1893–1963) was a German painter and printmaker renowned for his delicate and atmospheric portrayals of Parisian life. Born in Bremen, Germany, Edzard studied art in Karlsruhe before immersing himself in the vibrant art scene of Paris in the early 20th century. Influenced by Impressionism and Fauvism, his works often featured elegant figures, lively café scenes, and theatrical performances, capturing the charm and romance of everyday life with soft, expressive brushstrokes. Exhibiting widely in Europe and the United States, Edzard gained acclaim for his ability to evoke emotion and a sense of nostalgia through his refined color palettes and intimate compositions. His works remain celebrated for their poetic and timeless quality.

Lot: 1078 - Suzanne Eisendieck (1908 - 1998) German, Oil on Canvas Impressionist Figural, "Seaside"

Suzanne Eisendieck (German, 1908 - 1998) Oil on Canvas Impressionist Figural, "Seaside".  Oil on canvas painting of a woman on the beach, with an umbrella at her side. Signed lower right. Titled and attributed verso. Framed. From the Frank Oehlschlaeger Gallery.  Overall Size: 30 1/2 x 34 3/4 in.  Sight Size: 19 x 23 in.  #5286    Artist Biography: Suzanne Eisendieck (1908–1998) was a celebrated German-born painter known for her charming and luminous depictions of Parisian life, floral still lifes, and serene interiors. Born in Danzig, Germany (now GdaÅ„sk, Poland), she studied at the School of Decorative Arts in Berlin under Arthur Degner before moving to Paris in the late 1920s. Immersed in the city's vibrant art scene, Eisendieck developed a distinctive Impressionist-inspired style characterized by delicate brushwork and a soft, pastel palette. Her works often captured the intimacy and elegance of everyday moments, resonating with collectors and earning her widespread acclaim. Married to French painter Dietz Edzard, Eisendieck exhibited extensively in Europe and the United States, solidifying her reputation as a master of light and atmosphere.

Lot: 1079 - Claude Harrison (1922-2009) United Kingdom, Oil on Board, "The Magic Cup"

Claude Harrison (1922-2009) United Kingdom, Oil on Board, "The Magic Cup". Oil on board painting of a pierrot performing a magic trick.  Signed lower left. titled and attributed verso. Framed. From the Frank Oehlschlaeger Gallery. Overall Size: 15 x 17 in.  Sight Size: 7 1/2 x 9 1/2 in.  #5281    Artist Biography: Claude Harrison (1922–2009) was a British painter and muralist celebrated for his distinctive surrealist works that combined elements of fantasy with meticulous realism. Born in Leyland, Lancashire, he studied at the Royal College of Art in London and developed a signature style that often featured masked figures, dreamlike landscapes, and theatrical settings. Harrison's art explored themes of identity, performance, and the interplay between reality and imagination, rendered with exceptional technical precision. He worked on a variety of mediums, including fresco and mosaic, contributing to public and private collections worldwide. His unique vision and craftsmanship secured his place as a notable figure in 20th-century British art.

Lot: 1080 - Claude William Harrison (1922-2009) English Oil on Board Clown

Claude William Harrison (1922-2009) English Oil on Board Clown  From the Frank Oehlschlaeger Gallery. Claude Harrison was born in Leyland, Lancashire.  He married the artist Audrey Johnson and their son is the potter Tobias Harrison.  After Royal Air Force service Harrison attended The Royal College of Art 1947-50. He was a painter of murals, conversation pieces and imaginative groups of harlequins and masked figures with tempera a preferred medium.  He held numerous solo and mixed exhibitions including the Contemporary Fine Art Gallery at Eton, Phoenix Gallery Highgate, and the Royal Academy.   Harrison published The Book of Tobit in 1969. Overall Size: 20 x 16 in.  Sight Size: 14 1/2 x 10 1/2 in.  #8772

Lot: 1081 - Pierre Lavarenne (1928-) French, Oil on Canvas Figural Nude

Pierre Lavarenne (1928-) French, Oil on Canvas Figural Nude. Oil on canvas painting depicting a tasteful female nude from the waist up. Signed lower right. In ornate gilt wood frame. From the Frank Oehlschlaeger Gallery. Overall Size: 20 1/4 x 17 in.  Sight Size: 13 1/4 x 10 in.  #5282 .  Pierre Lavarenne (Born 1928) is active/lives in France.  Pierre Lavarenne is known for Painting. Lavarenne was a creative visual artist primarily inspired by the 1930s. 

Lot: 1082 - Pierre Lavarenne (1928-) French, Oil on Canvas Portrait of a Child

Pierre Lavarenne (1928-) French, Oil on Canvas Portrait of a Child. Oil on canvas portrait of a young child wearing a red and white fur-rimmed coat. Signed illegibly lower right. Framed. From the Frank Oehlschlaeger Gallery. Overall Size: 20 1/2 x 17 in.  Sight Size: 13 1/4 x 10 1/4 in.  #5285 .  Pierre Lavarenne (Born 1928) is active/lives in France.  Pierre Lavarenne is known for Painting. Lavarenne was a creative visual artist primarily inspired by the 1930s. 

Lot: 1083 - Pierre Lavarenne (1928-) French, Oil on Canvas "Before The Stone" Nude

Pierre Lavarenne (1928-) French, Oil on Canvas Nude. Titled: Before The Stone  From the Frank Oehlschlaeger Gallery. The image depicts a young woman before marriage (before the stone). In this moment of privacy the artist captures the natural beauty of a modest working class woman. Fireplace tools and crafts of the trade are seen in the area around her. This fine craftmanship of the design show both the artists attention to detail and close proximity to the subject.  Overall Size: 25 1/2 x 29 in.  Sight Size: 17 x 21 in.  Frame Thickness: 2 in.  #8771 .  Pierre Lavarenne (Born 1928) is active/lives in France.  Pierre Lavarenne is known for Painting. Lavarenne was a creative visual artist primarily inspired by the 1930s. 

Lot: 1084 - Will Sparks (1862-1937) American, Sailboats - San Francisco Bay Oil on Canvas

Will Sparks (American 1862-1937) Sailboats - San Francisco Bay Oil on Canvas. Signed and dated on back.    Will Sparks was born in St. Louis, Missouri, in 1862, where he attended the local Medical College. Rather than practice medicine, Sparks chose a career in art and enrolled in the St. Louis School of Fine Arts before leaving for the Academie Julian in Paris, where he found use for his earlier training, sketching the human anatomy for Louis Pasteur. Returning to the states, Sparks painted his was across the country, settling in San Francisco in 1888. Sparks would remain a resident of California until his death in 1937. He is best remembered for his paintings of the early Missions, and moon-lit nocturnes of early-California's rustic adobes.   Overall Size: 17 1/4 x 13 3/4 in. Sight Size: 11 x 7 1/2 in. #4835

Lot: 1085 - Torey Ross (1875-1966) Swedish American, Oil on Board

Torey Ross (1875-1966) Swedish American, Oil on Board. Titled 'River's Edge'. Signed in the lower right. Name plate with title in lower middle of frame. Depicting a landscape with greenery, a house to the right, and a water reflecting the scene.  Overall Size: 21 3/4 x 24 in.  Sight Size: 13 1/2 x 15 1/2 in.  Torey Ross was born in Gothenburg, Sweden in 1875. He emigrated to the United States in 1889 and became a citizen in 1896. Ross studied at the Art Institute of Chicago and the Palette and Chisel Club. He was the owner of the Ross Time Recorder Company, which produced time clocks, watches and timing devices. Ross held numerous patents for his time clocks and timing devices. Since he did not have ample time to paint, Ross was active in a group called the Chicago Business Men’s Art Club that included businessmen, doctors and lawyers. They took instruction with Karl Buehr at the Art Institute and painted together on a weekly basis. The group exhibited at Marshall Field & Company. Ross also exhibited numerous times at the Art Institute of Chicago, the Swedish American Club in Chicago, the Salons of America and the Society of Independent artists. He was a member of the prestigious Chicago Society of Artists. Ross is best known for his muted, dream-like palate and his use of aluminum panel as a medium. He liked aluminum because it didn’t stretch. Ross died in Chicago in 1966. - From Richard Norton Gallery Website. 

Lot: 1086 - George McConnell (1852-1929) American, Oil on Canvas

George McConnell (1852-1929) American, Oil on Canvas. Titled "The Afterglow". Signed and dated lower right.  Depicting an evening landscape with a tranquil marsh by an inlet; a group of trees silhouetted to the viewer's right. "Geo. McConnell 1910" and Portland Society of Art label on the verso for Spring Exhibition, 1911 with information in the artist's hand. Housed in a gold and brown gilt wood frame.  Condition: Very good.  Overall Size: 17 1/2 x 25 1/2 in.  Sight Size: 13 x 21 1/2 in.   

Lot: 1087 - Dutch 19th Century Oil on Panel 'Italiante Landscape with Figures'

Dutch 19th Century Oil on Panel 'Italiante Landscape with Figures'. Rural pastoral scene with a figure on horseback accompanied by other figures, livestock and a dog. Rolling hills in the background with a cloudy sky. Appears unsigned. Follower of Nicolaes Berchem, Dutch (1620-1683).  Overall Size: 19 x 22 in.  Sight Size: 13 1/2 x 16 in.   

Lot: 1088 - Meyer Straus (1831-1905) American/California, 19th Century Oil Painting "GAFF Rigged Schooner Sailing on San Francisco Bay"

Meyer Straus (American/California 1831-1905) 19th Century Oil Painting "GAFF Rigged Schooner Sailing on San Francisco Bay". Signed and dated 1889 in the lower right corner. Signed, dated, and titled on back.    Meyer Straus, a Bavarian-born artist, immigrated to the United States in 1848 and eventually settled in San Francisco. He transitioned from theatrical scene painting to fine art, focusing on landscapes of Northern California. His work was exhibited widely, including at the San Francisco Art Association and the California State Fair. Straus's contribution to the art world lies in his realistic depictions of the American West, particularly the stunning landscapes of California.   Overall Size: 17 1/2 x 26 3/4 in. Sight Size: 12 1/2 x 21 3/4 in. #4938

Lot: 1089 - Tranquilo Cremona (1837-1878) Italian, Oil Painting of a Young Couple Oil on Canvas

Tranquilo Cremona (Italian 1837-1878) Oil Painting of a Young Couple Oil on Canvas. Signed lower left. Tranquillo Cremona was an Italian painter born in Pavia in 1837. He trained with Giovanni Carnovali and later moved to Venice, where he was influenced by the Venetian School and Titian. Cremona was a key figure in the Scapigliatura movement, a group of artists and writers who rebelled against academic conventions. His paintings are characterized by a loose, expressive style, often featuring portraits and historical scenes. His work is known for its soft, atmospheric quality and its focus on capturing the essence of his subjects.   Overall Size: 32 1/2 x 26 1/2 in. Sight Size: 27 1/4 x 21 1/2 in. #5030

Lot: 1090 - E. Henry Darley (1828-1868) American, Portrait of Dugald Stewart After Sir Henry Raeburn Oil on Panel

E. Henry Darley (American 1828-1868) Portrait of Dugald Stewart After Sir Henry Raeburn Oil on Panel. Painted in 1867. The Raeburn portrait at the Pennsylvania Academy of the Fine Arts was destroyed in a fire.   The brother of noted engraver, Felix Octavius Carr Darley, E. Henry Darley lived in Philadelphia in his early life and only occasionally thereafter.  He is documented as having exhibited portrait paintings at the Pennsylvania Academy of Fine Art.  The first appearance was 1828, and the last was 1868. At the National Academy of Design, he exhibited once, which was in 1865 with a portrait of Thomas Sully, whose daughter was married to Felix Darley.  Of this entry, it was written:  "The family bond would certainly account for such a relatively unknown painter having the opportunity to take the likeness of the man who was then America's most distinguished portraitist." (146). It is also thought that Sully provided some instruction to Darley.   Overall Size: 12 1/2 x 10 1/2 in.  Sight Size: 8 1/2 x 6 1/2 in. #4862

Lot: 1091 - Attributed to Lucy Hayward Barker (1872-1948) American, Oil on Canvas Portrait of an Artist

Attributed to Lucy Hayward Barker (American 1872-1948) Oil on Canvas Portrait of an Artist. Born in Portage Lake, Maine, Barker attended St. John's Academy in Presque Isle, before spending two years at St. Catherine's Hall, an Episcopal school in Augusta. She then studied at the School of the Museum of Fine Arts in Boston; her instructors included Frank Weston Benson, Alger V. Currier, Philip Leslie Hale, and Edmund Charles Tarbell. Associated with the American Impressionists, she kept a studio in Boston from 1898 until her marriage to Roy Barker in 1906. After motherhood, in 1929, she resumed her career in Maine, working in Presque Isle. She is buried in that town's Fairmount Cemetery; her daughter claimed that she literally died "with a paint brush in her hand".   Overall Size: 36 x 30 in. Sight Size: 29 1/2 x 23 1/2 in. #5020

Lot: 1092 - 19th Century English School Oil on Canvas of a Family and King Charles Spaniel at a Cottage

19th Century English School Oil on Canvas of a Family and King Charles Spaniel at a Cottage.    Overall Size: 22 1/2 x 19 in. Sight Size: 15 3/4 x 12 in. #4882

Lot: 1093 - Rembrandt (1606–1669) Dutch, Self-Portrait Etching

Rembrandt (Dutch, 1606–1669) Self-Portrait Etching. A self portrait of Rembrandt van Rijin set in an ovoid carved wood frame. Engraved and distributed by E. Nister, Nuremberg.  Overall Size: 15 x 13 in. Sight Size: 9 x 7 1/2 in. #5046   Artist Biography: Rembrandt Harmenszoon van Rijn (1606–1669) was a Dutch Golden Age painter and etcher renowned for his mastery of light, shadow, and emotional depth. Born in Leiden, he studied art under prominent local painters before moving to Amsterdam, where he achieved fame for his portraits, historical scenes, and biblical interpretations. Rembrandt's works, such as The Night Watch and The Anatomy Lesson of Dr. Nicolaes Tulp, showcase his innovative use of chiaroscuro and his ability to capture human emotion. Despite his success, he faced personal tragedies, financial difficulties, and eventual bankruptcy. Nonetheless, his profound influence on art remains, as his work continues to be celebrated for its psychological complexity and technical brilliance.

Lot: 1094 - (2) Large Pair of 19th Century Hubert Von Herkomer (1849-1914) British, River Landscape Oil on Canvas Paintings

(2) Large Pair of 19th Century Hubert Von Herkomer (British 1849-1914) River Landscape Oil on Canvas Paintings. Hubert von Herkomer was a prominent member of the Royal Academy, Royal Water-Colour Society, and the Royal Engravers. He left Bavaria for Southampton in 1857, and studied at the Royal College of Art, London. Herkomer was equally well received for his paintings, sculptures and etchings. He founded and directed the Herkomer School of Art at Bushey, Herfordshire (1883-1904), and was the Slade Professor of Art at Oxford University from 1885 to 1894. Herkomer as well wrote a great deal upon the arts. His most famous books include Etchings and Mezzotint Engraving, which was published in 1892, and his autobiography, My School and my Gospel, published in 1907. In 1896 Hubert von Herkomer was Knighted by Queen Victoria.   Overall Size: 27 1/2 x 41 in.  Sight Size: 21 1/4 x 35 1/4 in.  #4964   Overall Size: 27 1/2 x 41 in.  Sight Size: 21 1/4 x 35 1/4 in.  #4965

Lot: 1095 - Mrs. S.J. Remington (American) Late 19th Century Oil Painting of Travelers At Rest with Horses and Dog

Mrs. S.J. Remington (American) Late 19th Century Oil Painting of Travelers At Rest with Horses and Dog. Mrs. Remington painted landscapes in California before moving to Tacoma, WA in 1895.   Overall Size: 26 3/4 x 39 in.  Sight Size: 19 1/4 x 31 3/4 in. #4969

Lot: 1096 - 18th Century Old Master Hunting Scene Oil on Panel

18th Century Old Master Hunting Scene Oil on Panel.    Overall Size: 13 5/8 x 10 5/8 in. Sight Size: 11 1/2 x 8 1/2 in. #4874

Lot: 1097 - Frank Howard Marshall (1866-1945) Oil on Canvas Painting of California Landscape with Farmhouse

Frank Howard Marshall (1866-1945) Oil on Canvas Painting of California Landscape with Farmhouse. Frank Howard Marshall was born in Wolverhampton, England on Jan. 6, 1866. Marshall came from a family of poor coal miners. After graduating from the Berkeley Divinity School, he was briefly in the ministry before his marriage to a wealthy heiress in 1895. Not having to earn a living, allowed Marshall to pursue art studies in Paris at Académie Julian under Laurens and in Madrid and London. By 1910 he was based in NYC and further studied at the Chase School and ASL under such masters as Twatchtman, Chase, Bridgman, and DuMond. The Marshalls made 26 trips to Europe. When not traveling, he was based in Jamestown, NYC, and Worcester, MA. In 1915 he moved to California where he was head of the Red Cross in Palo Alto. He lived there briefly before moving nearby to Carmel where he remained until his death on April 8, 1945. During a 40-year span he painted a few portraits, seascapes and several hundred plein air landscapes; financially secure, he never sold a painting during his lifetime.   Overall Size: 25 x 31 1/4 in.  Sight Size: 17 1/2 x 23 1/2 in. #4982

Lot: 1098 - (2) Continental Oil on Board Landscape Paintings

(2) Oil on Board Landscape Paintings. Both paintings depict the same house on a river during different times of year, one autumnal and the other during winter. Originally part of four seasons set. Signed lower right, illegible. In matching carved wooden frames. Overall Size: 14 x 17 in. Sight Size: 9 x 1 in. #4449

Lot: 1099 - Roy Walter James California Landscape Oil Painting

Roy Walter James California Landscape Oil Painting. Roy Walter James was a poet, painter, and teacher who spent time in San Simeon, California, in the early 1920s. He was inspired by the beauty of the local coastline, which he often depicted in his paintings and poetry. James was recognized for his artistic talent and his ability to capture the essence of the region. Overall Size: 14 1/2 x 12 1/2 in.  Sight Size: 8 3/8 x 6 1/2 in.  #4930

Lot: 1100 - Marguerite Ciprico (1891-1973) California Impressionist Painting of Sierra Nevada Mountains and Ediza Lake

Marguerite Ciprico (1891-1973) California Impressionist Painting of Sierra Nevada Mountains and Ediza Lake. This oil on canvas depicts Mount Ritter and Banner Peak overlooking Ediza Lake. Signed lower left. Location listed on a label on reverse.    Overall Size: 34 x 28 1/2 in. Sight Size: 27 1/2 x 21 1/2 in. #5022

Lot: 1101 - Donald Muth (20th Century) American, "The Road From Bourg-En-Bresse" (France) Oil on Canvas

Donald Muth (American 20th Century) "The Road From Bourg-En-Bresse" (France) Oil on Canvas. Signed lower right. Titled on the reverse.   Overall Size: 56 x 45 1/2 in. Sight Size: 45 x 34 1/2 in. #5109

Lot: 1102 - Heinrich Hermann Schafer (1815-1884) German, Painting "Antwerp, Belgium" Watercolor on Paper

Heinrich Hermann Schafer (German 1815-1884) Painting "Antwerp, Belgium" Watercolor on Paper. Signed and titled lower right. Heinrich Hermann Schafer was a painter of architectural subjects. Born in Halberstadt, he was a pupil of Dussledorf Academy and C.F.Sohn. He specialized in a great many town scenes in France, Germany and Netherlands. His subjects had a simplicity but charming quality. During his life his work was popular and is of unique interest today. In 1860 he exhibited a painting at the British Institution.  Overall Size: 15 1/2 x 13 1/2 in.  Sight Size: 9 x 7 in.  #4863

Lot: 1103 - Walter Thomas Calkins (1880-1951) American, 1910 Oil Painting Landscape with Hay Bales on a Hillside

Walter Thomas Calkins (American 1880-1951) 1910 Oil Painting Landscape with Hay Bales on a Hillside. Signed on lower right. Walter Thomas Calkins was born in Illinois on April 5, 1880. By 1920 Calkins had settled in Los Angeles. He died there on August 27, 1951.   Overall Size: 23 x 31 in. Sight Size: 16 x 24 in. #4895

Lot: 1104 - American 1887 G. Taylor California Oil on Canvas Landscape

American 1887 G. Taylor California Oil on Canvas Landscape. Signed on reverse.    Overall Size: 19 x 15 1/2 in. Sight Size: 13 1/2 x 9 1/2 in. #4927

Lot: 1105 - Signed Oil on Canvas Landscape, Copenhagen Harbor

Signed Oil on Canvas Landscape, Copenhagen Harbor. Oil on canvas landscape painting depicting the Nyhavn River in Copenhagen, facing the Chrstiansborg Palace on the left back, Royal Theater on the right. Framed. Signed indistinctly lower right. Overall Size: 31 1/2 x 44 3/4 in. Sight Size: 26 x 39 in. #4542

Lot: 1106 - John McCulloch (Circa 1831-1891) Scottish, Oil on Canvas Painting of a Loch in the Scottish Highlands

John McCulloch (Scottish C. 1831-1891) Oil on Canvas Painting of a Loch in the Scottish Highlands. Signed lower right. McCulloch was born in Ayr, Ayrshire. He was a painter, sculptor, and stone carver. In 1851 he received the Glasgow School Art Prize.   Overall Size: 23 3/8 x 18 3/8 in. Sight Size: 15 1/2 x 10 1/2 in.  #5014

Lot: 1107 - 19th Century Oil on Canvas Scottish Landscape Sunset in the Highlands

19th Century Oil on Canvas Scottish Landscape Sunset in the Highlands. Mounted on board.    Overall Size: 29 1/2 x 35 1/2 in. Sight Size: 21 1/2 x 27 1/2 in.  #4992

Lot: 1108 - William Greaves (1852-1938) Impressionist Oil on Canvas Painting of "Levens Hall, Westmoreland"

William Greaves (1852-1938) Impressionist Oil on Canvas Painting of "Levens Hall, Westmoreland". Signed lower left. Greaves studied in Sheffield of the College of Art. He exhibited at the Royal Academy and the Royal Cambrian Academy. Label verso. Founded in 1694, Levens Hall is a magnificent Elizabethan mansion and features the oldest topiary garden in the world.   Overall Size: 17 1/4 x 14 1/4 in.  Sight Size: 11 1/2 x 8 1/8 in.  #4864

Lot: 1109 - 19th Century Neopolitan School Painting of the View of the Bay of Naples with Vesuvius Erupting

19th Century Neopolitan School Painting of the View of the Bay of Naples with Vesuvius Erupting. View of the busy harbor. Oil on Canvas. Signed lower left.    Overall Size: 18 1/2  x 12 1/2 in. Sight Size: 15 1/4 x 11 1/2 in.  #4913

Lot: 1110 - 19th Century Oil Painting of a Continental Landscape

19th Century Oil Painting of a Continental Landscape. Indistinctly signed. Inscribed on reverse.    Overall Size: 14 1/2 x 11 in.  Sight Size: 12 1/2 x 9 in.  #4916

Lot: 1111 - Petar Orlic (1893-1965) Croatian, Coastal Landscape Oil on Canvas

Petar Orlic (Croatian 1893-1965) Coastal Landscape Oil on Canvas. Signed and dated lower left.    Overall Size: 27 1/2 x 20 1/2 in. Sight Size: 25 1/2 x 18 1/2 #4936

Lot: 1112 - 19th Century English Maritime Landscape Oil Painting on Canvas

19th Century English Maritime Landscape Oil Painting on Canvas. Shows a steamship passing an island off a rocky shore. Signed Jessie Patom and dated 1898 bottom mid-left. "George W. Davis Personal" written in pencil on back of frame. Original label on back of canvas is faded but likely says it is from an art store in London.  Overall Size: 23 1/2 X 17 1/2 in.  Sight Size: 17 1/2 X 11 1/2 in.  #4914 .  Maritime art is a form of figurative art (painting, drawing, printmaking, and sculpture) that portrays or draws its main inspiration from the sea. Maritime painting is a particularly popular genre that originated thousands of years ago but reached its zenith starting in the 17th Century during the Danish Golden Age. In practice the art usually depicts shipping on rivers and estuaries, beach scenes and all art showing boats, without any rigid distinction, and can be drawn or painted from dry land or out in the open ocean. Strictly speaking “maritime art” should always include some element of human seafaring, whereas “marine art” is its own genre, showing seascapes with no human element. With the rise of Romantic art, the sea and the coast was reclaimed from the Dutch specialists by many landscape painters, and works including no vessels became common for the first time. The British especially dominated the genre, once Willem Van de Velde the Elder and his son (the Younger) moved from Holland to England to work for King Charles II. Major British artists who specialized in marine and maritime images, especially during the 19th Century, include William Anderson, Robert Cleveley, George Chambers, and Philip de Loutherbourg. The conventions of the Dutch masters remained quite common in maritime art, although there have been outliers in the style as Impressionism, Expressionism, and Surrealism appeared in the late 19th through mid 20th Centuries.

Lot: 1113 - Hans Grabner (20th Century) Austrian, Alpine Landscape Oil on Canvas Painting

Hans Grabner (Austrian, 20th Century) Alpine Landscape Oil on Canvas Painting. Signed and inscribed lower left. Grabner was a prolific painter of mountain landscapes and lake scenes in an expressive style with brushstrokes.    Overall Size: 31 x 42 1/2 in. Sight Size: 26 1/2 x 28 1/2 in.  #4961

Lot: 1114 - 1885 German Graphite Drawing of Rural Landscape, Signed C. V. R. 

1885 German Graphite Drawing of Rural Landscape, Signed C. V. R. A graphite drawing of a rural town nestled amid mountains. Signed and dated lower left, C. V. R. 1885. Framed. Provenance: Family inheritance. Originally obtained directly from the residence of the artist (a German baroness) by her housekeeper, subsequently passed down through the family. Overall Size: 21 x 27 in. Sight Size: 14 1/4 x 20 in. #4491

Lot: 1115 - Signed European School Oil on Canvas

Signed European School Oil on Canvas. Shows a smiling old man drinking a beer, leaning on a keg, in the European Tyrolean art style. Signature "Gilbert" upper right. Ornate frame.  Overall Size: 14 X 12 in.  Sight Size: 9 1/2 X 7 1/4 in.  #4899 .    The terms style, school, and movement are frequently used in art history, analysis, and criticism, often affixed to a location or group of people. “Style” is a fairly all-encompassing term which can refer to several aspects of art, including the technique(s) used, the basic philosophy behind the artwork, the form of expression employed by the artist, the characteristic appearance of a work, and much more. “School” usually refers to a group of artists who follow the same style, share the same teachers, or have the same aims. They are typically linked to a single location, such as the Venetian School of the 16th Century, the British School that evolved from the Dutch Old Masters in the 18th Century, and the French school of the 19th Century that branched into a cornucopia of new movements by the dawn of the 20th, mainly originating in Paris. Schools of art from the Middle Ages until the 18th Century are typically named for the region or city around which they are based. The apprentice system, through which new artists learned the trade, ensured that styles of art were continued, and often unsigned works that are indistinguishable from the masters who taught those artists are considered just as valuable for their quality, clarity, and adherence to form. Finally, a “Movement” is often used to define a specific group of artists who share a common style, theme, or ideology towards their art, and the term has mostly evolved with the more modern shifts in art since the middle of the 19th Century. Unlike a school, these artists need not be in the same location, or even in communication with each other. Pop Art, for example, is a movement which includes the work of David Hockney and Richard Hamilton in the United Kingdom, but also Roy Lichtenstein, Andy Warhol, Claes Oldenburg, and Jim Dine in the United States.

Lot: 1116 - Signed Antique Genre Painting Oil on Canvas

Signed Antique Genre Painting Oil on Canvas. A balding scruffy man in the Impressionist style nonchalantly reads the newspaper. Signed indistinctly upper right.  Overall Size: 14 X 12 in.  Sight Size: 9 1/2 X 7 1/4 in.  #4898 .    Genre painting (or petit genre), a form of genre art, depicts aspects of everyday life by portraying ordinary people engaged in common

Lot: 1117 - (2) Pair of Southern Oil on Canvas Portraits of Henry Hyman Walston Jr. (Wilson, North Carolina) and His Wife Ruth Sauls Walston by Signed J. Sigmund

(2) Pair of Southern Oil on Canvas Portraits of Henry Hyman Walston Jr. (Wilson, North Carolina) and His Wife Ruth Sauls Walston by Signed J. Sigmund. Signed lower left and lower right.    Overall Size: 37 1/2 x 31 1/2 in. Sight Size: 31 x 25 1/4 in. #4933   Overall Size: 37 1/2 x 31 1/2 in. Sight Size: 31 x 25 1/4 in. #4984

Lot: 1118 - (2) Charles James Keats (1856-1900) British, Pair of 19th Century Watercolor Cityscapes of Holland Belgium and Northern France

(2) Charles James Keats (British 1856-1900) Pair of 19th Century Watercolor Cityscapes of Holland Belgium and Northern France.    Overall Size: 20 1/2 x 16 1/2 in. Sight Size: 14 x 10 in. #4952   Overall Size: 20 1/2 x 16 1/2 in. Site Size: 14 x 10 in. 4952

Lot: 1119 - Michele Falanga (1867-1942) Italian/American, Oil on Canvas

Michele Falanga (1867-1942) Italian/American, Oil on Canvas. Depicts an older gentleman wistfully examining a bottle of wine while sitting at a table. Signed bottom right.  Overall Size: 20 1/2 x 24 1/2 in.  Sight Size: 15 5/8 x 19 5/8 in.  #5387  Michele Falanga was born in Torre del Greco, Naples, Italy on July 5th, 1867. He studied first with artist Michele Tedesco, then at the Naples Istituto di Belle Arti with Stanislao Lista, Domenico Morelli, and Filippo Palizzi. In 1895 he traveled to Rome to continue his studies, where he met Virginia Ciavolino, marrying her three years later. In 1901 Falanga traveled to New York, bringing his family over the following year, and he spent the next decade working odd jobs while painting, frequently selling or exchanging his works for services or to cover needed expenses. He worked primarily in a Realist style, with male figures and portraits his preferred forms. In 1917 he established a studio in Brooklyn, and sold many of his works through the Abraham and Strauss department store. In 1923 Falanga joined the faculty of the newly opened Leonardo da Vinci Art School in Manhattan, teaching drawing and painting. Within the same year he opened a branch of the school in his Brooklyn neighborhood, where in addition to classes he was responsible for compiling their annual magazine. He and his family weathered the Great Depression as best they could, and in 1936 he was included in the Italian-American Who’s Who Volume 2. Later that year he was offered a position at the Brooklyn Academy of Fine Arts, where he continued to work until his death on February 1st, 1942. Today most of his works are in private collections, particularly in New York and throughout New England.

Lot: 1120 - Original Early California Impressionist Desert Scene Oil on Canvas in the Style of Paul Grimm

Original Early California Impressionist Desert Scene Oil on Canvas in the Style of Paul Grimm. Signed Lois Saiko lower left.  Overall Size: 23 1/2 x 29 1/2 in. Sight Size: 17 1/4 x 23 1/4 in.  #5023

Lot: 1121 - Vivyan Seward (1902-1983) Oil Painting of Two Young Women at a Beach

Vivyan Seward (1902-1983) Oil Painting of Two Youn Women at a Beach. Artist and illustrator, Seward studied at the Art Institute of Chicago. He started working in California in the 1920's. He had a studio in San Francisco and exhibited in the 1970s and 1980s winning first prize at San Francisco's Visitacion Valley Arts Festival.    Overall Size: 31 x 25 in. Sight Size: 27 1/2 x 21 1/2 in. #4894

Lot: 1122 - Floris Vester (20th Century) Dutch, Abstract Landscape Oil on Canvas

Floris Vester (Dutch 20th Century) Abstract Landscape Oil on Canvas.    Overall Size: 28 1/4 x 36 in. Sight Size: 23 1/4 x 31 in. #4967

Lot: 1123 - 19th Century Dutch School Interior Oil on Panel Painting

19th Century Dutch School Interior Oil on Panel Painting. Titled "The Music Box". Oil on panel 19th century Dutch school reproduction of the painting The Music Box, depicting an artisan and his young apprentice in their workshop,  Condition: Significant craquelure upper left and around edges of frame. Loss to paint. Overall Size: 9 x 10 1/4 in.  Sight Size: 6 x 7 in.  #4751 

Lot: 1124 - Betty Saarni (20th Century) American, Original Watercolor Cafe Scene with Musicians

Betty Saarni (American 20th Century) Original Watercolor Cafe Scene with Musicians. Saarni studied at the California college of arts and crafts. She exhibited in the San Francisco Bay area and was a member of the Society of Western Artists.     Overall Size: 30 1/2 x 38 1/2 in.  Sight Size: 20 1/2 x 28 1/2 in.  #4962

Lot: 1125 - Loran F. Wilford (1892-1972) American, Landscape Watercolor on Paper

Loran F. Wilford (1892-1972) American, Landscape Watercolor on Paper. Sweeping hills in the distance beneath a turbulent sky, with sharp clear trees in the foreground juxtaposed against the misty background. Signed bottom right. Label from the Frank Oehlschlaeger Gallery on the back includes title: "Distant Hills."  Overall Size: 18 x 22 in.  Sight Size: 11 x 15 in.  #8695    Loran Frederick Wilford was born in Wamego, Kansas in 1892, and demonstrated a gift for art by the time he was five. In 1910 Wilford got a job at the Kansas City Star doing lettering and small drawings for advertisements and began taking art classes at the Kansas City Art Institute. The Star quickly recognized his skill as a rapid sketch artist, adopting many of his techniques for future layout designs. William Rockhill Nelson, publisher of the Star, art collector, and founder of Kansas City’s Nelson-Atkins Museum of Art, urged Wilford to try his hand as a freelance artist in the competitive environment of New York City. In 1920 Wilford married and had a daughter, taking them with him in 1922 when he moved to Manhattan with no work prospects and a single portfolio. Over the next ten years Wilford developed a reputation as one of America’s outstanding illustrators, his work shown in over 100 galleries and his illustrations appearing in magazines including, Colliers, Cosmopolitan, The Ladies Home Journal, Scribner’s, McCall’s, Century, Good Housekeeping, and The American. At a showing at the Argent Gallery in Brooklyn in 1935 he reconnected with George Pearse Ennis, who he had studied with in Kansas City, and accepted a position teaching landscape classes at the Ringling School of Art in Sarasota, Florida, where Ennis was the head of the art faculty. Although he only taught three days a week to start, after Ennis’ tragic death in 1936 he quickly rose to become a full-time professor, remaining with the school for twenty-eight years until retiring due to health issues. Listed in Who’s Who in American Art and called the “Dean of Florida Romantic Realistic Painters,” Wilford was included in the 1955 Ringling Museums exhibit Fifty Florida Painters. In the summer of 1963, the Florida Federation of Art held a reception for Wilford as the new artist-in residence at the DeBary mansion, calling him, “a master craftsman who has been winner of the International Print Prize and shown by invitation of the Royal Watercolor Society at the Royal Academy in England…his prizes and credits could fill a printed page.” He passed away due to natural causes in 1972 in his home in Sarasota. 

Lot: 1126 - Alasi Audla (Born 1935) Inuit, Limited-Edition Stone-Cut Print 30/30

Alasi Audla (Born 1935) Inuit, Limited-Edition Stone-Cut Print 30/30. Titled "Feeding Time". Traditional native Inuit stonecut print art of a mother nursing her children. Signed, titled, and date along bottom edge, 1964. Attributed and titled verso. Numbered 30/30. Framed. Overall Size: 17 1/2 x 16 1/2 in. Sight Size: 16 /34 x 15 3/4 in. #4745

Lot: 1127 - Dahlov Ipcar (1917-2017) American, Watercolor Book Illustration

Dahlov Ipcar (1917-2017) American, Watercolor Book Illustration. Shows a big group of chickens (as well as two smaller birds, a rabbit, and a mouse) all huddled around some feed in the middle of the image. Signature in image bottom right. Label on back with information about the artist, date (1966) and title: "Circle of Hens," original design for endpapers of Ipcar's book "Bright Barnyard."

Lot: 1128 - Important Royal Austrian Thonet Bentwood Marble Top Table and Matching Chairs

Royal Austrian Thonet Bentwood Marble Top Table and Upholstered Chairs Consignor has paperwork regarding the provenance. Purchased in 1930 from Villanueva brothers estate near Saltilo Mexico. The two elderly brothers were selling their furniture that had been owned by the mother of the two brothers. Their mother was lady-in waiting to Queen Carlota daughter of King Leapold I of Belgium. Carlota was the wife of Maximilian the Emperor of Mexico from 1864 to 1867. The brothers stated that the bentwood furniture was made in Vienna. Although it is hard to validate the two sons story, it would have been very rare to have high end Austrian Furniture in Mexico in the early 1930s. In any case the set was bought in Mexico in the 1930s while honeymooning by the consignors family.  Size: 25 x 30 1/4 x 33 in. #5157

Lot: 1129 - A Pair of Regency Style Arrow-Form Bronze and Glass Top Tables Attributed Jansen

 Attributed Maison Jansen A quad based arrow and tassel form end table. The heavy bronze base table having a center ball holding a group of four feathered arrows decorated with hanging tassels. Size: 23 1/2 x 23 1/2 x 17 in.  #5311

Lot: 1130 - Monumental Bronze Swan Pond Based Glass Coffee Table

The Bronze has an intricate design consisting of the large swan its detailed feathers all the way down to its webbed feet, along with ferns, and snails. The glass sits nicely on the bronze stands with small felt pads.  Swan is : 29 1/2 x 17 1/2 Glass Top is: 49 x 28 Total Height 21 Inches

Lot: 1131 - French Style Marble Top Antique Commode with Ormolu Trim

French Style Marble Top Antique Commode with Ormolu Trim. Dark wood commode with three drawers and black and white marbled top, with ormolu accents, handles, and keyhole plates. Refinished surface. Replaced top. Size: 47 x 23 x 39 in. #4302

Lot: 1132 - French Style Marble Top Commode After Guillaume Beneman (1750-1811)

French Style Marble Top Commode After Guillaume Beneman (1750-1811) . Beautiful wood with gold-hued ornamentation and figural shapes throughout, with clawed feet and opening drawers. Based on a classic design by Beneman, likely made in the early to mid 20th Century.  CAUTION: Green marble top is unattached.  Size: 61 1/2 x 20 1/2 x 38 In.  Guillaume Beneman (or Benneman) was born in 1750 in Germany. Little is known of his early life, but by the time he was in his twenties he had relocated to Paris, where he quickly gained esteem as an accomplished cabinetmaker. The early neoclassical Louis XVI style was already in vogue by the time he had arrived, but his work attracted royal attention and he was soon working under the direction of the sculptor-entrepreneur Jean Hauré, the official Designer to the Court. Beneman was appointed master craftsman by the crown in 1785, becoming the last royal cabinetmaker prior to the French Revolution. By 1788 he had sixteen other craftsmen working under him, and his furniture was in every royal household in France. He collaborated with countless others, including bronzers, gilders, and sculptors, to create both original works and refurbish older pieces, and his fair dealings with fellow workers resulted in him remaining mostly secure in the turbulent early days of the Revolution. He continued to produce massive works in mahogany in the Directoire style, but in 1792 he was officially employed by the First Republic to remove royal cyphers, marquetry, and any other “emblems of feudality” from all confiscated pieces of furniture. For much of the Reign of Terror he was in hiding, and although he enjoyed a brief resurgence in popularity after the fall of the Directory when Napoleon sought to commission new works in the Empire Style his mental and physical health was never the same, and he passed away some time after 1811, with his final resting place unknown. Today his pieces are frequently emulated by Revival artisans as some of the prime examples of the French Royal style, with surviving original works very rare and extremely valuable.

Lot: 1133 - Biedermeier Marble Top Cabinet Circa 1840-1860

Biedermeier Marble Top Cabinet Circa 1840-1860.Mid - Late 19th Century French Antique Marble Top Inlaid Cabinet  Size: 39 1/4 x 20 1/4 x 45 1/4 Inches

Lot: 1134 - (2) Marble Top Commode Chest of Drawers

(2) Marble Top Commode Chest of Drawers. Includes 2 keys.  Classic French style. Made of dark wood. Marble top. Features brass hardware. Curved, serpentine shape with curved and tapered legs.  Condition: Chips along bottom of one on right.  From the Waldorf Astoria in New York.  Size: 31 x 16 1/2 x 32 1/4 in. #4708

Lot: 1135 - 9 Drawer Curved Arm Marquetry Gilt Desk

9 Drawer Curved Arm Marquetry Gilt Desk.  Distinctive kidney shaped or "bombe" form, with curved sides, and a rounded front. Features marquetry. Legs are adorned with decorative gilt bronze mounts.  Size: 39 4/2 x 23 x 40 Inches

Lot: 1136 - Francesco Molon R10 Oval Partner's Desk

Francesco Molon Oval Partner's Desk. Curved shape featuring a warm-toned wood with a polished finish. Top surface is divided into three sections by lighter wood inlays. Comes in four pieces.  Condition: Commensurate with age.  Size: 83 1/2 x 43 1/2 x 32 in.  #3464 .  In the aftermath of World War II, 11 year old Francesco Molon of Venice, Italy assisted his father in woodworking when he was unable to continue the work, supporting his whole family. These early experiences instilled in him a passion and drive that led him to start his own eponymously named company in 1966 alongside his wife, Giuliana, creating luxurious furniture efficiently and for individual clients, rather than mass-producing. By 1970 he had numerous clients in Germany, Switzerland, France, and Saudi Arabia, breaking into the United States market a decade later. By the late 1980s his sons Roberto and Christian had taken over the company, although Francesco remained as a figurehead, and together they expanded their empire to include clients in the Soviet Union and Southeast Asia. Today, Francesco Molon boasts a team of over 200 individual craftsmen in two large factories, dedicated to the highest production standards and each putting finishing touches on pieces, utilizing the genius of the assembly line without sacrificing quality or personal style.

Lot: 1137 - Antique Sideboard with Oval Glass Door and Brass Trim

Antique Sideboard with Oval Glass Door and Brass Trim. Antique dark wood sideboard with four drawers and central cabinet with glass window. Decorated with brass relief of ribbons and flowers. Top of sideboard with brass and wood railing. Size: 18 x 35 3/4 x 46 Inches

Lot: 1138 - Two Drawer Signed Baker Chippendale Desk with Glass Top Liner

Baker Desk. Georgian, Chinese, Chippendale Style, Marlboro Leg With Gilt Brass Lion Pulls. Fretwork Carved. Egg and Dart to the top.  Size: 48 x 22 x 30 in.   

Lot: 1139 - Hand Crafted Chess Set With Custom Table And Foldable Figural Carved Chairs

Hand Crafted Chess Set With Custom Table And Foldable Figural Carved Chairs. The table itself has the board on it and drawer where the hand carved pieces are stored along with a pair of rooks/castles holding up the table. The Chairs fold open to reveal a carving of knights to help the player for the ensuing gameplay. Each Piece is custom made, but are artistically made to resemble their original design. Size: 22 1/2 x 25 1/2 x 25 1/2 in.  #5329

Lot: 1140 - Asian Hand Carved 32 Piece Wood and Bone Chess Set AS IS

Asian Hand Carved 32 Piece Wood and Bone Chess Set AS IS. Each piece is hand carved and unique, no two pieces are the same. Some pieces are missing flags, feathers, or spears. The flag of a rook is detached, but included in the box. One side of the inner case is detached from the box. Wear on the exterior commensurate with age. AS IS condition. Size: 3 x 7 1/4 x 14 in.  #5332

Lot: 1141 - French Marquetry Inlaid Desk and (2) Wicker Chairs

+French Marquetry Inlaid Desk and (2) Wicker Chairs. Lot comprised of wood table and two chairs. Wood side chairs in the French Regency style with caned backs and upholstered cushions with pale floral designs. Wood table in Louis XVI style wth inlaid floral and scrollwork marquetry and brass hardware accents on edges and down legs, ending in lion's paw feet. Desk: 40 3/4 x 25 1/2 x 28 1/2 Each Chair: 20 x 21 x 38 Inches 

Lot: 1142 - (10) Set of Rom Webber Equestrian Carved Side Chairs

(10) Set of Rom Webber Equestrian Carved Side Chairs.  2 with arms. The most striking feature is the carved horse heads at the top of the back posts. These act as decorative finials. The back of the chair has a "ladder back" design, with horizontal slats connecting the two vertical back posts. These slats are not simple straight bars; they have decorative cutouts, including circular and rectangular shapes. The seat is a solid piece of wood with a slightly shaped or contoured surface for comfort. The chair has straight legs connected by angled stretchers or braces, providing stability. The stretchers form a distinctive "V" shape when viewed from the front or back. Condition: One with break but we have the piece. Size: 25 x 17 1/2 x 34 1/2 in. #2118

Lot: 1143 - (2) Louis XV Style Upholstered Arm Chairs

(2) Louis XV Style Upholstered Arm Chairs. Pair of matching Louis XV style arm chairs with ebonized wood frame and upholstered cushions with floral banded design. Size: 25 x 23 x 32 in.  #4566 

Lot: 1144 - Antique Louis XVI Style Carved Gilt Cane Chair

Antique Louis XVI Style Carved Gilt Cane Chair.  Curved carved back with intricate carvings on the top and sides. Seat is also caned and the chair has four slender, tapered legs.  Size: 19 x 8 1/2 x 36 in.  #8033

Lot: 1145 - Vintage Georgian Revival Trumeau Mirror with Eglomise Top Panel

Vintage Georgian Revival Trumeau Mirror with Eglomise Top Panel. Gold gilt throughout the sides and the stepped overhanging cornice with spherule band, with geometric and floral shapes. Eglomise panel show three neoclassical figures engaged in pastoral activities, surrounded by flower and leaf patterns.  Condition: Commensurate with age. Size: 55 x 31 in.  #5312 .  A pier glass or trumeau mirror is a mirror which is placed on a pier, or a wall between two windows supporting an upper structure. It is therefore generally of a long and tall shape to fit the space. This was a common decorating feature in the reception rooms of French Neoclassical 18th Century houses. It takes its name from the French word “trumeau,” which designates the space between windows. It could also hang above an overmantel, and a decorative carved or painted scene was the prominent characteristic, sometimes dominating the actual mirror or at least appearing in an eglomise panel above the looking glass.

Lot: 1146 - Chippendale Chinese Style Ornate Carved Wood Frame Mirror

Chippendale Chinese Style Ornate Carved Wood Frame Mirror. Small Asian structure at top with stylized pitched roof and overhanging edges, with vine, leaf, and floral motifs all around the border.  Condition: Commensurate with age.  Size: 40 1/2 x 23 x 2 1/2 in.  #4453 .  A mirror, also known as a looking glass, is an object that reflects an image. Light that bounces off a mirror will show an image of whatever is in front of it when focused through the lens of the eye or a camera, and reverse the direction of the image in an equal yet opposite angle. Natural mirrors have always existed, such as the surface of water, but humans began manufacturing mirrors out of stone and various metals as early as 6000 BC. Common metal mirrors tarnished and required frequent polishing, with bronze showing low reflectivity and poor color rendering, and stone much worse in this regard. These defects explain the New Testament reference in 1 Corinthians 13:12 to seeing “as in a mirror, darkly.” Glass began to be used for mirrors in the 1st Century AD, with the development of soda-lime glass and glass blowing. During the Renaissance Venice became known for its much higher quality mirrors, with richly ornamented frames turning them into luxury decorations for palaces throughout Europe. In modern mirrors, metals like silver or aluminum are often used due to their high reflectivity, applied as a thin coating on glass because of its naturally smooth and very hard surface. The ease of crafting high-quality mirrors has led to a nearly endless variety of shapes, sizes and styles from Rococo to Abstract, particularly as they have become ubiquitous in homes around the world and no longer function solely as a symbol of status.

Lot: 1147 - Baroque Wall Mounted Mirror with Gilt Wood Frame

Baroque Wall Mounted Mirror with Gilt Wood Frame.  Heavily decorated with intricate scrollwork and floral motifs. Mirror itself is large with slight curves.  Size: 44 3/4 x 32 1/2 in. #4457

Lot: 1148 - Antique Wooden Japanese Kyodai Mirrored Kimono Vanity

Antique Wooden Japanese Kyodai Mirrored Kimono Vanity. Kyodai means "brother" or "siblings" in Japanese, a reference to the pairing of the mirror with the chest below. Original glass and fasteners. The wood on the body of the mirror is Tamo ash, with five drawers in a variety of shapes made from Kiri (paulownia) wood. On the back of the middle piece are carved ferns, flowers, and a soaring crane. This style of vanity was first produced in Japan in the Taisho Period (1912-1926) and continued briefly into the more austere Showa Period (1926-1989) before ceasing to be made prior to World War II. Size: 19 3/4 x 10 1/2 x 47 in.  #5328 .    The dressing table (also known as a vanity table, simply a vanity, or, in some parts of British and Australian English, a duchess) is a table specifically designed for performing one’s toilette (dressing, applying makeup, and other personal grooming), intended for a bedroom or a boudoir. The history of the vanity starts with simple cosmetic storage boxes, used to hold ointments, face paints, perfumes and more, an item traced back to the 15th Century BC from an excavation of the tomb of the Egyptian scribe Reniseneb. After the Dark Ages there was a growing interest in self-adornment, which led to the development of the étuis (a lady’s cosmetic carrying case), and then the need for small tables to put them on and mirrors to use them in front of. The word “vanity” was first used to describe these items and even the process in the 16th Century, when religious texts condemned the activity as a sin. However, it only grew in popularity, and by the late 17th Century the dressing table took its familiar shape. The mirror became an integrated part of the dressing table in the middle of the 18th Century, where it was either mounted in a rotating frame or designed to fold into the table itself. By the late 18th Century it was called a toilet table, or simply a toilet, which comes from the French word “toilette,” a diminutive form of toile, a cloth that was used from Medieval times in the application of cosmetics. In the 19th Century the American usage of the word “toilet” changed its meaning, and the object was briefly known as a “twilight table” before evolving into the current usage, fully adopting the word “vanity” due to a more Puritanical shift in social beliefs. Due to portability and advances in cosmetics the vanity began to fall out of favor through the 20th Century, and in the 21st Century vanity tables are rarely produced and used except by the wealthy class, as the application of makeup occupies just a few moments in front of the standard bathroom mirror. On occasion there have been revivals in interest, particularly around styles first popularized by Marquise de Pompadour and Thomas Chippendale.

Lot: 1149 - Dragon Hand Carved Temple Gong From Bali / Southern Asia

Dragon Hand Carved Temple Gong From Bali / Southern Asia. This Sea snake frame hoists a two tier gong. There are five ball shaped reliefs across the central latitude of the design.  Size: 50 x 3 x 56 1/2 in.   

Lot: 1150 - Tibetan Polychrome Carved Cabinet

Tibetan Polychrome Carved Cabinet.  Small rectangular cabinet with a single door. Simple feet. Central figure seated on a raised cushion depicted in traditional robes. Stylized mountains, trees, and clouds. Some birds and other animals are gathered around.  Condition: Commensurate with age.  Size: 29 1/2 X 11 1/2 X 33 3/4 in.  #5155

Lot: 1151 - Tibetan Altar Table

Tibetan Altar Table. Rectangular bench with a low profile. Has four legs and a set of drawers across the front. Top appears to be a single plank of wood. Drawer fronts are decorated with panels. Two of the panels feature floral motifs, likely peonies or chrysanthemums, which are common in Chinese art. The other two panels appear to depict rows of figures, possibly officials or attendants. The apron (the decorative panel below the drawers) and the legs are also painted with decorative patterns, possibly stylized clouds, waves, or other auspicious motifs.  The colors used are muted and somewhat faded, which is consistent with the age of the piece. You can see reds, greens, yellows, and blues. Size: 61 1/2 x 13 1/2 x 14 1/2 Inches

Lot: 1152 - Tibetan Hand Painted Cabinet

Tibetan Hand Painted Cabinet. Wear commensurate with age.   Size: 49 x 15 x 44 Inches

Lot: 1153 - Vintage Asian Black Lacquered Cabinet with Painted and Textured Designs

Vintage Asian Black Lacquered Cabinet with Painted and Textured Designs. Two doors with intricate hand-painted decorations including branches of bamboo, small birds perched on the branches, and delicate flowers. Handles are iron and shaped like pots.  Condition: Chips throughout.  Size: 23 1/2 x 12 x 30 1/2 in.  #4477 .    Early Chinese furniture was mostly in plain, polished wood, but from at least the Song Dynasty the most luxurious pieces often used lacquer to cover the whole or parts of the visible areas. All the various sub-techniques of Chinese lacquerware can be found on furniture, and from the Ming Dynasty onward it became an increasingly affordable process, and thus more widely used. Carved lacquer furniture was, at first, only affordable by the imperial family or the extremely rich, but by the 19th Century it was mostly made in smaller pieces or as decorated areas on larger ones, which also made it easier to keep in the homes of the less wealthy. It was especially popular on screens, which were common in all parts of China. Lacquer inlaid with mother of pearl was a technique used especially on furniture after the Later Jin Dynasty. Chinese furniture is usually light but sturdy, anticipating Europe by several centuries in this respect. Practical fittings in metal such as hinges, lock plates, drawer handles and protective plates at edges or feet are used and often given considerable emphasis, but compared to classic European fine furniture purely decorative metal mounts were rare. From the Qing Dynasty onward furniture made for export, mostly to Europe, became a distinct style, generally made in individualized shapes to suit the destination markets and highly decorated in lacquer and other techniques.

Lot: 1154 - Vintage Chinese Chippendale Bamboo Arm Chair

Vintage Chinese Chippendale Bamboo Arm Chair.  Solid fretwork panels framing detailed angled back. Caned seat.  Size: 23 1/2 x 23 1/2 x 37 1/2 in.  #5507

Lot: 1155 - Antique Southeast Asian Bronze Rain Drum

Antique Southeast Asian Bronze Rain Drum.  Flat circular top, slightly cylindrical body, and a flared base. Decorated with concentric circles, bands of triangles, and other geometric motifs. Frogs and elephant figures throughout. Central star on the lid.  Size: 23 3/4 x 23 3/4 x 18 in. #4771

Lot: 1156 - Korean Blanket Chest

Korean Blanket Chest.  Lined with Korean newspaper. Brass hardware. Rests on four sturdy legs. One hinged door. Ornate designed hardware with fish shaped lock.  Size: 14 1/4 x 34 1/2 x 36 3/8 Inches

Lot: 1157 - Carved Wood Room Divider Screen

Carved Wood Room Divider. Four-panel wooden screen room divider with densely carved accents of leaves and vines. Size (Extended): 81 x 74 in. #4436

Lot: 1158 - Chinese Marble Top Table

Chinese Marble Top Table.  Table has a round table and four legs. There is also a lower shelf or platform connecting the legs. The edge of the tabletop is carved with a decorative border. The apron (the area below the tabletop) is elaborately carved with floral and foliate motifs, possibly including peonies, chrysanthemums, or other traditional Chinese floral designs. The legs are also heavily carved, often with scrolling patterns, leaves, or other decorative elements. The feet terminate in claw-like or paw-like shapes. Pink marble top.  Size: 22 x 22 x 22 in.  #8767

Lot: 1159 - Antique Chinese Carved Clay and Wood Stand with Polychrome Decorations

Antique Chinese Carved Clay and Wood Stand with Polychrome Decorations.  Size: 15 1/2 X 15 1/2 X 31 in.  #5112 .  Polychrome, broadly defined, is the practice of decorating architectural elements, sculpture, pottery, and so forth in a variety of colors. In the art world and at auction houses the term is used in conjunction with specific period names, countries, or religious movements to refer to certain styles of architecture, pottery, or sculpture in multiple colors throughout recorded history. Although much surviving artworks and architecture from antiquity and the European Middle Ages appear monochrome in the present, the reality is that pre-Renaissance works were abundant with color, and all the Greco-Roman sculptures and Gothic cathedrals that now appear white, beige, or grey were initially painted brightly. The passage of time is not kind to many pigments and substances used to make different colors, which is why so few examples from the distant past appear as they originally did. Polychrome painting and design was not limited only to Western cultures, but was common throughout Asia, Oceania, Africa, and the Americas, although even fewer examples survive in many of these areas due to war, natural disasters, and cultural destruction at the hands of conquering tribes and countries. Some of the most fantastic and long-lived examples can be found on Chinese porcelain, which was invented in the 9th Century AD, and the early Asiatic figural and landscape styles of painting had a profound impact on nearly every other country on Earth thanks to the Silk Road and expansive trade routes.

Lot: 1160 - Sang de Beouf Celadon Pot

Sang de Beouf Celadon Pot.  Qing dynasty Xangxi or Yongzheng period in which no other color was combined with the red glaze. Red ox blood symbolized good fortune and wealth. Early Ming Dynasty.  Rounded body with a flat base and slightly flared rim. Features two small, stylized lion handles.  Size: 4 1/2 x 4 1/2 x 2 1/2 in.  #8763 

Lot: 1161 - Important Antique Chinese Silver and Jade Inlaid Tea Caddy

Important Antique Chinese / Sino Tibetan Silver and Jade Inlaid Tea Caddy. Chinese Silver Bejeweled Jade/Coral/Turquoise Tea Caddy. Jade Buddha on top, original finial, beautifully intricate design.  Condition:  Handle carefully.  Size: 4 1/2 x 4 1/2 x 7 1/4 in.  #4778 .  A tea caddy is a box, jar, canister, or other receptacle used to store tea. When first introduced to Europe from Asia, tea was extremely expensive, and kept under lock and key. The containers used were often highly decorative, to fit in with the rest of a drawing-room or other reception area. The word is believed to be derived from catty, the Chinese pound. The earliest examples that came to Europe were of Chinese porcelain, and similar in shape to the ginger-jar. They had Chinese-style lids or stoppers, and were most frequently blue and white. Until roughly 1800 they were commonly called tea canisters. By the Georgian era in England the caddy came in countless shapes, designs, and materials, reflecting a growing artistic appreciation for functional sculpting.

Lot: 1162 - Vintage Jade Seal

Vintage Jade Seal.  Depicts a dragon, a mythical creature that is a symbol of power, strength, and good fortune in Chinese culture.  Dragon is depicted in a dynamic pose, with its head raised. Style suggests that it may be from the Qing dynasty.  Box Size: 2 1/2 x 3 3/4 x 2 in. Seal Size: 2 x 2 x 1 in. #8493

Lot: 1163 - Intricate Jade Carving of Fish and Flowers

Intricate Jade Carving of Fish and Flowers. The sculpture is made up of two pieces of carved green jade, the top piece consists of two fish and several lotus flowers, while the bottom piece has organic designs and functions as a base.    Sculpture Size: 8 1/2 x 12 in.  Base Size: 3 x 8 in.  #5084

Lot: 1164 - Chinese Qing Dynasty Carved Jade Dragon Incense Burner

Chinese Qing Dynasty Carved Jade Dragon Incense Burner. Antique jade incense burner or censer with carved dragon head handles and lid with carved coiled dragon. Standing on three paw feet. Chinese incense burners, or xianglu, are traditional vessels used for burning incense during religious ceremonies, meditation, and daily rituals. These burners, often crafted from materials like bronze, porcelain, or jade, are designed with intricate patterns and symbolic motifs such as dragons, phoenixes, or clouds to reflect cultural beliefs and aesthetic sensibilities. Rooted in Chinese spiritual practices, incense burning is associated with purifying spaces, honoring ancestors, and connecting with the divine. The design of incense burners ranges from simple and functional to elaborate and ornate, representing the blend of artistry and spirituality in Chinese culture. They continue to hold a significant place in homes, temples, and ceremonies today. Size: 9 x 8 1/2 in. #4812

Lot: 1165 - Chinese Carved Provincial Jade Two-Part Pagoda with Buddha - AS IS

Chinese Carved Provincial Jade Two-Part Pagoda with Buddha - AS IS..  Beautifully carved jade pagoda with Buddha inside. Multi-tiered structure with intricate carvings. Base is wide, circular or octagonal platform with raised edges. The top tier has a distinctive roof shape with curved edges and decorative finials. Sits on 3 carved feet.  Condition: 1 handle broken. Small chips throughout.  Size: 7 x 10 x 20 1/2 in.  #5296

Lot: 1166 - Wooden Chinese Panel with Stone Relief Accents

Wooden Chinese Panel with Stone Relief Accents.  Lacquered panel inlaid with various colored hardstones. Framed in a dark wood frame with decorative elements on the top. Artwork depicts a still life scene with a variety of objects and plants. Still life arrangement consisting of a vase with a flowering branch, smaller vase with flowers, a pot with a plant, and apples.  Rough translation of the characters is "Northern View of Tranquil Appreciation."  Overall Size: 52 1/2 x 24 7/8 in. Sight Size: 48 1/4 x 20 3/4 in. #8489

Lot: 1167 - Chinese Painted Porcelain Plaque Triptych Mounted in Glass Box

Chinese Painted Porcelain Plaque Triptych Mounted in Glass Box. The kanji  in the upper area of the plaques throughout indicates the scenes are each from the same battle, and painted by "The Master of Ruzhulou."  Overall Size: 20 1/4 x 42 x 2 1/4 in.  Each Panel Size: 15 x 10 1/2 in.  #4589 .  China painting, or porcelain painting, is the decoration of glazed porcelain objects such as plates, plaques, bowls, vases, or statues. The body of the object may be hard-paste porcelain, developed in China in the 7th or 8th Century, or soft-paste porcelain (often bone china), developed in 18th Century Europe. The broader term ceramic painting includes painted decoration on lead-glazed earthenware such as creamware or tin-glazed pottery such as maiolica or faience. Typically the body is first fired in a kiln to convert it into a hard porous biscuit or bisque. Underglaze decoration may then be applied, followed by glaze, which is fired so it bonds to the body. The glazed porcelain may then be painted with overglaze decoration and fired again to bond the paint with the glaze. Most pieces use only one of underglaze or overglaze painting, the latter often being referred to as “enameled.” Decorations may be applied by brush or by stenciling, transfer printing and screen printing. Porcelain painting was developed in China and later taken up in Korea and then Japan. It was extremely popular even early in international trade routes, as decorated Chinese porcelain from the 9th Century has been found in the Middle East. Porcelain for trade with this region often has Islamic motifs. Trade with Europe began in the 16th Century, and by the early 18th Century European manufacturers had discovered how to make porcelain, to capitalize on its universal appreciation throughout the continent. The decoration of some hand-painted plates and vases from the 19th Century resembles oil paintings, and the style has continually evolved over the centuries.

Lot: 1168 - Chinese Tinted Concrete Monk Statue

Chinese Tinted Concrete Monk Statue. Outdoor concrete statue resembling a praying Chinese monk in tinted robes.  Chinese monks have played a pivotal role in the development and spread of Buddhism throughout China and beyond. Originating with the introduction of Buddhism from India during the Han Dynasty, Chinese monks adapted the religion to local traditions, philosophies, and culture, creating uniquely Chinese forms of Buddhism like Chan (Zen). Renowned for their ascetic lifestyles, devotion to meditation, and scholarship, they contributed significantly to art, literature, and philosophy. Monasteries became centers of learning and spiritual practice, influencing society profoundly over centuries. Figures like Xuanzang, who translated Buddhist texts, and Bodhidharma, credited with bringing Chan Buddhism to China, are among the most celebrated. Chinese monks continue to uphold spiritual practices, emphasizing compassion, mindfulness, and a harmonious relationship with nature. CAUTION: HEAVY. Size: 9 x 8 x 29 in.  #5350

Lot: 1169 - 3 Ornate Asian Glass Snuff Bottles

3 Ornate Asian Glass Snuff Bottles. Two retain their caps, while the third does not. The capless one has painting on the outside, while the other two are more transparent and have paintings on their insides.  Largest Size: 2 1/4 x 1 x 2 3/4 in.  #4640 .  Tobacco was first introduced by the Portuguese to the Chinese court at Beijing some time during the 16th Century. It was originally smoked in pipes before the establishment of the Qing Dynasty. Snuff bottles were used during the Qing Dynasty to contain powdered tobacco, as smoking tobacco was made illegal early on during the Qing Dynasty, but the use of snuff was allowed because the Chinese considered snuff to be a remedy for common illnesses such as colds, headaches, and stomach disorders. The use of snuff and snuff bottles to carry it in spread through the upper class, and by the end of the 17th Century it had become a part of common social rituals to use snuff. This lasted through most of the 18th Century, as the trend eventually spread into the rest of the country and into every social class. It was even customary to offer a pinch of snuff as a way to greet friends and relatives, and snuff bottles soon became an object of beauty and a way to represent status and wealth. The public use of snuff decreased with the fall of the Qing Dynasty and died away soon after the establishment of the Republic of China. However, contemporary snuff bottles are still being made, and can be purchased in souvenir shops, flea markets, and museum gift shops. Original snuff bottles from the Qing period are particularly sought after by serious collectors and museums. The most valuable ones include inside painting, a genre that emerged in the late Qing Dynasty. In general most snuff bottles were small enough to fit inside the palm of the hand, and were made out of many different materials including porcelain, jade, rhinoceros horn, ivory, wood, coconut shells, lapis lazuli, gneiss, cork, chalcedony, jasper, carnelian, malachite, quartz, tortoiseshell, metal, turquoise, agate, mother-of-pearl, and ceramics, though probably the most commonly used material was glass. The stopper usually had a very small spoon attached for extracting the snuff. Some bottles are completely devoid of decoration, while others are incredibly ornate. As in all Chinese arts and crafts, motifs and symbols play an important part in decorative detail. Symbols are derived from a multitude of sources such as legends, history, religion, philosophy and superstition. The ideas used are almost always directed toward bringing wealth, health, good luck, longevity, even immortality to the owner of an artifact, frequently as a wish expressed in a kind of coded form by the giver of a gift.

Lot: 1170 - Chinese Reverse Painted on Glass Master Snuff Bottle

Chinese Reverse Painted on Glass Master Snuff Bottle Of circular form, decorated with resting travelers, also bearing a verse, with a mineral cap, lacking spoon.   Size: 5 x 5 in.  #7719 

Lot: 1171 - Carved Jade Snuff Bottle

Carved Jade Snuff Bottle. Carved white jade snuff bottle in compressed rectangular form with flat base and wide circular mouth. Size: 1 3/4 x 2 1/2 in. #4814

Lot: 1172 - Sterling Overlay Bottle

Sterling Overlay Bottle. Vine and floral designs throughout. Monogrammed on one side.  Size: 3 1/2 x 1 x 5 in.  #8545 .  Tobacco was first introduced by the Portuguese to the Chinese court at Beijing some time during the 16th Century. It was originally smoked in pipes before the establishment of the Qing Dynasty. Snuff bottles were used during the Qing Dynasty to contain powdered tobacco, as smoking tobacco was made illegal early on during the Qing Dynasty, but the use of snuff was allowed because the Chinese considered snuff to be a remedy for common illnesses such as colds, headaches , and stomach disorders. The use of snuff and snuff bottles to carry it in spread through the upper class, and by the end of the 17th Century it had become a part of common social rituals to use snuff. This lasted through most of the 18th Century, as the trend eventually spread into the rest of the country and into every social class. It was even customary to offer a pinch of snuff as a way to greet friends and relatives, and snuff bottles soon became an object of beauty and a way to represent status and wealth. The public use of snuff decreased with the fall of the Qing Dynasty and died away soon after the establishment of the Republic of China. However, contemporary snuff bottles are still being made, and can be purchased in souvenir shops, flea markets, and museum gift shops. Original snuff bottles from the Qing period are particularly sought after by serious collectors and museums. The most valuable ones include inside painting, a genre that emerged in the late Qing Dynasty. In general most snuff bottles were small enough to fit inside the palm of the hand, and were made out of many different materials including porcelain, jade, rhinoceros horn, ivory, wood, coconut shells, lapis lazuli, gneiss, cork, chalcedony, jasper , carnelian, malachite, quartz, tortoiseshell, metal, turquoise, agate, mother-of-pearl, and ceramics, though probably the most commonly used material was glass. The stopper usually had a very small spoon attached for extracting the snuff. Some are bottles completely void of decoration, while others are incredibly ornate. As in all Chinese arts and crafts, motifs and symbols play an important part in decorative detail. Symbols are derived from a multitude of sources such as legends, history, religion, philosophy and superstition. The ideas used are almost always directed toward bringing wealth, health, good luck, longevity, even immortality to the owner of an artifact, frequently as a wish expressed in a kind of coded form by the giver of a gift.

Lot: 1173 - Chinese Celadon Guanyin Statue

Chinese Celadon Guanyin Statue. Large and intricately detailed seated figure in light tones.  Size: 25 x 12 x 7 in.  #5443 .  In Chinese mythology, Guanyin is the goddess of mercy and considered to be the physical embodiment of compassion. She is an all-seeing, all-hearing being who is called upon by worshipers in times of uncertainty, despair, and fear. Guanyin is originally based on the bodhisattva Avalokitesvara (“The Lord Who Looks Down”). Avalokitesvara’s myth spread throughout China during the advent of Buddhism and mixed with local folklore in a process known as syncretism to become the modern day understanding of Guanyin.

Lot: 1174 - Vintage Chinese Porcelain Figure with Tow Marks

Porcelain figurine depicting a lady playing a pipa. Pipa is a traditional Chinese plucked string instrument.  Size: 7 x 5 x 19 in. #4686

Lot: 1175 - Chinese Hand Carved Rosewood God of Longevity Statue

Chinese Hand Carved Rosewood God of Longevity Statue. Carved rosewood statue of Shou Xing/Shou Lao, the God of Longevity, with raven and child. On fitted stand. The Chinese God of Longevity, known as Shou Xing or Shou Lao, is a revered deity in Chinese mythology symbolizing long life, health, and happiness. Depicted as a cheerful old man with a high, domed forehead, flowing beard, and a staff adorned with a scroll or peach of immortality, Shou Xing embodies wisdom and vitality. He is one of the three star gods, collectively called the Fu Lu Shou, representing blessings, prosperity, and longevity. Associated with Daoist beliefs, Shou Xing is often honored during birthdays and celebrations to invoke his blessings for a long and fulfilling life. His imagery remains a popular motif in Chinese art, decorations, and traditions, reflecting the deep cultural value placed on longevity. Size: 8 x 18 1/2 in.  #5093

Lot: 1176 - Chinese Soapstone Figure of Guanyin

Chinese Soapstone Figure of Guanyin The seated deity draped in robes, on a square plinth.  Size: 3 1/2 x 2 1/4 x 7 in.  #7761 

Lot: 1177 - Sanxing Immortal of Wealth Carved Figure

Sanxing Immortal of Wealth Carved Figure. The Sanxing (Three Stars) are the gods of the three celestial bodies considered essential in Chinese astrology and mythology. This carving depicts Lu Xing, the Sanxing immortal of wealth and influence, in a beautiful amber resin. He is dressed in the prestigious Mandarin robes of a government officer and often appears holding a scepter or Ru Yi to signify high stature and authority. Size: 6 1/2 x 14 1/2 in.  #209 #4360 

Lot: 1178 - Wood Carving of the Chinese Immortal Fuxing

Wood Carving of the Chinese Immortal Fuxing. Fuxing, in Chinese mythology, star god of happiness, one of the three stellar divinities known collectively as Fulushou. He is one of many Chinese gods who bestow happiness on their worshipers. Some say he is the same as Fushen, the spirit of happiness. If so, Fuxing was a historical personage, probably a 6th-century mandarin called Yang Cheng, who was deified by the local residents of Daoxian in Hunan province.   Size: 4 x 5 x 12 in.  #8687

Lot: 1179 - Chinese Carved Wooden Figure of the God of Longevity

Chinese Carved Wooden Figure of the God of Longevity, Shoulao. Carved wooden figure of the God of Longevity, Shoulao/Shaoxing. Figure with traveling staff holding pear in left hand. The God of Longevity, often depicted in Chinese mythology, represents the concept of long life and immortality. Known as Shou Xing, he is one of the Three Star Gods, alongside Fu and Lu, who embody happiness and prosperity. Shou Xing is typically portrayed as an elderly man with a high forehead, a long beard, and a peach in his hand, symbolizing eternal life. His image is often seen in homes, temples, and art, as he is believed to bring blessings of good health and longevity. His mythology is tied to Taoist beliefs, emphasizing the pursuit of spiritual health, balance, and the harmonious relationship between humans and nature. Size: 3 1/2 x 3 1/2 x 12 in.  #8684

Lot: 1180 - (2) Chinese Qing Dynasty Carved Gilt Wood Bodhisattva

(2) Chinese Qing Dynasty Carved Gilt Wood Bodhisattva. Pair of carved wood Bodhisattva figures stead in lotus throne. Both figures in gesture of meditation, holding bowl. The Bodhisattva in the "meditation with bowl" pose is a symbolic representation of a being who embodies deep contemplation, wisdom, and compassion. In this posture, the Bodhisattva is often shown seated in meditation, holding a bowl—sometimes interpreted as a vessel for offering or collecting alms. The bowl may also symbolize the practice of mindfulness and the cultivation of virtues such as generosity and selflessness. This pose highlights the Bodhisattva’s commitment to aiding others on their spiritual journey while maintaining inner peace and focused contemplation. It reflects the idea of mindfulness and the readiness to share wisdom and compassion with all beings, emphasizing both the meditative aspect of enlightenment and the Bodhisattva's role in guiding others. Size: 4 x 3 1/2 x 8 in.  #8682

Lot: 1181 - Early 20th Century Rose Quartz Guanyin with Wooden Stand

Early 20th Century Rose Quartz Guanyin with Wooden Stand.  Figure is carved from rose quartz depicting in a seated pose, with flowing robes and graceful lines. Figure is holding a lotus flower. Carved wooden base.  Size: 4 x 2 x 4 1/2 in.  #8765

Lot: 1182 - Chinese Porcelain Figure

Chinese Porcelain Figure. Marked China on inside.  Figure of maiden with hair up in a bun. Multi-colored outfit with different patterns on each section.  Size: 3 x 2 1/2 x 9 1/2 in. #5395

Lot: 1183 - (2) Chinese Carved Gilt Wood Statues of Couples

(2) Chinese Carved Gilt Wood Statues of Couples. Pair of polychrome painted Chinese statues each representing a male and female pair.  Condition: Lost to paint. Size: 1 1/2 x 3 x 5 3/4 in. #5173

Lot: 1184 - Chinese Amber Resin Shouxing Sculpture

Chinese Amber Resin Shouxing Sculpture. Classic depiction, holding a peach and a staff. Hole in the base for mounting.  Size: 5 x 13 x 3 1/4 in.  #8364 .  Shouxing, also known as Shou Lao and Nanji Laoren (“Old Man of the South Pole”), is a stellar god of Chinese mythology, one of three known collectively as Fulushou. Though greatly revered as the god of longevity (shou), Shouxing has no known temples dedicated to him. Instead, birthday parties for elders provide a fitting time for visitors to bow before his statue, which is draped in embroidered silk robes. Artistic representations often depict Shouxing as a bearded old man with a high brow and a crooked staff in one hand. He holds the peach of immortality in his other hand. A stork or turtle is often added as a further symbol of longevity, which the Chinese view as an extra special blessing, and sometimes children are seen playing at his feet, as a blessing of long life to newborns.

Lot: 1185 - (2) Carved Jade Animal Figurines

(2) Carved Jade Animal Figurines. Pair of Chinese carved jade creatures, including mythical beast with head turned to look over shoulder and carved figure of snails. Size: 1 7/8 x 2 in.  #4831

Lot: 1186 - Chinese Periwinkle Cloisonne Horse

Chinese Periwinkle Cloisonne Horse. Porcelain horse figure with periwinkle blue base and floral detail done in cloisonne technique. Wear commensurate with age.  Size: 7 1/2 x 8 in.  #5087

Lot: 1187 - Chinese Carved Lapis Lazuli Owl on Stone Stand

Chinese Carved Lapis Lazuli Owl on Stone Stand. A nicely carved and detailed lapis lazuli statue of an owl perched on a lacquered wooden stand.  Lapis lazuli, a vibrant blue gemstone, has been revered for thousands of years for its beauty and symbolic significance. In ancient civilizations like Mesopotamia, Egypt, and Persia, it was considered a stone of royalty, wisdom, and spiritual power. Lapis was believed to protect its wearer, enhance intuition, and connect them to divine forces. It was commonly used in jewelry, amulets, and burial items, signifying status and offering spiritual protection. Its rich color and rarity made it highly prized, and it was often ground into powder for use in art, particularly in creating the pigment ultramarine, further elevating its status as a symbol of both material and metaphysical wealth. Condition: Glue exposed. Size: 6 x 4 1/2 x 7 1/4 in. #4666

Lot: 1188 - (2) Antique Chinese Carved White Stone Qilin Statues

(2) Antique Chinese Carved White Stone Qilin Statues. The qilin is a legendary hooved chimerical creature that appears in Chinese mythology, and is said to appear with the imminent arrival or death of a sage or illustrious ruler. Qilin are a specific type of the lin mythological family of one-horned beasts. The qilin also appears in the mythologies of other Chinese-influenced cultures.   Size: 7 1/2 x 2 x 5 in. #5175

Lot: 1189 - (2) Carved Wooden Foo Dogs

(2) Carved Wooden Foo Dogs. Size: 4 x 5 1/2 x 6 in. #5197

Lot: 1190 - Chinese Gilt Bronze Double-Lion Incense Burner with Removable Head

Chinese Gilt Bronze Double-Lion Incense Burner with Removable Head. Commensurate with age.    Size: 12 x 7 x 9 1/4 in. #5444

Lot: 1191 - Qing Qinlong Dynasty Plate

Qing Qinlong Dynasty Plate.  Striking color palette, with a combination of blue and red. Decorated with a large, central floral motif, likely a peony, surrounded by smaller floral and geometric patterns. Round shape with scalloped rim. Marked on back.  Diameter: 8 in. #8491

Lot: 1192 - Chinese Pink Ground Vase

Chinese Pink Ground Porcelain Vase Of cylindrical form with stylized fu-lion handles, decorated with marsh foliage. Size: 7 1/2 x 7 1/2 x 14 1/2 in.  #7616 

Lot: 1193 - Chinese Enameled Porcelain Vase

Chinese Enamel Decorated Porcelain Vase The underside with a red character seal. Of baluster shape with a cylindrical neck, the body with foliage in a famille rose palette, the reverse with a verse in Chinese script, drilled.   Condition: The underside drilled.  Size: 9 x 9 x 18 1/2 in.  #7746 

Lot: 1194 - Mid to Late 20th Century Chinese Polychrome Ginger Jars

Mid to Late 20th Century Chinese Polychrome Ginger Jars. Marked on underside.  Classic ovoid shape with a rounded body, short neck, and a domed lid topped with a pointed finial. Porcelain. Decorated in the Famile Rose enamel style. Elaborate scenes with figures in traditional Chinese clothing, engaged in courtly or domestic activities. Scenes are set within stylized landscapes with trees, rocks, and other elements. Floral border around the top and bottom of the jars.  Condition: Commensurate with age.  Size: 9 x 9 x 14 in.  #4765

Lot: 1195 - Chinese Famille Rose Ceramic Planters & Underplate

Chinese Famille Rose Ceramic Planters & Underplate. Chinese famille rose planter with matching underplate. Decorated with imagery of flowers and birds. Planter and plate marked on base. Planter Size: 14 1/4 x 14 1/4 x 12 3/4 in.  Underplate Size: 15 x 15 in.  #4555

Lot: 1196 - Large Asian Porcelain Fish Bowl

Large Asian Porcelain Fish Bowl. Appears to be a stamp on the inside. Floral designs inside. Round bowl like shape with a wide opening at the top. Base is slightly tapered. Decorated with a white background and a blue floral design.  Size: 16 1/2 x 16 1/2 x 14 in.  #7016

Lot: 1197 - Pair of Ceramic Garden Stools

Pair of Ceramic Garden Stools.  Both have a cylindrical shape with a flat top and slightly narrower base. Decorated in a traditional blue and white reminiscent of Chinese porcelain. Floral motifs with stylized floral designs. Swirling patterns, geometric borders, and raised dots.  Size: 12 x 12 x 18 in.  #7006

Lot: 1198 - Pair of Chinese Ceramic Dimensional Fish & Bird Glazed Planters

Pair of Chinese Ceramic Dimensional Fish & Bird Glazed Planters Size: 18 x 8 1/2 x 14 1/2 in.  #7017

Lot: 1199 - Large Chinese Planter On Stand

Large Chinese Planter On Stand. Marked on bottom.  Rounded bowl like shape with a wide opening at the top. Glazed surface. Decorated with flowers and birds. Dark stained wood stand with a circular top, 4 curved legs connected by a circular support.  Size (Planter): 15 1/4 x 15 1/4 x 12 in. Base: 16 1/4 x 16 1/4 x 11 in. Overall height: 21 in. #4669

Lot: 1200 - Late 19th Century Chinese Green Ginger Jar

Late 19th Century Chinese Green Ginger Jar.  Made from earthenware. Sancai glaze. Decorated with stylized flowers and leaves, geometric patterns, and Chinese characters. Rounded or globular body with a short neck and a wide mouth.  Size: 7 1/2 x 7 1/2 x 8 1/2 in. #8557

Lot: 1201 - Antique Chinese Porcelain Ginger Jar

Antique Chinese Porcelain Ginger Jar.  Rounded globular body with a short neck and a domed lid. Blue and white decorations. Main decoration features a scene with several figures, botanical motifs, and additional details like clouds and rocks.  Size: 10 x 10 x 10 in. #4771

Lot: 1202 - Antique Chinese Porcelain Ginger Jar

Antique Chinese Porcelain Ginger Jar. Decorated with flowers and birds. Chinese letters on back.  Comes with certificate of antiquity.  Size: 9 x 9 x 12 1/2 in. #4769

Lot: 1203 - Chinese Qing Dynasty Blue & White Double Gourd Phoenix Vase

Chinese Qing Dynasty Blue & White Double Gourd Phoenix Vase. Late Qing dynasty Ming-style vase. Painted on lobe with four roundels of phoenix flying through clouds, with decoration of flowers, fines, and scrollwork. Six character mark on base. Size: 7 x 11 3/4 in. #5201

Lot: 1204 - Chinese Squared Vase

Chinese Porcelain Vase The underside with a red character mark. The tapering square body beneath a cylindrical neck with an out-turned rim, the body decorated on two sides with a court scene on a yellow ground, on the other two with mythical beasts on a turquoise ground. Size: 6 x 6 x 18 in.  #7709 

Lot: 1205 - Chinese Blue and White Vase

Chinese Blue and White Vase. Chiense blue and white glazed earthenware vase. with flower florets and scales. Condition: Cracked foot. Size: 2 x 2 1/2 in. #4784

Lot: 1206 - Chinese Crackle Glazed Enameled Earthenware Jar

Chinese Crackle Glazed Enameled Earthenware Jar Unmarked. Ovoid, decorated with a censor, the reverse with a red-character inscription.    Size: 4 1/2 x 5 1/4 in.  #7757 

Lot: 1207 - Chinese Qing Dynasty Famille Rose Vase as Lamp

Chinese Qing Dynasty Famille Rose Vase as Lamp. Chinese vase with brass fittings converting it into a lamp. Vase with painted imagery of court scenes, neck of vase with imagery of diplomat riding horse. The wiring is threaded outside of the vase, preserving the integrity of the piece. Marked on base. Size: 8 1/2 x 8 1/2 x 23 1/2 in. #5101

Lot: 1208 - Early 20th Century Chinese Painted Porcelain Vase

Early 20th Century Chinese Painted Porcelain Vase. Chinese vase with bulbous boy and thin stem neck with scene of figures in a field, mountains visible in the distance, against cream crackle glaze field. Size: 9 x 15 in. #5206

Lot: 1209 - Early 20th Century Chinese Sang de Boeuf Oxblood Glazed Ceramic Vase

Early 20th Century Chinese Sang de Boeuf Oxblood Glazed Ceramic Vase. Ceramic vase with bulbous body and thin stem neck, glazed in rich oxblood red with glossy finish. Includes carved wooden display base. Chinese sang de boeuf porcelain, also known as "oxblood" glaze, is a type of ceramic famous for its deep, rich red glaze resembling the color of ox blood. Developed during the Qing Dynasty, particularly under Emperor Kangxi (1662–1722), this striking glaze was achieved through a complex reduction-firing process using copper. The glaze often pools at the base, creating subtle variations in tone, with occasional highlights of purple or white where it thins. Sang de boeuf pieces, often vases or bowls, are celebrated for their vibrant, glossy finish and technical sophistication, making them highly prized among collectors and art enthusiasts. Size: 9 x 15 in. #5209

Lot: 1210 - Vintage Wong Lee Porcelain Chinoiserie Container

Vintage Wong Lee Porcelain Chinoiserie Container. Wong Lee International was founded in 1995 and they began exporting from China in 1999. The Wong Lee makers mark on the bottom has a commemorative meaning of the end of the war between China and Japan in 1895. Size: 6 x 6 x 10 in. #8456

Lot: 1211 - Chinese Soapstone Vase

Chinese Soapstone Vase. Baluster form vase. A spray of carved flowers around the neck. Tripod base. Shades of brown.  Condition: Good.  Size: 2 3/8 x 2 3/8 x 5 1/2 in.  #2309 

Lot: 1212 - Antique Chinese Caledon Ge-ware Vase

Antique Chinese Celadon Ge-ware Vase. Antique Chinese vase with crazed celadon glazing. Eight-edged tapering pear shape with double-ear handles on raised foot.  Chinese Ge-ware, originating during the Song dynasty (960–1279), is a type of ceramic known for its distinctive crackled glaze, subtle color palette, and refined craftsmanship. The glaze features a network of fine cracks, often highlighted in contrasting pigments, creating a visually striking effect. Ge-ware typically exhibits muted tones like gray, bluish-gray, or olive green and a smooth, matte finish. Its aesthetic reflects Daoist and Zen Buddhist ideals of imperfection and natural beauty. Rare and highly prized, authentic Ge-ware pieces are significant in Chinese art history and continue to influence ceramic artistry worldwide. Size: 9 x 5 x 5 in. #5445

Lot: 1213 - Antique Chinese Bone Engraved Cricket Cage

Antique Chinese Bone Engraved Cricket Cage. Depicts children at play in the fields around their home. No lid.  Size: 2 X 2 X 4 1/4 in.  #4840 .  Keeping crickets as domestic pets, particularly the singing cricket, became a common practice in early Chinese antiquity. The ancestors of modern Chinese people possessed a unique attitude towards small creatures, while most other

Lot: 1214 - (2) Large Archaic-Style Chinese Terracotta Covered Urns with Lids

(2) Large Archaic-Style Chinese Terracotta Covered Urns with Lids. The handles depict dragons climbing the urns.    Size: 29 x 15 in. #5407

Lot: 1215 - Pair of Chinese Dragon Gourde Porcelain Vases

Pair of Chinese Dragon Gourde Porcelain Vases. Jun kiln porcelain Glaze. Size: 2 x 2 x 4 in.  #7726 

Lot: 1216 - (2) Antique Chinese Enamel Box in the Shape of a Gourd

(2) Antique Chinese Enamel Box in the Shape of a Gourd.  Mid 20th century. Each painted with colorful gourds and vines. Green to yellow gradient background. Turquoise interior. Gold toned metal accents.  Size: 3 x 4 1/2 in.  #4833

Lot: 1217 - Chinese Porcelain Gaiwan in Famille Rose Medallion Pattern

Chinese Gaiwan in Famille Rose Medallion Pattern Largest: 6 x 6 x 3/4 in. (Saucer)  #5422

Lot: 1218 - Antique Chinese Enamel, Brass, and Wood Lined Box

Antique Chinese Enamel, Brass, and Wood Lined Box.  Rectangular box with fitted lid. Floral patterns, butterflies and birds, and geometric patterns.  Size: 1 x 3 x 3 3/4 in. #4807

Lot: 1219 - Chinese Blue and White Reticulated Porcelain Bowl

Chinese Blue and White Reticulated Porcelain Bowl. Landscape on bowl, simple pattern on rim, reticulation all along the sides, blank underside.  Size: 8 3/4 X 7 1/2 X 3 1/4 in.  #8559 .    China painting, or porcelain painting, is the decoration of glazed porcelain objects such as plates, plaques, bowls, vases, or statues. The body of the object may be hard-paste porcelain, developed in China in the 7th or 8th Century, or soft-paste porcelain (often bone china), developed in 18th Century Europe. The broader term ceramic painting includes painted decoration on lead-glazed earthenware such as creamware or tin-glazed pottery such as maiolica or faience. Typically the body is first fired in a kiln to convert it into a hard porous biscuit or bisque. Underglaze decoration may then be applied, followed by glaze, which is fired so it bonds to the body. The glazed porcelain may then be painted with overglaze decoration and fired again to bond the paint with the glaze. Most pieces use only one of underglaze or overglaze painting, the latter often being referred to as “enameled.” Decorations may be applied by brush or by stenciling, transfer printing and screen printing. Porcelain painting was developed in China and later taken up in Korea and then Japan. It was extremely popular even early in international trade routes, as decorated Chinese porcelain from the 9th Century has been found in the Middle East. Porcelain for trade with this region often has Islamic motifs. Trade with Europe began in the 16th Century, and by the early 18th Century European manufacturers had discovered how to make porcelain, to capitalize on its universal appreciation throughout the continent. The decoration of some hand-painted plates and vases from the 19th Century resembles oil paintings, and the style has continually evolved over the centuries. 

Lot: 1220 - Chinese Crackleware Bowl With Calligraphy / Poem

Chinese Crackleware Bowl With Calligraphy / Poem. Size: 5 3/8 x 2 in.  #7758 

Lot: 1221 - Chinese Export Porcelain Sauce Boat & Tray

Chinese-Export Armorial Porcelain Sauce Boat with Underplate. Unmarked, possibly Samson. Decorated with an armorial device and scattered foliage.  Size: 8 7/8 x 6 7/8 x 3 in.  #7732 

Lot: 1222 - Chinese Cast Iron Incense Burner

Chinese Cast Iron Incense Burner.  2 small ring handles on the side. Decorated with a raised geometric pattern all around. Several symbols on the sides.  Size: 13 3/8 x 8 1/2 x 13 5/8 in. #8368

Lot: 1223 - Chinese Wooden Baby Bath with 4 Decorated Items

Chinese Wooden Baby Bath with 4 Hollow Decorated Items. Antique Chinese Wooden Baby Bath, Two Parts.3 Balls and 1 Egg.  Largest Size: 19 x 13 x 13 1/2 in.  #7679 

Lot: 1224 - Thirty-Nine Chinese Blue and White Porcelain Table Items

Thirty-Nine Chinese Blue and White Porcelain Table Items Some with marks on the underside, comprising examples of both Canton and Nanking porcelain, mainly cups and small plates.  Largest Size: 6 1/4 x 6 1/4 in.  #7730 

Lot: 1225 - 3 Soapstone Items

Three Chinese Carved Soapstone Water Bowls Each mottled brown soapstone, one carved with a monkey, the others with foliage. Largest Size: 6 1/2 x 2 x 3 in.  #7667 

Lot: 1226 - Chinese White Jade and Hardstone Censer Inlaid Wooden Table Screen

Chinese White Jade and Hardstone Censer Inlaid Wooden Table Screen. A lacquered hard wood table screen with inlaid white jade and hardwood incense censer. Censer with dragon handles and incise decoration. Chinese table screens with incense burners are exquisite decorative objects that blend functionality and artistry, often found in traditional scholar's studios or elegant interiors. These pieces typically feature a small, intricately carved screen mounted on a stand, paired with an incense burner positioned in front or integrated into the base. The screens, often crafted from materials like wood, jade, or porcelain, display finely detailed carvings or painted scenes depicting landscapes, flora, or calligraphy. The incense burner, usually made of metal or ceramic, complements the screen and serves both practical and symbolic purposes, enhancing the ambiance while reflecting the owner's refined taste and spiritual sensibilities. These sets epitomize Chinese aesthetics, combining sensory appeal with a celebration of nature and scholarly pursuits. Size: 13 x 12 x 6 in. #5446

Lot: 1227 - Pair of Chinese White Jade/Hardstone Bi

Pair of Chinese White Jade/Hardstone Bi. Pair of Chinese bi carved rom white jade or hardstone, infused with subtle russet striation. Polished, smooth finish. Chinese bi are ancient jade discs with a central hole, historically significant as symbols of heaven and spirituality in Chinese culture. Originating as early as the Neolithic period, they were often associated with ritual practices and believed to serve as conduits between the earthly and divine realms. Bi were crafted with meticulous precision, sometimes featuring intricate carvings of mythical creatures, geometric patterns, or cloud motifs, reflecting their sacred status. Used in burial rites, they were placed on or near the deceased to ensure a connection with the cosmos and the afterlife. Over time, bi also became a symbol of social status and power, admired for their beauty, craftsmanship, and spiritual resonance. Size: 7 1/4 x 7 1/4 in. #5448

Lot: 1228 - Chinese Bone Happy Buddha On Stand

Chinese Bone Happy Buddha On Stand.    Size: 2 1/2 x 2 1/2 x 3 in.  #8653

Lot: 1229 - Exceptionally Carved Jade Amulet

Exceptionally Carved Jade Amulet.  Auspicious symbol with turned floral designs. Slightly rounded with a decorative, scalloped border.  This is the most prominent motif, located in the center. The double happiness symbol is a popular Chinese character representing joy, happiness, and especially marital bliss. The shapes flanking the double happiness symbol strongly resemble stylized bats. In Chinese culture, bats are a symbol of good fortune and happiness because the word for bat (fú) sounds similar to the word for fortune (福). The surrounding elements could be stylized clouds (representing good fortune and the heavens) or highly stylized floral or leaf patterns. Size: 2 1/4 x 2 x 1/8 in.  #8764  

Lot: 1230 - Exceptionally Carved Celadon Jade

Exceptionally Carved Celadon Jade.  Auspicious symbols, clouds, and bats.  The most prominent motif is the double happiness symbol (囍), which is a popular Chinese symbol of marriage, joy, and good fortune. The elements surrounding the double happiness symbol could be stylized bats (蝠 - fú, which sounds like "good fortune" in Chinese) or clouds, both of which are also auspicious symbols in Chinese art. Size: 1 1/2 x 2 1/2 x 1/2 in.  #8762

Lot: 1231 - Chinese Jade Bi High Relief Carving

Antique Chinese Jade Bi High Relief Carving. Chinese jade bi with two wing panels carved with nautical imagery. Condition: Cracked. Size: 4 x 9 1/2 x 1/4 in.  #8448 

Lot: 1232 - Intricate Chinese Carved, Lacquered, and Gilt Wood Panel

Intricate Chinese Carved, Lacquered, and Gilt Wood Panel. Dozens of figures maneuver through a golden scene surrounded by floral and animal motifs.  Size: 25 X 16 X 1 in.  #5303 .  The history of wood carving in China dates back far into past Millenniums, but the ravages of time and destructive events over China’s turbulent history have destroyed most of these perishable treasures. Articles of furniture and wooden panels dating back to at least the Northern Song Dynasty (960-1279 AD) can be found in museums today with their carvings still intact. Often they depicted great battles, scenes from legend, or even simple tableaus of contemporary Chinese life. Wood carving reached its golden age in the later Ming and early Qing Dynasties around the end of the 17th into the 19th Centuries, as the wealthy classes swelled in number through trade and commerce, commissioning more and more pieces of ever-increasing intricacy. Demand lessened somewhat in the early 20th Century as “Western” fashions and styles began to grow in popularity, but it has seen a growing resurgence in the 21st Century. With the onset of Chairman Mao’s Cultural Revolution (1966-76), many of these delicate and beautiful images were deemed bourgeois and counter-revolutionary, and tens of thousands of carvings were burned or defaced. The ones that did survive and that are still available today are likely to have been hidden or disguised by their owners, who wished to hold onto their cherished heirlooms and were brave enough to risk the wrath of the Red Guards. In more modern times, appreciation for this art form has grown substantially, with the current government recognizing them as an important artistic trend of China that should be nourished and revitalized instead of squashed.

Lot: 1233 - Intricate Chinese Carved, Lacquered, and Gilt Wood Panel

Intricate Chinese Carved, Lacquered, and Gilt Wood Panel. Many figures maneuver through a golden scene surrounded by floral and animal motifs. Export and origin labels in Chinese on red lacquered back.   Size: 10 1/4 x 21 1/4 X 1 in.  #5304 .  The history of wood carving in China dates back far into past Millenniums, but the ravages of time and destructive events over China’s turbulent history have destroyed most of these perishable treasures. Articles of furniture and wooden panels dating back to at least the Northern Song Dynasty (960-1279 AD) can be found in museums today with their carvings still intact. Often they depicted great battles, scenes from legend, or even simple tableaus of contemporary Chinese life. Wood carving reached its golden age in the later Ming and early Qing Dynasties around the end of the 17th into the 19th Centuries, as the wealthy classes swelled in number through trade and commerce, commissioning more and more pieces of ever-increasing intricacy. Demand lessened somewhat in the early 20th Century as “Western” fashions and styles began to grow in popularity, but it has seen a growing resurgence in the 21st Century. With the onset of Chairman Mao’s Cultural Revolution (1966-76), many of these delicate and beautiful images were deemed bourgeois and counter-revolutionary, and tens of thousands of carvings were burned or defaced. The ones that did survive and that are still available today are likely to have been hidden or disguised by their owners, who wished to hold onto their cherished heirlooms and were brave enough to risk the wrath of the Red Guards. In more modern times, appreciation for this art form has grown substantially, with the current government recognizing them as an important artistic trend of China that should be nourished and revitalized instead of squashed.

Lot: 1234 - Group of 3 Antique Chinese Embroidered Panels

Group of 3 Chinese Embroidered Panels Largest Size: 34 x 13 1/2 in.  #7982

Lot: 1235 - Chinese Ancestor Portrait of an Empress, Ink and Color on Silk

Chinese Ancestor Portrait of an Empress, Ink and Color on Silk.  Overall Size: 31 1/2 X 21 3/8 in.  Sight Size: 29 1/2 X 19 3/8 in.  #5031 .    The practice of honoring and worshiping ancestors has been an important part of Chinese culture for centuries, as they believed that a relationship continues between the deceased and the living and that properly executing rituals allowed the spirits to bring them wealth, prosperity, long life, and fertility. Offerings would be made in front of large portraits that are usually referred to as “ancestor paintings” and were painted on large scrolls of silk paper, or canvas by artists commissioned to closely capture the features of the deceased. The closer the image was to the deceased individual, the more powerful their bond with their living relatives, as the spirit could supposedly reside within the image itself. The practice reached it’s greatest popularity during the Ming Dynasty (1368-1644) and continued into the later Qing Dynasty (1644-1912). They were used at all levels of society but particularly amongst the ruling military and scholarly classes. Most paintings would be of an individual, often in their most important garments if they were court officials, scholars, or other respected members of society, but couples or even several generations were sometimes painted together. The subjects were almost always shown facing front on, and near life-size. Both male and female figures were painted, with slight differences in pose between the two as women’s feet were considered highly erotic and as such were always hidden behind long robes. Likewise, their hands were also usually hidden under their sleeves. Both men and women would be shown wearing necklaces and other jewellery and ornaments along with ornate headdresses in many cases. Today the practice continues, although less often.

Lot: 1236 - "The Family's Joyful Summer Day" Chinese Book With 8 Silk Paintings

"The Family's Joyful Summer Day" Chinese Book With 8 Silk Paintings.  Artist seal on first painting. Named: On a Summer Day on the year Wuyin dedicated to Shouzhen in Chinese. Zodiac the Earth Tigers periods would be circa 1878. The meaning is a blessing and good omen for longevity Qing Dynasty Emperor Daoguang or Emperor Guangxu.  Size: 9 x 15 x 1/4 in.  #8766

Lot: 1237 - Large Chinese Watercolor on Silk Ancestral Painting

Large Chinese Watercolor on Silk Ancestral Painting. Framed. Chinese ancestral paintings are traditional portraits created to honor deceased family members, reflecting a strong Confucian emphasis on ancestor veneration. These paintings were central to household altars, where families would offer prayers, food, and incense to their ancestors. Artists carefully depicted the ancestors in formal dress, often in bright colors, with highly stylized features to convey dignity and respect. The portraits typically omitted expressions of strong emotion, emphasizing instead an aura of calm authority, symbolizing the wisdom and guidance the ancestors provided to the family. These paintings not only served a spiritual purpose but also reinforced family lineage, unity, and continuity across generations. Overall Size: 56 x 33 in. Sight Size: 43 1/2 x 22 1/2 in. #4532

Lot: 1238 - Large Chinese Watercolor on Silk Ancestral Painting

Large Chinese Watercolor on Silk Ancestral Painting. Framed. Chinese ancestral paintings are traditional portraits created to honor deceased family members, reflecting a strong Confucian emphasis on ancestor veneration. These paintings were central to household altars, where families would offer prayers, food, and incense to their ancestors. Artists carefully depicted the ancestors in formal dress, often in bright colors, with highly stylized features to convey dignity and respect. The portraits typically omitted expressions of strong emotion, emphasizing instead an aura of calm authority, symbolizing the wisdom and guidance the ancestors provided to the family. These paintings not only served a spiritual purpose but also reinforced family lineage, unity, and continuity across generations. Overall Size: 56 x 35 in Sight Size: 43 1/2 x 22 1/2 in. #4533

Lot: 1239 - Chinese Ink on Paper Framed Wall Scroll

Chinese Ink on Paper Framed Wall Scroll. Chinese ink on paper wall scroll depicting two fish in river with associated verse. Framed. In Chinese mythology, the transformation of a fish into a dragon symbolizes perseverance, determination, and success through effort. This legend is rooted in the story of carp swimming upstream against strong currents to leap over the Dragon Gate, a mythical waterfall or gateway often associated with the Yellow River. Those that succeed in the arduous journey are said to transform into powerful dragons, representing the ultimate achievement of one's ambitions. This metaphor has become a powerful cultural symbol of overcoming obstacles, striving for greatness, and achieving one's potential, often inspiring individuals to pursue their dreams despite challenges. Overall Size: 18 3/4 x 37 1/2 in.  Sight Size: 17 3/4 x 36 1/2 in.  #5305 

Lot: 1240 - (2) Chinese Mounted Stone Portraits of Last Emperor and Empress

(2) Chinese Mounted Stone Portraits of the Last Emperor and Empress. Two Chinese school stone sculptural displays of Emperor Puyi and Empress Wanrong, attached to the frames.  Overall Size: 29 1/2 x 23 in.  Sight Size: 22 x 15 3/4 in.  #4423   

Lot: 1241 - Style of Jiang Tingxi (1669-1732) Chinese, Ink and Color on Silk

Style of Jiang Tingxi (1669-1732) Chinese, Ink and Color on Silk. Shows multiple birds in beautiful colors beneath a tree at the side of the water. Kanji on left, and a red seal middle top.  Overall Size: 63 1/2 X 36 3/4 in.  Sight Size: 61 1/2 X 34 3/4 in.  #4989 .    Jiang Tingxi (1669-1732) was a Chinese painter and an editor of the encyclopedia Complete Classics Collection of Ancient China. Jiang was born in Changshu, Jiangsu. Besides the name Yangsun, he was also known by his courtesy name Youjun , as well as the pseudonyms Nansha, Qingtong Jushi, Qiujun, and XiGu. The 5020-volume state-sponsored encyclopedia Complete Classics Collection of Ancient China was published in 1726 and had been compiled by Chen Menglei and Jiang Tingxi during the reigns of the Kangxi and Yongzheng emperors in the Qing Dynasty. As an official painter and grand secretary to the imperial court, Jiang used a wide variety of artistic styles, and focused particularly on paintings of birds and flowers. He was also proficient in calligraphy. His works influenced later court painters, including Yu Sheng and Yu Zhi. Jiang also contributed to the compilation of the “Daqing Yitongzhi” (“Gazetteer of the Qing Empire”). This geographical gazetteer was provided with a preface in 1744 (more than a decade after Jiang’s death), revised in 1764, and reprinted in 1849. Apart from cultural activity, as a holder of the jinshi degree Tinxi performed the important duties in the Qing government’s Office of Military Finance, on par with Zhang Tingyu (headed by Yinxiang, the Yongzheng Emperor’s brother).

Lot: 1242 - Antique Framed Chinese Scroll with Sparrow and Bamboo

Antique Framed Chinese Scroll with Sparrow and Bamboo. Sparse imagery, kanji and seal lower right.  Condition: Some fading. Commensurate with age.  Overall Size: 47 x 14 1/4 in.  Sight Size: 45 1/2 x 13 in.  #4667  Chinese silk banners and hanging scroll paintings have been discovered dating back to the Han Dynasty (260 BCE-220 CE). By the time of the Tang Dynasty in the 7th Century there was a standardized style and format to them, ranging from panoramic landscapes spanning multiple pieces side-by-side to single scrolls crammed with calligraphy. With the ascent of Emperor Taizu of Song in 960 cultural and artistic changes flourished, leading to innovations that were expanded upon greatly in the following Yuan Dynasty. One of the most important shifts was in the regular depiction of humans as opposed to animalistic and natural scenes, and often images were captured in a whimsically realistic style to portray both Empire-changing events as well as average day-to-day activities. Today the tradition continues in a myriad of forms, with some painters adhering to ancient protocol and others incorporating Western influences fluidly into their work.

Lot: 1243 - Pair of 19th Century Chinese Carved, Lacquered, and Gilded Polychrome Wood Panels

Pair of 19th Century Chinese Carved, Lacquered, and Gilded Polychrome Wood Panels. Together they display a scene of figures playing instruments in front of an ornate structure, surrounded by trees and forest motifs.  Total Size: 27 1/2 X 29 5/8 in.  Each Sight Size: 20 1/2 X 12 in.  #4950, 4951 .  Early Chinese furniture was mostly in plain, polished wood, but from at least the Song Dynasty the most luxurious pieces often used lacquer to cover the whole or parts of the visible areas. All the various sub-techniques of Chinese lacquerware can be found on furniture, and from the Ming Dynasty onward it became an increasingly affordable process, and thus more widely used. Carved lacquer furniture was, at first, only affordable by the imperial family or the extremely rich, but by the 19th Century it was mostly made in smaller pieces or as decorated areas on larger ones, which also made it easier to keep in the homes of the less wealthy. It was especially popular on screens, which were common in all parts of China. Lacquer inlaid with mother of pearl was a technique used especially on furniture after the Later Jin Dynasty. Chinese furniture is usually light but sturdy, anticipating Europe by several centuries in this respect. Practical fittings in metal such as hinges, lock plates, drawer handles and protective plates at edges or feet are used and often given considerable emphasis, but compared to classic European fine furniture purely decorative metal mounts were rare. From the Qing Dynasty onward furniture made for export, mostly to Europe, became a distinct style, generally made in individualized shapes to suit the destination markets and highly decorated in lacquer and other techniques.

Lot: 1244 - Large Chinese Scroll Painting, Ink and Gouache on Silk

Large Chinese Scroll Painting, Ink and Gouache on Silk. Shows several figures climbing a tree by a river to pick fruit and cast them down to others collecting them in basket below. Kanji upper left.  Size: (with rod) 45 1/2 X 105 in.  #9018 .  Chinese silk banners and hanging scroll paintings have been discovered dating back to the Han Dynasty (260 BCE-220 CE). By the time of the Tang Dynasty in the 7th Century there was a standardized style and format to them, ranging from panoramic landscapes spanning multiple pieces side-by-side to single scrolls crammed with calligraphy. With the ascent of Emperor Taizu of Song in 960 cultural and artistic changes flourished, leading to innovations that were expanded upon greatly in the following Yuan Dynasty. One of the most important shifts was in the regular depiction of humans as opposed to animalistic and natural scenes, and often images were captured in a whimsically realistic style to portray both Empire-changing events as well as average day-to-day activities. Today the tradition continues in a myriad of forms, with some painters adhering to ancient protocol and others incorporating Western influences fluidly into their work.

Lot: 1245 - Long Chinese Silk Embroidery Hanging Tapestry

Long Chinese Silk Embroidery Hanging Tapestry. Depicts Shoulao with a deer and Xi Wangmu.  Size: 82 X 39 in.  #9013 .  Shouxing, also known as Shoulao, is a popular god in Chinese mythology and one of the three star gods (or “San Xing”) along with Fuxing and Luxing. The star corresponds to Canopus, the second brightest star in the night sky, being 71 times the size of the radius of our own sun. Legend has it he was carried for ten years in his mothers womb before being born, and was already an old man when delivered. Shouxing is the god of longevity, immortality, and fortune, and is often depicted as a bearded old man with a high forehead and pronounced bald head, carrying a staff and the peach of immortality. The Queen Mother of the West, known by various local names, is a mother goddess in Chinese religion and mythology, also worshipped later in neighboring countries. The first historical information on her can be traced back to Shang Dynasty oracle bone inscriptions that record sacrifices to a “Western Mother.” Even though these inscriptions illustrate that she predates organized Taoism, she is most often associated with that religion. The growing popularity of the Queen Mother of the West, as well as the beliefs that she was the dispenser of prosperity, longevity, and eternal bliss, took place during the Han Dynasty in the 2nd Century BC, when the northern and western parts of China became more accessible through the opening of the Silk Road. Her many names over the years have mostly come from her early association with prosperity and her popularity which soon spread to other countries, including Xiwangmu in China, Seiobo in Japan, Seowangmo in Korea, and Tay Vuong Mau in Vietnam.

Lot: 1246 - Long Chinese Silk Embroidery Hanging Tapestry

Long Chinese Silk Embroidery Hanging Tapestry. Depicts the He-He Er Xian twin deities.  Size: 64 X 34 1/2 in.  #9018 .    He-He Er Xian, translated roughly as “the Immortals of Harmony and Union” or “the Two Gods of Harmony and Union,” are two Taoist immortals. They are popularly associated with happy marriages. He and He are typically depicted as boys holding a lotus flower and a box. There are a number of legendary tales behind the two celestial beings, and the origin of the story may derive from a pair of monks living a secluded life in Tiantai Mountain during the Tang Dynasty named Hanshan and Shide. They were officially canonized as the God of Harmony and the God of Good Union in the first year of Yongzheng rule in the Qing Dynasty, and their imagery is still widely used as a blessing for love and peace between husband and wife.

Lot: 1247 - Long Chinese Silk Embroidery Hanging Tapestry

Long Chinese Silk Embroidery Hanging Tapestry. Depicts three of the Immortals.  Size: 66 1/2 X 16 1/2 in.  #9017 .    The Eight Immortals are a group of legendary Taoist individuals called xian in Chinese mythology. Each immortal’s power can be transferred to a vessel that can bestow life or destroy evil. Together, these eight vessels are called the “Covert Eight Immortals.” Most of them are said to have been born in the Tang or Song Dynasty, and are popular with both Taoists and in secular Chinese culture today. They are said to live on a group of five islands in the Bohai Sea, which includes Mount Penglai. 

Lot: 1248 - Du Congming Chinese Calligraph

Du Congming Chinese Calligraph.  Overall Size: 18 1/2 x 69 in.  Sight Size: 17 1/ x 68 in.  #9021 .  Chinese calligraph, the artist is Du Congming (杜聰明) was a prominent figure in the history of medicine and education in Taiwan. He is often celebrated as the "Father of Modern Medicine in Taiwan" for his contributions to medical research, education, and public health.

Lot: 1249 - Chinese Wood Lattice Panel

Chinese Wood Lattice Panel. Large panel fitted for wall installation. The panel features an intricate geometric lattice pattern, with interlocking squares and rectangles. This pattern is common in Chinese architecture and is often associated with good luck and prosperity. Also known as a Chinese window grille or jialong. These panels are traditional architectural elements in Chinese buildings, often used as decorative screens, room dividers, or window grilles. Size: 48 1/2 x 44 in. #4433

Lot: 1250 - Chinese Cork Landscape Folding Table Screen

Chinese Cork Landscape Folding Table Screen.  Consists of 6 panels hinged together. Different scenes with trees and birds. Made of tiny pieces of cork cut and glued to get these elaborate landscape scenes.  Size: 19 1/2 x 1 x 8 1/2 Shipping Size: 6 1/4 x 3 x 8 1/2 in. #8626

Lot: 1251 - Chinese Cork Landscape Folding Table Screen

Chinese Cork Landscape Folding Table Screen.  Consists of 5 panels hinged together. Different scenes with trees and birds, one panel has pandas. Made of tiny pieces of cork cut and glued to get these elaborate landscape scenes.  Size: 19 x 1 x 12 in. Shipping Size: 6 1/2 x 3 1/2 x 12 in. #8627

Lot: 1252 - Chinese Cork Landscape

Chinese Cork Landscape. Made of tiny pieces of cork cut and glued to get the elaborate landscape scene. Scene with trees and couple of buildings.  Size: 19 3/4 x 3 1/2 x 10 in. #8628

Lot: 1253 - (9) Chinese Cork Landscapes

(9) Chinese Cork Landscapes.  Various landscape scenes. Made of tiny pieces of cork cut and glued to get these elaborate landscape scenes.  Size: 5 1/4 x 2 x 10 1/4 in. #8629

Lot: 1254 - Three Chinese Enameled Porcelain Plaques

Three Chinese Enamel Decorated Porcelain Plaques Each is rectangular and depicts a sage with his pupil, with Chinese verse in an upper corner, in a wood frame with a brass hanger.  Overall Size: 8 5/8 x 10 3/4 in.  Sight Size: 4 3/4 x 6 7/8 in.  #7864

Lot: 1255 - Qing Dynasty Ink Stone Set

Qing Dynasty Ink Stone Set.  Also known as ink cakes or ink cakes. These are traditional tools used in Chinese calligraphy and painting. Come in various shapes, including rectangular, oval, and figure shaped. Gilt. Decorated with calligraphy, poetry, or images of landscapes, figures, or animals. Stored in a box with a velvet lining.  Box Size: 7 3/4 x 11 3/4 x 1 in. #8494

Lot: 1256 - Antique Chinese Hand Carved Hediao Nut

Antique Hand Carved Hediao Nut. Carved Tiger and figural designs.  Size: 1 3/4 x 1 1/2 x 1 3/4 in.  #8007 

Lot: 1257 - (2) Chinese Carved Soapstone Monkey Tower Sculptures

(2) Chinese Carved Soapstone Monkey Tower Sculptures. Two carved stone statuettes depicting towers of superimposed monkeys. Taller piece with ten monkeys is carved from a single solid stone piece; smaller statue with five monkeys attached to stone base. Size: 3  x 3 x 4 1/2 in. #5172

Lot: 1258 - (2) Chinese Carved Wood Panel Statues

(2) Chinese Carved Wood Panel Statues.   Size: 3 3/8 x 1 7/8 x 5 in. #5174

Lot: 1259 - (2) Chinese Soapstone Seals Each Depicting a Person sitting on an Ox

(2) Chinese Soapstone Seals Each Depicting a Person sitting on an Ox. Wear commensurate with age.    Size: 2 x 6 7/8 in. #5196

Lot: 1260 - (2) Chinese Soapstone Fruiting Carvings on Wooden Base

(2) Chinese Soapstone Carvings on Wooden Base, Pair of Chinese soapstone carvings of fruiting vines. Fine detail work of delicate leaves, branches, and berries create an interesting visual texture. Attached to carved wooden bases. Condition: Signs of repair.  Size: 14 1/2 x 9 in.  #5331 

Lot: 1261 - Chinese Jade & Rose Quartz Bonsai Tree

Chinese Jade & Rose Quartz Bonsai Tree. Artificial bonsai tree with jade leaves and rose quartz flowers in celadon base. Size: 21 x 14 x 9 in. #8633

Lot: 1262 - Chinese Wire and Hardstone Cherry Blossom in Blue and White Ceramic Vase

Chinese Wire and Hardstone Cherry Blossom in Blue and White Ceramic Vase. Artificial cherry blossom tree with wire trunk and branches and hardstone blossoms with faux gravel base, attached to square blue and white porcelain vase. Vase decorated with painted scenery of mountains and lake. In China, cherry blossoms, known as "yinghua," symbolize love, beauty, and the fleeting nature of life. They have been admired for centuries and hold deep cultural significance, representing feminine beauty and the arrival of spring. In Chinese traditions, cherry blossoms are often associated with strength and the feminine ideal of grace and resilience. They are featured in art, poetry, and literature as metaphors for the ephemerality of life and the passage of time. Cherry blossom festivals in China, particularly in cities like Wuhan and Beijing, attract visitors from around the world, celebrating the blossoms as a sign of renewal and harmony with nature. Size: 4 x 10 1/2 in. #5211

Lot: 1263 - Chinese Scholar Rock

Chinese Scholar Rock. A thin vertical stone with many stone extrusions forming small stalactites up and down its form, creaint a unique and striking composition and visual texture. Attached to fitted wooden base standing on five ball feet. Chinese scholars' rocks, also known as Gongshi, are natural or shaped stones admired for their unique forms, textures, and aesthetic qualities, traditionally used in the studios of Chinese scholars as objects of contemplation and inspiration. These rocks often mimic natural landscapes, such as mountains or caves, and are valued for their irregularity, perforations, and balance of solidity and openness. Typically made from materials like limestone, jade, or other minerals, they symbolize the harmony between nature and human creativity and reflect Daoist and Confucian philosophies. Scholars' rocks serve as focal points for meditation, conversation, and artistic expression, embodying the intellectual and spiritual pursuits of China's scholarly class. Size: 5 x 4 1/2 x 22 1/2 in. #5447

Lot: 1264 - Antique Chinese Bronze Turtle Seal

Antique Chinese Bronze Turtle Seal. Shows a stout turtle with a large gravestone upon his back.  Size: 2 1/2 X 1 1/2 X 3 in.  #4841 .    In the Sinosphere, seals (stamps) can be applied on objects to establish personal identification. They are commonly applied on items such as personal documents, office paperwork, contracts, and art. They are used similarly to signatures in the West. Unlike in the West, where wax seals are common, Sinosphere seals are used with ink. The common form of the seal appeared in China in antiquity, and the process soon spread across East and Southeast Asia. Various countries in these regions still currently use a mixture of seals and hand signatures, and, increasingly, electronic signatures. Chinese seals are typically made of stone, metals, wood, bamboo, plastic, or ivory, and are typically used with red ink or cinnabar paste for a distinctive color. In the western world, Asian seals were traditionally known by traders as chop marks or simply chops, a term adapted from the Hindi chapa and the Malay cap, meaning stamp or rubber stamps. In Japan seals referred to as inkan or hanko have historically been used to identify individuals involved in government and trading from ancient times. The Japanese emperors, shōguns, and samurai had their personal seals pressed onto edicts and other public documents to show authenticity and authority. Even today, Japanese citizens' companies regularly use name seals for the signing of a contract and other important paperwork.

Lot: 1265 - Vintage Chinese Bronze Teapot Lamp

Vintage Chinese Bronze Teapot Lamp. The teapot body of the lamp is decorated with coin motifs and sits on a wooden base. The top of the lamp is decorated with an Asian finial.  Condition: In working condition.  Size: 6 x 17 3/4 in.  #4355

Lot: 1266 - Antique Chinese Polychrome Painted Wooden Box

Antique Chinese Polychrome Painted Wooden Box. Wooden box with polychrome painted floral decorations, and lid that slides open to reveal contents. Marked with red wax Jian Ding 'Customs Permission' seal.  Size: 4 3/4 x 7 3/4 x 13 1/4 in.  #5233 .  Chinese Jian Ding (Certified) Export Approval Seals have been issued since the establishment of the People’s Republic of China in 1949. To this day they are still being put on any “old-looking” porcelain or other wares which are deemed permissible to export out of China. The laws regulating this state that anything made before 1949 is considered a “cultural relic,” and cannot be taken out of the country without a government seal. The law also states that nothing in China can be legally purchased from a government-authorized antique shop that dates from Emperor Qianlong’s reign or before (i.e. before 1795). In practical use, when applying these export seals to pieces, it means that no items 200 years old or older are to be stamped, although the seal is also not considered an absolute guarantee that any piece is antique. Originally there were two different departments in charge of the exportation of antiques from China, but the State Export Department which was active between 1949 to 1986 was dissolved due to accusations of rampant corruption, and only the Cultural Relics Bureau is still active today. Before the late 1980s there were also four main export bureaus, one each located in Beijing, Tianjin, Shanghai and Guangzhou (Canton). After 1980 as foreign tourism became more permissible several provinces received their own export bureaus, including Hunan, Jijiang, Quangxi, and Hebei.

Lot: 1267 - Diminutive Chinese Carved Wood Butsudon Traveling Buddhist Shrine in Case

Diminutive Chinese Carved Wood Butsudon Traveling Buddhist Shrine in Case. A carved wooden shrine with seated meditating figure of Gautama Buddha, inscribed with verse from the Heart Sutra. Includes traveling case. On carved wooden base. Portable Buddhist shrines are compact, often intricately designed, spiritual objects created to allow practitioners to carry a sacred space with them. These shrines typically include small statues or images of the Buddha, bodhisattvas, or other revered figures, alongside symbolic elements like incense holders or prayer beads. Crafted from materials such as wood, metal, or lacquer, they are designed to be lightweight and easy to transport, enabling personal worship and meditation regardless of location. Historically used by travelers, monks, and lay practitioners, portable shrines embody the idea that spiritual practice and devotion are not confined to temples but can be integrated into everyday life..  Box Size: 6 1/2 x 4 3/4 x 3 in.  Biggest Piece: 5 1/4 x 5 1/4 x 2 in.  #5348

Lot: 1268 - Chinese Porcelain Opium Pipe

Chinese Porcelain Opium Pipe. Blue and white vine and flower designs.  Size: 6 X 3 X 8 in.  #4842 .  The smoking pipe appeared independently around the world in a variety of cultures in ancient times, and unlike a cigarette or shorter tobacco holding device a pipe is usually preferred by those who wish to taste the smoke of a burning substance, rather than simply experience the rush of nicotine or other chemical released by the burning process. This led to a wide range of variants, such as the opium pipe, designed for the evaporation and inhalation of opium. True opium pipes allow for the opiate to be vaporized while being heated over a special oil lamp known as an opium lamp. It is thought that this manner of “smoking” opium began in the 17th century when a special pipe was developed that vaporized opium instead of burning it. The configuration of the typical opium pipe consists of a long stem, a ceramic pipe-bowl, and a metal fitting, known as the “saddle,” through which the pipe-bowl plugs into the pipe-stem. The pipe-bowl must be detachable from the stem due to the necessity to remove the bowl and scrape its insides clean of opium ash after several pipes have been smoked. The stems of opium pipes were usually made from bamboo, but other materials such as ivory and silver were used. Pipe-bowls were typically a type of ceramic, such as blue and white porcelain. Sometimes opium pipe-bowls were carved from more valuable materials such as jade. Because of its design, the opium pipe needed an opium lamp in order to function. The lamp was as highly specialized as the pipe, and was designed to channel the required amount of heat upon the pipe-bowl so that the opium would vaporise and allow the smoker to inhale the vapors. Due to opium eradication campaigns in the 19th and early 20th Centuries, antique opium pipes from then are now extremely rare. The practice was once so common (and spread so far out into the Western world) that in the early to mid 20th Century in England opium pipes were often called “dream sticks,” and the phrase “pipe dream” arises from it, meaning something unattainable or a fanciful hope or scheme, a metaphorical reference to the never-ending experience of chasing the opium high and always having to come down from it, resulting in either quitting the substance altogether or death from end-stage addiction.

Lot: 1269 - Chinese Gilt Lacquerware Central Medallion Charger

Chinese Gilt Lacquerware Charger. Center Medallion Pattern. Roman key pattern along the bottom ridge of the charger. Black Lacquered Bottom.  Size: 2 x 11 1/2 in. #5216

Lot: 1270 - Chinese Qing Dynasty Paktong Lilypad Dish with Semi-Precious Stones

Chinese Qing Dynasty Paktong Lilypad Dish with Semi-Precious Stones. Lilypad-shaped serving dish with incise detail, rim inlaid with semi-precious stones. Size: 6 3/4 x 2 in. #4809

Lot: 1271 - Antique Chinese Army Brass Canteen

Antique Chinese Army Brass Canteen. Black brass water canteen with carrying strap. Letter of military correspondence attached to side. Chinese water canteens, traditionally, are water containers designed for portability and are often made from materials like ceramic, metal, or bamboo. They have been used historically for carrying water or other liquids during travel, military campaigns, or daily use. This particular example is made of hammered brass. Size: 4 1/2 x 11 x 13 1/2 in. #5235

Lot: 1272 - Vintage Chinese Jade and Bronze Pressing Iron

Vintage Chinese Jade and Bronze Pressing Iron. Intricate designs throughout. Marked CHINA on the bottom.  Size: 9 x 4 1/4 in.  #4774 .  The earliest known people to use hot metal for ironing clothing were the Chinese. Pans filled with hot coals were pressed over tightly stretched cloth over a thousand years ago, according to written records from the Chen Dynasty. At the same time in Northern Europe (roughly the late 6th Century) most people were using stones, glass and wood for smoothing, but did not incorporate heat into the process. In fact, ironing of this manner continued in most of Europe up into the mid-19th Century, long after Western blacksmiths started to forge smoothing irons in the late Middle Ages. There is no agreed upon theory as to why it took so long for Europe to appreciate the use of heat and steam in ironing, especially since there are records from Christian missionaries and others recording the process abroad, but it was likely a combination of superstition, xenophobia, and lack of motivation to innovate a process which had been in place for thousands of years. By this time, the Chinese had developed numerous styles of irons, particularly making small handheld versions with a shallow base that allowed for limiting the heat through the amount of coals added in. Pan irons could be simple or highly decorative, and it may have been the fact that the style became fashionable thanks to importation that the pressing iron finally caught on in the West.

Lot: 1273 - Chinese Qing Dynasty Pewter and Jade Handled Covered Dish with Fish Relief

Chinese Qing Dynasty Pewter and Jade Handled Covered Dish with Fish Relief. A Chinese pewter covered dish with a raised relief of a koi fish with jade eyes on the lid. Marked on base, 'E Wo Loong Kee Pewter Swatow", with impressed export marks. Size: 11 x 8 3/4 x 6 1/2 in. #4770

Lot: 1274 - Oil on Board Landscape

Oil on Board Landscape. Landscape painting depicting a dirt road winding underneath the trees, running alongside a body of water. Unsigned. Framed. Condition: Abrasions to surface paint. Overall Size: 12 x 8 1/2 in.  Sight Size: 9 1/4 x 5 3/4 in.  Frame Thickness: 1 in.  #8451 

Lot: 1275 - (2) Argentinian Carved Wood and Copper Wall Plates of Mary and Joseph

(2) Argentinian Carved Wood and Copper Wall Plates of Mary and Joseph. Pair of wall plates featuring stylized abstracted representations of Joseph and Mary.  Size: 11 1/2 x 33 1/2 in.  #5333

Lot: 1276 - Antique Chinese Foil Artwork

Antique Chinese Foil Artwork. Chinese painting depicting a domestic family scene, with beautiful gold foil accents. Chinese gold leaf painting is a traditional art form involving the application of thin sheets of gold to a surface. Originating in ancient China, the technique was traditionally used to embellish artwork, statues, furniture, and religious items, symbolizing prosperity, wealth, and divine energy. The process involves the layering of genuine gold leaf onto a prepared surface using adhesives, then filling in the details of the painting. Gold leaf is a difficult and delicate medium, and requires years of dedication and practice to master. Overall Size: 12 x 21 1/2 in.  Sight Size: 9 x 13 1/2 in.  #4278 

Lot: 1277 - Alan Brown (20th Century) American, Watercolor Lindbergh Baby Trial

Alan Brown (20th Century) American, Original Watercolor on Paper of The Lindbergh Baby Trial. Depicts one of America's most iconic trial scenes with a prosecutor (Edward J. Reilly) in center addressing the judge and jury as the defendant (Hauptmann) sat and hoped the jury would see reason. Signed and dated 1950 bottom right. Original gallery and framing labels on back.  His trial was dubbed the "Trial of the Century." while Hauptmann was named "The Most Hated Man in the World" The trial began on January 3, 1935 and lasted until February 13. During the trial, Hauptmann was identified as the man who received the ransom money, the man who had spent some of the ransom gold certificates, and as a man seen near the Lindbergh home on the day of the kidnapping. He had been absent from work on the day of the ransom payment and had quit his job two days later. Hauptmann's attorney, Edward J. Reilly, argued that the evidence against Hauptmann was entirely circumstantial, as no reliable witness had placed Hauptmann at the scene of the crime, nor were his fingerprints found on the ladder, the ransom notes, or anywhere in the nursery. Hauptmann was convicted, however, and immediately sentenced to death. His appeals failed, though his execution was stayed twice while New Jersey Governor Harold G. Hoffman reviewed the case. Overall Size: 26 3/4 x 32 3/4 in.  Sight Size: 16 1/2 x 23 in.  #4588 

Lot: 1278 - Alan Brown (20th Century) American, Oil on Canvas Figural

Alan Brown (20th Century) American, Oil on Canvas Figural. Oil on canvas painting depicting a reclining woman. Signed lower left. Framed. Overall Size: 22 5/8 x 29 1/2 in. Sight Size: 15 1/2 x 22 1/2 in. #4642

Lot: 1279 - After Eduard von Grutzner (1846-1925) German, Oil on Canvas

After Eduard von Grützner (1846-1925) German, Comical Monks Oil on Canvas. Similar to Grützner's "The Catastrophe" (1892), with a slight shift in perspective, showing a monk in a wine cellar who has fallen and broken a wine bottle and another who is judging him for it standing above him. Signature bottom right.  Overall Size: 29 x 38 in.  Sight Size: 19 1/2 x 28

Lot: 1280 - After Eduard Von Grutzner Abbott Tasting Wine Oil On Canvas Signed

Signed Eduard Von Grutzner in bottom right. Dated and signed on the Barrel with a date of 1845.  Overall Size: 37 x 29 in.  Sight Size: 29 x 21 1/2 in.  #5538

Lot: 1281 - Late 19th/Early 20th Century Reverse Glass Stations of the Cross in Original Frame

Late 19th/Early 20th Century Reverse Glass Stations of the Cross in Original Frame. Antique work depicting Jesus carrying the cross in vibrant colors.  Overall Size: 12 x 9 3/4 in.  Sight Size: 9 1/4 x 7 in.  #4763     Reverse painting on glass is an art form consisting of applying paint to a piece of glass and then viewing the image by turning the glass over and looking through the glass at the image. Another term used to refer to the art of cold painting and gilding on the back of glass is “verre eglomise,” named after the French decorator Jean-Baptiste Glomy (1711-86), who framed prints using glass that had been reverse-painted. In German it is known as “Hinterglasmalerei.” It is unknown where the art form originated, as it was widely used for sacral paintings since the Middle Ages, particularly in the art of icons by the Byzantine Empire, but Chinese artists had been crafting them for thousands of years before that. During the 20th Century the original art form nearly died out, as many of the artisans who practiced the “naive” technique were wiped out by conflicts and disease, but a new method of reverse painting emerged using polymer glazing in the 1960s. One of the main challenges of creating a reverse glass painting is how layers are applied when painting. An illustration of this type is usually painted on the opposite side of the glass (the one not presented to the viewer), following an opposite succession of layers of paint, applying the front most layer first and the background layer last. This means that the final result must be well thought out before starting the piece and must be taken into account with each layer applied, a difficult task even for skilled artists with remarkable memories. The first step in a reverse glass painting is line art, with black lines that show the primary idea of the painting. The next is the adding of internal layers, with an indeterminate number needed to create the precise effect. Details and shadows are painted first, and so the background is painted last, the opposite of most techniques. The revolutionary artist Wassily Kandinsky created more than 70 reverse paintings on glass, which provided modern researchers some of the best analysis on the process. The glass used to create these pictures must be very resilient, and the technique itself likely arose specifically from a desire to cover the glass with a protective varnish, which eventually became decorative rather than just functional. 

Lot: 1282 - Antique Travelling Russian Orthodox Icon Housed in a Contemporary Gilt Frame

Antique Travelling Russian Orthodox Icon Housed in a Contemporary Gilt Frame. Depicts a saint holding a Bible with a halo around him, and Cyrillic script on the upper left and right sides.  Overall Size: 7 1/2 x 7 1/4 in.  Sight Size: 2 1/4 x 2 1/4 in.  #4755   An icon, from the Ancient Greek eikṓn, meaning “image/resemblance,” is a religious work of art, most commonly a painting, in the cultures of the Eastern Orthodox, Oriental Orthodox, and Catholic churches. The most common subjects include Jesus, Mary, saints, and angels. Although especially associated with portrait-style images concentrating on one or two main figures, the term also covers most of the religious images in a variety of artistic media produced by Eastern Christianity, including narrative scenes, usually from the Bible or the lives of saints. Icons are most commonly painted on wood panels with egg tempera, but they may also be cast in metal, carved in stone, embroidered on cloth, done in mosaic or fresco work, or printed on paper or metal. Comparable images from Western Christianity may be classified as “icons,” but the term “iconic” has more commonly come to be used to describe the static style of a devotional image, and has entered the secular lexicon as a term for cultural trendsetters and tastemakers. Modern academic art historians have been able to trace the tradition back only as far as the 3rd Century, and have found that images which survive from Early Christian art often differ greatly from later ones. Widespread destruction of images occurred during the Byzantine Iconoclasm of 726 to 842. Since then, icons have had a much greater continuity of style and subject, and most surviving pieces are housed in numerous churches spread across the globe. A riza, sometimes called a “revetment,” is a metal cover protecting an icon. It is usually made of gilt or silvered metal with repoussé work and is pierced to expose elements of the underlying painting. It is sometimes enameled, filigreed, or set with artificial, semi-precious or even precious stones and pearls. Because candles and lampadas (oil lamps) are burned in front of icons, and incense is used during services, icons can become darkened over time, which the riza helps protect against. When an icon is set in a book (often as a triptych with two painted opening panels revealing the main icon) the riza becomes pivotal, as exposure to the elements is even more damaging than the more climate-controlled atmosphere of a church.

Lot: 1283 - Antique Mexican Polychrome Retablo Oil on Tin of Jesus in Prayer

Antique Mexican Polychrome Retablo Oil on Tin of Jesus in Prayer. An antique Mexican oil painting on tin depicting an incident where the painter's daughter fell from a horse but was watched over and healed by Jesus. Text roughly translated: "Thank you, Sacred Heart of Jesus, for having granted me the miracle of healing my daughter from the blow she suffered falling off a horse. - Rancho Pemas".  Overall Size: 11 3/4 x 8 1/2 in. Sight Size: 10 1/4 x 7 1/4 in. #4754

Lot: 1284 - 19th Century Mexican Oil on Tin Retablo Painting, "Nuestra Senora de la Luz, Our Lady of Light"

19th Century Mexican Oil on Tin Retablo Painting, "Nuestra Senora de la Luz, Our Lady of Light". A tin painting depicting the Virgin Mary, based on the statue erected in the Phillipines. The original, 18th-century image of Our Lady of Salvation reflects her role, according to Catholic doctrine, as Co-Redemptrix. The Virgin is portrayed as carrying the Christ Child in her left arm, while her right arm grasps a man by the wrist as he is about to fall into a gaping Hellmouth. Two cherubs hover overhead with a crown of sainthood. Overall Size: 17 1/4 x 12 3/4 in.  Sight Size: 14 x 9 1/2 in.  #4764

Lot: 1285 - Vintage Christian Icon Plaque on Wood

Vintage Christian Icon Plaque on Wood. Displays a bare-chested Christ with his eyes closed and a halo around his head. Pins put in the back for hanging on a wall. Decorative reproduction Spanish or Greek for tourist market made to look old) early 20th century crown of thorns icon with gilded/illuminated background.   Size: 7 x 9 1/4 x 1 in.  #8527 .  An icon, from the Ancient Greek eikṓn, meaning “image/resemblance,” is a religious work of art, most commonly a painting, in the cultures of the Eastern Orthodox, Oriental Orthodox, and Catholic churches. The most common subjects include Jesus, Mary, saints, and angels. Although especially associated with portrait-style images concentrating on one or two main figures, the term also covers most of the religious images in a variety of artistic media produced by Eastern Christianity, including narrative scenes, usually from the Bible or the lives of saints. Icons are most commonly painted on wood panels with egg tempera, but they may also be cast in metal, carved in stone, embroidered on cloth, done in mosaic or fresco work, or printed on paper or metal. Comparable images from Western Christianity may be classified as “icons,” but the term “iconic” has more commonly come to be used to describe the static style of a devotional image, and has entered the secular lexicon as a term for cultural trendsetters and tastemakers. Modern academic art historians have been able to trace the tradition back only as far as the 3rd Century, and have found that images which survive from Early Christian art often differ greatly from later ones. Widespread destruction of images occurred during the Byzantine Iconoclasm of 726 to 842. Since then, icons have had a much greater continuity of style and subject, and most surviving pieces are housed in numerous churches spread across the globe. A riza, sometimes called a “revetment,” is a metal cover protecting an icon. It is usually made of gilt or silvered metal with repoussé work and is pierced to expose elements of the underlying painting. It is sometimes enameled, filigreed, or set with artificial, semi-precious or even precious stones and pearls. Because candles and lampadas (oil lamps) are burned in front of icons, and incense is used during services, icons can become darkened over time, which the riza helps protect against. When an icon is set in a book (often as a triptych with two painted opening panels revealing the main icon) the riza becomes pivotal, as exposure to the elements is even more damaging than the more climate-controlled atmosphere of a church.

Lot: 1286 - Antique Framed 17th or 18th Century Vellum Hymnal Manuscript Page

Antique Framed 17th or 18th Century Vellum Hymnal Manuscript Page. Two lines of sung verse with staff notes, followed by two paragraphs of prose, all in ornate Latin.  Overall Size: 25 1/2 x 20 1/2 in.  Sight Size: 19 x 14 in.  #4747 .    A hymnal or hymnary is a collection of hymns, usually in the form of a book, called a hymnbook, that are used in

Lot: 1287 - (3) Double Sided European Gilt Manuscripts Out of Books

(3) Double Sided European Gilt Manuscripts out of Books. Three antique pages taken from scripture. Two matted in dark blue. All three framed with clear glass on both sides. Frame: 10 3/4 x 9 3/4 in. Sight: 5 1/4 x 4 in. #4760, #4761

Lot: 1288 - 17th Century Double Sided European Gilt Manuscript

Double Sided European Gilt Manuscript. Gilt manuscript page of transcribed Latin from a 17th century book. Framed with clear glass on both sides. Frame: 14 1/4 x 10 3/4 in. Sight: 9 1/4 x 6 in. #4758

Lot: 1289 - (10) Ukrainian Colored Pencil Sketches

(10) Ukrainian Colored Pencil Sketches. Set of ten pencil sketches depicting Ukrainian women in traditional native dress, circa 1930. Unsigned. In new mattes and frames. Overall Size: 9 x 12 in. Sight Size: 4 1/4 x 6 1/2 in. #4474

Lot: 1290 - 19th Century Venetian Oil on Canvas Painting after Francesca Guardi (1712-1793) "Venice Portico with Lantern"

19th Century Venetian Oil on Canvas Painting after Francesca Guardi (1712-1793) "Venice Portico with Lantern." A Capriccio view combining realistic and fantasy elements.    Overall Size: 33 1/2 x 26 1/2 in. Sight Size: 28 x 21 1/2 in. #4999

Lot: 1291 - Russian Oil on Canvas, Man in Bar with Vodka

Russian Oil on Canvas, Man in Bar with Vodka. Oil on canvas painting of a weary man leaning on a wooden table at a bar, a bottle of Russian alcohol to his left, a half-filled glass in front of him. Unsigned. Framed. Overall Size: 26 1/4 x 20 1/4 in. Sight Size: 23 3/4 x 17 3/4 in #4455

Lot: 1292 - Hans Priem (20th Century) Austrian, Fantastic Realism Oil on Masonite

Hans Priem (20th Century) Austrian, Fantastic Realism Oil on Masonite. Depicts a highly detailed older man raising a glass to the heavens. Style is adherent to the Vienna School of Fantastic Realism. Attribution on plaque on frame bottom middle: "H. Priem."  Overall Size: 12 x 10 in.  Sight Size: 9 /34 x 7 3/4 in.  #4456  The Vienna School of Fantastic Realism (Wiener Schule des Phantastischen Realismus) is a group of artists founded in Vienna, Austria in 1946. They did not give themselves a formal name at first, and the label was coined in the 1950s by art critic Johann Muskik. Their first major exhibition was in 1959 at the Vienna Belvedere. The movement had similarities to Surrealism in its use of religious and esoteric symbolism and also the choice of a naturalistic style, countering the prevalence of abstract art movements at the time. Subjects were primarily figural, often incorporating luminescence and highly detailed qualities to portray every-day life and individuals, warts and all. Known artists in the movement include Hans Priem, Ernst Fuchs, Helmut Leherb, Arik Brauer, Wolfgang Hutter, Anton Lehmden, and Israeli artist Zeev Kun, all of whom were first students of Professor Albert Paris Gütersloh at the Vienna Academy of Fine Arts. Gütersloh’s emphasis on the techniques of the Old Masters gave the “fantastic” painters a grounding in realism, similar to early Flemish artists such as Jan van Eyck. Some older members of the group, including Rudolf Hausner, Kurt Regschek and Fritz Janschka, emigrated to the United States in 1949, where Kurt Regschek helped organize the earliest American exhibitions of the group in 1965. Hausner, Fuchs, Hutter, Brauer and Lehmden were referred to as “The Big Five” who subsequently held exhibitions internationally. As the movement sought to avoid formal distinctions in contrast to the more territorial Surrealists, they eventually dissolved some time in the late 1970s, although their influence can be felt in modern works from Austria and abroad where they exhibited, including Israel, the United States, and South America.

Lot: 1293 - Antique Oil on Canvas Portrait of Janos Arany

Antique Oil on Canvas Portrait of Janos Arany. Depicts the famous Hungarian author sitting at a desk writing in the midst of a lush garden spot. Text on bottom reads "János Arany wrote 'Two Portraits of Szondi' in 1856" in Hungarian.  Overall Size: 59 1/4 x 33 in.  Sight Size: 57 1/2 x 31 1/2 in.  #4428  János Arany was born on March 2nd, 1817 in Nagyszalonta, Hungary. He was the youngest of ten children, but because of tuberculosis only he and his older sister Sára, who was already married when he was born, lived beyond childhood. Arany learned to read and write early on, and was reportedly fluent in Hungarian and Latin by the age of 7. To help support his sick and destitute family, he began working as an associate teacher at the age of 14. In 1833 he attended the Reformed College of Debrecen where he studied German and French, though he quickly became tired of scholarly life and temporarily joined an acting troupe. Over the next five years he worked in Nagyszalonta, Debrecen, and Budapest as a teacher, a newspaper editor, and in various clerking positions. In 1840 he married Julianna Ercsey (1816-1885). They had two children: Julianna, whose early death by pneumonia devastated Arany, and László, who also became a poet and a collector of Hungarian folktales. 1847 he won the competition of the Kisfaludy Literary Society with his essay “Az elveszett alkotmány” (“The Lost Constitution”), which catapulted him into the national spotlight. He became known as one of the most important European poets, writers, translators, and journalists of his day, referred to as the “Hungarian Shakespeare.” He wrote more than 102 ballads that were translated into over 50 languages, as was his epic Toldi Trilogy. He became close friends with the liberal revolutionary writer Sándor PetÅ‘fi, whose death in the Hungarian Revolution of 1848 had a great impact on him. Arany was elected a member of the Hungarian Academy of Sciences in 1858, becoming its secretary-general in 1865, the same year he was elected director of the Kisfaludy Society. Tragically, 1865 was also the year Julianna died, and he took a hiatus from writing from then on until 1877, when he began working on his poetic cycle entitled Őszikék. It was substantially different from his previous works, concerning themes like elderliness, metaphysics, and the imminence of death. It remained unfinished when he died in Budapest on October 22nd, 1882.

Lot: 1294 - Gladys A. Murphy (20th Century) Soft Glamorous 1920s Ink and Watercolor Portrait

Gladys A. Murphy (20th Century) Soft Glamorous 1920s Ink and Watercolor Portrait. Depicts a woman with short curly hair, a big blue bow, and matching blue blouse dreamily looking off into the distance, resting her head in her hands. Signed and dated 1926 bottom right.  Overall Size: 18 1/2 x 14 3/4 in.  Sight Size: 12 1/4 x 9 in.  #4286 .  Western fashion in the 1920s underwent a rapid modernization. Women’s fashion continued to evolve from under the restrictions of gender roles and traditional styles of the Victorian era. Women wore looser clothing which revealed more of the arms and legs, that had begun at least a decade prior with the rising of hemlines to the ankle and the movement from the S-bend corset to the columnar silhouette of the 1910s. Men also began to wear less formal daily attire, and athletic clothing or “Sportswear” became a part of mainstream fashion for the first time. Fashion in the 1920s was largely impacted by women challenging the standard of femininity through clothing, as many of their typical dress items were impractical to move around in. For many, fashion became a symbol of women’s social liberation or the modernization of womanhood. However, it also became a place where slim body structures and restraints of gender roles were implied and reinforced. The 1920s are characterized by two distinct periods of fashion: in the early part of the decade, change was slower, and there was more reluctance to wear the new, revealing popular styles. From 1925 onward the public more passionately embraced the styles now typically associated with the Roaring Twenties. These styles continued to characterize fashion until the worldwide Depression worsened from 1930 to 1931.

Lot: 1295 - Paolo Coppini (1935-2018) Italian, Graphite Portrait of a Woman

Paolo Coppini (1935-2018) Italian, Graphite Portrait of a Woman. Signed and dated 1986 in lower right.  Depicts a woman looking to the left. Lots of shading and details from the top of the head to the neck.  Overall Size: 24 1/8 x 20 1/8 in. Sight Size: 15 3/8 x 11 1/2 in. #8333 Artist Biography: Paolo Coppini was an Italian artist known for his classical portrait and landscape work, often capturing the subtle interplay of light and shadow in a way that emphasizes both the beauty and realism of his subjects. His style, rooted in traditional techniques, showcased meticulous attention to detail and a refined color palette that brought a sense of warmth and depth to his pieces. Coppini's art was highly regarded for its evocative portrayal of Italian scenery and character, resonating with both historical influence and a timeless quality. His works contributed to a continued appreciation for traditional Italian art forms within modern artistic circles.

Lot: 1296 - Frederic Murphy (1932-2011) American, Charcoal Study of a Nude Woman

Frederic Murphy Study of a Nude Woman. Female nude as seen from the back, done in red charcoal and white chalk. Signed lower right.  Overall Size: 19 1/4 x 13 3/4 in.  Sight Size: 10 1/4 x 7 in.  #8328  Marion Frederic “Fred” Murphy was born in Baltimore, Maryland in 1932. Although he attempted to enlist in the military to serve in the Korean War, he was rejected due to asthma, but was introduced to art by the soldier who was forced to inform him of the rejection, a battle sketch artist who had served in World War II. Through his advice and guidance, Murphy wound up studying at the Art Institute of Chicago, where he received a BFA in 1955. He returned to Baltimore for further studies at the Schuler School of Fine Art, where he worked in oils, watercolors, and charcoal, making still lifes, portraits, and nude sketches. For almost fifty years he continued to explore a variety of styles and mediums, and was recognized for his proficiency in capturing Old Master styles and techniques. His works hung in many galleries and were found in private collections up and down the East Coast. In 2002 he moved to Sarasota, Florida for health reasons. He never married, but continued to work up until his death in 2011 after a long battle with pneumonia and other respiratory issues.

Lot: 1297 - Signed Watercolor Figural, Mother and Child

Signed Watercolor Figural, Mother and Child. Charcoal and watercolor painting depicting a young mother cradling her infant child. Framed. Lower right. Overall Size: 22 1/4 x 16 1/4 in. Sight Size: 18 1/4 x 12 1/2 in. #4546

Lot: 1298 - Sarah Wilkinson (19th/20th Century) American, Oil on Canvas Still Life

Sarah Wilkinson (American, 19th/20th Century) Oil on Canvas Still Life. Oil on canvas still life in pale, pastel colors depicting a vase of brightly colored flowers. Signed lower right. Framed. Overall Size: 26 3/4 x 32 3/4 in. Sight Size: 24 x 30 in. #4452

Lot: 1299 - (2) Wakeman Holberton (1839-1898) American, Oil on Canvas Fish Paintings

Wakeman Holberton (1839-1898) American, (2) Oil on Canvas Fish Paintings. One depicts a striped bass swimming to the right, the other a red drum (redfish) swimming to the left. Both signed bottom right and dated 1896.  Condition: Minor paint loss to red drum painting.  Overall Size: (each) 25 1/2 x 19 1/4 in.  Sight Size: 19 1/2 x 13 1/2 in.  #4465  Wakeman Holberton was born in New York City in 1839. He was a direct descendant of the Pilgrims who came to America on the Mayflower from Plymouth, England. However, unlike his father and the generations before him who became sailors or captains, Holberton felt called to the outdoors from an early age, becoming one of the best flycasters of his day. He traveled to Newfoundland and Labrador to hunt caribou and made it a personal mission to fish every lake in America. His early academic education was in New York City, and he finished in Europe, where he was exposed to the works of the Old Masters. However, he did not pursue art until after joining the Excelsior Brigade under Daniel E. Sickles in the Civil War. In 1861 he contracted typhoid and was confined to a bed at their camp on the Potomac, and his father came to care for him, despite being sick with diphtheria himself. His father’s care helped him overcome the disease, but when his father contracted typhoid from him and died the following year it profoundly affected him for the rest of his life. During his convalescence and grieving he took up sketching and painting to occupy his thoughts, and devoted himself solely to it at the close of the war, joining the Brooklyn Art Association. In 1867 he moved to Hackensack, New Jersey, where he studied under the artist Thomas S. Cumming. He fell in love with and married his mentor’s daughter, Sarah, the following year, having two sons with her. From the 1870s onward he spent more and more time in the woods along the seashore and inland rivers, fishing, hunting, and painting his many conquests. Aside from the occasional portrait and still life, his devotion to sports and animal art was unrivaled at the time. He regularly contributed articles and illustrations to Forest and Stream Magazine, and published “The Art of Angling” in 1887, a book which is still considered the definitive American text on the subject to this day. Holberton died in Hackensack in 1898, and his work can still be seen on display at the Winterthur Museum and Library in Delaware, the Addison Gallery of American Art in Massachusetts, and in the Smithsonian.

Lot: 1300 - (2) Vintage Oil on Board Paintings

(2) Oil on Board Paintings. Two oil on board paintings, one depicting a girl with flowers the other a group of sheep under a tree. Unsigned. Framed. Original label from Borghese on the back of both.  Overall Size(each): 15 1/4 x 17 1/4 in.  Sight Size: 11 1/2 x 13 1/2 in.  #4475  The Borghese company was an Italian giftware company that operated in the late 1950s and 1960s. They produced a number of prints in elaborate and decorative frames as high-end furnishing art, as well as ornamental decoupaged bookends, botanical prints, classical sculpture figures, trumeau mirrors, and much more. The company was named after the House of Borghese, a family of Italian noble and papal background, originating as the Borghese or Borghesi in Siena, where they came to prominence in the 13th Century and held offices under the commune. During the 16th Century the head of the family, Marcantonio, moved to Rome and rose quickly in power and wealth following the election of his son Camillo as Pope Paul V in 1605. In the 20th Century the family experienced several reversals in fortune, particularly due to the World Wars and to an aborted fascist coup d'état against the center-left national government in the 1970s. However, several modern descendants have also had great success in politics, cosmetics, television, and other entrepreneurial activities, of which the art and home furnishing company was a small part.

Lot: 1301 - Didier Robert de Vaugondy (1723-1786) French, 1751 Map of Europe

Didier Robert de Vaugondy (1723-1786) French, 1751 Map of Europe. Titled "L'Europe divisee en ses principaux Etats." Detailed map of Europe, colored by geographical features. Includes large decorative cartouche top left with title. A box bottom right contains distances of key features for each major country.  Condition: Commensurate with age. Small hole in protective frame bottom left.  Overall Size: 25 1/2 x 29 in.  Map Size: 19 1/2 x 23 in.  #4482  Gilles Robert de Vaugondy was born in 1688 in Paris. By the time his son Didier was born in 1723 he was already known as one of the leading French cartographers of his day, and Didier soon followed in his footsteps. The Robert de Vaugondys were descended from the Nicolas Sanson family through Sanson’s grandson, Pierre Moulard-Sanson. From him they inherited much of Sanson’s cartographic material, which they combined with maps and plates acquired after Hubert Jaillot’s death in 1712. Sources from the Dépôt de la Marine, the official French repository for maritime-related information, were used for their maps of Canada and South America. In 1757 Gilles and Didier published The Atlas Universel, one of the most thorough and important atlases of the 18th Century. The Vaugondys integrated hundreds of older sources with more modern surveyed maps, verifying and correcting the latitude and longitude of many regional views in the atlas with astronomical observations and updating new place names. In 1760 Didier was appointed royal geographer to Louis XV, and the following year he was made the head geographer of the Duke of Lorraine by StanisÅ‚aw LeszczyÅ„ski, King of Poland and Grand Duke of Lithuania. After the death of his father in 1766, he began making globes of a variety of sizes, gluing copperplate-printed gores on a plaster-finished papier-mache core, a complicated and expensive manufacturing process that required employing several specialists. Due to their similarities both in name and composition, it can be difficult to determine which specific maps or even sections of a map were done by either father or son. Gilles often signed maps as “M. Robert,” while Didier commonly signed his maps as “Robert de Vaugondy,” or added “fils” or “filio” after his name. Like Ortelius and Mercator, both Gilles and Didier credited their sources rather than insinuating them to be solely their own, which has greatly benefited the study of the history of cartography during that period. In 1773 Didier became royal censor for French works related to geography, navigation and travels, and he passed away in 1786, mourned by several royal courts for his and his father’s contributions to exploration and cartography throughout their lifetimes.

Lot: 1302 - Henri Chatelain (1684-1743) French/Dutch, 1719 Map of England

Henri Chatelain (1684-1743) French/Dutch, 1719 Map of England. Titled "Nouvelle carte de l'Angleterre dans laqu'elle l'on observe." Shows all the various counties of England, eschewing Scotland but including an insert of Northumberland.  Condition: Commensurate with age. Minor fading and damage to sides and edges.  Size: 19 1/2 x 27 1/2 in.  #4484   Henri Abraham Chatelain was born in Paris in 1684. His father Zacharie was a Huguenot pastor, and the family moved several times to avoid persecution and attacks, first to St. Martin in Germany in the 1690s and then to London in 1710. Chatelain became a pastor as well, and together with his brother and father opened a printing business which would eventually become focused on cartography. Their Atlas Historique, Ou Nouvelle Introduction à L’Histoire was published in seven volumes between 1705 and 1720, with a second edition appearing in 1732. Chatelain moved to the Hague in 1719, bringing the company (known over the years as Chatelain, Chatelain Frères, and Chatelain & Fils) with him, and began creating illustrating and hand-coloring maps of England, France, Germany, and the Netherlands. Chatelain was a skilled artist and tireless researcher who combined a wealth of historical and geographical information with delicate engraving and an uncomplicated composition. The text was supplemented and compiled by Nicholas Gueudeville and H.P. de Limiers. Groundbreaking for its time, their work included studies of geography, history, ethnology, heraldry, and cosmography, and made their books highly sought after by the upper and middle classes. In addition to their maps, many of which were based on Guillaume De L’Isle, their engraving plates pay a debt to the best travel accounts of the period, such as those of Dapper, Chardin, de Bruyn, and Le Hay. Chatelain moved once more to Amsterdam in 1728, where he continued to work until his death in 1743.

Lot: 1303 - Gilles Robert de Vaugondy (1688-1766) French, 1756 Map of Africa

Gilles Robert de Vaugondy (1688-1766) French, 1756 Map of Africa. Titled "L'Afrique dressée, sur les relations le plus recentes, et assujettie aux observations astronomiques." Cartouche illustrates a native woman reclining between two palms alongside a lion. The interior of southern Africa is fairly blank other than tribal names, and the Prime Meridian runs obscurely outside the continent.  Condition: Commensurate with age. Damage to sides and edges.  Size: 20 1/2 x 25 1/2 in.  #4485   Gilles Robert de Vaugondy was born in 1688 in Paris. By the time his son Didier was born in 1723 he was already known as one of the leading French cartographers of his day, and Didier soon followed in his footsteps. The Robert de Vaugondys were descended from the Nicolas Sanson family through Sanson’s grandson, Pierre Moulard-Sanson. From him they inherited much of Sanson’s cartographic material, which they combined with maps and plates acquired after Hubert Jaillot’s death in 1712. Sources from the Dépôt de la Marine, the official French repository for maritime-related information, were used for their maps of Canada and South America. In 1757 Gilles and Didier published The Atlas Universel, one of the most thorough and important atlases of the 18th Century. The Vaugondys integrated hundreds of older sources with more modern surveyed maps, verifying and correcting the latitude and longitude of many regional views in the atlas with astronomical observations and updating new place names. In 1760 Didier was appointed royal geographer to Louis XV, and the following year he was made the head geographer of the Duke of Lorraine by StanisÅ‚aw LeszczyÅ„ski, King of Poland and Grand Duke of Lithuania. After the death of his father in 1766, he began making globes of a variety of sizes, gluing copperplate-printed gores on a plaster-finished papier-mache core, a complicated and expensive manufacturing process that required employing several specialists. Due to their similarities both in name and composition, it can be difficult to determine which specific maps or even sections of a map were done by either father or son. Gilles often signed maps as “M. Robert,” while Didier commonly signed his maps as “Robert de Vaugondy,” or added “fils” or “filio” after his name. Like Ortelius and Mercator, both Gilles and Didier credited their sources rather than insinuating them to be solely their own, which has greatly benefited the study of the history of cartography during that period. In 1773 Didier became royal censor for French works related to geography, navigation and travels, and he passed away in 1786, mourned by several royal courts for his and his father’s contributions to exploration and cartography throughout their lifetimes.

Lot: 1304 - Rigobert Bonne (1727-1794) French, 1782 Map of Switzerland

Rigobert Bonne (1727-1794) 1782 French Map of Switzerland, Titled "Switzerland and its Thirteen Cantons". A beautiful 1782 example of Rigobert Bonne's decorative map of Switzerland. Bonne's map covers the entirety of Switzerland divided into Cantons. The map offers excellent detail throughout showing mountains, rivers, forests, national boundaries, regional boundaries, forts, and cities. A large decorative title cartouche appears in the upper left quadrant. Drawn by Rigobert Bonne in 1782 for issue as plate no. 9 in Jean Lattre's 1783 edition of the Atlas Moderne. and Allies".  Size: 15 x 21 in. #4487   Rigobert Bonne (1727–1794) was a prominent French cartographer known for his detailed and scientifically informed maps during the Enlightenment era. Appointed as the Royal Hydrographer to France, he produced maps that were both highly accurate and artistically refined, reflecting the growing emphasis on precision in geography. Bonne worked primarily on nautical maps and atlases, contributing significantly to the fields of navigation and exploration. His work featured in major publications, including *Atlas Moderne* and *Atlas Encyclopédique*, where he improved upon earlier projections and standardized cartographic conventions that influenced future mapmaking. Bonne's maps, with their clarity and meticulous detail, remain valuable for historians and collectors today.

Lot: 1305 - Jean Denis Janvier (1746-1776) French, 1762 Map of the Kingdom of France Divided by Military Provinces

Jean Denis Janvier (French, 1746-1776) 1762 Map of the Kingdom of France Divided by Military Provinces. Janvier's map covers the Kingdom of France spanning from the English Channel to Corisca and from Germany to Spain. Divided and color-coded by military regions, showing geographical details in mountains, rivers, forests, national and regional boundaries, forts and cities. Size: 15 1/4 x 21 in. #4488 Working in Paris in the second half of the eighteenth century, Jean Janvier (1746 – 1776) produced a series of maps in the later half of the century.  While there is some confusion about his Christian name, his maps usually were inscribed “Le Sieur Janvier”.  He is best known for his collaboration with engraver Jean Lattre for an Atlas Moderne first released in 1762 and in several later editions some by C. F. Delamarche and by Chez Remondini.  He also produced several maps used in general atlases by William Fadan and P. Santini.

Lot: 1306 - Selina Hall (1780?-1853) English, 1842 Hand-Colored Map of the West Indies

Selina Hall (1780?-1853) English, 1842 Hand-Colored Map of the West Indies. Shows the Caribbean, with color coding for the different nationalities that controlled each part of it at the time. Publisher information written bottom left. Cartographer information written bottom right.  Overall Size: 13 x 16 in.  Sight Size: 7 3/4 x 10 in.  #4756  In 1831 a man in London named Sidney Hall (born circa 1789) passed away at the relatively young age of forty-two. He was a British engraver and cartographer, well known and popular for his early 19th Century atlases containing maps of the United Kingdom and of the ancient world. He made maps for several international atlases by William Faden, Aaron Arrowsmith, and Chapman & Hall, and had also engraved a series of cards for the various constellations, published a few years prior in a boxed set called Urania’s Mirror. Having worked in Piccadilly for over two decades, Hall is credited with being the first engraver to use steel plates in map engraving. When he passed away, his will stipulated that his widow, Selina Hall (born circa 1780), was to carry on the business, which she did at a new address in Bloomsbury. Prior to his death all their works were signed with “Sid Hall,” and from then on, to avoid questions of propriety by having a woman in such a profession, they were similarly signed “S Hall,” which led to the belief for nearly two centuries that they were all done by the same person. In reality, perhaps half of the 700 maps attributed to Sidney were made by his wife, who eventually passed away in 1853, leaving the business to her nephew, Edward Weller. It is even possible she was responsible for more, since originally she had been married to the engraver Michael Thomson, Sidney’s business partner, before his death in 1821. It was illegal for married women to own businesses in England at the time, which probably means quite a few businesses were actually run by extremely competent wives like Selina without getting the credit they deserved.

Lot: 1307 - Joseph Roux Lithograph Map, Carte de Particuliere des Cote Despagne et Barbarie

Joseph Roux Lithograph Map. Surveyed by Michelot & Bremond. Illistrated by P. Starck-Man. Carte de Particuliere des Cote Despagne et Barbarie (Private Map of the Coasts of Spain and Barbary). Map by Joseph Roux depicting the Mediterranean Sea between Spain and the Barbary Coast, circa 1703.  More translations from the map.: "Particular Map of the Coasts of Spain and Barbaria. Dedicated to His Excellency the Grand Prior of France, General of the Galleys. By his very humble servants, MICHELUT, Hydrographer and Royal Pilot of the King's Galleys, and BREMOND, Hydrographer to the King and the City, with the King's privilege. 1705.Engraved by P. Starck man." Overall Size: 24 x 30 1/2 in.  Sight Size: 17 x 25 in.  #7618 

Lot: 1308 - Jan Jansson (1588-1664) Dutch, Terra Firma et Novum Regnum Granatense et Popayan Atlas Print

Jan Jansson (1588-1664) Dutch, Terra Firma et Novum Regnum Granatense et Popayan Atlas Print. Reproduction of the 1658 map depicting Colombia, Venezuela, and Panama originally created by Guiljelmus Blaeuw, compiled in the 10th Volume of the Atlas Major.  Condition: Good.  Overall Size: 20 5/8 x 25 in.  Sight Size: 14 1/2 x 19 in.  #5022   Jan Jansson (also known as Johannes Janssonius) was born Jan Janszoon in 1588 in Arnhem, in the Netherlands. His father was a publisher and bookseller, and he studied early to follow in his footsteps. In 1612 he married Elisabeth de Hondt, the daughter of the skilled engraver and cartographer Jodocus Hondius who taught Jan how to study and compile maps. His first maps were produced in 1616, of France and Italy. In 1623 he purchased a bookstore in Frankfurt am Main, at which time he adopted the Johannes moniker. By 1627 when his wife passed away from the plague he had acquired additional stores in Danzig, Stockholm, Copenhagen, Berlin, Geneva, and Lyon. While traveling to inspect one of his stores in 1629 he met and fell in love with Elisabeth Carlier, and that same year he formed a partnership with his brother-in-law Henricus Hondius and began publishing atlases as Mercator/Hondius/Janssonius. In 1638 he renamed the Hondius Atlas as Atlas Novus and expanded it into three immense volumes, one dedicated entirely to all the different towns and regions of Italy. In 1646 a fourth volume was produced that showed English county maps, which bore many similarities to those of his main rival, Joan Blaeu. These became the most popular atlases in England, which led to the simplified name Jan he is best known by. By 1660 most of his atlases had also been translated into English and the completed set was called “Atlas Major,” with 11 volumes in total containing the work of nearly one hundred credited authors and engravers. It became the best-selling item in Europe for a brief period, with editions printed in Latin, French, and German. After Jan’s death in 1664, his son-in-law Johannes van Waesbergen continued to run the company the rest of his life. The scope of the Atlas Major was unparalleled for the rest of the 17th Century, even bankrupting some publishers like Moses Pitt who attempted to publish the entire compilation in their own languages and editions.

Lot: 1309 - Mathew Carey (1760-1839) Irish/American, Reproduction Map of China

Mathew Carey (1760-1839) Irish/American, Reproduction Map of China, Divided into its Great Provinces, according to the Best Authorities. Originally engraved by Mathew Carey in 1796. Shows the reach of the Qing Dynasty shortly after the High Era came to an end.  Condition: Commensurate with age.  Overall Size: 18 1/2 x 19 1/2 in.  Sight Size: 14 x 15 in.  #5030  

Lot: 1310 - Herman Moll (circa 1654-1732) British, Reproduction of the "Beaver Map"

Herman Moll (c. 1654-1732) British, Reproduction of the "Beaver Map." Depicts the 1715 view of the Newfoundland area.  Condition: Small tear on upper left corner.  Overall Size: 37 5/8 x 26 5/8 in.  Sight Size: 30 x 18 in.  #5050   Herman Moll was born c. 1654 in Germany or the United Provinces. The earliest extant mention of Moll was made by the natural philosopher Robert Hooke, who recorded in 1678 that Moll was working in London as an engraver. Moll later specialized in engraving maps, and went on to produce and publish maps and globes from his studies of the work of other cartographers. Moll probably sold his first maps from a stall in various places in London. From 1688 he had his own shop in Wanley’s Court in London’s Blackfriars, moving in 1691 to the corner of Spring Gardens and Charing Cross, and then finally relocating in 1710 somewhere along the River Thames to the Strand where he remained until his death. In the 1690s Moll worked mainly as an engraver for Christopher Browne, Robert Morden and Lea, but by the beginning of the 18th Century Moll began to compile and engrave maps solely under his own name. In 1701 A System of Geography, a geographical reference book, was published featuring many maps engraved by Moll. Several subsequent editions were issued, and Moll’s name became so closely associated with it that it was often called “Moll’s Geography.” In the years that followed he brought out several volumes including Fifty-six New and Accurate Maps of Great Britain, a book of maps of the British Isles. In 1707 he began his Atlas Geographus, which appeared in monthly deliveries from 1707 to 1717, and eventually comprised five volumes. This included a full geographical representation of the world in color maps and illustrations, one of the most extensive in Britain up to that point. In 1710 he began producing artfully crafted pocket globes. These were each a pair of globes, with the larger, hinged celestial globe encircling a smaller globe. On the latter he often included the route of Dampier’s circumnavigation. Due to their intricacy and delicacy, surviving pocket globes are extremely rare. In 1715 Moll issued The World Described, a collection of thirty large, double-sided maps which saw numerous editions. In these maps Moll’s skill as an engraver is particularly clear, with two of his most famous works among them: “A New and Exact Map of the Dominions of the King of Great Britain” and “To The Right Honorable John Lord Sommers This Map of North America According To Ye Newest and Most Exact Observations.” These were distinctive for their elaborate cartouches and images, and are known respectively as the Beaver Map and the Codfish Map. As with much of his work, Moll used these maps to publicize and support British policy and regional claims throughout the world. Moll died on September 22nd, 1732, as noted in his obituary in The Gentleman’s Magazine.

Lot: 1311 - Antique Mid 19th Century Iranian Hand Painted Ketubah (Jewish Marriage Contract) Judaica

Antique Mid 19th Century Iranian Hand Painted Ketubah (Jewish Marriage Contract) Judaica.   According to a local Sarasota rabbi, this is a Persian Ketubah from the town of Isphahan, Iran, Dated 1869 with decorations of lions, the sun, a rosewater vase, birds, and flowers. This ketubah dictates the marital contract between Yeshua/Joshua Kechor Sheul and Anaran Leirit, with the contract script on bottom half of document in a mix of cursive and print Hebrew lettering. The ketubah is bordered by Hebrew print. Framed.   A ketubah is a traditional Jewish marriage contract that outlines the groom's responsibilities to the bride, historically ensuring her financial and legal rights in case of divorce or his death. It is a central part of the Jewish wedding ceremony, signed by witnesses and often the officiating rabbi. Traditionally written in Aramaic, modern ketubot may use contemporary language to reflect egalitarian or interfaith values. Often beautifully decorated, the ketubah serves both as a legal document and a symbolic artwork, typically displayed in the couple’s home as a reminder of their commitment.   Overall Size: 33 5/8 x 31 1/2 in.  Sight Size: 27 1/2 x 25 1/4 in.  #5276 #18

Lot: 1312 - Eugène Cortambert (1805-1881) French, Reproduction 1860 Map of Europe

Eugène Cortambert (1805-1881) French, Reproduction 1860 Map of Europe. Drawn up by the cartographer Louis E. Desbuissons. Originally published by Defour, Mulat, & Boulanger.  Condition: Spotting throughout.  Overall Size: 18 1/2 x 22 1/2 in.  Sight Size: 16 1/2 x 20 1/2 in.  #5045   Pierre-François Eugène Cortambert was born on October 12th, 1805 in Toulouse, France. His father was Richard Anne Cortambert, a marine scientist and author of adventure novels that heavily influenced the origins of modern science fiction, and his mother Louise was likely the author of “Le Langage des Fleurs,” the first popular book on the language of flowers, published under the pseudonym Madame Charlotte de Latour. Raised with a vast appreciation for the far corners of the globe as well as a passion for the arts, he dedicated his life to geography, first working as a professor in Paris before being appointed secretary general of the Geographical Society in 1853. In 1863 he replaced Edme François Jomard as head of the geography section of the National Library of France following the latter’s death. He authored numerous works intended for teaching, such as his Universal Geography, a revised and supplemented edition of the works of Conrad Malte-Brun, and Elements of Geography, as well as compiling numerous atlases. His son, Richard Cortambert, followed in the family footsteps as a geographer and writer, and when Eugène passed away in 1881 he was buried in Passy cemetery, which he now shares with over six generations of French writers, artists, and philosophers.

Lot: 1313 - Rare Dated 1827 Sampler "A Curious Piece of Antiquity on the Crucifixion of our Saviour and the Two Thieves" AS IS

Rare Sampler. Framed Woven Tapestry, "A Curious Piece of Antiquity on the Crucifixion of our Saviour and the Two Thieves". A unique tapestry representing the crucifixion of Jesus and the two thieves, with interwoven prayers. Attributed to Jane D. Yates, age 9, of New York. Dated 1827. In as is condition, glass is cracked. Overall Size: 27 x 23 in. Sight Size: 16 1/4 x 12 1/2 in. #5399

Lot: 1314 - Antique Masculine Figure Paper Silhouette Art

Antique Masculine Figure Paper Silhouette Art. Circular wood frame around the right-facing image. Label on the back lists it as "Silhouette 195," from The Old Curiosity Shop, Inc.  Overall Size: (Diameter) 5 1/2 in. Sight Size: 3 1/4 in. #4492   A silhouette is the image of a person, animal, object or scene represented as a solid shape of a single color, usually black, with its edges matching the outline of the subject. The interior of a silhouette is featureless, and the silhouette is usually presented on a light background, usually white, or none at all. The silhouette differs from an outline, which depicts the edge of an object in a linear form, while a silhouette appears as a solid shape. Cutting portraits, generally in profile, from black cards became popular in the mid-18th Century, though the term silhouette was seldom used until the early decades of the 19th Century, and the tradition has continued under this name into the 21st Century. They represented a cheap but effective alternative to the portrait miniature, and skilled specialist artists could cut a high-quality bust portrait, by far the most common style, in a matter of minutes, working purely by eye. Other artists, especially from about 1790 onward, drew an outline on paper and then painted it in, which could be equally quick. From its original graphic meaning, the term silhouette has been extended to describe the sight or representation of a person, object or scene that is backlit and appears dark against a lighter background. Anything that appears this way, for example, a figure standing backlit in a doorway, may be described as “in silhouette.” Because a silhouette emphasizes the outline, the word has also been used in fields such as fashion, fitness, and concept art to describe the shape of a person’s body or the shape created by wearing clothing of a particular style or period. The word itself is derived from the name of Étienne de Silhouette, a French finance minister who, in 1759, was forced by France’s credit crisis during the Seven Years’ War to impose severe economic demands upon the French people, particularly the wealthy. Because of de Silhouette’s austere economies, his name became synonymous with anything done or made cheaply, and eventually synonymous with the quick and efficient outline portraits. Prior to the advent of photography, silhouette profiles cut from black cards were the cheapest way of recording a person’s appearance. For the depiction of portraits, the profile image has a marked advantage over a full-face image in many circumstances, because it depends strongly upon the proportions and relationship of the bony structures of the face (the forehead, nose and chin) making the image clear and simple. For this reason, profile portraits have been employed on coinage since the Roman era, and the modern form of silhouette directly owes its existence to the prevalence of the profile portrait throughout history.

Lot: 1315 - Antique Shaded Masculine Figure Paper Silhouette Art

Antique Shaded Masculine Figure Paper Silhouette Art. Some features and lines of garments are visible on this silhouette of a right-facing gentleman. Surrounded by a square wood frame.  Overall Size: 9 1/2 x 7 3/4 in.  Sight Size: 4 3/8 x 3 1/2 in.  #4493  A silhouette is the image of a person, animal, object or scene represented as a solid shape of a single color, usually black, with its edges matching the outline of the subject. The interior of a silhouette is featureless, and the silhouette is usually presented on a light background, usually white, or none at all. The silhouette differs from an outline, which depicts the edge of an object in a linear form, while a silhouette appears as a solid shape. Cutting portraits, generally in profile, from black cards became popular in the mid-18th Century, though the term silhouette was seldom used until the early decades of the 19th Century, and the tradition has continued under this name into the 21st Century. They represented a cheap but effective alternative to the portrait miniature, and skilled specialist artists could cut a high-quality bust portrait, by far the most common style, in a matter of minutes, working purely by eye. Other artists, especially from about 1790 onward, drew an outline on paper and then painted it in, which could be equally quick. From its original graphic meaning, the term silhouette has been extended to describe the sight or representation of a person, object or scene that is backlit and appears dark against a lighter background. Anything that appears this way, for example, a figure standing backlit in a doorway, may be described as “in silhouette.” Because a silhouette emphasizes the outline, the word has also been used in fields such as fashion, fitness, and concept art to describe the shape of a person’s body or the shape created by wearing clothing of a particular style or period. The word itself is derived from the name of Étienne de Silhouette, a French finance minister who, in 1759, was forced by France’s credit crisis during the Seven Years’ War to impose severe economic demands upon the French people, particularly the wealthy. Because of de Silhouette’s austere economies, his name became synonymous with anything done or made cheaply, and eventually synonymous with the quick and efficient outline portraits. Prior to the advent of photography, silhouette profiles cut from black cards were the cheapest way of recording a person’s appearance. For the depiction of portraits, the profile image has a marked advantage over a full-face image in many circumstances, because it depends strongly upon the proportions and relationship of the bony structures of the face (the forehead, nose and chin) making the image clear and simple. For this reason, profile portraits have been employed on coinage since the Roman era, and the modern form of silhouette directly owes its existence to the prevalence of the profile portrait throughout history.

Lot: 1316 - Antique Young Masculine Paper Silhouette Art

Antique Young Masculine Paper Silhouette Art. Shaded hair is on the paper surrounding the silhouette, creating a separate level to the youthful right-facing figure. Surrounded by a rectangular wooden frame.  Condition: Some tears in the paper. Commensurate with age.  Overall Size: 6 3/4 x 5 1/8 in.  Sight Size: 5 x 3 1/2 in.  #4494   A silhouette is the image of a

Lot: 1317 - Antique Feminine Paper Silhouette Art

Antique Feminine Paper Silhouette Art. Right-facing figure wears a bonnet tied at the throat. Surrounded by a rectangular wood frame. Prior Chicago gallery information on label on the back.  Condition: Some tears and stains in the paper. Commensurate with age.  Overall Size: 6 3/8 x 5 1/4 in.  Sight Size: 3 3/4 x 2 3/4 in.  #4495   A silhouette is the image of a

Lot: 1318 - Antique Young Masculine Paper Silhouette Art

Antique Young Masculine Paper Silhouette Art. Right-facing figure with a high collar and popped tie. Surrounded by rectangular wooden frame. Indistinct writing in English cursive on back indicates the subject's name is Jacob.  Overall Size: 7 x 5 1/4 in.  Sight Size: 4 1/2 x 3 3/8 in.  #4496   A silhouette is the image of a person, animal, object or scene represented

Lot: 1319 - Antique Masculine Cut-and-Paste Paper Silhouette Art

Antique Masculine Cut-and-Paste Paper Silhouette Art. Left-facing figure is made from several layered pieces of paper, including a white one that creates a shirt and high collar against the black body and head. Surrounded by a rectangular wooden frame. Prior price and age (Late 18th/Early 19th Century) written on back in pen.  Condition: Some spotting on image. Commensurate with age. 

Lot: 1320 - Antique Feminine Painted Paper Silhouette Art

Antique Feminine Painted Paper Silhouette Art. Left-facing figure with defined shading to indicate hair and miniscule darker colored pearls around her slim neck with a frilly top. Surrounded by an oval gilded wooden frame. Writing on back in pen indicates the subject is Miss Sarah Jones, and the artist is Mrs. Philip Moberly of Chicago (or possibly the other way around). Covered over words read:

Lot: 1321 - Antique Masculine Paper Silhouette Art

Antique Masculine Paper Silhouette Art. Left-facing figure comprised of pieces of paper and miniscule drawn details for the shirt, tie, and collar. Surrounded by a rectangular gilt wooden frame.  Condition: Commensurate with age.  Overall Size: 6 x 4 1/8 in.  Sight Size: 4 1/2 x 3 in.  #4499   A silhouette is the image of a person, animal, object or scene represented

Lot: 1322 - Antique 1933 Masculine Drawn Paper Silhouette Art

Antique 1933 Masculine Drawn Paper Silhouette Art. The left-facing gentleman looks distinguished with glasses on and a buttoned-down collar and tie. Signed "Wm. A. HEIN" and dated "33" middle right in pencil. Surrounded by rectangular gilt wooden frame.  Overall Size: 5 1/2 x 4 1/2 in.  Sight Size: 3 5/8 x 2 5/8 in.  #4500   A silhouette is the image of a person, animal,

Lot: 1323 - Antique Masculine Paper Silhouette Art

Antique Masculine Paper Silhouette Art. Cut-out image of a left-facing figure with a very high collar and prominent tie. Surrounded by a square wooden frame.  Overall Size: 5 3/4 x 5 in.  Sight Size: 3 1/2 x 3 1/2 in.  #4501   A silhouette is the image of a person, animal, object or scene represented as a solid shape of a single color, usually black, with its edges matching the outline of the subject. The interior of a silhouette is featureless, and the silhouette is usually presented on a light background, usually white, or none at all. The silhouette differs from an outline, which depicts the edge of an object in a linear form, while a silhouette appears as a solid shape. Cutting portraits, generally in profile, from black cards became popular in the mid-18th Century, though the term silhouette was seldom used until the early decades of the 19th Century, and the tradition has continued under this name into the 21st Century. They represented a cheap but effective alternative to the portrait miniature, and skilled specialist artists could cut a high-quality bust portrait, by far the most common style, in a matter of minutes, working purely by eye. Other artists, especially from about 1790 onward, drew an outline on paper and then painted it in, which could be equally quick. From its original graphic meaning, the term silhouette has been extended to describe the sight or representation of a person, object or scene that is backlit and appears dark against a lighter background. Anything that appears this way, for example, a figure standing backlit in a doorway, may be described as “in silhouette.” Because a silhouette emphasizes the outline, the word has also been used in fields such as fashion, fitness, and concept art to describe the shape of a person’s body or the shape created by wearing clothing of a particular style or period. The word itself is derived from the name of Étienne de Silhouette, a French finance minister who, in 1759, was forced by France’s credit crisis during the Seven Years’ War to impose severe economic demands upon the French people, particularly the wealthy. Because of de Silhouette’s austere economies, his name became synonymous with anything done or made cheaply, and eventually synonymous with the quick and efficient outline portraits. Prior to the advent of photography, silhouette profiles cut from black cards were the cheapest way of recording a person’s appearance. For the depiction of portraits, the profile image has a marked advantage over a full-face image in many circumstances, because it depends strongly upon the proportions and relationship of the bony structures of the face (the forehead, nose and chin) making the image clear and simple. For this reason, profile portraits have been employed on coinage since the Roman era, and the modern form of silhouette directly owes its existence to the prevalence of the profile portrait throughout history.

Lot: 1324 - Antique Masculine Paper Silhouette Art

Antique Masculine Paper Silhouette Art. Left-facing young man with a prominent tie. Fancy banner drawn beneath the image identifying the subject a Jacob Backer and dating it to 1831.  Overall Size: 5 3/8 x 4 1/4 in.  Sight Size: 3 5/8 x 3 in.  #4502  A silhouette is the image of a person, animal, object or scene represented as a solid shape of a single color, usually black, with its edges matching the outline of the subject. The interior of a silhouette is featureless, and the silhouette is usually presented on a light background, usually white, or none at all. The silhouette differs from an outline, which depicts the edge of an object in a linear form, while a silhouette appears as a solid shape. Cutting portraits, generally in profile, from black cards became popular in the mid-18th Century, though the term silhouette was seldom used until the early decades of the 19th Century, and the tradition has continued under this name into the 21st Century. They represented a cheap but effective alternative to the portrait miniature, and skilled specialist artists could cut a high-quality bust portrait, by far the most common style, in a matter of minutes, working purely by eye. Other artists, especially from about 1790 onward, drew an outline on paper and then painted it in, which could be equally quick. From its original graphic meaning, the term silhouette has been extended to describe the sight or representation of a person, object or scene that is backlit and appears dark against a lighter background. Anything that appears this way, for example, a figure standing backlit in a doorway, may be described as “in silhouette.” Because a silhouette emphasizes the outline, the word has also been used in fields such as fashion, fitness, and concept art to describe the shape of a person’s body or the shape created by wearing clothing of a particular style or period. The word itself is derived from the name of Étienne de Silhouette, a French finance minister who, in 1759, was forced by France’s credit crisis during the Seven Years’ War to impose severe economic demands upon the French people, particularly the wealthy. Because of de Silhouette’s austere economies, his name became synonymous with anything done or made cheaply, and eventually synonymous with the quick and efficient outline portraits. Prior to the advent of photography, silhouette profiles cut from black cards were the cheapest way of recording a person’s appearance. For the depiction of portraits, the profile image has a marked advantage over a full-face image in many circumstances, because it depends strongly upon the proportions and relationship of the bony structures of the face (the forehead, nose and chin) making the image clear and simple. For this reason, profile portraits have been employed on coinage since the Roman era, and the modern form of silhouette directly owes its existence to the prevalence of the profile portrait throughout history.

Lot: 1325 - Antique Masculine Paper Silhouette Art

Antique Masculine Paper Silhouette Art. Distinguished left-facing figure in a large top hat and wig. Surrounded by a rectangular wooden frame. Writing on back identifies the subject as Captain Nathan Pierson of Richmond, Massachusetts.  Overall Size: 5 1/2 x 3 3/4 in.  Sight Size: 4 x 2 7/8 in.  #4503   A silhouette is the image of a person, animal, object or scene

Lot: 1326 - Antique Masculine Paper Silhouette Art

Antique Masculine Paper Silhouette Art. Left-facing wigged gentleman on gold paper inside a gold-colored circle attached to a wooden square panel and ready to hang. Green fabric attached to back.  Overall Size: 5 1/4 x 3 3/4 in.  Sight Size: 1 1/2 x 1 1/2 in.  #4504   A silhouette is the image of a person, animal, object or scene represented as a solid shape of a single color, usually black, with its edges matching the outline of the subject. The interior of a silhouette is featureless, and the silhouette is usually presented on a light background, usually white, or none at all. The silhouette differs from an outline, which depicts the edge of an object in a linear form, while a silhouette appears as a solid shape. Cutting portraits, generally in profile, from black cards became popular in the mid-18th Century, though the term silhouette was seldom used until the early decades of the 19th Century, and the tradition has continued under this name into the 21st Century. They represented a cheap but effective alternative to the portrait miniature, and skilled specialist artists could cut a high-quality bust portrait, by far the most common style, in a matter of minutes, working purely by eye. Other artists, especially from about 1790 onward, drew an outline on paper and then painted it in, which could be equally quick. From its original graphic meaning, the term silhouette has been extended to describe the sight or representation of a person, object or scene that is backlit and appears dark against a lighter background. Anything that appears this way, for example, a figure standing backlit in a doorway, may be described as “in silhouette.” Because a silhouette emphasizes the outline, the word has also been used in fields such as fashion, fitness, and concept art to describe the shape of a person’s body or the shape created by wearing clothing of a particular style or period. The word itself is derived from the name of Étienne de Silhouette, a French finance minister who, in 1759, was forced by France’s credit crisis during the Seven Years’ War to impose severe economic demands upon the French people, particularly the wealthy. Because of de Silhouette’s austere economies, his name became synonymous with anything done or made cheaply, and eventually synonymous with the quick and efficient outline portraits. Prior to the advent of photography, silhouette profiles cut from black cards were the cheapest way of recording a person’s appearance. For the depiction of portraits, the profile image has a marked advantage over a full-face image in many circumstances, because it depends strongly upon the proportions and relationship of the bony structures of the face (the forehead, nose and chin) making the image clear and simple. For this reason, profile portraits have been employed on coinage since the Roman era, and the modern form of silhouette directly owes its existence to the prevalence of the profile portrait throughout history.

Lot: 1327 - Antique Masculine Hollow-Cut Paper Silhouette Art

Antique Masculine Hollow-Cut Paper Silhouette Art. High-collared left-facing gentleman, surrounded by a rectangular gilt wooden frame. Attached tag on back indicates circa 1830, gives description of item and prior price.  Condition: Commensurate with age.  Overall Size: 5 5/8 x 4 3/4 in.  Sight Size: 3 1/2 x 2 3/4 in.  #4505  A silhouette is the image of a person,

Lot: 1328 - Antique Feminine Paper Silhouette Art

Antique Feminine Paper Silhouette Art. Right-facing figure in a rectangular wooden frame. Tag attached to back identifies subject as Miss Kern and gives information, prior price, and dates the piece to circa 1820.  Overall Size: 5 5/8 x 5 in.  Sight Size: 3 5/8 x 3 in.  #4506   A silhouette is the image of a person, animal, object or scene represented as a solid shape of a single color, usually black, with its edges matching the outline of the subject. The interior of a silhouette is featureless, and the silhouette is usually presented on a light background, usually white, or none at all. The silhouette differs from an outline, which depicts the edge of an object in a linear form, while a silhouette appears as a solid shape. Cutting portraits, generally in profile, from black cards became popular in the mid-18th Century, though the term silhouette was seldom used until the early decades of the 19th Century, and the tradition has continued under this name into the 21st Century. They represented a cheap but effective alternative to the portrait miniature, and skilled specialist artists could cut a high-quality bust portrait, by far the most common style, in a matter of minutes, working purely by eye. Other artists, especially from about 1790 onward, drew an outline on paper and then painted it in, which could be equally quick. From its original graphic meaning, the term silhouette has been extended to describe the sight or representation of a person, object or scene that is backlit and appears dark against a lighter background. Anything that appears this way, for example, a figure standing backlit in a doorway, may be described as “in silhouette.” Because a silhouette emphasizes the outline, the word has also been used in fields such as fashion, fitness, and concept art to describe the shape of a person’s body or the shape created by wearing clothing of a particular style or period. The word itself is derived from the name of Étienne de Silhouette, a French finance minister who, in 1759, was forced by France’s credit crisis during the Seven Years’ War to impose severe economic demands upon the French people, particularly the wealthy. Because of de Silhouette’s austere economies, his name became synonymous with anything done or made cheaply, and eventually synonymous with the quick and efficient outline portraits. Prior to the advent of photography, silhouette profiles cut from black cards were the cheapest way of recording a person’s appearance. For the depiction of portraits, the profile image has a marked advantage over a full-face image in many circumstances, because it depends strongly upon the proportions and relationship of the bony structures of the face (the forehead, nose and chin) making the image clear and simple. For this reason, profile portraits have been employed on coinage since the Roman era, and the modern form of silhouette directly owes its existence to the prevalence of the profile portrait throughout history.

Lot: 1329 - 82 piece Southern Colonial / Fine Arts Sterling Set 88 Ozt

Circa 1945. 82 piece Southern Colonial / Fine Arts Sterling Set 88 Ozt. Fine Arts Sterling Silver Co. was established in  1944 in Philadelphia, Pennsylvania, selling patterns made by International Silver Co., and was moved to Morgantown, Pennsylvania in  1972. After moving to Jenkintown, Pennsylvania in 1977, Fine Arts went of of business in 1979. Largest (Knife): 1 x 9 1/4 in.  Gross Weight: 82.165 ozt. with 13 knives approximately 6 ozt. Totaling 88 Ozt #4651

Lot: 1330 - Circa 1929 Set of 6 Canadian Birks Sterling Silver Tea Set - 82.28 ozt. 

Circa 1929 Set of 6 English Birks Sterling Silver Tea Set - 82.28 ozt. Established by Henry Birks in 1879. The firm became Henry Birks & Sons in 1893. Incorporated as Henry Birks & Sons Ltd in 1905. The firm used the trade mark "Garb of wheat" and REGENCY PLATE. In 1925 Birks received permission from the London assay office to mark their sterling silver with a date letter that corresponded to the London assay office date letter. From this time most of their hollowware was marked with Birks Sterling (no serifs) and a set of pseudo hallmarks that included a sheaf of wheat (Trademarked by Birks), a lion passant, and a date letter that corresponded to the London date letter for the year of production. Tallest: 9 x 5 x 10 in.  Gross Weight: 82.28 ozt.  #8459

Lot: 1331 - (4) American Sterling Silver Tea/Coffee Set - 39.04 ozt. 

(4) American Sterling Silver Tea/Coffee Set.  Art deco style. Marked on underside. Consists of a teapot, coffee pot, creamer and a lidded sugar. Monogramed on one side. Smooth and rounded with graceful curves.  Size: 8 1/2 x 8 1/2 in.  Gross Weight: 39.040 ozt.  #4816

Lot: 1332 - (82) Wallace Golden Aegan Weave Sterling Silver Set - 104.565 ozt. 

(82) Wallace Golden Aegan Weave Sterling Silver Set. 32 Spoons 15 forks, 15 salad forks 4 Soup Spoons, 1 Fork 15 butter knives Silver portion of the handle has a woven pattern. Marked on back.  Size (Box): 16 3/4 x 12 1/2 x 6 1/2 in.  Gross Weight: 104.565 ozt.  #5159

Lot: 1333 - 11 Pieces of Frank M. Whiting Sterling Silver Serving and Flatware - 61.565 ozt. 

11 Pieces of Frank M. Whiting Sterling Silver Serving and Flatware. Includes 7 bowls and plates, 1 cigarette lighter, and 3 utensils. Marked Sterling and with the company name. One plate has a painting of a sailing ship on the center, with title and attribution to Thomas Mac Fergus Cooper on the bottom.  Condition: One plate has a crumpled side. Commensurate with age.  Size (Largest

Lot: 1334 - (3) Sterling Silver Tea Set - 24.055 ozt.

(3) Sterling Silver Tea Set . Monogramed on one side. Marked on underside.  Includes a creamer, sugar bowl, and a covered sugar bowl. Small footed base.  Size: 7 1/4 x 4 1/4 x 5 1/4 in. Gross Weight: 24.055 ozt. #8635

Lot: 1335 - (4) Sterling Silver Items - 14.275 ozt.

(4) Sterling Silver Items. Lot of four sterling silver serving items, including serving tray, serving dish, sugar bowl, and small pitcher. From various manufacturers, including Gorhams and VRS. Size: 6 1/4 x 4 1/4  x 1 3/8 in. Gross Weight: 14.275 ozt. #8639

Lot: 1336 - Sterling Pitcher - 19.125 ozt. 

Sterling Pitcher - 19.125 ozt. Marked on base, STERLING 3012. Size: 9 1/4 x 6 1/2 x  1/2 in.  Gross Weight: 19.125 ozt.  #8640

Lot: 1337 - (4) Sterling Cups - 15.785 ozt.

(4) Sterling Cups -  15.785 ozt. Lot comprised of four sterling silver cups. Marked on base STERLING 3759 with crown and sword hallmark. Size: 3 x 3 x 3 3/4 in. Gross Weight: 15.785 ozt. #8641

Lot: 1338 - (5) Sterling Bowls, Various Manufacturers - 41.885 ozt

(5) Sterling Bowls, Various Manufacturers - 41.885 ozt. Lot comprised of five sterling silver bowls in various designs by various manufacturers, including Towle and Kenwood. Monogrammed. Size: 10 1/2 x 10 1/2 in. Gross Weight: 41.885 ozt #8642101

Lot: 1339 - (5) Towle Louis XIV Sterling Goblets - 27.215 ozt.

(5) Towle Louis XIV Sterling Goblets - 27.215 ozt. Five Louis XIV by Towles sterling silver water goblets. Marked on base. Size:  3 x 3 x 6 1/2 in. Gross Weight: 27.215 ozt. #8643

Lot: 1340 - Randahl Sterling Bowl - 12.600 ozt.

Randahl Sterling Bowl . Marked on underside.  Circular bowl with a gently curved rounded body. Flat base. Two decorative handles with an openwork design. Stylized floral and leaf pattern. Rolled edge rim.  Size: 10 3/4 x 9 1/8 x 2 1/4 in. Gross Weight: 12.600 ozt. #8699

Lot: 1341 - (32) Sterling Silver Flatware Pieces - 39.935 ozt. 

Lion pattern 1923. Marked on back. Ornate details on handle.  6 knives, 6 dinner forks, 6 dessert forks, 5 serving spoons, 5 teaspoons, and 4 tablespoons.  Size: 8 1/2 x 1 3/4 in. Gross Weight (w/o Knives): 36.935 ozt. Gross Weight (W/ Knives): 39.935 ozt.  #8701

Lot: 1342 - Group of 33 Black Starr & Frost Sterling Silver Set - 40.3 Ozt.

Group of 33 Black Starr & Frost Sterling Silver Set - 40.3 Ozt (minus knives) Longest Knife: 1 x 9 1/2 in.  Gross Weight: 40.380 ozt. Knives were weighed so should be slightly less.  #5361

Lot: 1343 - 74 Piece Set of Sterling Silver- 79 ozt

74 Piece Set of Sterling Silver- 79 ozt Largest: 1 1/4 x 10 in.  Gross Weight:  72.990 ozt. + 12 Knives approximately 79 ozt.  #5364  

Lot: 1344 - 69 Piece American Whiting Sterling Silver Set - 72 ozt.

69 Piece American Whiting Sterling Silver Set - 72 ozt.  Largest: 1 1/4 x 11 in.  Gross Weight: 64.400 ozt. 24 blades of stainless have sterling handles totaling approximately12ozt makes a sum of 72 ozt total #5365  

Lot: 1345 - 76 Piece Set of American Gorham Repousse Sterling Silver Utensils - 88.5 ozt.

76 Piece Set of American Gorham Repousse Sterling Silver Utensils - 88.5 ozt.  Largest: 1 x 9 1/2 in.  Gross Weight: 79.555 ozt.  Weight of Knives: 36.855 ozt. 19 knives approximately 9 ozt sterling. Total 88.5 ozt #5366   

Lot: 1346 - (39) Italian 925 Sterling Silverware, 69 ozt

(39) Italian 925 Sterling Silverware set, approximately 69 ozt with knives at half oz. Marked 925. Weight: 64.7 ozt. Plus 8 knives (.5 ozt each = 4 ozt) Total Approx 68.7ozt. Sizes: Box: 15 1/2 x 11 1/2 x 3 1/2 in. (8) Spoons: 7 in. (7) Small Spoons: 6 in. (8) Small forks: 6 3/4 in. (8) Forks: 7 1/2 in. (8) Knives: 9 1/2 in.

Lot: 1347 - (105) Piece German 800 Silver Silverware - 106.145 ozt.

(105) Piece German 800 Silver Silverware - 106.145 ozt. Maker Mark: Vereinigte silberwarenfabriken Size: 1 x 10 in. Weight (w/o Knives): 106.145 ozt. #5454

Lot: 1348 - Two Painted Miniatures

Two Classical Subject Miniatures 19th Century. The first depicts Venus and Cupid aloft in a cloud, signed Hupt (?) the second of a Sybil or Vestial Virgin before a brazier, inscribed on the reverse, both in ebonized frames.  Condition: Both in good condition.  Largest Overall Size: 6 x 5 1/2 in.  Largest Sight Size: 3 1/2 x 2 3/4 in.  #7763 

Lot: 1349 - Two Amorous Miniatures

Pair of Continental Painted Miniatures Circa 1900. Both depict an amorous scene, circular, in ebonized frames. Condition: Good.  Largest Overall Size: 4 1/4 x 4 1/4 in.  Largest Sight Size: 1 3/4 x 1 3/4 in.  #7764

Lot: 1350 - Three Portrait Miniatures of Maidens

Three Continental Portrait Miniatures.  19th Century. Each of a well-dressed noblewoman, one titled Madame Korsakov, another, after Fragonard, each circular in a rectangular frame. Condition: Good.   Largest Overall Size: 5 1/2 x 5 1/2 in.  Largest Sight Size: 2 1/2 x 2 1/2 in.  #7765 

Lot: 1351 - Two Painted Miniatures

Two Continental Miniatures, Circa 1900, probably French. One depicts two women in a garden setting, the other, of an amorous couple in a garden, both circular in square frames.  Largest Overall Size: 5 1/4 x 5 1/4 in.  Largest Sight Size: 2 1/2 x 2 1/2 in.  #7766

Lot: 1352 - Two Portrait Minitures of Women

Two Portrait Miniatures, Late 19th century. Each appears to be a portrait of Queen Victoria, both framed.   Largest Overall Size: 5 1/2 x 4 3/4 in.  Largest Sight Size: 3 1/4 x 2 1/2 in.  #7767 

Lot: 1353 - Three Portrait Miniatures

Three Painted Portrait Miniatures The first, a portrait of the Infanta Margaret Theresa, as depicted in Diego Rodríguez Velázquezs, Las Meninas, 1656, the second and third, of young maidens.  Largest Overall Size: 6 3/4 x 5 3/4 in.  Largest Sight Size: 4 x 3 in.  #7768 

Lot: 1354 - Two Continental Reverse Landscape Paintings on Glass

Two Continental Reverse Landscape Paintings on Glass Probably 19th Century. Each convex oval plate painted with a rustic landscape with either a figure or a castle tower in the distance, in a white-painted frame.  Condition: Crackling to paint on frame  Overall Size: 15 1/4 x 13 3/8 in.  Sight Size: 9 3/8 x 7 3/8 in.  #7771

Lot: 1355 - (2) Painted Miniatures on Bone of Empress Josephine and Emperor Napoleon

(2) Painted Miniatures on Bone of Empress Josephine and Emperor Napoleon. Two portrait miniatures, oil paint on bone, depicting Emperor Napoleon and Empress Josephine. Empress Josephine Frame: 5 3/4 x 4 1/4 in.  Sight Size: 2 1/2 x 1 3/4 in.  #4748  Emperor Napoleon Frame: 5 3/4 x 5 in.  Sight Size: 4 x 3 1/4 in.  #4749

Lot: 1356 - Album of Early to Mid-19th Century Daguerreotypes and Framed Tintype

Album of Early to Mid-19th Century Daguerreotypes and Framed Tintype. Lot comprised of two items, including a framed tintype photograph and a leather album with daguerreotypes, ambrotypes, and tintype portraits dating from the early to mid 19th century. Size: 7 1/2 x 5 1/2 x 2 3/4 in. #5179   Artist Biography: Early photography techniques like daguerreotypes, ambrotypes, and tintypes were groundbreaking methods that laid the foundation for modern photography. Daguerreotypes, developed by Louis Daguerre in 1839, used polished silver-plated copper sheets treated with light-sensitive chemicals to create highly detailed, one-of-a-kind images. Ambrotypes, introduced in the 1850s, replaced the metal plate with a glass plate coated with a collodion emulsion, producing a positive image when backed with a dark material. Tintypes, also from the 1850s, used a similar collodion process but on thin sheets of iron coated with enamel, making them more durable and affordable. Each of these methods required long exposure times and precise handling but represented significant advancements in capturing and preserving visual history.

Lot: 1357 - Signed Haitian Folk Art, Oil on Canvas

Signed Haitian Folk Art, Oil on Canvas. Depicts a crowd of women with their fruit and other wares going to market in a mixture of the Haitian Naive and Modern styles. Signed "Evens" bottom left. Unframed.  Size: 16 1/4 x 12 in.  #4679  Haitian art has been traditionally divided into two distinctive genres: Naïves (pejoratively referred to as Primitives) and Moderns. Naïve is derived from folk art traditions, and the artists typically do not have any formal training, resulting in an artistic innocence and independence from academic tradition. The subjects are depicted in the traditional forms of Vaudou (Voodoo), often simple village and market scenes, rendered in vivid colors, occasionally including detailed historic settings, the lush jungle, and religious imagery. Conversely, Moderns are schooled artists who have examined and integrated aspects of various international painting styles, particularly the French art tradition, and may borrow from the past and present indiscriminately. Moderns often feature similar subjects of Haitian art as the Naïve, including landscapes, history and current events, and various aspects of Haitian culture. However, the Moderns also draw inspiration from surrealism, pointillism, expressionism, impressionism and abstract art.

Lot: 1358 - Iny Chatra (20th Century) Balinese, Penestanan Oil on Canvas

Iny Chatra (20th Century) Balinese, Penestanan Oil on Canvas. Chatra was one of the early students of Ari Smit. The image shows rolling fields of green dotted with trees, full of working people and animals roaming throughout in the classic Ubud style. Signed bottom left.  Overall Size: 31 1/2 x 40 in.  Sight Size: 26 x 34 in.  #5306     In 1927 the German artist Walter Spies settled on the island of Bali, in what was then known as the Dutch East Indies, and immediately became fascinated by their culture. Throughout the 1930s Spies hosted many Western artists, actors, anthropologists, musicians and bohemian-types at his Villa, which spread an appreciation for the island’s beauty back to Europe. He was responsible for creating an orchestra there, as well as developing the Pita Maha artist collective alongside Dutch painter Rudolf Bonnet. Tragically, Spies died in 1942 along with numerous German prisoners who were rounded up by the British when the transport they were on was sunk by a Japanese bomb, but the allure of the island that he championed lived on. In 1956 a Dutch artist named Ari Smit first visited Bali and decided to make it his home, intrigued by the artistic evolution of Balinese artists who Spies had influenced. In the early 1960s Smit visited a local shrine established in the 10th Century by Dang Hyang Niratha, the Javanese priest who is regarded as the founder of Bali’s modern religious practices and rituals. The area was named Ubud, after the Balinese word for medicine, “Ubad.” Smit gave art supplies to some of the children in Penestanan, a village in Gianyar wedged between Gunung Lebah Tjampuhan Temple and the town of Sayan. The children received intial guidance from Smit and other Western artists, and went on to develop their own naive art, called “Young Artists Style.” The Agung Rai Fine Art Gallery on the outskirts of Ubud holds the largest exhibit of their pieces, but the vibrant busy canvases the people of Penestanan generated can be found in collections all over the world. The town of Penestanan is now known as the Young Artist Village, and is responsible for making the temples and lush surroundings one of the most sought-after tourist destinations on Earth.

Lot: 1359 - Joseph Unclaude (20th Century) Haiti, Oil on Canvas Naif Folk Art

Joseph Unclaude (Haiti, 20th Century) Oil on Canvas Naif Folk Art. Oil on canvas traditional folk art illustration of five brightly clothed figures at market. Signed lower center. Unframed. Haitian naïf folk art is a vibrant, self-taught artistic tradition known for its bold colors, lack of formal perspective, and storytelling quality. It often portrays themes from daily Haitian life, such as rural landscapes, market scenes, and celebrations, alongside spiritual imagery rooted in Vodou rituals. Artists like Hector Hyppolite and Philomé Obin are celebrated for capturing the resilience and cultural pride of Haiti through their work. This art form reflects the creativity and spirit of the Haitian people, offering a colorful and authentic window into their history, environment, and beliefs, and has earned international recognition for its cultural richness. Size: 41 1/2 x 31 in. #4700

Lot: 1360 - Black Milford (20th Century) Haiti, Oil on Canvas Naif Folk Art

Black Milford (Haiti, 20th Century) Oil on Canvas Naif Folk Art. Oil on canvas painting depicting two figures in yellow crouched near baskets of yellow fruits, nearly blending in with the produce. Signed in white lower center-right. Unframed. Haitian naïf folk art is a vibrant, self-taught artistic tradition known for its bold colors, lack of formal perspective, and storytelling quality. It often portrays themes from daily Haitian life, such as rural landscapes, market scenes, and celebrations, alongside spiritual imagery rooted in Vodou rituals. Artists like Hector Hyppolite and Philomé Obin are celebrated for capturing the resilience and cultural pride of Haiti through their work. This art form reflects the creativity and spirit of the Haitian people, offering a colorful and authentic window into their history, environment, and beliefs, and has earned international recognition for its cultural richness. Size: 41 1/2 x 31 1/2 in. #4698

Lot: 1361 - Oil on Board Pointilism Painting, Three Men in Gondola

Oil on Board Pointilism Painting, Three Men in Gondola. An oil on board painting using pointilism techniques to replicate a mosaic image, depicting a group of three men in a gondola; two pushing the boat at the stern, one at the bow, holding a lantern aloft. Unsigned. Framed. Overall Size: 44 x 32 1/4 in. Sight Size: 41 x 29 1/2 in. #4683

Lot: 1362 - Lalanne Lemaire (Haiti, 20th Century) Oil on Canvas Naif Folk Art

Lalanne Lemaire (Haiti, 20th Century) Naif Folk Art. Oil on canvas Naif folk art image depicting black stick figures amid a field of blue-grey and red patterns. Signed lower left. Unramed. Haitian naïf folk art is a vibrant, self-taught artistic tradition known for its bold colors, lack of formal perspective, and storytelling quality. It often portrays themes from daily Haitian life, such as rural landscapes, market scenes, and celebrations, alongside spiritual imagery rooted in Vodou rituals. Artists like Hector Hyppolite and Philomé Obin are celebrated for capturing the resilience and cultural pride of Haiti through their work. This art form reflects the creativity and spirit of the Haitian people, offering a colorful and authentic window into their history, environment, and beliefs, and has earned international recognition for its cultural richness. Size: 45 x 64 in. #4701

Lot: 1363 - Miniature After Guido Reni Early 20th Century Italian Print

Miniature Shadowbox After Guido Reni Early 20th Century Italian Print. Titled  "Aurora". Image depicting angels and cherubs guiding Aurora's chariot. Framed. Overall Size: 6 1/4 x 9 in.  Sight Size: 2 1/4 x 5 in.  Frame Thickness: 2 in.  #7629 

Lot: 1364 - Framed Currier & Ives Color Print, "The Little Sisters"

Framed Currier & Ives Color Print, "The Little Sisters." Original image printed in 1860. Depicts two young girls in matching outfits of red dresses. Surrounded by garden flowers and a wall behind them. Buy both this one and the other of "The Little Brothers" and make them stare at each other across a room!  Condition: Commensurate with age.  Overall Size: 13 3/8 x 18 1/4 in.  Sight Size: 9 1/2 x 14 3/8 in.  #7585  Currier and Ives (also written Currier & Ives) was a New York City-based printmaking business operating from 1835 to 1907. It was founded by Nathaniel Currier (1813-88), who had been working in lithography since he was 15 and used the process to quickly and cheaply dispense images of topical news stories in what he deemed “disaster prints,” starting with the 1835 Great Fire of New York. The corporate name was changed in 1857 to Currier and Ives when James Merritt Ives (1824-95), the company’s bookkeeper and accountant, was invited to become Currier’s partner. Ives expanded the firm’s range to include political satire and sentimental scenes, such as sleigh rides in the snow. At least 7,500 hand-colored lithographs were published in the firm’s 72 years, producing more than a million prints. Many celebrated artists of the day, including James E. Buttersworth, George Inness, and Thomas Nast worked for them. Ives remained active in the firm after Currier’s death, and their sons continued the business until it was eventually liquidated. Today original Currier and Ives prints are highly sought after by collectors, and modern reproductions, especially their winter scenes, are commonly used for Christmas cards.

Lot: 1365 - Graphite Drawing of Renaissance Style Cherubs and Gods

Graphite Drawing of Renaissance Style Cherubs and Gods. Large Stone Walls and Castles / Towers in the Background. Weeping mother with the cherubs looking up to the larger god like men.  Overall Size: 12 3/4 x 10 1/2 in.  Sight Size: 11 1/4 x 9 in.  #7589 

Lot: 1366 - Marcel Duchamp (1887-1968) French, Framed Etching For Du Cubisme

Marcel Duchamp (1887-1968) French, Framed Etching For Du Cubisme. Du Cubisme (translated as On Cubism) is a book written in 1912 by Albert Gleizes and Jean Metzinger. It was the first major text on Cubism, illustrated with black and white photographs of works by Paul Cézanne, Gleizes, Metzinger, Fernand Léger, Juan Gris, Francis

Lot: 1367 - After Robert Kasimir (1914-2002) Austrian, 3 Framed Color Etchings

After Robert Kasimir (1914-2002) Austrian, 3 Framed Color Etchings. Three different views around Vienna. Each signed at bottom.  Overall Size: 11 1/2 x 12 1/2 in.  Sight Size: 4 x 4 3/4 in.  #4567  Robert Kasimir was born in 1914 in Vienna, Austria. His parents, colorist Tanna Hoernes and the prolific etcher Alois Heinrich Luigi Kasimir, were already famous artists, and from an early age he aspired to imitate his father’s realistic style. As a teen he studied under Hans Frank at the Academy of Graphic Art, and seemed poised to follow in his parents footsteps. However, he and his father disagreed when Luigi joined the Nazi Party in 1933, and in 1936 he traveled to the United States to enroll at the Academy of Fine Arts in Philadelphia, followed by private studies with several professors and artists in the city. After several years of study he refused to return to Europe when World War II broke out and traveled extensively, producing etchings of the different sites he visited across America, Canada, and Mexico. He worked on innovations to the multiple plate color etching process invented by his parents, trying to find new ways of capturing the most realistic shadows and shades. After World War II ended he returned to Europe to care for his ailing father, who had been jailed twice for his activities during the war and was suffering from liver failure. While living with him he made copies of his father’s etchings as well as original pieces, trying to recapture the architectural glory of the devastated region. He and his father fought frequently over the work and his changes to the plate color technique, and until Luigi passed away in 1962 he signed most of his work with pseudonyms, particularly “Franz Otto Robert,” both to distance himself from his father’s deeds and out of respect for his parent’s body of work. From the mid 1960s onward he signed prints “Robert Kasimir” and he remained in Vienna for the rest of his life, producing less and less until he found it too physically difficult to continue the arduous etching process in the early 1990s. Robert died in 2002, and his works are often confused with those of his parents for their level of quality, with all three of them found in private collections throughout Europe.

Lot: 1368 - Pierre Zucchelli (1920–1992) French, Numbered Etching, "The Mirror"

Pierre Zucchelli (French, 1920–1992) Numbered Etching, "The Mirror". Figural sketched etching. Signed lower right. Numbered 10/30 lower left. Titled and attributed verso. Overall Size: 9 1/4 x 12 in.  Sight Size: 2 3/4 x 6 1/4 in.  #8523    Artist Biography: Pierre Zucchelli (1920–1992) was a French artist renowned for his landscapes and depictions of rural life, characterized by a harmonious blend of realism and impressionistic influences. Born in Aix-les-Bains, Zucchelli developed a deep connection to the natural beauty of the French countryside, which became the primary inspiration for his work. His paintings, often rendered in soft, luminous tones, capture the tranquility and charm of pastoral settings. Zucchelli exhibited widely throughout France, gaining recognition for his ability to evoke emotion and nostalgia through his depictions of nature. His legacy remains as a celebrated interpreter of rural France's timeless beauty.

Lot: 1369 - Antique European Ex-Voto Oil Painting Depicting a Bull

Antique European Ex-Voto Oil Painting Depicting a Bull. A painting of devotional thanks to God made by a soldier after his commanding officer recovered from a serious illness. Depicting a bull and the image of the crucifixion of Jesus in the sky. Signed by artist. Framed. Overall Size: 6 x 8 in. Sight Size: 4 3/4 x 6 3/4 in. #4752

Lot: 1370 - Eugene Deve (1826–1887) French, Nautical Print

Eugene Deve (1826–1887) French, Nautical Print.  Print of a nautical pastel work by Eugene Deve, depicting a sailboat. Signed lower left. In museum-quality golden oak frame. Overall Size: 28 1/4 x 22 in. Sight Size: 22 x 15 3/4 in. #5162   Artist Biography: Eugène Devé (1826–1887) was a French landscape painter renowned for his evocative and atmospheric depictions of nature. Initially a paymaster during the Crimean War, he later pursued art, studying under Camille Flers and Jean-Baptiste-Camille Corot. Devé's work reflects the influence of these mentors, blending romantic naturalism with an emotional connection to the landscape. His paintings often captured the serene beauty of forests, including the famed Forest of Fontainebleau, using vivid colors and poetic light. Devé exhibited at prestigious venues like the Paris Salon and left a legacy of works housed in museums such as those in Rouen and Amiens.

Lot: 1371 - Indian Adorned Happy Elephant Painting

Indian Adorned Happy Elephant Painting. A traditional style Indian painting depicting an adorned elephant mid-stride with trunk raised. Framed. In Indian artwork, the elephant represents strength, stability, and determination. Portrayed with a raised trunk, it is a sign of prosperity and good fortune and invites positive energy into the home. Overall Size: 12 3/4 x 13 1/4 in.  Sight Size: 7 3/4 x 9 in.  #4757

Lot: 1372 - Antique Oil on Canvas Impressionist Landscape

Antique Oil on Canvas Impressionist Landscape. Oil on canvas painting of a hazy, gray river lined with barren branches and scrub brush. Neutral gray background with black silhouetted trees on the bottom half. Unsigned. Framed. Overall Size: 9 3/4 x 7 1/2 in.  Sight Size: 8 1/4 x 5 3/4 in.  #4753  

Lot: 1373 - Moses Soyer (1899-1974) American, Ballet Dancer Lithograph

Moses Soyer (1899-1974) American, Ballet Dancer Lithograph. Signed in the plate bottom right. Label on back with information about the artist, title, and authentication of the piece.  Overall Size: 18 1/4 x 15 1/4 in.  Sight Size: 12 1/2 x 9 3/4 in.  #4742  Moses Soyer was born on December 25th, 1899 in Borisoglebsk, Tambov, a southern province of Russia. He and his identical twin brother, Raphael, were born with the last name Schoar, children of a Hebrew scholar, writer, and teacher. Although they were an intellectual and artistic family with good connections in the area, they faced the pogroms with the rest of the Jewish population, and were forced to immigrate to the United States in 1912, whereupon they adopted their Anglicized last name. They settled in the Bronx, where Moses continued to be exposed to art as well as changing political and social philosophies. Soyer married Ida Chassner, a dancer, in 1922, and together they had one son, David. Soyer studied art in New York with Raphael, first at Cooper Union and then at the National Academy of Design. He diverged from his twin and attended Educational Alliance, then studied at the Ferrer Art School under the Ashcan painters Robert Henri and George Bellows. He had his first solo exhibition in 1926 and began teaching art the following year at the Contemporary Art School and The New School. During the Great Depression Moses and his brother Raphael both gravitated to Social Realism, demonstrating empathy with the struggles of the working class. In 1939, the twins worked together with the Works Project Administration, Federal Art Project (WPA-FAP) mural at the Kingsessing Station post office in Philadelphia. Soyer also wrote a weekly column for a Yiddish newspaper called “In the World of Art.” Soyer died in the Chelsea Hotel in New York on September 2th, 1974, while painting dancer and choreographer Phoebe Neville. His works can be found around the country in the Brooklyn Museum, the Detroit Institute of Arts, the Hirshhorn Museum and Sculpture Garden, the Honolulu Museum of Art, the Metropolitan Museum of Art, the Walker Art Center, the Whitney Museum of American Art, the Smithsonian American Art Museum, and many more galleries and institutions.

Lot: 1374 - E. L. Tarbox (1830-1904) American, Framed New York Stencil Works Brass Stencil Wheel

E. L. Tarbox (1830-1904) American, Framed New York Stencil Works Brass Stencil Wheel. The stencil wheel is made of thin pressed brass with a center knob which controls the slider; the slider is made of a slightly thicker brass. This slider’s outside edge, which protrudes about an inch, circles the wheel in order to “land on” the proper stencil. The wheel has all letters from A-Z and numbers 0-9, along with these symbols: $, c, ’, 1/4, 1/2, No, lbs, Yds, ., and &. Inscribed patent information and lettering on both the slider and wheel. Original framing label on back.  Overall Size: 19 1/4 x 18 1/2 in.  Sight Size: 12 x 13 in.  #4468 .  In 1830 Eugene LaBaum Tarbox was born in Philadelphia, Pennsylvania. He moved to Brooklyn, New York in his early twenties and obtained a degree from King’s College in stencil cutting and alphabet lettering in 1856. He worked for several companies over the next decade, trying to find ways to expedite the laborious process. Eventually, Tarbox convinced his brothers Jerome and Henry to invest in his work, and they opened their own establishment in 1868 on Nassau Street called New York Stencil Works. He invented a revolving stencil plate, usually made of brass or tin but occasionally more precious minerals, which became the template for most of the other letterers in the city over the next quarter-century. Stencil plates had already become popular for their versatility and ease-of-use, hence Talbox’s ability to focus so specifically on the craft in college, but the “stencil wheel” took the process one step further and allowed for significantly more usage from a single stencil piece. Their patent was reissued in 1871, and by the time they incorporated in 1882 they were one of the primary manufacturers of and dealers in the industry of printing supplies in New England, although their plate had by then been copied and refined numerous times by other companies. Eugene died in 1904, and his widow Julia continued to steer the company along with her nephew Henry Tarbox II. World War I led to significant advancements in many fields, including stenciling, and the company attempted to diversify by acquiring their own mill and control of the materials to make the stencils. Julia passed in 1920, and Henry II absorbed the Newell Snow Mill on the Green River in Massachusetts in 1922, where he began making hand cut steel stamps. After the Great Depression decimated their fortunes, Henry II sold the company in its entirety, and it became   the Greenfield Steel Stamp Company, which still operates today as Valley Steel Stamp.

Lot: 1375 - Emile Jean Horace Vernet (1789-1863) French Print, "Lecon de Diable (Devil Lesson)"

Emile Jean Horace Vernet (France, 1789-1863) Print, "Lecon de Diable (Devil lesson)". Vintage French print depicting a tutor teaching a young woman how to play with a diabolo (a Chinese yo-yo). Titled and attributed verso, pencil dated 1812 lower right. Overall Size: 11 1/4 x 9 1/4 in.  Sight Size: 8 x 6 in. #5045   Artist Biography: Émile Jean-Horace Vernet (1789–1863) was a renowned French painter celebrated for his vivid depictions of military and historical scenes. Born into a family of artists in Paris, Vernet was the son of Carle Vernet and grandson of Claude Joseph Vernet, both accomplished painters. His works, marked by dramatic compositions and meticulous attention to detail, gained popularity during the Napoleonic era and the Bourbon Restoration, capturing battles, portraits of soldiers, and episodes from French history. Vernet's reputation earned him the directorship of the French Academy in Rome in 1828. He was widely admired for blending realism with patriotic fervor, which resonated deeply with the French public and military. His legacy remains as one of France's most significant military artists of the 19th century.

Lot: 1376 - Colored Ceramic Tile Figural Mosaic Folk Art

Colored Ceramic Tile Figural Mosaic Folk Art. Loose style, shows two figures snuggled together in a flowery field.  Overall: 29 1/2 x 18 1/2 in.  Sight: 23 x 12 in.  #4760 .    A mosaic is a pattern or image made of small regular or irregular pieces of colored stone, glass or ceramic, held in place by plaster/mortar, and covering a surface. Mosaics are often used as floor and wall decoration, and were particularly popular in the Ancient Roman world. Mosaic today includes not just murals and pavements, but also artwork, hobby crafts, and industrial or construction forms. Mosaics have a long history, starting in Mesopotamia in the 3rd Millennium BC. Pebble mosaics were made in Tiryns in Mycenean Greece, and mosaics with picture patterns became widespread in classical times, both in Ancient Greece and Ancient Rome. Early Christian basilicas from the 4th Century onwards were decorated with wall and ceiling mosaics. Roman and Byzantine influence led Jewish artists to decorate 5th and 6th century synagogues in the Middle East with floor mosaics. Mosaic flourished in the Byzantine Empire from the 6th to the 15th Centuries, and that tradition was adopted by the Norman Kingdom of Sicily in the 12th Century, by the eastern-influenced Republic of Venice, and among the Rus. Mosaic fell out of fashion in the Renaissance, though artists like Raphael continued to practice the old technique. Figurative mosaic, but mostly without human figures, was widely used on religious buildings and palaces in early Islamic art, including Islam’s first great religious building, the Dome of the Rock in Jerusalem, and the Umayyad Mosque in Damascus. Such mosaics went out of fashion in the Islamic world after the 8th Century, except for geometrical patterns in techniques such as zellij, which remain popular in many areas. Modern mosaics are made by artists and craftspeople around the world. Many materials other than traditional stone, ceramic tesserae, enameled and stained glass may be employed, including shells, beads, charms, chains, gears, coins, and pieces of costume jewelry.

Lot: 1377 - Sir Leslie Matthew Ward (1851-1922) British, Original 1885 Vanity Fair Print

Sir Leslie Matthew Ward (1851-1922) British, Original 1885 Vanity Fair Print of Samuel Pope, titled "Jumbo." Numbered 223. Certificate of Authenticity on reverse. Dec 12 1885 in upper right.  Samuel Pope, nicknamed "Jumbo" due to his large stature, was a prominent 19th-century Irish judge known for his impressive legal mind and memorable personality. His career was distinguished by fairness and a deep understanding of the law, earning him respect in the legal community. Pope's nickname, while reflecting his physical presence, also symbolized his larger-than-life character, which endeared him to many and left a lasting impact on Irish legal history.  Condition: Good.  Overall Size: 20 3/4 x 15 1/2 in.  Sight Size: 14 x 8 1/2 in.  #5041   Sir Leslie Matthew Ward (1851-1922) was a British artist who painted 1,325 portraits which were regularly published by Vanity Fair, a British weekly magazine that ran from 1868 to 1914. He worked almost exclusively under the pseudonyms “Spy” and “Drawl.” The portraits were produced as watercolors and turned into chromolithographs for publication in the magazine, then reproduced and sold as prints. Such was his influence in the genre that Vanity Fair caricatures are sometimes referred to as “Spy cartoons” regardless of who the artist actually was. His caricature portraits, almost always full-length, usually distorted the proportions of the body, with a large head and upper body supported on much smaller lower parts. Ward came from a long line of artists, as his great-grandfather was the famous animal painter James Ward and his mother and father were both history painters. Although they never gave their son formal training, they and their many artistic friends encouraged the young Ward to draw, paint, and sculpt. Ward started caricaturing while still at school at Eton College, using his classmates and school masters as subjects. He left Eton in 1869 after performing very poorly, and his father encouraged him to train as an architect. Ward spent an unhappy year in the office of the architect Sydney Smirke until a family friend, the artist W. P. Frith, spoke to Ward’s father on his behalf, allowing Ward to leave employment and enter the Royal Academy Schools in 1871. In 1873 he sent some of his work to Thomas Gibson Bowles, the founder of Vanity Fair, who immediately hired him to replace his regular cartoonist Carlo Pellegrini (known by the pseudonym “Ape”) and gave him his own famous noms de crayon. He continued to work for Vanity Fair for over forty years, making between £300 and £400 per portrait, ultimately producing more than half of all the caricatures the magazine ever published. In 1899 he married the society hostess Judith Mary Topham-Watney, and they had one daughter, Sidney. In 1918 he was knighted, but after being without steady work for several years he suffered a nervous breakdown and died suddenly of heart failure.

Lot: 1378 - Gordon Grant (1875-1962) American, Nautical Lithograph

Gordon Grant (1875-1962) American, Nautical Lithograph, "Old Ironsides." Signed lower left. Tag with prior gallery information on back.  Condition: Commensurate with age.  Overall Size: 21 1/4 x 25 1/4 in.  Sight Size: 15 x 19 in.  #5044   Gordon Hope Grant was born in San Francisco, California in 1875. When he was twelve his parents, who were from Ireland and Britain, sent him to school in Scotland. He embarked on a four-month journey on a Glasgow square-rigger, sailing the Atlantic Ocean, and during his voyage he developed a lifelong fascination with the sea and sailing ships. Grant spent six years in school in the seaport town of Fifeshire, Scotland, setting up a seat along the water daily to sketch any ships that passed by. At eighteen, determined to become an artist, he enrolled in the Hearthely and Lambeth Art Schools in London. After three years he returned to  Francisco to take a job on the art staff of the San Francisco Examiner. His work gathered immediate national attention, and a year later he accepted an offer to join the staff of the New York-based Sunday World. His reputation as an illustrator continued to increase, and Harper’s Weekly hired him in 1899 to cover the Boer War in South Africa, as well as the Mexican Revolution. In 1901 the first exhibition of his watercolors was held at the Salmagundi Club in New York. He became a member of the American Watercolor Society, Society of Illustrators, Allied Artists of America, New York Society of Painters, New York Watercolor Club, and American Federation of Artists. His work for the cover of the first edition of the Boy Scout Handbook in 1911 made him a household name. Beginning in the early 1920s he exhibited his marine paintings and watercolors at Grand Central Galleries in New York. He also started making etchings and won first prize at the Chicago Society of Etchers in the early 1930s. His countless lithographic prints over the next 20 years established his international reputation as a printmaker. During World War I and II he produced many war posters, and his heavily patriotic style led to work for the Saturday Evening Post and illustrations for Boys’ Life. He continued to have annual watercolor exhibitions and produced prints for Associated American Artists right up until his death in 1962.

Lot: 1379 - D. Arthur Wilson (20th C) American, Limited-Edition Lion Portrait Giclee

D. Arthur Wilson (20th C) American, Limited-Edition Lion Portrait Giclee. Titled "Master of Many". Close-up portrait of the face of a lion. Signed lower right. Numbered 14/50. Framed. Overall Size: 16 3/4 x 14 1/2 in.  Sight Size: 9 1/4 x 7 1/4 in.  #7959    Artist Biography: D. Arthur Wilson, an American artist born near Dayton, Ohio, is known for his unique style of "Wild Expressionism." His self-taught career began at just three years old, influenced by his artist father. Over the years, Wilson traveled extensively as a quick sketch portrait artist before developing his signature style, which focuses on up-close and personal depictions of wildlife, particularly exotic animals like tigers. His works are created on European Suede Mat Board using pastel, Conte crayon, and charcoal. Wilson is passionate about wildlife preservation and has worked with numerous conservation organizations, including the Cheetah Conservation Fund and Turpentine Creek Wildlife Refuge.

Lot: 1380 - R. Powell Oil on Canvas Portrait of Josiah Wedgwood

R. Powell Oil on Canvas Portrait of Josiah Wedgwood. Signed lower left R. Powell. Framed. Overall Size: 18 3/4 x 16 in.  Sight Size: 13 1/2 x 10 1/2 in.  #7977 

Lot: 1381 - (2) Johann Elias Ridinger (1698-1767) German, Equestrian Mezzotint

(2) Johann Elias Ridinger (German, 1698-1767) Equestrian Mezzotint . Set of two equestrian illustration. Titled in French, German, and Latin along bottom. Framed. Overall Size: 31 x 23 in.  Sight Size: 23 x 16 in.  #7979 Artist Biography: Johann Elias Ridinger (1698–1767) was a renowned German painter and engraver, celebrated for his detailed depictions of animals and hunting scenes. Trained in Ulm and Augsburg, he became one of the leading wildlife artists of the 18th century, specializing in horses, dogs, and wild game. His engravings, known for their meticulous attention to anatomy and movement, were highly popular among aristocratic patrons, particularly those with a passion for hunting. Though he also created works on biblical and mythological themes, Ridinger’s legacy is most strongly tied to his masterful portrayals of animals in their natural settings.

Lot: 1382 - Issachar Ber Ryback (Jewish-Ukrainian, 1897-1935) Color Lithograph

Issachar Ber Ryback (Jewish-Ukrainian, 1897-1935) Color Lithograph. Titled "My Destroyed Home, a Recollection". Unknown edition lithograph print depicting a group playing instruments. Signed on plate lower left. Issachar Ber Ryback (1897–1935) was a Ukrainian-Jewish painter and sculptor associated with the Modernist and Jewish avant-garde movements. Born in the shtetl of Yelizavetgrad (now Kropyvnytskyi, Ukraine), Ryback studied art in Kiev and was deeply influenced by Jewish folklore, culture, and the vibrant landscapes of Eastern Europe. He was a key member of the Jewish artistic group "Kultur-Lige," promoting Jewish art and literature. His work often depicted scenes of Jewish life, blending Cubist, Expressionist, and Fauvist styles with traditional motifs. Ryback later moved to Berlin and Paris, where he exhibited widely and became part of the international avant-garde. His untimely death at 38 cut short a promising career, leaving behind a rich legacy of works that celebrate Jewish heritage through a modernist lens. Overall Size: 17 1/4 x 21 1/2 in.  Sight Size: 11 x 15 1/4 in.  #5278 

Lot: 1383 - J. Edward (20th Century) Surrealist Mixed Media "French Fantasy"

J. Edward (20th Century) Surrealist Mixed Media "French Fantasy". A surreal landscape with ballerina's posing amidst a checkerboard field, with the French flag flying from a lamppost. Signed 'Edward' middle right in black. Titled and attributed verso. From the Frank Oehlschlaeger Gallery. Overall Size: 17 x 14 in.  Sight Size: 11 1/2 x 8 1/2 in.  #5283 

Lot: 1384 - Benjamin Stahl (1910-1987) American, Pastel on Board "The Angels Sing"

Benjamin Stahl (American, 1910-1987) Pastel on Board  "The Angels Sing". Pastel on board illustration in predominantly blue and white depicting the angels appearing to Mary, pregnant and holding a small child. Signed lower left. Titled and attributed verso. Framed. From the Frank Oehlschlaeger Gallery. Overall Size: 19 1/2 x 17 in.  Sight Size: 9 x 5 3/4 in.  #5284    Artist Bioraphy: Benjamin Stahl (1910–1987) was an American artist and illustrator renowned for his vivid, realistic paintings and contributions to commercial art. Born in Chicago, Illinois, Stahl honed his craft at the Art Institute of Chicago, developing a mastery of form and color that earned him early recognition. He became a prominent illustrator during the mid-20th century, creating works for major magazines like The Saturday Evening Post and illustrating classic literature, including Ben-Hur. Stahl was also a member of the Society of Illustrators and exhibited his fine art paintings in galleries across the United States. His religious-themed works, particularly a series depicting the life of Christ, gained widespread acclaim and were showcased at the Vatican Pavilion during the 1964–65 New York World's Fair.

Lot: 1385 - Louis Bosa (1905-1981) Italian/American, Humorous Nuns Oil on Board

Louis Bosa (1905-1981) Italian/American, Humorous Nuns Oil on Board. Shows a convent of five nuns in full wimples skiing down a hillside in Bosa's Social Realist-influenced style. Signed bottom right. Personal inscription on back of frame. Informative label from the Frank Oehlschlaeger Gallery on back of the board.  Overall Size: 15 x 19 in.  Sight Size: 7 x 11 in.  #8648

Lot: 1386 - Virginia Hanson (1935-2011) American, Limited Edition Abstract Nude Lithograph

Virginia Hanson (1935-2011) American, Limited Edition Abstract Nude Lithograph. Female figure resting on a cloth in profile, with stark lines and yellowish streaks to define her curves. Signed and numbered 1/40 bottom right. From the Frank Oehlschlaeger Gallery.  Overall Size: 22 1/2 x 18 1/2 in.  Sight Size: 10 1/2 x 8 1/2 in.  #8694     Virginia A. Hanson was born in 1935 in Cincinnati, Ohio. She specialized in landscape and street scenes in a Realist style similar to the works of Edward Hopper, although she also experimented with more abstract style, particularly in still lifes and portraiture. She lived for a time in Wassaic, a community in Amenia Union, New York that is known for its arts scene and residencies. In the 1980s she and her husband Marshall moved to Sarasota, Florida, where she began to explore making art and prints, exhibiting many of her works at the Frank Oehlschlaeger Gallery. She passed away on April 4th, 2011.

Lot: 1387 - Early 20th Century Blue Painted Redware Square of Fish

Early 20th Century Blue Painted Redware Square of Fish. A decorative hanging of a blue painted redware square depicting two swimming fish, surrounded by a frame with a Greek key design. Possibly Moravian in origin. Redware is a type of pottery made from iron-rich clay that turns reddish-brown when fired. It has been used for centuries, with notable popularity in 18th and 19th-century America for making everyday items like plates, bowls, and jugs. Often decorated with simple patterns or slip designs, redware was sometimes coated with a clear or colored glaze. Though less common today due to the rise of more durable ceramics, it remains valued for its rustic charm and historical significance. Size: 20 1/2 x 20 1/2 x 3 3/4 in.  #5292

Lot: 1388 - (10) Ze'ev Raban (1890-1970) Polish, Colored Prints of Illustrations Scenes from the Holy Land

(10) Ze'ev Raban (Polish, 1890-1970) Colored Prints of Illustrations Scenes from the Holy Land. Lot comprised of ten colored prints based on the original 1930s works by Ze'ev Raban, a student of the art nouveau Bezalel School movement. Includes black and white copies with translation key. Images are: "Jerusalem", "Jerusalem-Davids Tower", "Jerusalem-Western "Waiting" Wall", "Haifa (With Elijah's Cave)", "Tiberias, with Sea of Galilee", "Rachel's Tomb", "Safed", "Jericho", "Hebron with Binding of Isaac", "Jaffe with Jonah and Whale".  Size: 13 3/4 x 9 1/2 in.  #5349   Artist Biography: Ze'ev Raban (1890–1970) was a prominent Israeli artist and designer associated with the Bezalel School of Art in Jerusalem. Born Wolf Rawicki in Łódź, Poland, he studied at leading European art academies before immigrating to Palestine in 1912. Raban became a key figure in the development of modern Jewish art, blending European Art Nouveau influences with biblical and Zionist themes. His work included illustrations, jewelry design, and architectural elements, contributing to the visual identity of the early Zionist movement. Raban’s illustrations for Hebrew texts and biblical scenes are among his most celebrated works, reflecting a unique fusion of tradition and modernity.

Lot: 1389 - J. Robin (19th/20th Century) Gouache on Board "Winter Garden"

J. Robin (19th/20th Century) Gouache on Board "Winter Garden". A gouache on board reproduction of Carl Blechen's "The Interior of the Palm House" by J. Robin. Signed, dated, and titled lower right: "Project No. 11 / Winter Garden JCB Doniss / Gouache - J Robin - Jan"; "2/7/1897". Carl Blechen's Interior of Palm House (1834-1835) is a striking work that showcases his masterful ability to combine landscape and architectural elements. Painted during a time when the fascination with exotic plants and botanical gardens was growing in Europe, this piece depicts the Palm House in the Berlin Botanical Garden, a symbol of industrial progress and the era's interest in nature. The painting is known for its atmospheric depiction of the greenhouse's interior, with light filtering through the glass structure and casting shadows on the lush foliage and plants within. Blechen, who was influenced by the Romantic movement, imbued the scene with a sense of serenity, highlighting the contrast between the organic forms of the plants and the engineered architecture of the building. The composition reflects Blechen's characteristic use of light and shadow to evoke mood and his skill in rendering both the natural and constructed environments with equal attention to detail. Overall Size: 33 1/8 x 25 1/8 in.  Sight Size: 27 1/2 x 19 1/2 in.  #5424 

Lot: 1390 - Ron Pailillo (1949-2012) American, Ink on Paper Portrait

Ron Pailillo (American, 1949-2012) Ink on Paper Portrait, "Welcome Back Kotter". Black and white ink portrait of an elderly woman. Signed and dated, Pailillo '76, lower right. Signed, titled, and attributed verso. Framed. Overall Size: 17 x 15 in.  Sight Size: 8 x 7 in.  #7968   Artist Biography: Ron Palillo was an American actor best known for his role as Arnold Horshack on the hit television series *Welcome Back, Kotter, which aired from 1975 to 1979. Born on April 2, 1949, in New York City, Palillo showcased his talent in theater before transitioning to television. His portrayal of the lovable, goofy student made him a household name and earned him a dedicated fanbase. Beyond *Kotter*, he appeared in various television shows and films, including guest roles on series like *The Love Boat* and *Murder, She Wrote*. Palillo was also a playwright and a drama teacher, sharing his passion for acting with younger generations.

Lot: 1391 - Georges Rouault (1871-1958) French, Framed Lithograph

Georges Rouault (1871-1958) French, Framed Lithograph. Signed in image bottom right. Dated 1932 in image bottom left. Label on reverse with attribution, authentication, and title: "Les Visages."  Overall Size: 15 1/2 x 18 1/4 in.  Sight Size: 6 1/4 x 8 in.  #4743   Georges-Henri Rouault was born on May 27th, 1871 into a poor Parisian family whose home had been destroyed in the Paris Insurrection of that same year. His mother encouraged his love for the arts, and in 1885 Rouault entered an apprenticeship as a glass painter and restorer which lasted for five years. During this period he also attended evening classes at the School of Fine Arts, and in 1891 he entered the École des Beaux-Arts. There he studied under Gustave Moreau, and his earliest works show a symbolism in the use of color that reflects his influence. When Moreau died in 1898 Rouault had become his favorite pupil, and was nominated as the curator of the Moreau Museum in Paris. In 1894 Rouault won the Prix Chenavard, and from then on he took part in major public exhibitions, notably the Salon d’Automne (which he helped to found), where paintings with religious subjects, landscapes, and still lifes were shown. Rouault made close friendships with Henri Matisse, Albert Marquet, Henri Manguin, and Charles Camoin, which brought him to the movement of Fauvism. In 1907 Rouault commenced a series of paintings dedicated to courts, clowns, and prostitutes that were widely interpreted as moral and social criticism. He became attracted to Spiritualism and the dramatic existentialism of the philosopher Jacques Maritain, who remained a close friend for the rest of his life. His works from the beginning of World War I onward became more and more informed by Christian motifs and inspiration, and he devoted himself fully to painting once the war ended. In 1929 Rouault created the designs for Sergei Diaghilev’s ballet The Prodigal Son, which led to exhibitions in foreign countries, mainly in major cities like London, New York, and Chicago. World War II had a chilling effect on his work, life, and mental state, and he became withdrawn and disillusioned after witnessing the brutality of the Nazis and the devastation of his homeland. In the mid 1950s he was diagnosed with lung cancer and burnt roughly three hundred unfinished paintings, stating that he felt he would not live to finish them. He passed away in his home in Paris on February 13th, 1958, and it was nearly four decades before there was a resurgence in interest in his work when his daughter Genevieve published a comprehensive biography of his life, complete with reproduced illustrations from his early and later years that were thought to have been lost.

Lot: 1392 - William Hogarth (1697-1764) English, "A Harlot's Progress" Engraving Print

William Hogarth (1697-1764) English, "A Harlot's Progress" Engraving Print. Depicts plate #6 from one of his most famous series. Attribution bottom right, number of plate bottom left, both in print. No glass. Original label on reverse.  Overall Size: 24 x 29 in.  Sight Size: 13 1/4 x 16 1/4 in.  #5055   William Hogarth was born on November 10th, 1697 in London

Lot: 1393 - Vintage Signed and Numbered Limited Edition Central Park Landscape Print

Vintage Signed and Numbered Limited Edition Central Park Landscape Print. Based on the image this was likely created some time after 1931, as it appears to show Gapstow Bridge in Central Park during winter, with the iconic Eldorado building (completed in 1931) over the tree line in the distance. Signed "MARVIN" in image lower right. Numbered 14/20 and signed "Marvin" in pencil bottom left.

Lot: 1394 - (4) Floyd Gahman (1894-1971) American, Oil on Canvas Landscapes

(4) Floyd Gahman (American, 1894-1971) Oil on Canvas Landscapes. Collection of four small winter landscapes by Floyd Gahman, titled: "Jackdaw Hill, VT, 1953", Madonna Peak, VT", "Wardi Mill, VT", "Dairy Hill, VT". Each titled lower left, signed lower right. Overall Size: 6 x 8 in. Sight Size: 4 3/4 x 6 1/2 in. #5051   Description * Rembrandt (Dutch, 1606–1669) Self-Portrait Etching. A self portrait of Rembrandt van Rijin set in an ovoid carved wood frame. Engraved and distributed by E. Nister, Nuremberg.  Size: 15 x 13 in. Sight: 9 x 7 1/2 in. #5046   Artist Biography: Rembrandt Harmenszoon van Rijn (1606–1669) was a Dutch Golden Age painter and etcher renowned for his mastery of light, shadow, and emotional depth. Born in Leiden, he studied art under prominent local painters before moving to Amsterdam, where he achieved fame for his portraits, historical scenes, and biblical interpretations. Rembrandt's works, such as The Night Watch and The Anatomy Lesson of Dr. Nicolaes Tulp, showcase his innovative use of chiaroscuro and his ability to capture human emotion. Despite his success, he faced personal tragedies, financial difficulties, and eventual bankruptcy. Nonetheless, his profound influence on art remains, as his work continues to be celebrated for its psychological complexity and technical brilliance.

Lot: 1395 - (2) Dolores Puthod (Born 1934) Italy, Artist Proof Portrait Etchings

(2) Dolores Puthod (Italy, b. 1934) Artist Proof Portrait Etchings. Pair of portrait etchings by Dolorest Puthod, one male, one female. Signed lower right. 'Epreuve d'artist' lower left. Overall Size: 26 1/4 x 20 3/4 in.  Sight Size: 18 x 12 1/2 in.  Frame Thickness: 1 1/4 in.  #4550   Artist Biography: Dolores Puthod (1932–2021) was an Italian painter renowned for her vibrant theatrical works and deep engagement with cultural and interfaith themes. She graduated from the Academy of Fine Arts of Brera and worked at La Scala in Milan alongside prominent figures like Nikolai Benois and collaborated with artists such as Picasso and Giorgio de Chirico. Puthod’s art often celebrated historical and dramatic subjects, including significant commissions for the bicentenary of Teatro alla Scala and the French Revolution. Her work gained international acclaim, leading to exhibitions worldwide, including commissions for the Vatican and UNESCO. A museum in Lomazzo, Italy, is dedicated to her legacy, showcasing her contributions to modern Italian art and culture.

Lot: 1396 - Lynd Kendall Ward (1905-1985) American, Signed and Dated Wood Engraving Print

Lynd Kendall Ward (1905-1985) American, Signed and Dated Wood Engraving Print. Shows a group of children at play beneath enormous trees in the artists signature style. Titled "Clouded Over" bottom left in pencil. Signed and dated 1948 bottom right in pencil.  Overall Size: 16 x 13 1/4 in.  Sight Size: 9 1/2 x 7 in.  #8522     Lynd Kendall Ward was born on

Lot: 1397 - French Pencil Drawing of a Windmill, Signed Geofray

French pencil sketch of a windmill and a pile of various farm equipment. Signed 'Geofray' lower right. Framed. Condition: Some patches of loss, see pictures. Overall Size: 30 x 36 7/8 in.  Sight Size: 30 x 36 7/8 in.  #7583 

Lot: 1398 - Reed & Barton 1910s Sterling Silver Etched Pitcher - 26.040 ozt. 

Reed & Barton 1910s Sterling Silver Etched Pitcher.  Size: 9 x 4 1/2 x 8 1/2 in.  Weight: 26.040 ozt.  #9 #4279 .  In 1824 Isaac Babbitt created a silversmith manufacturing company called Babbitt & Crossman in Taunton, Massachusetts. Within a decade the company was failing, and was purchased by Henry Reed and Charles Barton, changing the name to Reed & Barton. Its products included sterling silver and silverplate flatware, expanding to britannia and other items after the takeover. During the American Civil War Reed & Barton produced a considerable quantity of weapons for the Union Army. In 1924 the company merged with silversmith Dominick & Haff, and their products were selected to be used in the White House. They were also chosen to design and produce the official gold, silver, and bronze medals for the 1996 Summer Olympics in Atlanta. Reed & Barton filed for Chapter 11 in February 2015, citing ongoing pension liabilities and decreasing revenue. At the bankruptcy auction their remaining assets were acquired by The Lenox Company, a competing maker of flatware and tableware.

Lot: 1399 - Antique 1910s Mount Vernon Company Silversmiths 4 Pint Sterling Silver Pitcher - 21.595 ozt. 

Antique 1910s Mount Vernon Company Silversmiths 4 Pint Sterling Silver Pitcher. Monogrammed "S" on the front, stamped STERLING and 4 PINTS on bottom, along with the mark for the Mount Vernon Company Silversmiths. Size: 9 3/4 x 5 1/2 x 9 1/2 in.  Weight: 21.595 ozt.  #7 #4280 .  The Mauser Manufacturing Company was founded in 1887 by Frank Mauser in North Attleboro, Massachusetts. In 1888 Frank O. Coombs became a partner in Frank Mauser & Co., working as designer and chaser. In the 1890s the firm moved to New York, changing its name to Mauser Mfg. Co. The factory was located in Mt. Vernon with a shop on 15th Street and, from 1904, in the more expensive Fifth Avenue store at the corner of 31st Street. In 1903 Mauser Mfg. Co purchased J.B. & S.M. Knowles (founded in Providence, Rhode Island, in 1875). Frank Mauser died in 1908 and the firm suffered a slow decline until the closure and the sale of the Fifth Avenue retail store in 1912. The Howard Sterling Company was founded in Providence in 1878 as H. Howard & Co by Hiram Howard, A.J. Scherrieble and Arnold Nicoud. They renamed themselves Howard & Scherrieble from 1879 to 1884, when the name changed to Howard & Son. In 1891 the firm changed to its final name, Howard Sterling Co, until around 1901 when it went out of business, although some of the patterns were sold to Roger Williams Silver Co. In 1891 they disposed of the electroplated goods branch of the business to Parks Bros. & Rogers. In 1913 the large Mount Vernon Company Silversmiths Inc. was formed, merging the assets of Hayes & McFarland (who had started in Mount Vernon in 1900) with those of Mauser and Roger Williams. World War I wreaked havoc on the industry, and after failing to recover their sales they were bought by Gorham in 1920, who continued to produce pieces under the Mount Vernon name until 1923.

Lot: 1400 - Personalized Watson Sterling Silver Cup - 4.530 ozt. 

Personalized Watson Sterling Silver Cup. The name "Gregory" inscribed on it. Markings on base.  Size: 4 1/4 x 3 1/4 x 2 1/2 in.  Weight: 4.530 ozt.  #10 #4282 .    In 1874 the silversmiths Clarence L. Watson and Fred Newell along with goldsmiths Charles Cobb, Samuel Gould and W.A. Battey jointly formed Cobb, Gould & Co in Attleboro, Massachusetts. The firm started by producing a line of jewelry goods, mainly gold plated. Between 1875 and 1880 Battey, Cobb and Gould all withdrew from the partnership, and Watson and Newell formed a new firm operating under the name Watson & Newell, dedicated specifically to silver jewelry. In 1887 Joseph R. Ripley joined the business and the name changed to Watson, Newell & Co. In 1891 Edward L. Gowern entered the partnership, although the name stayed the same. Rapid expansion led the company to acquire the defunct Mechanics Mill property in 1894, opening a new factory there in 1896. At that time the name changed yet again to Watson & Newell Co, while Mechanics Sterling Company was created as a subsidiary flatware branch. In 1899 the firm obtained its first flatware patent under Watson, and began a wide production of flatware and souvenir spoons. Failing health forced Newell to retire from  active participation in the firm in 1901, remaining as a silent partner until his death in 1910. In 1904 a sleeve and collar buttons division under the direction of Ripley and Gowen became a separate operating unit in the Mechanics factory, with the name Standard Button Company. In 1920 the numerous companies were consolidated under he name The Watson Company, producing many new silver and flatware designs. When Watson died in 1930 his son-in-law Grover Richards took over management, eventually selling the company to R. Wallace & Sons in 1955, who retired the name and many of the designs. The J.T. Inman Co Inc. of Attleboro purchased over 3000 dies of Watson souvenir spoons from Wallace in the 1970s, but have not put any of them into production, instead focusing almost exclusively on picture frames. 

Lot: 1401 - American Sterling Silver Water Pitcher - 18.970 ozt. 

American Sterling Silver Water Pitcher - 18.970 ozt. Marked on underside.  Silver pitcher with a hammered texture. It has a wide, flared spout and a curved handle with a decorative end. The base is round and the overall shape is slightly bulbous. Pitcher has a ding on the bottom. Size: 8 x 9 in. Gross Weight: 18.970 ozt.  #4817

Lot: 1402 - Cobalt Lined Silver Plate Sugar With Gorham Sterling Silver Spoon

Cobalt Lined Silver Plate Sugar With Gorham Sterling Silver Spoon. Silverplate Hollowware by Celtic Quality Plate. Made in England.  Size: 4 x 4 x 2 3/4 in. Gross Weight of Spoon: 0.720 ozt.  #4758

Lot: 1403 - American Alvin Sterling Silver Oval Shaped Plate - 5.420 ozt

American Alvin Sterling Silver Oval Shaped Plate - 5.420 ozt Marked on underside.  Oval shaped silver plate with a hammered texture.  Size: 10 1/2 x 6 1/2 in.  Gross Weight: 5.420 ozt.  #4818

Lot: 1404 - Gorham Sterling Silver Oval Bread Tray - 8.4 ozt.

Gorham Sterling Silver Oval Bread Tray - 8.4 ozt.. Marked on base, Gorham Sterling (with hallmarks),,4463.  Size: 5 1/2 x 2 x 7 in. Weight: 8.4 ozt. #5397

Lot: 1405 - Sterling Silver Footed Compote Dish - 4.605 ozt.

Sterling Silver Footed Compote Dish - 4.605 ozt. Sterling silver compote dish on four pawed feet. Marked on base STERLING 925/1000 FINE with three export marks. Monogrammed. Size: 6 3/8 x 4 1/2 x 3 1/4 in.  Gross Weight: 4.605 ozt.  #5418

Lot: 1406 - Monogrammed Cigarette Case

Monogrammed Cigarette Case. Silver cigarette case with striped engraving exterior design. Monogrammed AGF. Unmarked. Size: 3 x 6 3/4 x 1/8 in.  #8550

Lot: 1407 - American Stieff Sterling Cup - 3.310 ozt.

American Stieff Sterling Cup - 3.310 ozt. Marked on base. Size: 2 3/4 x 2 3/4 x 3 in. Gross Weight: 3.310 ozt. #8698

Lot: 1408 - Antique Dutch Silver Candlestick

Antique Dutch Silver Candlestick. Silver pedestal candlestick with designs of scrollwork, leaves, and ribbons on square base. With Dutch export mark near base. Size: 4 1/4 x 4 1/4 x  9 5/8 in.  #5415

Lot: 1409 - Antique Tiffany & Co 1913 Weighted Sterling Silver Candlesticks

Tiffany & Co 1913 Weighted Sterling Silver Candlesticks. Matching pair, monogrammed "MOB" on both. Pattern mark on base indicates date, crafted under Director John C. Moore II in 1913.  Size: 4 3/4 x 4 3/4 x 9 1/4 in.  #12 #4281 .  Tiffany & Co. (colloquially known as Tiffany’s) is an American luxury jewelry and specialty design house known particularly for its sterling silver and diamond jewelry along with countless other goods. The company was founded in 1837 by Charles Lewis Tiffany and became world-famous in the early 20th century under the artistic direction of his son Louis Comfort Tiffany. In its earliest days it adopted a more European style of business by accepting cash payment only instead of credit and refusing to allow haggling on prices. Their “Blue Book” mail order catalog was first introduced in 1845, and they supplied swords, flags, and surgical implements to the Union Army during the Civil War. In 1867 they became the first American company to be awarded for excellence in silverware at the Exposition Universelle in Paris. In 1879 they purchased one of the world’s largest diamonds, known afterwards as the Tiffany Diamond, which has only ever been worn by four people. A logo they created for a police medal of honor was adopted by the Yankees baseball team in 1909, and throughout the 20th Century countless celebrities from Andy Warhol to Lady Bird Johnson collaborated with them on unique pieces. Their blue gift boxes are almost as prized as the items they contain, and led to the opening of the Blue Box Cafe on the sixth floor of their flagship store in 2017. As of 2023, Tiffany operated over 300 stores globally, and is now part of the multinational holding company LVMH Moet Hennessy Louis Vuitton, still operating out of New York City as an independent subsidiary.

Lot: 1410 - French Sterling Silver Salt and Pepper Grinders

French Sterling Silver Salt and Pepper Grinders. Marked "Sterling" on sides, marked "Made in France"/"Depose France" on bottoms. Similar but slightly different designs.  Size: 2 x 2 x 4 in.  #8 #4283 .  French silver is often characterized by high quality and skilled workmanship, both ensured by particularly strict guild rules. The French hallmarking system is complex and

Lot: 1411 - (2) Sterling Silver Mesh Handbags AS IS - 13.230 ozt. 

(2) Sterling Silver Mesh Handbags AS IS - 13.230 ozt..Pair of sterling silver mesh handbags. Marked on inside near clasp. Both engraved on inside.  Condition: Hole in chain mail of one bag. Chain mail broken from top.  Largest Size: 9 x 12 in.  Gross Weight: 13.230 ozt.  #11 #4284 

Lot: 1412 - Pair of Sterling Scallop Form Silent Butlers - 3.555 ozt. 

Pair of sterling silver scallop form silent butler (for hiding cigarette ash) from Connecticut.  Size: 3 1/2 x 3 1/2 in.  Gross Weight: 3.555 ozt.  #4834

Lot: 1413 - (4) Weighted Sterling Glass Lined Salt and Pepper, 2 Pedestal Bowls

(4) Weighted Sterling Glass Lined Salt and Pepper, 2 Pedestal Bowls Tall slender shakers with a bulbous base and a domed top. 2 round shallow bowls with two small handles on the sides and a short pedestal base.  Size:  5 x 3 1/2 in. #4819

Lot: 1414 - (5) Sterling Bowls - 3.125 ozt.

(5) Sterling Bowls.  Simple rounded design with a beaded rim.  Size: 3 1/4 x 3 1/4 in. Gross Weight: 3.125 ozt. #8700

Lot: 1415 - (8) Sterling Silver Cups + 2 Silver Plate Cups - 13.095 ozt

(8) Sterling Silver Cups + 2 Silver Plate Cups - 13.095 ozt. Various sterling silver cups. Different makers including Wallace, Lunt, and International Sterling. 2 are copper silver plate. Markings shown in images. Weight: 13.095 ozt.    Size: 4 3/4 x 2 3/4 x 2 1/2 in. Gross Weight: 20.010 ozt. #8637

Lot: 1416 - 12 Silver Alcohol Bottle and Decanter Tags - 2.435 ozt. 

12 Silver Alcohol Bottle and Decanter Tags - 2.435 ozt. A wide variety of labels, including: Rum (2), Rye, Sherry, Brandy, Vodka, Vermouth (2), Gin, Bourbon, Madeira, and Port. Five are in a matching more ornate Victorian style (marked sterling with a "W" hallmark), three are in a matching minimalist style (marked sterling with maker name), and two are matching in block lettering without a background (marked sterling, 1978). The Rye is marked sterling with a hallmark, and the larger Rum reads "Made in France." A perfect collection for anyone who has a lot of alcohol and wants to make it easy for guests to figure out what they're looking for.  Size: (largest) 2 1/2 x 1 1/2 in.  Gross Weight: 2.435 ozt.  #4823 .  By the mid-18th Century gin had become so popular in the United Kingdom that it was cheaper to purchase than beer. Improved trade relations with the Near East had also introduced vodka to the population, and after the Excise Act of 1823 passed legalizing the production of Scotch whisky these three types of liquor came to dominate the market. Prior to the emergence of the Temperance Movement which sought futile attempts at Prohibition, regulations on bottling and distilling were loose, and often purely regional, without any international standards established. As such, gin, vodka, and whisky were often simply brought in large vats or barrels to an establishment and then emptied into whatever vessels they had. As the Victorian Era progressed and the growing middle class became more discerning about what they chose to imbibe, distilleries began to develop their own bottle shapes and sizes, developing brand recognition and self-regulation simultaneously. Many shops, stores, and joints continued to purchase their liquor in mass quantities, however, and created unique labels and insignias to signify to their customers what they were going to drink.

Lot: 1417 - (8) Sterling Weighted Candle Holders

(8) Sterling Weighted Candle Holders. Lot comprised of eight candle holders of various sizes. All marked sterling weighted.  Largest Size: 3 1/2 x 3 1/2 x 12 in. #8638

Lot: 1418 - American Sterling Silver Breadbasket & Silver Circle Bowl - 10.985 ozt. 

American sterling silver breadbasket. Monogrammed on inside. Beaded design along edge. Marked on underside.  Simple designed silver bowl.  Size: 10 7/8 x 7 1/4 in.  Gross Weight: 10.985 ozt.  #4821

Lot: 1419 - (4) Sterling Silver Salt Shakers and (1) Silver Plated Wine Coaster

(4) Sterling Silver Salt Shakers and (1) Silver Plated Wine Coaster.  Shakers marked on underside. Classic shaker shapem typically cylindrical with perforated top. Silver plated circular openwork designed wine coaster.  Size: 5 1/4 x 1 1/2 in. Gross Weight: 0.500 ozt.  #5290

Lot: 1420 - (2) Sterling Silver Picture Frames

Pair of silver picture frames. One frame with .925 sterling hallmark on lower left; one frame with sterling mark upper right. Size: 7 1/2 x 9 1/2 in. #2294

Lot: 1421 - Reticulated Silver Scroll Holder - 3.415 ozt. 

Reticulated Silver Scroll Holder.  cylindrical shape with pointed or conical ends. Designed to protect rolled up scrolls or documents. Elaborately decorated with intricate silverwork. Filigree, granulation, and openwork. There is a central simple polished area called a cartouche, intended for an inscription or a personal mark.  Size: 8 1/2 x 1 1/2 in. Gross Weight: 3.415 ozt.  #5140

Lot: 1422 - Reed & Barton Sterling Silver Ladle  - 6.005 ozt.

Reed & Barton Sterling Silver Ladle.  Handle is elaborately decorated with raised designs, floral motifs and scrolls.  Monogrammed at end of handle. Marked sterling on back.  Reed & Barton is a well-known and respected American silversmithing company with a long history. They were founded in Taunton, Massachusetts, in 1824. They're known for producing high-quality sterling silver flatware, hollowware (bowls, pitchers, etc.), and other silver items. Size: 12 x 4 in. Weight: 6.005 ozt. #8705

Lot: 1423 - Christofle Art Deco Silverplate Asparagus Tongs

Christofle Art Deco Silverplate Asparagus Tongs. Pair of silverplated asparagus tongs by Christofle of France. Marked on handle with justice scales hallmark. Size: 6 x 3 1/4 x 2 1/4 in.  Gross Weight: 5.515 ozt.  #5417

Lot: 1424 - Alvin Manufacturing Co. Monogrammed Sterling Silver Ladle - 2.41 ozt.

Alvin Manufacturing Co. Monogrammed Sterling Silver Ladle - 2.41 ozt. Beautifully detailed from tip to tip. "C" inscribed on the top end of the handle. Hallmark and "STERLING" stamped on underside.  Size: 3 1/4 x 8 1/2 in.  #4458 .  Alvin Manufacturing Company was founded by William H. Jamoneau in 1886 in Irvington, New Jersey. Their level of quality got them chosen to make official souvenir spoons for the Chicago Columbian Exposition in 1893. After changing the name to Alvin-Beiderhase and moving operations to Sag Harbor on Long Island in 1895, they expanded their production to include watch-cases, and created a line of children’s cutlery called “Lullaby.” In 1928 their assets, dies, and patterns were purchased by Gorham Corporation out of Providence, Rhode Island, consolidating the brands and effectively existing in name only for the next decade.

Lot: 1425 - (2) Wallace Sterling Silver Serving Spoons - 4.9 ozt. 

(2) Wallace Sterling Silver Serving Spoons. Both marked on underside of stem. Dawn mist pattern.  Pierced tablespoon and regular tablespoon.  Size: (each) 2 x 9 in.  Gross Weight: 4.9 ozt.  #4461 .    In 1835 Robert Wallace (1815-1892), the son of Scottish immigrant silversmiths, founded R. Wallace & Sons in Wallingford, Connecticut. Having apprenticed for the Meriden Britannia Company, he sought to develop his own brand, first focusing only on spoons. By the time he died his company had roughly 600 employees, and his children had renamed it twice, first to Wallace Brothers Silver Company and finally Wallace Silversmiths. Many of their pieces have wound up in American museums, and after numerous acquisitions in the 20th Century they wound up under the Lifetime Brands umbrella in 2006, which continues to produce their sterling, silverplate, and stainless steel flatware to this day.

Lot: 1426 - Georg Jensen Sterling Silver Fork & Spoon - 7.085 ozt.

Georg Jensen Sterling Silver Fork & Spoon - 7.085 ozt. Two George Jensen art nouveau sterling silver utensils, one fork, one spoon, with leaf and berry stem. Marked Georg Jensen - Sterling Danmark on stem. Includes original carrying bags. Georg Jensen (1866–1935) was a celebrated Danish silversmith and designer renowned for merging artistry with functionality in his works, which epitomized Art Nouveau and modernist aesthetics. Born in Raadvad, Denmark, his early rural surroundings deeply influenced his designs, which frequently featured organic motifs like blossoms, leaves, and fruits. Initially trained as a goldsmith, Jensen also pursued sculpture at the Royal Academy of Fine Arts. However, financial constraints led him back to metalwork, and in 1904 he founded his silver workshop in Copenhagen. His innovative designs gained rapid acclaim, leading to international expansion with stores in major cities like New York, Paris, and London.  Size: 2 1/2 x 8 1/2 x 1 1/2 in. Weight: 7.085 ozt. #5178

Lot: 1427 - Set of 6 Sterling R Wallace & Sons Repousse Tablespoons - 6.825 ozt.

Set of 6 Sterling R Wallace & Sons Repousse Tablespoons - 6.825 ozt. Markings read RM&S Sterling. Wallace operated out of Connecticut.  Size: 1 1/2 x 7 1/4 in.  Gross Weight: 6.825 ozt.  #5353  

Lot: 1428 - (7) Sterling Silver Rose Flatware -5.015 ozt.

(7) Sterling Silver Rose Flatware.  Serving fork, long spoon, and 5 teaspoons. Rose pattern at bottom of handle. Beaded along handle.  Marked Maselbert sterling on back. One monogramed on front.  Size: 8 1/2 x 2 in. Weight: 5.015 ozt. #8703

Lot: 1429 - Set of 7 International Sterling Spoons - 4.340 ozt.

Set of 7 International Sterling Spoons - 4.340 ozt.  Size: 5 x 1 in.  Gross Weight: 4.340 ozt.  #8480 

Lot: 1430 - Set of 5 Whiting Pompadour Pattern Sterling Silver Salad Forks - 5.705 ozt.

Set of 5 Whiting Pompadour Pattern Sterling Silver Salad Forks - 5.705 Ozt. Whiting Mfg. Sterling Silver Dinner Forks in the stunning, ornate 19th c. Pompadour Pattern. The pattern was designed by Charles Osborne and patented in 1895. Company originated out of North Attleboro, Massachusetts.  Size: 1 x 7 in.  Gross Weight: 5.705 ozt.  #5354   

Lot: 1431 - (7) Assorted Sterling and Coin Silver Spoons - 8.150 ozt.

(7) Assorted Sterling and Coin Silver Spoons. Marked on back. Kensey Joy pattern. Handle that widens at the top and curved inward towards the stem, resembling the shape of a fiddle or violin. 4 tablespoons and 3 teaspoons. 4 spoons are monogrammed.  Size: 9 x 1 3/4 in. Weight: 8.150 ozt. #87004

Lot: 1432 - Set of 7 Whiting Sterling Silver Salad Forks - 6.610 ozt.

Set of 7 Whiting Sterling Silver Salad Forks - 6.610 ozt.  Size: 1 x 6 1/4 in.  Gross Weight: 6.610 ozt.  #5355  

Lot: 1433 - Group of (7) 800 German Silver Utensils- 3.620 ozt.

Group of (7) 800 Silver Utensils- 3.620 ozt. Maker Mark: Vereinigte silberwarenfabriken Size: 1 1/4 x 6 in. #5450

Lot: 1434 - American Sterling Silver Serving Set of 8 - 9 ozt.

American Sterling Silver Serving Set of 8 - 9 ozt. Makers Mark include Stieff & S. kirk & Son. Repousse Largest: 1 3/4 x 11 1/4 in.  Gross Weight: 5.895 ozt. + 6 handles approximately 9 ozt. #5363   

Lot: 1435 - (10) Sterling Forks - 10.765 ozt.

(10) Sterling Forks. Marked on back. Distinctive ornate design on the handles. he design features a stylized floral pattern with a central motif that resembles a fleur-de-lis or a stylized leaf. The forks have four tines and are likely dinner forks or possibly luncheon forks, given their size. Size: 7 x 1 in. Gross Weight: 10.765 ozt. #8702

Lot: 1436 - Group of 10 Clemens & Oskamp Sterling Silver Spoons - 8.295 ozt

Group of 10 Clemens & Oskamp Sterling Silver Spoons - 8.295 ozt Clemens & Oskamp Silversmiths operated out of Cincinnati Ohio 1822-1887. Marked Sterling.  Largest Size: 1 1/8 x 5 1/2 in.  Gross Weight: 8.295 ozt.  #5352   

Lot: 1437 - Group of (12) Sterling Silverware - 12.5 ozt

Group of (12) Sterling Silverware - 12.5 ozt 5 TA Kohn & Son Sterling Forks. 1 International Sterling Fork.1 Sterling Fork (largest). Forks total weight 10.1 Ozt 4 Knives - stainless blade. Approximately 2 Ozt 1 Cake Knife. Approximately .5 Ozt Size: 2 1/4 x 9 1/2 in. Weight: 10.085 ozt. #5452

Lot: 1438 - Group of 12 Sterling Mixed Forks - 7.340 ozt.

Group of 12 Sterling Mixed Forks - 7.340 ozt. Mostly Whiting Sterling, but also includes one marked James Allan Sterling.  Longest: 1 x 6 1/4 in.  Gross Weight: 7.340 ozt.  #5356  

Lot: 1439 - Set of 12 International Sterling Silver Ice Tea Spoons- 14.525 ozt.

Set of 12 International Sterling Silver Ice Tea Spoons- 14.525 ozt. Marked International Sterling 1810.  Size: 7 1/4 x 1 1/8 in.  Gross Weight: 14.525 ozt.  #5419

Lot: 1440 - 14 Sterling Silver Spoons - 9.545 oxt.

14 Sterling Silver Spoons.  Various markings include Chas S. Stifft, sterling. M. Some are monogramed.  Rose designs, beaded handle design, ornate leaf design, and simple designs. Largest Size: 1 1/8 x 6 in.  Gross Weight: 9.545 ozt.  #5351  

Lot: 1441 - Group of 16 Silver / 19th Century Coin Silver Items Spoons 6.27 Ozt

10 coin silver heineman Spoons. 3 coin demitasse spoons.  Set of 2 1964 John F. Kennedy Half Dollar Coins. 1 pendant. Largest: 6 x 1 1/4 in. (Spoons)  Gross Weight of Coins: 0.805 ozt.  Gross Weight: 6.270 ozt.  #5425

Lot: 1442 - 18 Piece Sterling Silver Set of Forks and Spoons- 17.740 ozt.

18 Piece Sterling Silver Set of Forks and Spoons- 17.740 ozt. 8 Forks. 8 Spoons.  Largest: 1 x 7 in.  Gross Weight: 17.740 ozt.  #5357  

Lot: 1443 - Group of 18 Sterling Silver Utensil Mix - 26.240 ozt.

Group of 18 Sterling Silver Utensil Mix - 26.240 ozt. Makers include: Stieff, Towle, Gorham  Largest: 1 3/8 x 9 3/4 in.  Gross Weight: 26.240 ozt. plus two knives.  #5362   

Lot: 1444 - Group of 18 Sterling Spoons - 7.055 ozt.

Group of 18 Sterling Spoons - 7.055 ozt.  Makers Marks: Gorham, Whiting, One reads 800 Silver.  Largest Size: 4 5/8 x 1 in.  Gross Weight: 7.055 ozt.  #5420

Lot: 1445 - 20 Piece G.S & Co American Sterling Silver - 23.510 ozt.

20 Piece G.S & Co American Sterling Silver  - 23.510 ozt.  Largest: 1 x 7 3/4 in.  Gross Weight: 23.510 ozt.  #5358  

Lot: 1446 - (21) Pieces of Sterling Silver Tiffany Co. "Hampton" Silverware - 22.775 ozt. 

(21) Pieces of Sterling Silver Tiffany Co. "Hampton" Silverware. Includes 6 matching seafood forks, 6 matching butter knives, 7 matching teaspoons, and 2 differently sized dinner spoons. Style from the 1950s. Marked on each piece with "Tiffany & Co." and "Sterling."  Knife Length: 9 1/2 in.  Gross Weight: 22.775 ozt.  #5254 .  Tiffany & Co. (colloquially known as Tiffany’s) is an American luxury jewelry and specialty design house known particularly for its sterling silver and diamond jewelry along with countless other goods. The company was founded in 1837 by Charles Lewis Tiffany and became world-famous in the early 20th century under the artistic direction of his son Louis Comfort Tiffany. In its earliest days it adopted a more European style of business by accepting cash payment only instead of credit and refusing to allow haggling on prices. Their “Blue Book” mail order catalog was first introduced in 1845, and they supplied swords, flags, and surgical implements to the Union Army during the Civil War. In 1867 they became the first American company to be awarded for excellence in silverware at the Exposition Universelle in Paris. In 1879 they purchased one of the world’s largest diamonds, known afterwards as the Tiffany Diamond, which has only ever been worn by four people. A logo they created for a police medal of honor was adopted by the Yankees baseball team in 1909, and throughout the 20th Century countless celebrities from Andy Warhol to Lady Bird Johnson collaborated with them on unique pieces. Their blue gift boxes are almost as prized as the items they contain, and led to the opening of the Blue Box Cafe on the sixth floor of their flagship store in 2017. As of 2023, Tiffany operated over 300 stores globally, and is now part of the multinational holding company LVMH Moet Hennessy Louis Vuitton, still operating out of New York City as an independent subsidiary.

Lot: 1447 - Group of 22 Repousse S Kirk & Son Sterling Silver Set - 26 ozt.

Group of 22 Repousse S Kirk & Son Sterling Silver Set - 26 ozt.  Largest (Knife): 8 in.  Gross Weight: 25.880 ozt. + 1 knife.  #5360  

Lot: 1448 - Group of (23) American Alvin Sterling Silverware - 16.975 ozt.

Group of (23) American Alvin Sterling Silverware - 16.975 ozt. Founded by Wm. H. Jamoneau in 1886 as Alvin Mfg Co in Irvington, New Jersey.The firm changed to Alvin-Beiderhase Co (c. 1893) under the management of Wm. H. Jamoneau, Henry H. Leibe and George B. Beiderhase moving in 1895 to Sag Harbour, Long Island. In 1897 Alvin-Beiderhase Co, maker of Official World Fair souvenir spoons for 1893-94 Chicago Columbian Exposition, was purchased by Joseph Fahys & Co (watch-case manufacturer) operating as a branch until 1910. In 1919 the name changed to Alvin Silver Co until 1928 when assets, dies and patterns were purchased by Gorham Corporation operating in Providence plant as a separated division of Gorham under the name of Alvin Corporation. Size: 1 3/4 x 6 3/4 in. Weight: 16.975 ozt. #5450

Lot: 1449 - Collection of 25 Sterling Silver Utensils- 11.450 ozt.

Collection of 25 Sterling Silver Utensils- 11.450 ozt. Variety of Makers, and country of origin.  Largest: 1 x 6 1/2 in.  Gross Weight: 11.450 ozt.  #5359   

Lot: 1450 - (2) Michael Aram Silver Metal Lily Pad Trays

(2) Michael Aram Silver Metal Lily Pad Trays. Pair of matched trays, signed on both.  Size: (largest) 19 3/4 x 19 1/4 in.  #4398 .  Michael Aram was born in Providence, Rhode Island in 1963. Both of Aram’s grandparents were survivors of the Armenian Genocide, and learning of it from them at a young age instilled a strong sense of justice and curiosity in him. He became interested in painting and sculpture as a teen, and received a bachelor’s degree in Art History at Bates College in Lewiston, Maine before traveling to the University of Florence in Italy to study Fine Arts. He moved to New York City in 1987 to continue his studies at the Art Students League, and took a job designing posters and books for the Metropolitan Museum of Art. In 1988 he traveled to India, where he discovered traditional Indian metal-crafting techniques to make a wide variety of tools, figures, and instruments. When he got back to America he launched his first metal-ware collection in 1989, which rapidly bloomed into a successful business, selling his work in over 600 locations worldwide. He has designed items and even whole spaces for Armenian churches and charity events, Jewish festivals, and even Pope Francis. He opened his first namesake boutique in Manhattan in 2007, and divides his time between New York and Florida, where he shares homes with his husband Aret and their twin children.

Lot: 1451 - Michael Aram (Born 1963) American, Metal Lily Pad Bowl Sculpture - 15.165 ozt. 

Michael Aram (b. 1963) American, Metal Lily Pad Bowl Sculpture. Signed on bottom.  Size: 9 1/2 x 2 1/4 in.  Weight: 15.165 ozt.  #4385 .  Michael Aram was born in Providence, Rhode Island in 1963. Both of Aram’s grandparents were survivors of the Armenian Genocide, and learning of it from them at a young age instilled a strong sense of justice and curiosity in him. He became interested in painting and sculpture as a teen, and received a bachelor’s degree in Art History at Bates College in Lewiston, Maine before traveling to the University of Florence in Italy to study Fine Arts. He moved to New York City in 1987 to continue his studies at the Art Students League, and took a job designing posters and books for the Metropolitan Museum of Art. In 1988 he traveled to India, where he discovered traditional Indian metal-crafting techniques to make a wide variety of tools, figures, and instruments. When he got back to America he launched his first metal-ware collection in 1989, which rapidly bloomed into a successful business, selling his work in over 600 locations worldwide. He has designed items and even whole spaces for Armenian churches and charity events, Jewish festivals, and even Pope Francis. He opened his first namesake boutique in Manhattan in 2007, and divides his time between New York and Florida, where he shares homes with his husband Aret and their twin children.

Lot: 1452 - Michael Aram (Born 1963) American, 4 Piece Modern Nature-Themed Silver Serving Set

Michael Aram 4 Piece Modern Nature-Themed Silver Serving Set. Each tray shaped like an abstract leaf, with twig-like protrusions for handles. Logo of maker on the twigs.  Size: 17 1/2 x 14 1/2 in.  #141 #8428 .    Michael Aram was born in Providence, Rhode Island in 1963. Both of Aram’s grandparents were survivors of the Armenian Genocide, and learning of it from them at a young age instilled a strong sense of justice and curiosity in him. He became interested in painting and sculpture as a teen, and received a bachelor’s degree in Art History at Bates College in Lewiston, Maine before traveling to the University of Florence in Italy to study Fine Arts. He moved to New York City in 1987 to continue his studies at the Art Students League, and took a job designing posters and books for the Metropolitan Museum of Art. In 1988 he traveled to India, where he discovered traditional Indian metal-crafting techniques to make a wide variety of tools, figures, and instruments. When he got back to America he launched his first metal-ware collection in 1989, which rapidly bloomed into a successful business, selling his work in over 600 locations worldwide. He has designed items and even whole spaces for Armenian churches and charity events, Jewish festivals, and even Pope Francis. He opened his first namesake boutique in Manhattan in 2007, and divides his time between New York and Florida, where he shares homes with his husband Aret and their twin children.

Lot: 1453 - Michael Aram (Born 1963) American, Hammered Silver Judaica Matzah Plate

Michael Aram (b. 1963) American, Hammered Silver Judaica Matzah Plate. Aram's logo on the bottom.  Size: 9 1/4 x 9 1/4 x 1 3/8 in.  #8416 .  Michael Aram was born in Providence, Rhode Island in 1963. Both of Aram’s grandparents were survivors of the Armenian Genocide, and learning of it from them at a young age instilled a strong sense of justice and curiosity in him. He became interested in painting and sculpture as a teen, and received a bachelor’s degree in Art History at Bates College in Lewiston, Maine before traveling to the University of Florence in Italy to study Fine Arts. He moved to New York City in 1987 to continue his studies at the Art Students League, and took a job designing posters and books for the Metropolitan Museum of Art. In 1988 he traveled to India, where he discovered traditional Indian metal-crafting techniques to make a wide variety of tools, figures, and instruments. When he got back to America he launched his first metal-ware collection in 1989, which rapidly bloomed into a successful business, selling his work in over 600 locations worldwide. He has designed items and even whole spaces for Armenian churches and charity events, Jewish festivals, and even Pope Francis. He opened his first namesake boutique in Manhattan in 2007, and divides his time between New York and Florida, where he shares homes with his husband Aret and their twin children.

Lot: 1454 - Tiffany Studios Bronze Double Arm Candelabra

Tiffany Studios Bronze Double Arm Candelabra. Bronze double armed candelabra by Tiffany Studios, two candlestick sconces with flame-shaped central spire and finial. Marked and monogrammed on underside. Patinated. Tiffany Studios, founded by Louis Comfort Tiffany in the late 19th century, is renowned for its innovative and exquisite decorative arts, particularly its stained-glass lamps and windows. Drawing inspiration from the natural world and the Art Nouveau movement, Tiffany revolutionized glassmaking with techniques like Favrile glass, known for its iridescent and textured qualities. The studio's designs often featured intricate floral, geometric, and nature-inspired motifs, blending artistry with functionality. Revered for their craftsmanship and beauty, Tiffany Studios' works remain highly collectible and influential, embodying a golden era of American decorative art. Size: 7 1/4 x 3 x 9 in. #8599

Lot: 1455 - Spanish Colonial Santos Painting of the Holy Family Oil on Canvas

Spanish Colonial Santos Painting of the Holy Family Oil on Canvas.    Overall Size: 25 x 18 1/2 in. Sight Size: 23 x 15 1/4 in.  #5013

Lot: 1456 - Spanish Carved Wood Polychrome Painted Trade Workshop Folk Art Sign

Spanish Carved Wood Polychrome Painted Trade Workshop Sign. Carved wood and polychrome painted workshop sign depicting a figure working the bellows. Label MADE IN SPAIN. Size: 9 x 15 in. #4802

Lot: 1457 - Antique Carved Polychrome Folk Art Santos Bultos Figure

Antique Carved Polychrome Folk Art Santos Bultos Figure. Traditional folk art sculptural carving of a religious figure with arms folded over chest. Polychrome painted in predominantly  yellow and red. A santos statue is a religious figurine, often depicting Christian saints, the Virgin Mary, or other holy figures. Originating from Spanish and Portuguese colonial influence, santos (meaning "saints" in Spanish) were crafted primarily in regions like Spain, Latin America, and the Philippines. These statues were traditionally made from wood, clay, or ivory and were used for personal devotion in homes, churches, and rural areas where access to formal religious institutions was limited. Size: 4 1/2 x 13 in. #4801

Lot: 1458 - Spanish Colonial Style Filipino Carved Wooden Statue of the Virgin Mary

Spanish Colonial Style Filipino Carved Wooden Statue of the Virgin Mary. A hand carved wooden statue of the Virgin Mary.  Missing hands. Spanish Colonial statues of the Virgin Mary are exquisite religious artifacts that embody the fusion of Spanish artistry and local craftsmanship during the colonial period. These statues, often carved from wood and adorned with intricate details, portray the Virgin Mary in various devotional titles, such as Nuestra Señora de la Immaculada Concepción (Our Lady of the Immaculate Conception). They are characterized by their elaborate clothing, delicate facial expressions, and symbolic elements like crowns or halos. Often enshrined in churches or carried during religious processions, these statues were central to spreading Catholicism and remain iconic representations of faith, blending European influence with Filipino cultural identity. Size: 5 x 6 x 20 in. #5807

Lot: 1459 - Spanish Colonial Style Filipino Carved Stone Statue of St. Christopher

Spanish Colonial Style Filipino Carved Stone Statue of St. Christopher. Carved stone iconographic religious statue of St. Christopher holding the Christ Child. On wooden base. Saint Christopher, venerated as the patron saint of travelers, is best known for the legendary story of carrying the Christ Child across a treacherous river. A man of great strength, he devoted himself to serving others and sought to serve the mightiest master. Upon encountering a child who grew impossibly heavy as he carried him, Christopher realized he had borne Christ Himself, symbolizing the weight of the world's sins. Often depicted in art as a towering figure with the child on his shoulder and a staff in hand, St. Christopher represents faith, protection, and guidance, inspiring devotion among those seeking safe journeys. Size: 6 x 17 1/2 in. #5208

Lot: 1460 - Spanish Colonial Carved Wood Santos St. Francis

Spanish Colonial Carved Wood Santos St. Francis.    Size: 4 x 3 x 9 1/2 in. #4837

Lot: 1461 - (2) Spanish Colonial Style Brass Stirrups

(2) Spanish Colonial Style Brass Stirrups. Pair of brass horse stirrups. Size: 4 3/8 x 10 1/2 x 5 in.  #8678 

Lot: 1462 - 17th/18th Century Carved Wood Putto

17th/18th Century Carved Wood Putto.    Size: 3 x 3 x 10 in. #4838

Lot: 1463 - 19th Century Bronze Sculpture of the 16th Century Scientific Genius Gerardus Mercator Holding a Globe by Antoine Pierre Aubert (French 1853-1912)

19th Century Bronze Sculpture of the 16th Century Scientific Genius Gerardus Mercator Holding a Globe by Antoine Pierre Aubert (French 1853-1912).  Aubert is well known for his sculptures of Greek and Roman classical subjects. In this sculpture of Mercator, the geographer, cosmographer, and cartographer who created the 1569 world map based on his innovation which represented sailing courses in strait lines. This method is still employed today and bears his name. Signed on the base.    Size: 5 1/4 x 5 x 14 3/4 in.  #4844

Lot: 1464 - Dino Bonalberti (20th Century) Italian, 1970s Capodimonte Painted Porcelain Fisherman

Dino Bonalberti (Italian, 20th Century) 1970s Capodimonte Painted Porcelain Fisherman. Painted porcelain figure of a fisherman reclining against a tree. Blue Capodimonte stamp on base. Marked Works of Art/Made in Italy/668. Dino Bonalberti was a renowned Italian sculptor and artist known for his work with Capodimonte porcelain. Born in Milan, he studied at the prestigious Academy of Fine Arts in Brera. His artistic career spanned several decades, during which he created numerous sculptures and figurines that are highly sought after by collectors worldwide. Bonalberti's works are characterized by their intricate details, elegant lines, and masterful use of the Capodimonte porcelain medium. His sculptures often depict classical themes, mythological figures, and scenes from everyday life, capturing the beauty and grace of the human form. Size: 8 x 8 1/4 x 10 1/4 in.  #4554 

Lot: 1465 - Indian Brass Female Dancers Statue

Indian Brass Female Dancers Statue. Brass statue depicting two female dancers, one traditional ballerina being supported by a female figure with wings. Size: 18 x 20 in. #4509

Lot: 1466 - After Auguste Moreau (1834–1917) French, Bronze Statue of Aurora

After Auguste Moreau (French, 1834–1917)  Antique Bronze Statue of Aurora. Cast bronze statue of the goddess Aurora based on the original work by Auguste Moreau attached to marble base. Size: 8 x 8 x 25 in. #5152   Artist Biography: Auguste Moreau (1834–1917) was a prominent French sculptor known for his elegant and romantic depictions of figures, often blending naturalistic and allegorical themes. Born into the renowned Moreau family of artists, he followed in the footsteps of his brothers Mathurin and Hippolyte, both celebrated sculptors. Auguste specialized in creating detailed bronze and spelter works that frequently depicted young women, children, and pastoral scenes imbued with charm and vitality. Exhibiting at the Paris Salon, his pieces were widely admired for their fluidity, expressiveness, and attention to detail. Moreau's sculptures remain highly collectible, embodying the grace and sentiment of the 19th-century French artistic tradition.

Lot: 1467 - Large Antique African Ceremonial Bronze Kota Bird-Shaped Throwing Knife on Stand

Large Antique African Ceremonial Bronze Kota Bird-Shaped Throwing Knife on Stand.  An antique bird shaped throwing knife from the Kota people of Africa. Includes black display base. These throwing knives are unique and culturally significant artifacts originating from Central Africa, particularly the Kota people of Gabon and neighboring regions. These knives, often crafted from bronze or brass, are characterized by their distinctive bird-shaped blades, symbolizing the deep connection between the people and their environment, particularly the natural world and spiritual beliefs. Used in rituals, ceremonies, and sometimes as a symbol of power or prestige, these knives were not merely tools but works of art with intricate designs. The handles of such knives are typically ornately carved, and they are often mounted on stands, making them highly decorative as well as functional. Today, they are valued by collectors and enthusiasts of African art for their craftsmanship, cultural importance, and unique beauty. Size: 14 x 3 1/2 x 14 in.  #5318 

Lot: 1468 - Suzanne Bizard (1873–1963) French, Antique Bronze Sculpture, "Girl With Baskets"

Antique Suzanne Bizard Bronze Sculpture, "Girl With Baskets". Antique bronze sculpture designed by Suzanne Bizard, depicting a young girl carrying two baskets. Size: 5 1/2 x 4 1/2 x 11 in. #8554   Artist Biography: Suzanne Bizard (1873–1963) was a French sculptor celebrated for her refined and emotive works in bronze and marble. Trained at the Académie Julian in Paris, she specialized in creating sculptures that captured the grace and beauty of the female form, often blending Art Nouveau and Classical styles. Her work frequently depicted allegorical themes, emphasizing harmony, elegance, and movement. Bizard exhibited regularly at the Salon des Artistes Français, earning numerous accolades, including honorable mentions and medals. Her legacy endures through her exquisite sculptures, which remain cherished for their timeless artistry and craftsmanship.

Lot: 1469 - Antique Early 20th Century Bronze Dragon Handled Asian Vase

Antique Early 20th Century Bronze Dragon Handled Asian Vase Classic gu shape with a bulbous body, a narrow neck, and a flared mouth. Decorated with intricate patterns, possibly representing taotie motifs. Handles shaped like stylized dragons.  Size: 3 1/2 x 8 in. #4800

Lot: 1470 - Bois Durci Medallion of Guiseppe Garibaldi

Medallion reads: Giuseppe Garibaldi on the top and Guerra De Italia 1859 at the bottom.  Giuseppe Garibaldi (1807-1882) was a central figure in the Italian Risorgimento, the 19th-century movement for Italian unification. He was a general, patriot, and republican who played a crucial role in uniting the Italian peninsula. "Bois durci" is a term for an early form of plastic, essentially a hard, dense, polished material made from a mixture of wood dust and animal blood (albumen) that was patented in France in 1856 by Francois Charles Lepage. The mixture was heated and poured into molds, then cooled under pressure to create a hard, glossy finish. Size: 4 1/4 in. #4808

Lot: 1471 - Antique Bronze Deer Shaped Trick Lock

Antique Bronze Deer Shaped Trick Lock. Hand made antique trick lock in the shape of a deer with incise detail on back. With blue-green patina. Size: 5 x 3 in.  #8598

Lot: 1472 - 3 Framed Vintage French Tennis Photographs

3 Framed Vintage French Tennis Photographs. One vertical, two horizontal. Vertical one depicts a man leaping into the air to hit a high serve, identified below in middle as Bill Tilden, dated "Circa 1929" bottom right. Wide view horizontal shot identifies players below middle as Bill Tilden and Rene LaCoste, location as France bottom left, and dated "Circa 1925" bottom right. Horizontal shot with two female players shaking hands identifies them at middle below as Suzanne Lenglen and Miss Wills, location as France bottom left, and dated "Circa 1928" bottom right. Labels on back of each read "The Vintage Collection" and give information about each piece.  Overall Size: 17 x 21 in.  Sight Size: 11 1/4 x 14 in.  #4591      Tennis had become an extremely popular sport throughout the world ever since its inclusion in the inaugural 1896 Summer Olympics, with women competing for the first time four years later.  By the 1920s it was one of the major entertainments in England, France, and Italy, with betting and attendance at an all time high. Bill Tilden, commonly considered one of the greatest American tennis players who ever lived, was famous for his cannonball serve which was once clocked at 151 miles per hour, and paved the way for the modern tactics of the sport. He won seven U.S. championships and won the “Most Outstanding Athlete of the Year” award in 1949 by a landslide. His bombastic style, however, was challenged and defeated on several occasions by supremely calculating players like Rene LaCoste, who won seven Grand Slam singles titles at the French, American, and British championships during the 1920s and 30s and earned the nickname “The Crocodile” for his methodical, cunning style. Helen Wills was the first American born woman to achieve international celebrity as an athlete. She won eight Wimbledon’s, four French Championships, and seven U.S. Championships between 1923 and 1938. However, French player Suzanne Lenglen became a living legend when she overcame asthma, jaundice, and prevalent social norms to become the first non-English champion at Wimbledon in 1919, going on to dominate the French Championships throughout the 20s and defeat Wills in 1926. Each of these ground-breaking athletes set the tone of the sport for the rest of the 20th Century, establishing the game as more than a simple show of athleticism but as a battle of personalities and national identities, too.

Lot: 1473 - Gary Cooper (1901-1961) American, Autographed and Framed Photo

Gary Cooper (1901-1961) American, Autographed and Framed Photo. Signature bottom left.  Overall Size: 18 x 14 1/2 in.  Sight Size: 9 x 7 in.  #32 #5367 .    Gary Cooper was born Frank James Cooper on May 7th, 1901 in Helena, Montana. He was raised by his two English immigrant parents on a bucolic ranch, and attended Central Grade School before his

Lot: 1474 - Kirk Douglas (1916-2020) American, Framed Photos and Dated Autograph

Kirk Douglas (1916-2020) American, Framed Photos and Dated Autograph. Photo on left is a black-and-white headshot, photo on right is  him the set of The Big Sky, filmed by Howard Hawks in 1952. Autograph is on yellow paper, dated '09. Gallery label on back.  Overall Size: 16 1/2 x 21 in.  Photo (largest): 9 x 7 in.  #28 #5368 .  Kirk Douglas was born Issur

Lot: 1475 - Ingrid Bergman (1915-1986) Swedish/American, Framed Photo and Dated Autograph

Ingrid Bergman (1915-1986) Swedish/American, Framed Photo and Dated Autograph. Signature is below on yellow paper and dated 1947.  Overall Size: 18 1/2 x 12 1/2 in.  Photo Size: 9 x 7 in.  #35 #5369 .  Ingrid Bergman was born in Stockholm, Sweden on August 29th, 1915. A lonely child after both her siblings had died in infancy and her mother passed away when she was

Lot: 1476 - Framed 1981 Cary Grant Handwritten Letter & Photograph

Framed 1981 Cary Grant Handwritten Letter & Photograph. Framed photograph and handwritten letter/autograph from Cary Grant. Reads 'The girls at Pacific Installers!!" Overall Size: 13 3/4 x 18 1/2 in.  Photo Size: 9 x 7 in.  #8 #5370

Lot: 1477 - Laurence Olivier (1907-1989) British, Framed Photo and Autograph

Laurence Olivier (1907-1989) British, Framed Photo and Autograph. Photo at top with the signature in a separated space in the middle and a commemorative sign at bottom. Gold sticker from the Walt Disney World Co. bottom left, and a Certificate of Authenticity numbered #160815 from Walt Disney World Co. on the back.  Overall Size: 20 1/4 x 14 1/4 in.  Photo Size: 9 x 7 in. 

Lot: 1478 - Spencer Tracy (1900-1967) American, Framed Photos and Autograph

Spencer Tracy (1900-1967) American, Framed Photos and Autograph. Photo on left is a headshot of Tracy, and the one on the right is of Tracy and Katharine Hepburn in Woman of the Year, the film where they first met and fell in love. Autograph in separated box below the right side photo. Prior gallery label on back.  Overall Size: 16 1/2 x 22 1/2 in.  Photo Size: 10 x 7 1/2

Lot: 1479 - Henry Fonda (1905-1982) American, Framed Photo and Autograph

Henry Fonda (1905-1982) American, Framed Photo and Autograph. Photo shows Fonda in costume as Tom Joad on the set of The Grapes of Wrath, for which he received his first Oscar nomination. Signature below in a separated box. Framing label on back.  Overall: 17 1/2 x 13 1/4 in.  Photo: 9 x 7 in.  #30 #5373 .    Henry Jaynes Fonda was born on May 16th, 1905 in

Lot: 1480 - Tom Cruise (Born 1962) American, Autographed and Framed Photo

Tom Cruise (Born 1962) American, Autographed and Framed Photo. Shows him in his iconic Maverick flight suit from the film Top Gun, including the helmet with a large flag in the background. Autographed upper right. Prior gallery label on back.  Overall Size: 18 1/2 x 17 1/4 in.  Photo Size: 9 x 8 in.  #38 #5374 .    Thomas Cruise Mapother IV (best known simply as Tom Cruise) was born on July 3rd, 1962 in Syracuse, New York. He grew up in near poverty with a strict Catholic upbringing, suffering physical abuse at the hands of his father. He spent part of his youth in Canada and the family moved frequently, resulting in him attending fifteen schools in fourteen years. When he was thirteen his mother left his father and moved the family back to America, where he wound up attending the St. Francis Seminary in Cincinnati, aspiring to become a priest. He left the seminary and moved to New York City to pursue an acting career at 18, rapidly rising to stardom in the early 1980s in a series of roles culminating with a lead in Top Gun in 1986 that made him a household name. In 1987 he married actress Miriam Rogers, who introduced him to the Church of Scientology. Cruise soon converted and eventually became their most visible and vocal celebrity spokesperson, even crediting it with helping him to overcome his dyslexia. In 1989 his portrayal of real-life Vietnam War veteran Ron Kovic in Born on the Fourth of July earned him a Golden Globe Award for Best Actor, as well as his first nominations for both BAFTA and Academy Awards in the same category. By then, however, he had also earned a reputation as an intense, sometimes volatile personality with a fanatical work ethic and frenzied acting choices, and he and Rogers divorced in 1990. He married actress Nicole Kidman that same year, adopting two children together and starring in multiple movies alongside her for the next decade until their divorce in 2001. In 1996 he starred in Mission Impossible, almost single-handedly turning it into one of the most lucrative film franchises in history and appearing in every sequel since then. His powerful performances in Jerry Maguire in 1997 and Magnolia in 1999 earned him two more Academy Award nominations, as well as his second and third Golden Globe wins. In 2006 he had a daughter with actress Katie Holmes, marrying her later that same year, but they divorced in 2012. Cruise had by then become one of the most bankable actors in Hollywood, and in an effort to protect his privacy and Scientology from growing criticism he also became one of the most litigious. From 2012 to 2018 every movie he starred in grossed over $100 million, a streak that won him an unbroken Guinness World Record. Today he is regarded as an important living Hollywood icon, having won an Honorary Palme d’Or as well as three Golden Raspberry Awards over the years, indicating his status as one of the most controversial yet consistently highest-paid actors in the world.

Lot: 1481 - John Wayne (1907-1979) American, Framed Autographed Photo

John Wayne (1907-1979) American, Framed Autographed Photo. Shows Wayne and co-star Gail Russell on the set of The Wake of the Red Witch in 1948. Autographed upper right.  Overall Size: 16 x 13 in.  Sight Size: 9 x 7 in.  #33 #5375 .    Marion Robert Morrison (professionally known as John Wayne and nicknamed “the Duke”) was born on May 26th,

Lot: 1482 - Montgomery Clift (1920-1966) American, Framed Photo and Signed Receipt

Montgomery Clift (1920-1966) American, Framed Photo and Signed Receipt. Photo in color at top middle. Receipt below on the right showing payment for a rare filet and other delicious additions, with the signature at the bottom left of the check. A date has been added next to it in different handwriting and color: 8/4/48. A label on the left side reads "Original Signed Receipt, Montgomery

Lot: 1483 - 1946 "The Razor's Edge" One-Sheet Movie Poster

1946 "The Razor's Edge" One-Sheet Movie Poster. Original one-sheet cinema advertising poster for The Razor's Edge. Evidence of display and handling. Sold as-is. The Razor's Edge follows Larry Darrell, a World War I veteran who embarks on a journey of self-discovery after witnessing the horrors of war. Rejecting a conventional life of wealth and social status, Larry seeks deeper meaning by traveling the world, including a transformative experience in India. As he returns to his old friends—who are entangled in their own struggles with love, loss, and societal expectations—Larry’s spiritual enlightenment contrasts sharply with their materialistic pursuits. The story explores themes of purpose, sacrifice, and the search for inner peace, ultimately depicting the razor's edge as the delicate balance between worldly desires and spiritual fulfillment. Overall Size: 37 3/4 x 16 in.  Sight Size: 35 1/2 x 13 1/2 in.  #61 #5377

Lot: 1484 - 1949 "A Letter to Three Wives" One-Sheet Movie Poster

1949 "A Letter to Three Wives" One-Sheet Movie Poster. Original one-sheet cinema advertisement poster for the movie A Letter to Three Wives. Framed. A Letter to Three Wives (1949), directed by Joseph L. Mankiewicz, follows three women—Deborah, Rita, and Lora Mae—who receive a letter from a mutual acquaintance, Addie Ross, informing them that she has run off with one of their husbands. As the women spend the day reflecting on their marriages, the story unfolds through flashbacks, revealing the insecurities, conflicts, and complexities in each relationship. The film masterfully blends drama and humor while exploring themes of love, trust, and the fragility of marriage. The suspense builds as the women anxiously await the moment they will discover whose husband has betrayed them. Kirk Douglas stars as George, one of the husbands, adding charm and wit to the ensemble cast. Overall Size: 37 3/4 x 16 in.  Sight Size: 35 1/2 x 13 1/2 in.  #65 #5378

Lot: 1485 - 1958 "Separate Tables" One-Sheet Movie Poster

1958 "Separate Tables" One-Sheet Movie Poster. Original one-sheet cinema advertisement poster for the movie Separate Tables. Framed. Separate Tables (1958) is a drama directed by Delbert Mann, based on Terence Rattigan's plays. Set in a quiet English seaside hotel, the film weaves together the lives of its residents, who each struggle with loneliness, hidden secrets, and unfulfilled desires. The story focuses on Major Pollock (David Niven), whose past scandal threatens his reputation, and the tense relationship between a divorced couple, John (Burt Lancaster) and Ann (Rita Hayworth), who are forced to confront their lingering feelings. Deborah Kerr and Wendy Hiller also deliver standout performances as women grappling with their own vulnerabilities. The film explores themes of human connection, judgment, and redemption, earning critical acclaim, including Academy Awards for David Niven and Wendy Hiller. Overall Size: 37 3/4 x 16 in.  Sight Size: 35 1/2 x 13 1/2 in.  #63 #5379

Lot: 1486 - 1950 "All About Eve" One-Sheet Movie Poster

1950 "All About Eve" One-Sheet Movie Poster. Original one-sheet cinema advertising poster for the movie "All About Eve". Framed. All About Eve (1950), directed by Joseph L. Mankiewicz, is a classic drama about ambition, deception, and the ruthless pursuit of success in the theater world. The story follows Eve Harrington (Anne Baxter), an apparently humble and devoted fan who cunningly ingratiates herself into the life of Broadway star Margo Channing (Bette Davis). As Eve's true manipulative nature emerges, she schemes her way to stardom, threatening Margo's career and personal relationships. The film is celebrated for its sharp dialogue, brilliant performances, and biting exploration of vanity and betrayal. With standout roles by Davis, Baxter, and a memorable appearance by Marilyn Monroe, All About Eve remains a timeless commentary on ambition and the cost of fame, winning six Academy Awards, including Best Picture. Overall Size: 37 x 15 1/2 in.  Sight Size: 35 x 13 1/2 in.  #64 #5380 

Lot: 1487 - 1960 "The Apartment" One-Sheet Movie Poster

1960 "The Apartment" One-Sheet Movie Poster. Original one-sheet cinema advertising poster for the movie The Apartment. Framed. The Apartment (1960), directed by Billy Wilder, is a romantic comedy-drama that follows C.C. "Bud" Baxter (Jack Lemmon), an ambitious office worker who lends his apartment to his superiors for their extramarital affairs in hopes of climbing the corporate ladder. Things become complicated when Bud discovers that his boss, Mr. Sheldrake (Fred MacMurray), is using the apartment to rendezvous with Fran Kubelik (Shirley MacLaine), an elevator operator Bud secretly admires. As Bud and Fran’s lives intersect, they both confront loneliness, heartbreak, and their desire for something genuine. The film masterfully blends humor and melancholy, offering a sharp critique of corporate culture and personal ethics, and won five Academy Awards, including Best Picture. Overall Size: 37 1/2 x 15 3/4 in.  Sight Size: 35 1/2 x 13 1/2 in.  #59 #5381 

Lot: 1488 - (3) Original Framed Movie Lobby Cards, "Gaslight", "Daisy Kenyon", ""The Corn is Green"

(3) Original Framed Movie Lobby Cards, "Gaslight", "Daisy Kenyon", ""The Corn is Green". Lot of three original lobby cards for the aforementioned classic movies. Framed. A lobby card is a small promotional poster or print used to advertise movies in theater lobbies. Typically produced in sets of 8 to 12 cards, each lobby card features a different still image or scene from the film, often showcasing key moments, characters, or dramatic visuals to entice moviegoers. Unlike standard movie posters (such as one-sheets), lobby cards are smaller, and were often displayed in glass cases or on lobby walls. Lobby cards were particularly popular from the silent film era through the mid-20th century. Overall Size: 12 x 15 in.  Sight Size: 10 3/4 x 13 3/4 in.  #5382

Lot: 1489 - Humphrey Bogart (1899-1957) American, Framed Photo and Autograph

Humphrey Bogart (1899-1957) American, Framed Photo and Autograph. Photo top middle of Bogart in The King of the Underworld from 1939. Autograph in separate box lower right. Label lower left reads "Original Autograph Humphrey Bogart 1899-1957." Seal bottom left from Walt Disney World Co. guaranteeing authenticity.  Overall Size: 23 1/2 x 19 1/2 in.  Photo Size: 11 x 9 in.  #9

Lot: 1490 - Audrey Hepburn (1929-1993) British, Framed Photo and Signed Letter

Audrey Hepburn (1929-1993) British, Framed Photo and Signed Letter. Photo on upper left is a black-and-white headshot. Letter on right side is broken into three segments, dated Monday October 25th, 1982 on stationary from 4A Via Cerracchi in Rome and signed on the bottom segment, and appears to be a friendly correspondence with Gene Kelly, who was her co-star in Love in the Afternoon in 1956.

Lot: 1491 - Richard Stewart (20th/21st Century) American, Monochrome Photograph Print, "Girl With Wine"

Richard Stewart (American, 20th/21st Century) Monochrome Photograph Print, "Girl With Wine". As described by the photographer: "Woman With an Attitude! I photographed this young woman letting her hair down, passing a wine bottle among friends in 1968. She is standing on the top row of seats of the ruins of an ancient Roman amphitheater in the southeast Turkish city of Antalya. When I came upon the group, I raised my camera and asked if she minded. The rest is history." Framed. Overall Size: 21 x 17 in.  Sight Size: 14 1/2 x 10 3/4 in.  #5430   Artist Biography (From GalleryArtPhotos.com): Richard Stewart is an award-winning photographer of natural beauty wherever he finds it. He has worked as a journalist and photographer for more than 50 years.  He received a B.A. in Communication from the University of California at Berkeley (1972) and has traveled extensively. He has worked as a photojournalist, portrait photographer and commercial photographer. His photography has appeared in newspapers, magazines and books.  An early project was a travel book on Istanbul that he wrote and illustrated with his photographs. More recently, the resident of Tampa, Florida, has focused on fine art photography. His work can be found in an increasing number of private & public collections. All of his photographs are printed using state-of-the-art archival technology.

Lot: 1492 - 1960 Monochrome Photography Print of Gilbert Becaud

1960 Monochrome Photography Print of Gilbert Becaud. Taken in 1960 and used as the cover for his album "Viens", featuring the artist at a work table, smoking a cigarette. From the Paris Match Photo Gallery. Gilbert Bécaud (October 24, 1927 – December 18, 2001) was a French singer, songwriter, and actor known as "Monsieur 100,000 Volts" for his dynamic stage presence and passionate performances. Born François Gilbert Léopold Silly in Toulon, France, he began his musical career as a pianist before transitioning to singing in the 1950s. Bécaud became a major figure in French popular music, creating enduring hits such as "Et Maintenant" (translated as "What Now My Love"), "Nathalie," and "Je t'appartiens" (translated as "Let It Be Me"). His emotive songs often combined poetic lyrics with dramatic melodies, resonating with audiences worldwide. Over his career, Bécaud recorded numerous albums, appeared in films, and was a key influence on both French chanson and international pop music. Overall Size: 16 5/8 x 20 5/8 in.  Sight Size: 9 x 13 3/4 in.  #5431

Lot: 1493 - Monochrome Photograph Print of Yves Montand

Monochrome Photograph Print of Yves Montand. A print of a photograph taken of the actor Yves Montand while relaxing on vacation. From the Match Photo Gallery of Paris. Framed. Yves Montand (October 13, 1921 – November 9, 1991) was a French-Italian actor and singer renowned for his charismatic performances in film and music. Born Ivo Livi in Monsummano Terme, Italy, his family fled to France to escape Fascism when he was a child. Montand began his career as a music hall performer, gaining fame for his rich voice and songs like "Les Feuilles Mortes" (Autumn Leaves). He transitioned to acting, appearing in acclaimed films such as The Wages of Fear (1953), Jean de Florette (1986), and Manon des Sources (1986). Known for his charm and versatility, Montand also engaged in political activism, often reflecting his leftist ideals. His artistic legacy endures as a symbol of mid-20th-century French culture. Overall Size: 16 5/8 x 20 5/8 in.  Sight Size: 9 x 13 3/4 in.  #5432

Lot: 1494 - Limited Edition 1/3 Artists Proof Official Harveyphoto, Three Nude Women on St. Petersburg Pier

Limited Edition 1/3 Artists Proof Official Harveyphoto, Three Nude Women on St. Petersburg Pier. A limited edition black-and-white artist's proof lithograph print depicting three nude women at St. Petersburg pier, walking toward the camera. Signed and numbered in-plate, pencil signed and numbered on matte. Dated March, 2014. CoA verso, signed and numbered by artist. Overall Size: 17 x 21 in.  Sight Size: 10 1/2 x 13 1/2 in.  #5434

Lot: 1495 - Five Pieces of Memorial Ephemera Regarding JFK Assassination

Five Pieces of Memorial Ephemera Regarding JFK Assassination. Rare collection of five pieces of memorial ephemera regarding the JFK assassination, including Saturday Evening Post Magazine (Dec. 14, 1963), two issues of LOOK magazine (Dec. 17, 1964 and Dec. 3, 1963), and The Times-Union (Nov. 22, 1963).  John Fitzgerald Kennedy (May 29, 1917 – November 22, 1963), also known as JFK, was the 35th president of the United States, serving from 1961 until his assassination in 1963. He was the youngest person elected president.[a] Kennedy served at the height of the Cold War, and the majority of his foreign policy concerned relations with the Soviet Union and Cuba. A Democrat, Kennedy represented Massachusetts in both houses of the United States Congress prior to his presidency. This collection represents a tribute and a historic lesson on the 35th President of the United States and the promise for what might have been.  Largest: 15 1/4 x 22 1/2 in. Newspaper #8243 #11 

Lot: 1496 - Unique Seven Piece Collection Celebrating Frank Sinatra Legacy is Love For Ava Gardner

Most people know that Francis Albert Sinatra was an American singer, nicknamed the "Chairman of the Board" and later called "Ol' Blue Eyes," and that he is regarded as one of the most popular entertainers of the mid-20th century. Sinatra is among the world's best selling music artists, with an estimated 150 million record sales globally. But that only scratches the surface on a legacy that lasts from here to eternity. What real Sinatra fans know - is the depth of LOVE - the man who did it his way -  had for the stunningly beautiful actress AVA Gardner whom he married. Their love affair was legendary- like the two stars themselves. Included in this special collection is the book. "My Father's Daughter" penned by Frank's youngest daughter Tina Sinatra. Also included is a beautiful coffee table book, "An American Legend" produced by his eldest daughter Nancy Sinatra. A third book "Grabtown Girl" written by Doris Rollins Collins, captures Gardner's North Carolina roots and childhood. A stunning black and white portrait signed by Ava Gardner and three pieces of memorabilia, from the AVA Gardner museum located in Smithfield, North Carolina. A must for all fans of Frank Sinatra and Ava Gardner - celebrating a love story for the ages. Largest Size: 9 1/2 x 11 1/4 x 1 1/4 in.  #12 #8244 

Lot: 1497 - Signed Ann Miller Photo

Promotional photo for 1957 episode of  "The Big Record" of Ann Miller. Signed.  Ann Miller was a renowned American actress and dancer, particularly celebrated for her work in classic Hollywood musicals during the 1940s and 1950s. She was known for her exceptional tap dancing skills and captivating performances. Some of her most notable films include: Easter Parade (1948) On the Town (1949) Kiss Me Kate (1953) Miller's career extended beyond film, as she also made significant contributions to Broadway theater. She starred in productions like "Mame" (1969) and toured with Mickey Rooney in the hit show "Sugar Babies" (1979-1988). Her impact on the entertainment industry was recognized with a star on the Hollywood Walk of Fame in 1960. Miller's legacy continues to inspire dancers and performers, and her contributions to the golden age of Hollywood musicals remain cherished. Size: 9 1/8 x 7 1/8 in.  #4568

Lot: 1498 - Signed Sid Caesar Photo

Black and white photo of Sid Caesar and Imogene Coca. Signed by Sid Caesar in upper right. Photo from Your Show of Shows. Your Show of Shows was a live 90-minute variety show that was broadcast weekly 1950, through June 5, 1954.  Isaac Sidney Caesar was an American comic actor and comedian. With a career spanning 60 years, he was best known for two pioneering 1950s live television series: Your Show of Shows  Size: 10 x 8 in.  #4569 

Lot: 1499 - Signed Sally Field Photo

Colored photo of Sally Field. Signed in lower left. Photo of Sally Field in Flying Nun role.  Sally Margaret Field is an American actress. Known for her extensive work on screen and stage. She has received many accolades throughout her career spanning 6 decades.  Size: 10 x 8 in.  #4570

Lot: 1500 - Jack Klugman & Tony Randall Signed Photo

Colored publicity photo signed by Jack Klugman & Tony Randall along the top.  Jack Klugman played slob Oscar Madison and Tony Randall was his fastidious roommate, Felix Unger, in the television series The Odd Couple.  Size: 10 x 8 in.  #4571

Lot: 1501 - James Garner Signed Photo

Colored photo of James Garner playing cards. Signed in upper right.  James Scott Garner was an American actor. He played leading roles in more than 50 theatrical films, which included The Great Escape with Steve McQueen.  Size: 10 x 8 in.  #4572

Lot: 1502 - Art Carney & Joyce Randolph Signed Photo

Black and white photo signed by Art Carney & Joyce Randolph. Signed on upper left and middle right.  Photo of the two as their characters, Norton and Trixie, from TV Show Honeymooners.  Size: 10 x 8 in.  #4573

Lot: 1503 - Mel Brooks Signed Photo Print

Signed photo print of Mel Brooks as role from History of the World Part I. Signed in middle right.  Copyright 1981 Brooksfilms Limited.  Size: 10 x 8 in.  #4574

Lot: 1504 - Don Knotts Signed Photo

Black and white photo of Don Knotts playing as his character from The Andy Griffith Show, Barney Fife. Signed along bottom.  Jesse Donald Knotts was an American actor and comedian. He is widely known for his role as Deputy Sheriff Barney Fife on the 1960s sitcom The Andy Griffith Show, for which he earned five Emmy Awards. He also played Ralph Furley on the sitcom Three's Company from 1979 to 1984.  Size: 10 x 8 in.  #4575

Lot: 1505 - Signed Bing Crosby Photo

Signed Bing Crosby Photo. Signed in upper right.  Black and white photo of Mr. and Mrs. Bing - Bing Crosby, radio crooner who now is a Paramount screen star by virtue of his performance in "College Humor", with Mrs. Crosby, formerly known on the screen as Dixie Lee.  Size: 10 x 8 in.  #4576

Lot: 1506 - Ringo Starr (Born 1940) British, Framed Record and Sleeve with Lyrics Sheet

Ringo Starr (born 1940) British, Framed Record and Sleeve with Lyrics Sheet. “Early 1970” is a song that was released as the B-side of Starr’s April 1971 single “It Don’t Come Easy.” A rare example of his songwriting at the time, it was inspired by the break-up of the Beatles and documents his relationship with his three former bandmates. The lyrics

Lot: 1507 - Signed 1956 "Jesse James" Screenplay

Signed 1956 "Jesse James" Screenplay. This is from the remake of the 1939 film "Jesse James." Dated September 14th, 1956. Includes entire bound script (marked FINAL on the front page, despite a later name change to "The True Story of Jesse James"), as well as some notes on the Dalton Brothers and the provenance. Signed on the cover in the upper right by Tyrone Power (1914-1958), the star of the original film, and signed in center by Ray Kellogg (1905-1976), an American special effects artist who got his start with John Ford during World War II, eventually becoming head of the effects unit for 20th Century Fox.  Size: 9 1/2 x 11 1/2 in.  #4765 .  In 1939 an American Western film titled “Jesse James” was released by Twentieth Century Fox, directed by Henry King and starring Tyrone Power, Henry Fonda, Nancy Kelly and Randolph Scott. Written by Nunnally Johnson, the film is loosely based on the life of Jesse James, the outlaw from whom the film derives its name. The supporting cast includes Henry Hull, John Carradine, Brian Donlevy, Jane Darwell and Lon Chaney, Jr. Much of the filming for Jesse James took place around the town of Pineville in McDonald County, Missouri, because at the time the town and surrounding area looked much as it would have in the 1880s and 1890s. The town’s historic Old McDonald County Courthouse, a National Register of Historic Places site, was featured in the film serving as a stand-in for the Liberty, Missouri courthouse. Pineville still celebrates Jesse James Days annually in homage to the film crew and the movie stars who descended on their small town to make it. Jesse James was the third highest-grossing film of 1939, behind Gone with the Wind and Mr. Smith Goes to Washington. The film was on continuous release in the United States for more than 15 years, and by May of 1954 it had played over 52,000 bookings in the United States and Canada. A sequel, “The Return of Frank James,” directed by Fritz Lang with Henry Fonda reprising his role as Frank James, was released in 1940. A remake was directed by Nicholas Ray in 1957, “The True Story of Jesse James.” One of the unfortunate legacies of the original movie is that the American Humane Association began to oversee filmmaking after a horse appeared to die when it was driven off a cliff on set, although according to several biographies and interviews with those involved in the production no animals were harmed in the making of the film.

Lot: 1508 - Lot of (2) Books and (2) Framed Photograph Sets of Ernest Hemingway (1899-1961)

Lot of (2) Books and (2) Framed Photograph Sets of Ernest Hemingway (1899-1961). The single framed photo is from the archives of Miguel Martin and shows Hemingway along with matador Antonio Ordonez Aruajo along with an entourage and police escort in 1959 in the tasting room of Molino El Vinculo in Spain. The framed collection of photos are remarkably rare stills from the iconic 1953 shoot by Inge

Lot: 1509 - La Fontaine's Fables, Illustrated by Gustave Dore @ 1887

This fabulous book is titled The Fables of La Fontaine, Translated into English Verse by Walter Thornbury, With Illustrations by Gustave Dore, and published by Cassell in New York, London and Paris @ 1887.  Jean de La Fontaine (1621 - 1695) was a French fabulist - teller of fables - and one of the most widely read poets of the 17th century. He is known above all for his Fables, which provided a model for subsequent fabulists all across Europe. Gustave Dore (1832 - 1883) was a French illustrator, printmaker, caricaturist, and sculptor, and best known for his wood engravings illustrating classic literature. His work received mixed reviews from contemporary art critics,  but he was widely acclaimed by the general public.  The Fables here has a gilt decorated spine and beautiful gilt-decorated cover, with decorated endpapers, no date, but it is inscribed “Elsis from his brother C.O.D. Christmas 1887” on a front endpaper, with a frontis portrait of Jean de La Fontaine, the title page, four pages of Contents (v - viii), a three-page List of Full-Page Illustrations (ix - xi), a twenty-page essay on the life of La Fontaine (xiii - xxxii), a chapter on the Life of Aesop, the Phrygian (xxxiii - l), a three-page dedication to the Dauphin ( li - liii), a Preface that runs from lv - lxi, 757 pages of text, 86 illustrations by Dore, and all the edges are gilt.  The book measures 11 5/8 x  9 7/8 x 2 5/8 inches wide and is in very good condition. The binding is tight and the pages are very clean, with just hints of light soiling here and there and one small brown mark on the first Contents page, and a very attractive book for readers of fables and great art.   Size: 11 5/8 x 9 7/8 x 2 5/8 in.  #8707

Lot: 1510 - Alice's Adventures in Wonderland, Lewis Carroll 1872

This Lewis Carroll book is titled Alice's Adventures In Wonderland and was published in Boston by Lee & Shepard and in New York by Lee, Shepard, and Dillingham in 1872. The book has a great colored cover, gilt lettering and gilt decorations on the spine, ads for books published by Lee & Shepard on the front and rear endpapers, a half-title, then the frontispiece in black-and-white showing the king and queen of hearts, the title page, which says the book has forty-two illustrations by John Tenniel, one page listing the Contents, poetry on the next three pages,  192 pages of text, and ads for Juvenile Books by Lee & Shepard on the back cover.  Lewis Carroll was actually the pen name for Charles Dodgson (1832 - 1898), an English author, poet, mathematician, photographer, and church deacon, and he was noted for his word play, logic, and fantasy.  The Victorian artist John Tenniel (1820 – 1914) is most famous for his vivid illustrations for Alice's Adventures in Wonderland, Through the Looking-Glass, and What Alice Found There (1871), all written by Lewis Carroll / Charles Dodgson, and the book is all about Alice's vivid imagination as she tries to navigate her way through the absurd and unpredictable world she finds herself in.  The book was originally printed in Oxford at the Clarendon Press in June 1865, but was  suppressed when Carroll heard that Tenniel was dissatisfied with the quality of the printing.    So a first edition with better quality illustrations came out in 1866, and it is pricey. It can run you anywhere from a few thousand dollars up to $27,000 or so for a fine edition, and this copy is much more affordable.  The book shows its age. It measures 7 3/8 x 5 1/4 inches wide and has wear at the heel and crown, rounded corners on the covers, a weak hinge in front, and loss at one corner on the rear endpapers, but the book is still worth it. It was printed only seven years after the first edition, most copies by Lee & Shepard have fancy covers and are expensive, and this copy has very colorful front and rear covers that seem to deviate from the norm - the book might be hard to find with these covers - and it could be a choice purchase for someone who loves Lewis Carroll books or who has a child in the family who might like to know what a copy of the book looked like in 1872. Size: 7 3/8 x 5 1/4 x 1 in.  #8708 

Lot: 1511 - Reynard the Fox Illustrated by W F Calderon 1895

This book is titled The Most Delectable History Of Reynard The Fox, and it is a European folktale about a cunning and mischievous fox who uses his wit and trickery to outwit other animals, often escaping punishment by manipulating and using deception and cleverness to overcome brute strength.  The book was edited with an introduction and notes by Joseph Jacobs, with pictures done by W. Frank Calderon, and first published in London by Macmillan in 1895. It is a first edition by Macmillan because there is just a single date on the title page, with no additional printings listed, and it is a presentation copy, according to a circular stamp on the title page.   Joseph Jacobs (1854 - 1916) was an Australian-born folklorist, literary critic and notable collector of English folklore, and William Frank Calderon (1865 - 1943) was a British painter who specialized in portraits, landscapes, and sporting pictures. He worked under Alphonse Legros, exhibited at the Royal Academy, and Queen Victoria actually both the very first painting he exhibited at the Academy.  The book is beautifully decorated, with gilt lettering and gilt animals on the spine, and an elaborate gilt cover designed by A. A. Turbayne, with a gold-blocked Art Nouveau style that inspired other artists to use asymmetrical designs, sinuous curves, and simplified shapes with minimal shading in their own work.  The book has dark green endpapers with a bookplate on the front endpaper which says “The While Away Library - J Ellis”, then an owner’s inscription on the front flyleaf which reads “S. G. Toplis, 21 / 4/ 96”, followed by the half title and a great frontispiece of the court of King Noble by Calderon with a protective tissue guard, the title page, a three-page Preface, an Introduction that runs from xi to xxxi, a list of Contents from xxxiii to xxxvii, the text is 244 pages long, Notes that run from 247 to 260, four pages of ads at the end for books published by Macmillan, and all the edges are gilt. The book measures 7 1/4 x 5 1/2 inches wide and is in great condition.  The binding is bright, clean and tight, the illustrations are clean, with just a light bump on one corner tip on the front cover and just a couple of small brown spots in the text. Overall a spectacular copy of this book of European folklore.  Size: 7 1/4 x 5 1/2 x 1 1/4 in.  #8709

Lot: 1512 - Fables de La Fontaine Illustres Par Grandville 1842

This is another version of the Fables of La Fontaine, only it is in French and illustrated by Grandville, the pseudonym of Jean Ignace Gerard, a French illustrator known for transfiguring the human shape and personifying animal figures with human traits and well-suited to story telling.  The book is 3/4 bound and has four raised bands, with gilt lettering and gilt-ruled panels on the spine, marbled endpapers, the page before the title page says it was published by Fournier (“imprime par les presses mécaniques de h fournier”), the title page has a small vignette illustrated by Grandville, followed by a full-page illustration honoring La Fontaine, two pages by by La Fontaine which had to be written before La Fontaine’s death in 1695, then a Preface, twenty-six pages on the life of Aesop (“la vie d’esope, le phrygian” ix - xxiv) and the text, which is 452 pages long and divided into six books, followed by one-page epilogue at the end. The book was also edited by Furne in Paris in 1842 and is filled with illustrations by Grandville.  Jean Ignace Gerard (1803 - 1847), aka Grandville, was a French Illustrator, caricaturist, artist, and printmaker who was known for illustrating La Fontaine’s Fables, as well as Defoe’s Robinson Crusoe, Swift's Gulliver's Travels, and Cervantes's Don Quixote, and his The Metamorphoses of the Day (Les Métamorphoses du jour) was a set of 70 color lithographs (1829) which showed figures with human bodies, but the heads of various animals, from fish to elephants, all to satirize the bourgeois of Paris and human nature in general. The first edition was published between 1838 and 1840, and this is only one volume of a two-volume set.  The book measures 9 1/4 x 6 1/2 inches wide and has a tight binding, but there is wear on the covers and light browning in the text and on some of the illustrations. Still an exceedingly rare title and a great way to compare Gustave Dore with Grandville.  Size: 9 1/4 x 6 1/2 x 1 1/2 in.  #8710

Lot: 1513 - Picture Fables Drawn by Otto Speckter 1863

This book is entitled Picture Fables Drawn By Otto Specter, Engraved by The Brothers Dalziel, With Rhymes Translated From the German Of F. Hey, By H. W. Dulcken, and published in 1863 by Routledge, Warne, and Routledge. It is a new edition, according to the title page, and it was printed by R. Clay in London.  The book has a gilt decorated spine and a blue and gilt blindstamped front cover, blank endpapers, an illustrated frontis by Speckter, a decorated title page, then a regular title page with no decorations, a two-page Preface vii - viii, 101 pages of text, a blindstamped cover on the backside, and all the edges are gilt.  There is a large head-piece engraved on each page, with two stanzas and a sestet - six lines of poetry - below each engraving, and the engravings were done by the Brothers Dalziel, the largest and most influential wood engraving from in London at the time. They were founded by George Dalziel in 1839 and closed their doors in 1893 because their woodcuts were replaced by photochemical processes, and it was a family business that actually included three brothers and their sister Margaret. They cut the illustrations Lewis Carroll’s Alice in Wonderland books and Edward Lear’s Book of Nonsense (1862) and others, so they were highly respected, and the British Museum even has 54,000 proofs of the firm’s woodcuts in their archives.  The book measures 8 x 5 1/2 inches wide and is in great condition. The binding is tight and the engravings are very clean, with lightly pencilled notes on a front flyleaf, a light paper repair on page 22, and faint brown spots in just a couple of places. A great book for someone interested in woodcuts and German fables.  Size: 8 x 5 1/2 x 1/2 in.  #8711

Lot: 1514 - Fables Of Aesop And Others, Samuel Croxall 1797

This book is titled “Fables of Aesop and Others, Translated into English. With Other Applications, and a Print before each Fable.” It was written by Samuel Croxall and is the fifteenth edition, published in London by T. Longman et al.  The book is 3/4 bound, with gilt decorations and gilt lettering on the spine, marbled covers, blank endpapers, the name “T Walter” stamped on the page before the frontis, the frontis engraving shows someone in an allegorical setting writing on papers  - probably a representation of Aesop - then the title page, a four-page dedication to Lord Halifax dated May 1722 by Croxall, a fourteen-page Preface, a twelve-page Table of Contents, the text runs from page 4 to 329, followed by a seven-page Index, and there are small engravings with each fable and an instructive Application, which provides the moral of the story. The book is undated, but WorldCat says the fifteenth edition was published in 1797.   Aesop was a slave and storyteller who apparently lived in Greece between 620 and 560 BCE, and the fables associated with his name have descended to modern times in many languages through a variety of sources. The first edition of Aesop’s Fables in English was published by William Caxton in 1482, although Heinrich Steinhowel is credited with publishing the first comprehensive edition of Aesop in his Esopus of 1496.  Samuel Croxall (1688/1689 - 1752) was born at Walton on Thames and educated at Eton and St. John’s  College in Cambridge, and was an Anglican churchman, writer, and translator noted for his edition of Aesop’s Fables. Croxall’s first edition was published in 1722 and the fifteenth edition was published in 1797, so Croxall made his mark with these translations, and his translations are still being published today.  The book measures 6 3/4 x 4 1/4 inches wide and is in very good condition for its age. It has a tight binding, with light rubbing on the edges of the spine and at the corners, scattered brown spots in the text, and the last five pages of the Index have heavy brown spots, but are still readable, and there aren’t many copies of Croxall’s early editions. We found only two copies online printed before 1793 and two copies of the fifteenth edition, but most of the translations were done after 1798 and well into the 1800’s.  Size: 6 3/4 x 4 1/4 in.  #8712

Lot: 1515 - Philip Jackson (Born 1944) British, Art Book and Limited Edition Bronze Brooch Pin

Philip Jackson (Born 1944) British, Art Book and Limited Edition Bronze Brooch Pin. Book is of his sculptures since 1987, published in 2002, hardcover with dust jacket and high-quality color photographs throughout. The bronze and parcel gilt brooch is an abstract shape suggesting the tricorn-hat wearing specter of death in the opera "Don Giovanni," titled "The Don" and numbered 45/500 (based on a larger sculpture from 1996).  Size: 1/2 x 10 1/4 x 12 1/8 in.  #8628 .    Philip Henry Christopher Jackson was born April 18th, 1944 in Scotland. He attended Farnham School of Art (now the University for the Creative Arts) and worked as a press photographer for a year before joining a design company as a sculptor. By the time he was in his late thirties he was working for himself, dividing his time between original works for his gallery and commissions both in England and abroad. He was appointed the Royal Sculptor to Queen Elizabeth II, with his life-size works appearing around the world, including in the United States, Argentina, and Switzerland. Since the late 1990s he has worked at the Edward Lawrence Studio in Midhurst, West Sussex, living nearby with his wife and son, who assist him in crafting his large-scale bronze installations.  In 2008 he was appointed a Deputy Lieutenant of West Sussex, and the following year he was appointed Commander of the Royal Victorian Order. He continues to make impressionistic monuments throughout the globe, with several smaller-scale commissions since the beginning of the COVID-19 pandemic. 

Lot: 1516 - Fables of La Fontaine, Limited Editions Club 1930

This set is titled the Fables of Jean de La Fontaine, published in two volumes by the Limited Editions Club in 1930, with translations into English verse by Joseph Auslander and Jacques Le Clercq and decorations engraved in copper by Rudolph Ruzicka.  The set has a gilt decorated spine and a gilt logo on the front with La Fontaine’s initials - LF -  and Volume I has blank endpapers, a full-page illustration before the title page, a copyright date of 1930, a six-page Introduction (v - x), a list of Contents (xiii - xx), the text which runs to page 265 and a one-page epilogue at the end of the first volume. Volume II is decorated the same way, with blank endpapers, a full-page illustration before the title page, a copyright date of 1930, a seven-page list of Contents (v - xi), a Foreword (xiii - xiv), and the text runs to page 399, followed by the limitation page, which says the book is number 1322 of fifteen hundred copies, the top edges are gilt, and the set is housed in a slipcase.  The limitation page at the back of the second volume says the set is number 1322 of fifteen hundred copies printed for members of the Limited Editions Club, the set was printed by D. B. Updike  at the Merrymount Press in Boston, and it is signed by the illustrator R Ruzicka. The paper label on the spine of the slipcase also says the set is number 1322, so the numbers match on the books and slipcase and confirm the books are a first edition set by the Limited Editions Club.  The slipcase measures 9 1/8 x 6 inches wide and is in good condition, with light wear at the edges and above the paper label on the spine, some loss on the spine, and the paper label has browned a bit, and the books themselves are in great condition, with tight bindings and clean pages and text. A great set for the La Fontaine enthusiast or anyone who enjoys fables and fairy tales or fantasy.  Size: 9 1/8 x 6 x 2 1/4 in.  #8706

Lot: 1517 - Orient Express Photographic Book

Orient Express Photographic Book. Hardcover, published in 2016. Details the history of the iconic railroad line through photographs, film stills, and more. Comes with dust jacket. Art direction by Camille Dubois and Paola Nauges, edited by Lindsey Tulloch.  Size: 1 1/2 x 10 x 13 in.  #8691 .  The Orient Express was a long-distance passenger luxury train service that first

Lot: 1518 - The Autobiography of Benvenuto Cellini, Doubleday First Edition

"The Autobiography of Benvenuto Cellini," published by Doubleday & Co., 1948. First translated by John Addington Symonds in 1887. Illustrated by Salvador Dali. Signed. Doubleday is an American publishing company. It was founded as the Doubleday & McClure Company in 1897. By 1947, it was the largest book publisher in the United States. It published the work of

Lot: 1519 - Aesop's Fables, Illustrated by Arthur Rackham 1919

This book is titled Aesop’s Fables, A New Translation by V. S. Vernon Jones, With An Introduction by G. K. Chesterton and Illustrations by Arthur Rackham. The book was published in 1919 by William Heinemann in London and by Doubleday Page in New York, and it’s the fourth printing of the book. (The first edition was published in 1912.)  The book has a decorated cover and decorated spine, with a Rackham-style bookplate on the front endpaper that is signed by the owner, lightly penciled nits on the futon flyleaves, the half-title, a beautiful color frontis by Rackham and a red-captioned tissue guard, then the title page  and copyright page, a seven-page Introduction by G K Chesterton (v - xi), with 224 fables listed in the Contents (xiii - xxv), a three-page list of Color and Black and White illustrations (thirteen color plates and fifty-five black and white illustrations - pages 136 to 137 have five small vignettes on them), 224 pages of text, and the book was printed by R. Clay in Great Britain.  The book measures 8 1/8 x 6 1/8 inches wide and is in very good condition. It has a tight binding and clean plates and text, with slightly faded covers, light bumps on the heel and crown, light rubbing along the edges of the spine and a tad at the tips, offset and browning on the front and rear flyleafs from the decorations on the opposite page, and all the plates and tissue guards are present.  First editions from 1912 run from about $1000 up to $1500, signed copies run up to $5000 for a first edition, and this is copy is a bargain for Rackham collectors or someone who looks to  pass the book on to their children or grandchildren.   Size: 8 1/8 x 6 1/8 x 1 1/2 in.  #8713

Lot: 1520 - Selected Fables of Esop, Dodsley 1761

This book is titled Selected Fables Of Esop And Other Fabulists, In Three Books, printed for   R. and J. Dodsley in Pallmall and published in 1761. The book is bound in leather, with five raised bands and a red label with gilt letters on the spine, leather boards with double-gilt ruled borders, blank endpapers with the most unique messages on them - they are inscribed in ink by James Russell and the one on the front flyleaf says “you can’t spleak splain for spluttering” and the message on the rear endpapers says “James Russell is my name and England is my nation, the Dock yard is my dwelling place and Christ is my Salvation”, with an allegorical frontispiece, then the title page, a price of Three Shillings for a bound copy of the book on the title page, a four-page Preface (i - iv), followed by The Life of Esop, Collected From Ancient Writers, by Mons. De Meriziac, with Notes (iii - xliii), An Essay on Fable by R. Dodsley (3 - lxiii) - yes, the page numbers start with Arabic numbers and switch to Roman numerals - then an illustration to precede the text - the illustration has twelve round panels all on one page - then the text, which is 204 pages long, and an Index to the Three Book (the index is twenty-eight pages long) and we believe the book is missing some of the plates, but that seems to be a binder or publisher’s error because there is just one page torn from the book (between pages 182 and 183), and with the numbering problem in the Essay on Fable, we think some of the plates might have been left out by the binder or the publisher.  The book measures 7 3/16 x 4 11/16 inches wide and needs to be rebound. The front board    is detached and the rest of the binding is tight, there is light loss at the crown and at the heel, with light rubbing at the edges of the spine and at the tips, some of the gilt-ruled borders on the covers have faded a bit, there is browning on the endpapers and offset on the title page from the frontispiece and offset on the first Index page from the illustration page opposite, chips on the edge of two pages, and the pages of text are rather clean, so a good book to be taken care of and preserved.  The starting estimate is low because we’re giving you a chance to restore the book without costing you an arm and a leg; the price for a sound copy starts at nearly $400 and jumps to nearly $3000 online, and we found only three copies of this title listed on the rare book website we use, so the book is rare indeed.  Condition: Front board is detached.  Size: 7 3/16 x 4 11/16 x 1 1/2 in.  #8714

Lot: 1521 - Gulliver’s Travels, Arthur Rackham Illustrated Book 1937

This book is titled Gulliver’s Travels Into Several Remote Nations Of The World, written by Jonathan Swift, illustrated by Arthur Rackham, and published in London by the Temple Press  in 1937. The book has red cloth covers, gilt lettering on the spine, black lettering on the front cover, blank endpapers, a half-title, a color frontis by Rackham, then the title page, a list of Contents that runs from vii - xiii, a list of Illustrations on page xv, 292 pages of text, all twelve color plates are present, with a small bookseller’s label on the last endpaper in the rear which says “Gotham Book Mart” in New York, and the book is considered a first edition edition thus by  Temple Press.  The book measures 9 1/8 x 6 5/8 inches wide and is in good condition. The binding is tight and has clean plates and text. There is light wear and light bumps on the heel and crown of the spine, light bumps on the front cover, light wear at the tips, a slight stain in the lower right corner of the front cover, light red marks on the underside of the book, and still an attractive copy for a book illustrated by Arthur Rackham. Size: 9 1/8 x 6 5/8 in.   

Lot: 1522 - Rip Van Winkle, Arthur Rackham Illustrated Book 1917

This book is titled Rip Van Winkle by Washington Irving and was illustrated by Arthur Rackham and published by Willam Heinemann in London in 1917 and by Doubleday Page in New York the same year. It has 24 color plates by Rackham, 7 black and white illustrations, and numerous cameo illustrations in black and white by Rackham. (Cameos are illustrations not listed in the book.) The book was originally written by Washington Irving in 1819 and tells the tale of a Dutch villager in the Catskill mountains of New York who drinks too much liquor and falls asleep, only to discover he’s slept for twenty years and has awaken in a very changed world. Arthur Rackham illustrated this folklore tale, and his illustrations the story alive.  The book is 3/4 bound, with four raised bands and gilt lettering on the spine, marbled boards, blank endpapers, a half-title with the owner’s name at the top, then a list of books illustrated by Rackham - Arthur Rackham’s Illustrations - followed by a colored frontis and the title page, the copyright page, a two-page list of illustrations, 36 pages of text, and a page at the end says the book was printed in Great Britain by Richard Clay and Sons of Brunswick Street, Stamford Street, and Bungay Suffolk. All the colored plates are protected by a tissue guard with red captions for the title of the plate, and the book is not signed by him. The book also comes with a catalogue list laid in at the rear. The catalogue (# 29) is by Justin Schiller for Children’s Children’s Books From Four Centuries and includes two pages of book titles illustrated by Arthur Rackham.  The book is in very good condition. It measures 10 x 7 3/8 inches wide and is tight, the plates and black-and-white illustrations are very clean, and there is light rubbing along the edges of the spine, wisps of rubbing at the tips, faint brown spots on the endpapers, brown spots on the half-title page, and occasional brown spots in the text.  If the book were signed, it would be worth much more.  Size: 10 x 7 3/8 in.  #5457

Lot: 1523 - Arthur Rackham Illustrated + Signed, Numbered Book 1935

This book is titled Tales of Mystery And Imagination by Edgar Allan Poe, and it was illustrated by Arthur Rackham and published in London by George G. Harrap in 1935. It is a limited edition of only 460 copies ever published, it is number 336 of the 460 copies, and it is signed by Rackham on the limitation page.  Edgar Allan Poe was one of the greatest mystery writers of all time, and Arthur Rackham (1867 - 1939) was an English artist who was one of the leading figures of the Golden Age of British book illustration, and his best known works include illustrations for Peter Pan in Kensington Gardens and Fairy Tales of the Brothers Grimm.  The book is done in vellum, with gilt lettering and gilt decorations on the spine, gilt lettering  and a gilt image on the cover which shows a skeleton holding a dagger, ghoulish endpapers in black and white, the half-title, the limitation page signed by Rackham, the frontispiece with a captioned tissue guard, then the title page, the copyright page dated 1935, two pages of Contents (from 5 to 6), a list of Illustrations in color and in line (black and white) that run from pages 7 to 8, 318 pages of text, the top edge is gilt, and it is considered a first edition because there is only one date listed on the copyright page with no additional printings.  The book measures 10 5/8 x 8 1/8 inches wide, and it is clean and tight inside. All  twelve color plates and tissue guards are present, as well as the seventeen black and white line drawings. There are brown spots on the front and rear covers, the plates and tissue guards are very clean, as are the black and white drawings, there is a slight crease at one tip on the rear endpapers, and that’s it.  A very desirable book illustrated by one of the best artists of all time.  Size: 10 5/8 x 8 1/8 in.  #5459

Lot: 1524 - (2) Rubaiyat of Omar Khayyam, illus by Rene Bull & E. Dulac

These two books have similar titles and were illustrated by different people.  The first one is The Rubaiyat of Omar Khayyam Rendered Into English Verse by Edward Fitzgerald and Illustrated in Colour and in Line by Rene Bull. It was published by Hodder and Stoughton in 1913, according to WorldCat, it is 3/4 bound and has a spine that dazzles: there are three raised bands and elaborate

Lot: 1525 - Contes et Nouvelles en Vers par La Fontaine 1732

This is a two-volume set of La Fontaine’s Tales and Novellas, in the original French, the  title page reads “Contes et Nouvelles en Vers, Par Monsieur De La Fontaine”, corrected, augmented, and printed in intaglio (“nouvelle edition corrigee, augmentee, & enrichie de Tailles-Douces dessinees”), and it was illustrated by Romain de Hooge and published in Amsterdam in 1732 by N. Etienne Lucas, at the Golden Bible (“Bible D’Or”).  The book are leather-bound, with five raised bands, gilt-ruled borders and gilt lettering and gilt designs in the compartments, marbled endpapers with the owner’s bookplate on the front endpapers, a full-page frontis done by Pierre Brunei (Vol I), then the title page in red and black letters, a seven-page warning about this new edition (‘“Avertissement sur Cette Nouvelle Edition”), a Preface by the author, 240 pages of text in Volume I and 285 pages of text in the second volume, followed by a Table of Contents at the rear in both volumes. (Volume I - the Tome Premier - has two pages of Contents and Volume II - Tome Second - has one page of Contents), both books have half-page engravings to begin each fable, and the two books have red top stains added by the publisher.  The books are an anthology of ribald short stories and novellas put into verse from the prose  of La Fontaine, and the first edition was collected and published in 1665 in Paris by Claude Barbin, while La Fontaine was still alive. Romain de Hooge (1645 - 1708) was a Dutch artist, engraver, and caricaturist, and some people shy away from books written in another language, but this is written in French, the native language of La Fontaine, which we consider to be a plus, and for those who want to know, marbled endpapers were first used in books in 1655,   so this title is right near the beginning of that period.  The books measure 6 1/2 x 4 inches wide and are in pretty good shape for their age. The spines and corners show their age on the first volume, both volumes have rubbing at the edges of the spines, there are lightly penciled notes on the front flyleaf of the first volume and light browning here and there in the two volumes, but not much - the pages are actually pretty clean - and the top stain is darker on both volumes.   We only found three sets listed online for this title, two had both books bound in one volume and one had detached boards, and this set is completely intact and bound in two volumes, so a rare set of the Tales and Novellas of Jean de La Fontaine in the original language.   Size: 6 1/2 x 4 in.  #5461

Lot: 1526 - Fabler Af Aesop, Christian Winther 1859

This book is a Danish title about Aesop’s Fables, written by Christian Winther and published in Copenhagen by Philipsens Forlag in 1859.  The title reads Fabler Af Aesop, and the book has a beautiful gilt-decorated spine and front cover, with blank endpapers and the name “Lars Friedrich Torbjorn Koch” stamped on the front flyleaf, then the title page, a table of contents which lists 203 fables by Aesop, there are 24 black and white illustrations and 155 pages of text, and we believe the illustrations were done by Croesnit. Christian Winther (1796 - 1876) was one of the greatest Danish poets of the 19th century. He was born in Fensmark, near Naestved, where his father was the vicar. He went to the University of Copenhagen in 1815 and studied theology, receiving his degree in 1824. His first verse was published in 1819, but no collected works appeared until 1828, and based on his lyric poems, King Christian VIII of Denmark appointed Winther to travel to Mecklenburg in 1841 to instruct his daughter, Princess Mariane, on the occasion of her betrothal to the Crown Prince of Denmark, and in 1851 he was given a pension from the state, which allowed him to pay off    his debts and work in peace for the rest of his life.  He loved nature and is best known for his poem “Hjortens Flugt” - The Stag’s Flight - which is considered to be one of the classics of Danish literature, and he influenced many Danish lyric poets who came after him.  The book is in great condition and measures 7 1/4 x 5 inches wide, with a tight binding and clean pages and text, and just light bumps at the heel and crown and at the tips, and we couldn’t find copies of this title listed anywhere online or on the rare book website we use,     so a rare book indeed by a great Danish poet.  Size: 7 1/4 x 5 in.  #5462

Lot: 1527 - Fables of Aesop, And Others, Samuel Croxall 1811

This is another Croxall book titled “Fables of Aesop, And Others: Translated Into English. With Instructive Applications: And A Print Before Each Fable.” It was written by Samuel Croxall and is the nineteenth edition, carefully received and improved, and published in London in 1811 by F. C. and J. Rivington et al.  It comes with a typed note that reads”12 mo. Contemporary marbled sheep, upper joint expertly restored, the lower joint just starting to crack but still firm, new red morocco label … woodcut frontispiece by Charlton Nesbit, and with a woodcut to each Fable; a very good copy.”  It adds that “Samuel Croxall’s much reprinted edition of Aesop was first published in 1722. Croxall, a prominent theologian of his day, intended his translation to supersede all previously published versions, particularly that of Roger L’Estrange which had appeared in 1692” and a price of £298 - 298 pounds - near the top of the note, so the book was expensive at the time it was purchased.   The spine has six compartments with horizontal gilt-rules between each one, the red morocco label with gilt letters, the marbled sheep covers, blank endpapers with “1812” on the first end-paper in front, the Nesbit woodcut, then the title page followed by a page which says the book was printed at Swan and Son on Fleet Street in London, then a dedication page to Lord Halifax dated May 1722 by Croxall, a Preface (viii - xix), five pages for The Table Of Contents, 329 pages text, and the eight-page Index at the rear. The book measures 7 x 4 1/2 inches wide and is in very good condition. The binding is tight and the pages and text are very clean, the gilt on the spine is bright, and the typed note sums up the condition of the book very well. There is scraping above the “1812” on the front endpaper and light loss on the crown of the spine, and that’s really it for blemishes in the book, and a nice copy of this Aesop title by Croxall.  Size: 7 x 4 1/2 in.  #5463

Lot: 1528 - Song Book by A. A. Milne, Signed and Numbered, 1928

This children’s songbook was written by A. A. Milne, the author of Winnie-the-Pooh, and it’s a limited and numbered edition signed by Milne, Fraser-Simson (the composer), and E. H. Shepard (the illustrator). The songbook is titled “More Very Young Songs” and there are ten songs inside. The book is folio size at 13 x 10 1/4 inches wide, with a quarter cloth blue spine, gray boards, a paper label on the front cover, blank endpapers, the half-title, a list of songs by Milne, Shepard, and Fraser-Simson on the frontis page, then the title page, which says the book was published in London by Methuen and Ascherberg, Hopwood & Crew, and the limitation page says the book was published in 1928 and it is number 3 of only 100 copies ever published, which means the book was very early in the print run, and the limitation page is signed by Milne, Fraser-Simson, and Ernest Shepard. The Contents page lists the ten songs and the book has 40 pages of song and music, a flyleaf near the end says the book was printed by Lowe & Brydone Printers on Victoria Road, 10 N.W., and there are blank endpapers at the rear.  The songbook is in very good condition. It is clean and tight, with a clean paper label in front and tape residue at the top of the front cover, modest brown spots along the right edge of the front cover, a faint brown spot on the title page and faint brown spots on the back cover. Overall a very attractive copy of this rare signed copy by Milne and the composer and illustrator.  When the verses for When We Were Very Young first appeared in Punch, Milne was approached by numerous composers who wanted to set the verses to music. Milne chose Fraser-Simson because Fraser-Simson was his neighbor in Chelsea and the composer of a phenomenally successful musical called The Maid of the Mountains. Eventually there would be 67 songs altogether based on Milne’s lyrics, and there are only 100 copies of this signed edition in the whole world.  Size: 13 x 10 1/4 in.  #5466

Lot: 1529 - Arthur Rackham Illustrated Book 1913

This is Arthur Rackham’s Book Of Pictures With An Introduction By Sir Arthur Quiller-Couch, and it’s a first edition because it was published in London by William Heinemann in 1913, with no additional printings stated on the title or copyright page.  The book has gilt lettering and a gilt cat on the spine, gilt lettering and a gilt bird on the front cover, all from the mind of Arthur Rackham. The front blank endpapers have a space drawn by Rackham that allows a person to put his or her name into the space to show ownership of the book, similar to a bookplate, followed by the half-title, a list of books illustrated by Rackham, a mounted frontispiece by Rackham with a tissue guard captioned in red letters, then the title page and a copyright page, a list of Pictures that run from page 7 to page 15 (the list is organized in six categories including I. Of The Little People, II. Classic, III. Some Fairy Tales, such as Jack the Giant Killer, Puss in Boots, and The Frog Prince, IV. Some Children, V. Grotesque, and VI. Various), then a long Introduction by Arthur Quiller-Couch, followed by forty-three beautiful mounted plates with the captioned tissue guards, blank endpapers at the rear, a gray top stain done by the publisher, and all forty-four plates and tissue guards are present.  J. M. Barrie, the author of Peter Pan, was originally approached to write the Introduction, but he couldn’t because he had a scheduling problem, so he turned down the offer and Quiller-Couch wrote the Introduction instead. (Quiller-Couch was a British writer who gave the world Horace Rumpole, the fictional character often seen on PBS, and Quiller-Couch is remembered most for his The Oxford Book of English Verse 1250 - 1900.) The book measures 10 1/2 x 8 1/4 inches wide and is in very good condition. It is clean and tight, with bright gilt on the covers, just light bumps at the heel and crown, faint wear at two tips, a couple of brown spots on the tissue guards in back, and faint brown spots on the rear endpapers. A very handsome copy of this book by Rackham. Unfortunately it is not signed by the author.  Size: 10 1/2 x 8 1/4 in.  #5458

Lot: 1530 - Swinburne Book Illustrated By Arthur Rackham 1918

This book is titled The Springtide Of Life, Poems Of Childhood by Algernon Charles Swinburne, illustrated by Arthur Rackham, and published in London by William Heinemann and in the U.S. by Lippincott in 1918.  Swinburne (1837 - 1909) was an English poet, playwright, and novelist whose plays are all tragedies, and he wrote about many taboo topics, including sado-masochism and anti-theism, with themes that focused on the ocean, time, and death, and Rackham (1867 - 1939) was one of the leading artists during the Golden Age of British book illustration.  The book has gilt lettering on the spine and front cover, decorated endpapers featuring a cherub with garlands of roses, then the half-title, a list of Rackham’s books published by Heinemann, a colored frontis by Rackham with a captioned tissue guard, the title page, the copyright page dated 1918, a two-page Preface by Edmund Gosse, a two-page list of Contents (vii - viiii), followed by a List of Plates on page ix, 133 pages of text, and the book was printed at The Complete Press in West Norwood, London, according to an endpaper near the rear. There are eight plates altogether, including the frontispiece, and all the plates and tissue guards  are present. Unfortunately it is not signed.  The book measures 10 x 7 5/8 inches wide and is in great condition. It is clean and tight, with light bumps at the heel and crown, faint creases in the top right corner of the pages, light offset  on the back of the plate on page 84, but it doesn’t affect the plate on the other side, and a very attractive copy of this Swinburne title illustrated by Arthur Rackham.  Size: 10 x 7 5/8 in.  #5456

Lot: 1531 - Krilof and His Fables, Ralston 1869

  This book is titled Krilof And His Fables, compiled and translated by W. R. S. Ralston of the British Museum and published in London in 1869 by Strahan. It is a second edition, according to the title page, and Ralston took dozens of fables by Ivan Krilof (also spelled Krylov) and translated them into English.  Krilof came from a poor family in Russia and had little formal education, so he began to work as a clerk to bring in money when he was only nine. He wrote operas, comedies, and tragedies in his teens, then became a journalist until government censorship occurred. In 1805 he began translating the fables of Jean de La Fontaine, but preferred writing this own fables instead. His first book of fables was published in 1809 and earned him the patronage of the imperial family and a post at the public library in St. Petersburg, a post he held for thirty years. This also allowed him to write eight additional books of fables, which gained him much popularity in Russia.  Although he borrowed themes from Aesop and La Fontaine, the themes were altered and his animal creatures such as foxes and crows or wolves and sheep, whether foolish or wise, were easily recognizable as Russian types, and he showed a touch of satire in his fables. His fables were so good he received a gold medal from the Academy of Sciences i n 1823 and Emperor Nicholas was so tak00 en by Krilof that the emperor granted Krilof a generous pension, which allowed the fabulist to write in peace. The book has four raised bands and gilt-ruled panels on the spine, with gilt lettering and gilt devices in the panels, a gilt-ruled border on the covers, marbled endpapers, a half-title, the title page followed by a page in Russian, a five-page Preface (vii - xi), four pages of contents 9xiii - xvi) a twenty-six page Memoir (xvii - xlii), 177 pages of text, a two-page Index to the Fables (179 - 180), thirty-two pages of ads for The Book List of Strahan And Company at Ludgate Hill in London, marbled endpapers at the rear, numerous black and white illustrations, and the top edge is gilt. The book measures 7 5/8 x 5 1/4 inches wide and is in great condition. The binding is tight and the pages are clean and bright, with light rubbing on the heel and crown and at the tips, and no evidence of foxing or browning, and the book is a great find for people who enjoy Russian fables by a noted Russian fabulist.  Size: 7 5/8 x 5 1/4 in.  #5500

Lot: 1532 - Four (4) Aesop Fables Books

This lot consists of four books about Aesop’s Fables, published from the 1800’s up to 2002. The first title is a) The Fables of Aesop, Illustrated in Colour by Edward J. Detmold and published in London by the Folio Society in 2002, it states 1998 on the title page, but it is the fifth edition, according to the copyright page, it comes in a slipcase, it is in primo condition and measures 10 x 7 1/2 inches wide, not counting the slipcase.  The next book is b) Aesop’s Fables, a new version written by Munro Leaf, with illustrations by Robert Lawson, published by the Easton Press in 1979 and it has silk moire endpapers, all the edges are gilt, and it comes with 22K gold accents. The book measures 10 1/2 x 7 1/4 inches wide and is in very good condition, with just hints of rubbing on the gilt edges.  The next title is c) the Fables of Aesop, Compiled from the Best Accepted Sources, with Sixty Illustrations, published by Henry Altemus in 1899, it measures 6 3/4 x 5 1/4 inches wide and has a decorated cover and decorated spine which have faded a bit, it has the owner’s name and “1913” inscribed inside, and overall is in good condition.  The last title is d) The Little Esop, with a faded gilt spine and faded plum covers, it is undated, but has yellow endpapers, which means it was published around the time of the Civil War, the front endpaper says “Mission School, Corner Sixth and Mound Streets” in pencil, it was published in Philadelphia by Theodore Bliss between 1855 and 1859, according to the four listings we found online, the book is 95 pages long with numerous black-and-white woodcut illustrations and small enough to be held in your hands. It measures 4 x 4/3/4 inches wide with the faded covers, light wear on the spine and at the tips, browning in the text, and weak hinges at the rear, and still a rare title.  Overall a nice lot for collectors of Aesop’s Fables.  Largest: 8 x 10 1/4 x 1 3/4 in.  #8715

Lot: 1533 - S Johnson's A Dictionary of the English Language 1799

This set is titled A Dictionary Of The English Language: In Which The Words Are Deduced From Their Originals, And Illustrated In Their Different Significations By Examples From The Best Writers, In Which Are Prefixed, A History of the Language, And An English Grammar. This is a landmark work in lexicography by Samuel Johnson (1709 - 1784), an influential English writer, word aficionado, and critic. Renowned for his masterful command of the English language, Johnson compiled the first comprehensive dictionary of the English language, originally published in 1755, and this is the eighth edition published in two volumes in 1799.   The first volume here includes a frontis portrait of Johnson engraved from an original painting by Sir Joshua Reynold, the title page, it was printed by Plummer and Brevis at Love Lane in Eastcheap, it has a list of Subscribers’ Names, an Essay on the Life and Genius of Samuel Johnson, Rules and Directions to be Observed by the Natives of Ireland, Scotland, and Wales … for Acquiring a Perfect Knowledge of the Marks Used in this Dictionary, a Preface, a History of the English Language and a Grammar of English (“A Grammar of the English Tongue”), both printed in two columns, followed by the Dictionary with the text printed in three columns and a lexicon that runs from A to Jymold, and the second volume has the same title and goes from K to Zootomy.  Both books were published by T. Fisher et al, and together they probably run in excess of two thousand pages.   Both books measure 10 7/8 x 9 x 2 3/4 inches deep and are in very good condition for their age. The spines have been rebacked and there are new endpapers, but the rest of the pages are original to the books. There is light rubbing and wear on the covers, occasional brown spots in the text, small single wormholes towards the end of Volume II - the books have not been devoured by worms - and overall the books have held up pretty well for being published in the late 1700’s.  The first editions published by Strahan in 1755 would cost you upwards of $75,000, so this set is a bargain.  Size: 10 7/8 x 9 x 2 3/4 in.  #8716

Lot: 1534 - 18 French Commemorative Silver Coins in Original Booklet with Certificate of Authenticity

18 French Commemorative Silver Coins in Original Booklet with Certificate of Authenticity. Each coin is a representation of one of the French regions.  Size: 6 3/4 x 9 1/2 in.  #5421 .  France is divided into eighteen administrative regions, of which thirteen are located in metropolitan France (in Europe), while the other five are overseas regions (not to be confused with the overseas collectivities, which have a semi-autonomous status). All of the thirteen metropolitan administrative regions (including Corsica as of 2019) are further subdivided into two to thirteen administrative departments, with the prefect of each region’s administrative centre’s department also acting as the regional prefect. The overseas regions administratively consist of only one department each and hence also have the status of overseas departments. Most administrative regions also have the status of regional territorial collectivities, which comes with a local government, with departmental and communal collectivities below the region level. The exceptions are Corsica, French Guyana, Mayotte, and Martinique, where region and department functions are managed by single local governments having consolidated jurisdiction and which are known as single territorial collectivities.

Lot: 1535 - Bibliographical Book "The Circus: 1870s - 1950s"

Bibliographical Book "The Circus: 1870s - 1950s." Includes numerous photographs, illustrations, and essays on the history of one of the most important forms of entertainment in America, primarily covering the period dominated by titans like P.T. Barnum, James Anthony Bailey, and John Ringling. Hardcover, published in 2010. Edited by Noel Daniel. Includes protective sleeve showing a lithograph

Lot: 1536 - Schoenhut Humpty Dumpty Circus Toy Catalog

Schoenhut Humpty Dumpty Circus Toy Catalog. Rare illustrated copy, with "10,001 Astonishing Tricks, Unbreakable Jointed Figures."  Size: 10 X 7 in.  #5390 .  Born in 1848, Albert Schoenhut came from a toy-making family in Wurttemberg, Germany. He came to Philadelphia, Pennsylvania in 1866 to repair toy pianos for the John Wanamaker department store. By 1872 he had started his own company which made musical instruments, circus figures, doll houses, push and pull toys, and more. By 1907 the factory expanded to enclose five and a half acres of floor space, and employed 400 workers. One of Schoenhut’s most popular toys was the Humpty Dumpty Circus set, sold from 1903 until 1935. The hand-painted toys were of acrobats, clowns and performing animals, and the earliest ones had glass eyes and real hair. All the figures were jointed and strung together with elastic bands, allowing them to be placed in a variety of positions. A complete circus of thirty-seven animals, ten performers (plus a band), accessories and a circus tent was one of the most prized possessions children could acquire during the 1920s. Schoenhut passed away in 1912, with his three sons carrying on the company, and a small division of it still exists today known as Schoenhut Toy Piano.

Lot: 1537 - Schoenhut Humpty Dumpty Circus Books

Schoenhut Humpty Dumpty Circus Books. Three total: "Humpty Dumpty Circus from A to Z," "Schoenhut Toy Price Guide," and "Under the Big Top with Schoenhut's Humpty Dumpty Circus."  Size: (largest) 11 1/2 X 9 in.  #5389 .  Born in 1848, Albert Schoenhut came from a toy-making family in Wurttemberg, Germany. He came to Philadelphia, Pennsylvania in 1866 to repair toy pianos for the John Wanamaker department store. By 1872 he had started his own company which made musical instruments, circus figures, doll houses, push and pull toys, and more. By 1907 the factory expanded to enclose five and a half acres of floor space, and employed 400 workers. One of Schoenhut’s most popular toys was the Humpty Dumpty Circus set, sold from 1903 until 1935. The hand-painted toys were of acrobats, clowns and performing animals, and the earliest ones had glass eyes and real hair. All the figures were jointed and strung together with elastic bands, allowing them to be placed in a variety of positions. A complete circus of thirty-seven animals, ten performers (plus a band), accessories and a circus tent was one of the most prized possessions children could acquire during the 1920s. Schoenhut passed away in 1912, with his three sons carrying on the company, and a small division of it still exists today known as Schoenhut Toy Piano.

Lot: 1538 - Schoenhut Humpty Dumpty Circus Black Dude Miniature Toy

Schoenhut Humpty Dumpty Circus Black Dude Miniature Toy. In reduced size, with jacket and bowler hat.  Size: 6 X 6 X 1/2 in.  #8563 .  Born in 1848, Albert Schoenhut came from a toy-making family in Wurttemberg, Germany. He came to Philadelphia, Pennsylvania in 1866 to repair toy pianos for the John Wanamaker department store. By 1872 he had started his own company which made musical instruments, circus figures, doll houses, push and pull toys, and more. By 1907 the factory expanded to enclose five and a half acres of floor space, and employed 400 workers. One of Schoenhut’s most popular toys was the Humpty Dumpty Circus set, sold from 1903 until 1935. The hand-painted toys were of acrobats, clowns and performing animals, and the earliest ones had glass eyes and real hair. All the figures were jointed and strung together with elastic bands, allowing them to be placed in a variety of positions. A complete circus of thirty-seven animals, ten performers (plus a band), accessories and a circus tent was one of the most prized possessions children could acquire during the 1920s. Schoenhut passed away in 1912, with his three sons carrying on the company, and a small division of it still exists today known as Schoenhut Toy Piano.

Lot: 1539 - Schoenhut Humpty Dumpty Circus Group of Clowns and Accessories

Schoenhut Humpty Dumpty Circus Group of Clowns and Accessories. 25 items in total, including two clowns, stands, and an informative booklet.  Size: (largest) 7 3/4 X 4 3/4 X 5 1/2 in.  #5388 .  Born in 1848, Albert Schoenhut came from a toy-making family in Wurttemberg, Germany. He came to Philadelphia, Pennsylvania in 1866 to repair toy pianos for the John Wanamaker department store. By 1872 he had started his own company which made musical instruments, circus figures, doll houses, push and pull toys, and more. By 1907 the factory expanded to enclose five and a half acres of floor space, and employed 400 workers. One of Schoenhut’s most popular toys was the Humpty Dumpty Circus set, sold from 1903 until 1935. The hand-painted toys were of acrobats, clowns and performing animals, and the earliest ones had glass eyes and real hair. All the figures were jointed and strung together with elastic bands, allowing them to be placed in a variety of positions. A complete circus of thirty-seven animals, ten performers (plus a band), accessories and a circus tent was one of the most prized possessions children could acquire during the 1920s. Schoenhut passed away in 1912, with his three sons carrying on the company, and a small division of it still exists today known as Schoenhut Toy Piano.

Lot: 1540 - Schoenhut Humpty Dumpty Circus Giraffe Toy

Schoenhut Humpty Dumpty Circus Giraffe Toy. Leather ears, rope tail, painted eyes, and jointed wooden body.  Size: 8 X 2 X 7 in.  #8568 .  Born in 1848, Albert Schoenhut came from a toy-making family in Wurttemberg, Germany. He came to Philadelphia, Pennsylvania in 1866 to repair toy pianos for the John Wanamaker department store. By 1872 he had started his own company which made musical instruments, circus figures, doll houses, push and pull toys, and more. By 1907 the factory expanded to enclose five and a half acres of floor space, and employed 400 workers. One of Schoenhut’s most popular toys was the Humpty Dumpty Circus set, sold from 1903 until 1935. The hand-painted toys were of acrobats, clowns and performing animals, and the earliest ones had glass eyes and real hair. All the figures were jointed and strung together with elastic bands, allowing them to be placed in a variety of positions. A complete circus of thirty-seven animals, ten performers (plus a band), accessories and a circus tent was one of the most prized possessions children could acquire during the 1920s. Schoenhut passed away in 1912, with his three sons carrying on the company, and a small division of it still exists today known as Schoenhut Toy Piano.

Lot: 1541 - Schoenhut Humpty Dumpty Circus Monkey Toy

Schoenhut Humpty Dumpty Circus Monkey Toy. Standing circus monkey in felt jumpsuit with yellow fringe, felt hat, and rope tail.  Size: 8 1/2 X 4 X 2 in.  #8567 .  Born in 1848, Albert Schoenhut came from a toy-making family in Wurttemberg, Germany. He came to Philadelphia, Pennsylvania in 1866 to repair toy pianos for the John Wanamaker department store. By 1872 he had started his own company which made musical instruments, circus figures, doll houses, push and pull toys, and more. By 1907 the factory expanded to enclose five and a half acres of floor space, and employed 400 workers. One of Schoenhut’s most popular toys was the Humpty Dumpty Circus set, sold from 1903 until 1935. The hand-painted toys were of acrobats, clowns and performing animals, and the earliest ones had glass eyes and real hair. All the figures were jointed and strung together with elastic bands, allowing them to be placed in a variety of positions. A complete circus of thirty-seven animals, ten performers (plus a band), accessories and a circus tent was one of the most prized possessions children could acquire during the 1920s. Schoenhut passed away in 1912, with his three sons carrying on the company, and a small division of it still exists today known as Schoenhut Toy Piano.

Lot: 1542 - Schoenhut Humpty Dumpty Circus Seal and Tub Toy

Schoenhut Humpty Dumpty Circus Seal and Tub Toy. Seal has glass eyes and leather flippers. Red, white, and blue paint on tub.  Seal size: 8 X 2 1/2 X 5 in.  #8566 .  Tub size: 1 1/2 X 1 1/2 X 2 3/4 in.  #8573 .  Born in 1848, Albert Schoenhut came from a toy-making family in Wurttemberg, Germany. He came to Philadelphia, Pennsylvania in 1866 to repair toy pianos for the John Wanamaker department store. By 1872 he had started his own company which made musical instruments, circus figures, doll houses, push and pull toys, and more. By 1907 the factory expanded to enclose five and a half acres of floor space, and employed 400 workers. One of Schoenhut’s most popular toys was the Humpty Dumpty Circus set, sold from 1903 until 1935. The hand-painted toys were of acrobats, clowns and performing animals, and the earliest ones had glass eyes and real hair. All the figures were jointed and strung together with elastic bands, allowing them to be placed in a variety of positions. A complete circus of thirty-seven animals, ten performers (plus a band), accessories and a circus tent was one of the most prized possessions children could acquire during the 1920s. Schoenhut passed away in 1912, with his three sons carrying on the company, and a small division of it still exists today known as Schoenhut Toy Piano.

Lot: 1543 - Schoenhut Humpty Dumpty Circus Ostrich Toy

Schoenhut Humpty Dumpty Circus Ostrich Toy. Painted eyes.  Size: 9 1/2 X 3 X 7 1/2 in.  #8570 .  Born in 1848, Albert Schoenhut came from a toy-making family in Wurttemberg, Germany. He came to Philadelphia, Pennsylvania in 1866 to repair toy pianos for the John Wanamaker department store. By 1872 he had started his own company which made musical instruments, circus figures, doll houses, push and pull toys, and more. By 1907 the factory expanded to enclose five and a half acres of floor space, and employed 400 workers. One of Schoenhut’s most popular toys was the Humpty Dumpty Circus set, sold from 1903 until 1935. The hand-painted toys were of acrobats, clowns and performing animals, and the earliest ones had glass eyes and real hair. All the figures were jointed and strung together with elastic bands, allowing them to be placed in a variety of positions. A complete circus of thirty-seven animals, ten performers (plus a band), accessories and a circus tent was one of the most prized possessions children could acquire during the 1920s. Schoenhut passed away in 1912, with his three sons carrying on the company, and a small division of it still exists today known as Schoenhut Toy Piano.

Lot: 1544 - Schoenhut Humpty Dumpty Circus Elephant Smaller Toy

Schoenhut Humpty Dumpty Circus Elephant Smaller Toy. Glass eyes, leather ears, and rope tail.  Size: 9 X 3 X 6 in.  #8571 .  Born in 1848, Albert Schoenhut came from a toy-making family in Wurttemberg, Germany. He came to Philadelphia, Pennsylvania in 1866 to repair toy pianos for the John Wanamaker department store. By 1872 he had started his own company which made musical instruments, circus figures, doll houses, push and pull toys, and more. By 1907 the factory expanded to enclose five and a half acres of floor space, and employed 400 workers. One of Schoenhut’s most popular toys was the Humpty Dumpty Circus set, sold from 1903 until 1935. The hand-painted toys were of acrobats, clowns and performing animals, and the earliest ones had glass eyes and real hair. All the figures were jointed and strung together with elastic bands, allowing them to be placed in a variety of positions. A complete circus of thirty-seven animals, ten performers (plus a band), accessories and a circus tent was one of the most prized possessions children could acquire during the 1920s. Schoenhut passed away in 1912, with his three sons carrying on the company, and a small division of it still exists today known as Schoenhut Toy Piano.

Lot: 1545 - Schoenhut Humpty Dumpty Circus Horse Toy

Schoenhut Humpty Dumpty Circus Horse Toy. Ears missing.  Size: 10 X 2 1/2 X 7 in.  #8569 .  Born in 1848, Albert Schoenhut came from a toy-making family in Wurttemberg, Germany. He came to Philadelphia, Pennsylvania in 1866 to repair toy pianos for the John Wanamaker department store. By 1872 he had started his own company which made musical instruments, circus figures, doll houses, push and pull toys, and more. By 1907 the factory expanded to enclose five and a half acres of floor space, and employed 400 workers. One of Schoenhut’s most popular toys was the Humpty Dumpty Circus set, sold from 1903 until 1935. The hand-painted toys were of acrobats, clowns and performing animals, and the earliest ones had glass eyes and real hair. All the figures were jointed and strung together with elastic bands, allowing them to be placed in a variety of positions. A complete circus of thirty-seven animals, ten performers (plus a band), accessories and a circus tent was one of the most prized possessions children could acquire during the 1920s. Schoenhut passed away in 1912, with his three sons carrying on the company, and a small division of it still exists today known as Schoenhut Toy Piano.

Lot: 1546 - Schoenhut Humpty Dumpty Circus Larger Elephant Toy

Schoenhut Humpty Dumpty Circus Larger Elephant Toy. Leather ears, rope tail.  Size: 10 X 2 3/4 X 7 in.  #8572 .  Born in 1848, Albert Schoenhut came from a toy-making family in Wurttemberg, Germany. He came to Philadelphia, Pennsylvania in 1866 to repair toy pianos for the John Wanamaker department store. By 1872 he had started his own company which made musical instruments, circus figures, doll houses, push and pull toys, and more. By 1907 the factory expanded to enclose five and a half acres of floor space, and employed 400 workers. One of Schoenhut’s most popular toys was the Humpty Dumpty Circus set, sold from 1903 until 1935. The hand-painted toys were of acrobats, clowns and performing animals, and the earliest ones had glass eyes and real hair. All the figures were jointed and strung together with elastic bands, allowing them to be placed in a variety of positions. A complete circus of thirty-seven animals, ten performers (plus a band), accessories and a circus tent was one of the most prized possessions children could acquire during the 1920s. Schoenhut passed away in 1912, with his three sons carrying on the company, and a small division of it still exists today known as Schoenhut Toy Piano.

Lot: 1547 - Schoenhut Humpty Dumpty Circus Clown and Lady Performer Toys

Schoenhut Humpty Dumpty Circus Clown and Lady Performer Toys.  Clown Size: 4 X 1 X 8 1/2 in.  #8565 .  Lady Size: 8 1/2 X 5 X 1 1/2 in.  #8564 .  Born in 1848, Albert Schoenhut came from a toy-making family in Wurttemberg, Germany. He came to Philadelphia, Pennsylvania in 1866 to repair toy pianos for the John Wanamaker department store. By 1872 he had started his own company which made musical instruments, circus figures, doll houses, push and pull toys, and more. By 1907 the factory expanded to enclose five and a half acres of floor space, and employed 400 workers. One of Schoenhut’s most popular toys was the Humpty Dumpty Circus set, sold from 1903 until 1935. The hand-painted toys were of acrobats, clowns and performing animals, and the earliest ones had glass eyes and real hair. All the figures were jointed and strung together with elastic bands, allowing them to be placed in a variety of positions. A complete circus of thirty-seven animals, ten performers (plus a band), accessories and a circus tent was one of the most prized possessions children could acquire during the 1920s. Schoenhut passed away in 1912, with his three sons carrying on the company, and a small division of it still exists today known as Schoenhut Toy Piano.

Lot: 1548 - John Ringling Monogrammed Ca d'Zan Decorative Ceramic Tile Tray

John Ringling Monogrammed Ca d'Zan Decorative Ceramic Tile Tray. Tile from the Ca d'Zan (House of John) that was the palatial estate of circus magnate and art collector John Ringling, now part of the grounds of the Ringling Museum of Art. Initials "JR" in center. Tray has four feet and raised edges.  Size: 11 x 9 x 3 in.  #8450 .  John Nicholas Ringling was born in

Lot: 1549 - Vintage Brass Turtle Spittoon

Vintage Brass Turtle Spittoon. A remarkable accurate sculpture of the animal with an opening shell for disposing of one's masticated chew. Gentle step on the head to open the lid, and the inside bowl can be removed for easy cleaning.  Size: 12 1/2 x 14 x 5 1/4 in.  #4692 .  The turtle has a prominent position as a symbol of important concepts in religion, mythology, and folklore from around the world, including steadfastness and tranquility. The tortoise’s longevity and hard shell particularly came to symbolize protection and a prosperous future for many. In the cosmological myths of several cultures a huge Turtle carries the world (or even the universe) upon its back. The psychoanalyst Carl Gustav Jung interpreted the turtle as the primordial chaos, the alchemical massa confusa, noting that the Hindi Trimurti has a turtle at the bottom, from which everything else grows through transformation. In tales told by a number of African ethnic groups the tortoise is the cleverest animal, with similarities to Aesop’s fable of the Tortoise and the Hare. Although Judaic scholars considered the turtle an unclean animal and therefore unfit to eat, the Ancient Egyptian Ebers Papyrus cites the use of turtle carapaces and organs in some formulas, particularly to help with failing eyesight and to prevent infection. Turtle carapaces and scutes from Red Sea turtles were used in rings, bracelets, dishes, bowls, knife hilts, amulets, and combs. Turtle carapaces were also used to make a variety of instruments around the world, including lutes, mandolins, and banjos. Whether made from turtles, or simply made to look like turtles, animal art has included the form since the dawn of most recorded civilizations, thanks to the wide-spread proliferation of the reptiles. The tortoise is a favored motif by Japanese netsuke-carvers and other artisans, and continues to be popular in Chinese folk traditions as one of the Four Great Beasts. The hexagonal pattern of their shells made them popular with Islamic artisans, and most indigenous people of the Americas routinely saw the turtle as an important spiritual figure. In modern times, turtles continue to influence the arts and culture: the concept of the World Turtle is paramount to novelists Terry Pratchett and Stephen King, and conservation efforts have used images of turtles harmed by plastics and enduring tremendous hardship to encourage environmental protection.

Lot: 1550 - Bronze Jumping Frog Fountain Figure

Bronze Jumping Frog Fountain Figure.  The frog is depicted in a dynamic pose, with its body arched and its legs extended as if it were leaping. Intricate details on the frogs skin, eyes, and limbs. Mounted on a flat base providing stability and completing the composition.  Condition: Commensurate with age.  Size: 20 x 14 x 28 1/2 in. #4481

Lot: 1551 - Bronze Fawn Sculpture on Marble Base

Bronze Fawn Sculpture on Marble Base. Patinated reclining bronze fawn on polished black and white marble base. Size: 12 1/2 x 4 1/4 x 6 1/2 in. #8404

Lot: 1552 - Vintage Paper Mache Jack O'Lantern Pumpkin

Vintage Paper Mache Jack O'Lantern Pumpkin. Orange with painted tissue eyes and mouth. Wire handle.  Condition: Scratches throughout. No wire.  Size: 8 x 7 1/2 x 7 1/2 in. #8600

Lot: 1553 - Reed & Barton Sterling Silver "Baby's First Christmas" Ornament in Original Box

Reed & Barton Sterling Silver "Baby's First Christmas" Ornament in Original Box. Tiny cup with red ribbon in red box. First made in 2007, discontinued after 2017. Marked on base of ornament.  Box: 3 1/2 x 4 x 1 /78 in.  Ornament: 2 1/2 x 1 1/2 x 1 7/8 in.  Weight: 0.525 ozt.  #5477 .  In 1824 Isaac Babbitt created a silversmith manufacturing company called Babbitt & Crossman in Taunton, Massachusetts. Within a decade the company was failing, and was purchased by Henry Reed and Charles Barton, changing the name to Reed & Barton. Its products included sterling silver and silverplate flatware, expanding to britannia and other items after the takeover. During the American Civil War Reed & Barton produced a considerable quantity of weapons for the Union Army. In 1924 the company merged with silversmith Dominick & Haff, and their products were selected to be used in the White House. They were also chosen to design and produce the official gold, silver, and bronze medals for the 1996 Summer Olympics in Atlanta. Reed & Barton filed for Chapter 11 in February 2015, citing ongoing pension liabilities and decreasing revenue. At the bankruptcy auction their remaining assets were acquired by The Lenox Company, a competing maker of flatware and tableware.

Lot: 1554 - Antique Fruitwood Apple Form Tea Caddy

Antique Fruitwood Apple Form Tea Caddy.    Size: 5 x 5 x 5 in. #4856

Lot: 1555 - Bronze Top Hat Sculpture

Bronze Top Hat Sculpture. Full scale bronze sculpture of a top hat with a unique pinched front and indented crown, not dissimilar from a Homburg. Finished exterior, patinated interior. Jagged interior brim, indicating it may have been from a larger sculpture at some point.  Size: 5 x 10 1/4 in.  #5060 .    During the early 1930s Paris, France became the host to artists from Russia, Germany, the Netherlands and other European countries affected by the rise of totalitarianism. Sculptures using organic/geometric forms began to appear, as mathematically based ideas and concepts of abstraction took root. As the political situation worsened in the mid 1930s many artists fled to London. The first exhibition of British abstract sculpture was held in England in 1935, and after World War II Minimalism, Assemblage, and Installation Art all found major footholds in the medium, dispersed throughout the world in an artistic diaspora due to the devastation of Europe. Although a boom in public art resulting from the demand for war memorials mainly benefited figural sculptors at first, by the late 1960s Picasso, Dali, and other Surrealists helped popularize abstraction fully. The use of aluminum, once scarce before the World Wars, exploded as techniques for creating and shaping it dramatically approved, and the ability to use lightweight metals like it became a boon to new artists in the 1980s such as Bill Keating and Jorge Blanco. Site specific and environmental art also benefited from longer lasting and less harmful products being used, helping to foster community, education, and even nationalistic ideals by engaging with viewers in new and unique ways. Metal sculptures can be sensitive to environmental conditions, however, such as temperature, humidity and exposure to light and ultraviolet light. In the early 21st Century the value of metals rose to such an extent that theft of massive bronze sculptures for the value of the metal became a problem; sculptures worth millions with an even richer historical value being stolen and melted down for the relatively low value of the metal is perhaps one of the most disturbing trends to emerge from industrialized society.

Lot: 1556 - 71 x 82 Vintage Sun Bonnet Sue Quilt Topper

Size: 71 x 82 in.  #5106

Lot: 1557 - 1837 American Folk Art Amish Birth and Baptism Certificate

1837 American Folk Art Amish Birth and Baptism Certificate. Amish birth and baptism certificate in German, dated 1837. Hand-painted lithograph print decorated with angels and birds, certification and verse surrounded by ornate bordering. Overall Size: 23 x 19 1/2 in.  Sight Size: 17 x 13 in.  #4277 

Lot: 1558 - 1889 Certificate of Membership in Ancient Order of Foresters

1889 Certificate of Membership in Ancient Order of Foresters. Reads "This is to certify that Mr. A Wm. Harvey was duly admitted a Member of the Order in Court No. 1822 on the 11th day of February in the Year 1889. Henry Fellows, Chief Ranger. Harry C . Moore, Sub Chief Ranger. John Jolliffe, Secretary. Samuel Shawcross, Permanent Secretary." Surrounded by illustration of woodsmen, forests,

Lot: 1559 - 1847 American Folk Art Amish Birth and Baptism Certificate

1847 American Folk Art Amish Birth and Baptism Certificate. Amish birth and baptism certificate in German, dated 1847. Hand-painted lithograph print decorated with angels and birds, certification and verse surrounded by ornate bordering. Condition: Torn corner. Tears around edges. Size: 16 1/2 x 14 in. #4486

Lot: 1560 - Primitive Folk Art Carved Rocking Horse

Primitive Folk Art Carved Rocking Horse. This carved child's rocking horse depicts a unicorn with faded yellow paint. Condition: Wear commensurate with age.  Size: 38 x 9 x 28 in.  #7025 

Lot: 1561 - Antique Straight Back Wooden Child's Rocking Chair

Antique Straight Back Wooden Child's Rocking Chair. Simple design, with signs that the main body of the chair was once larger and was lovingly repurposed for a child by someone with rudimentary woodworking skills.  Size: 21 x 14 x 21 in.  #7024 .  A rocking chair or rocker is a type of chair with two curved bands (also known as rockers) attached to the bottom of the legs, connecting the legs on each side to each other. The rockers contact the floor at only two points, giving the occupant the ability to rock back and forth by shifting their weight or pushing lightly with their feet. Rocking chairs are most commonly made of wood, and some modern versions are made to fold for transportation. Rocking cradles long predate rocking chairs and an example exists from antiquity, found in the ruins of Herculaneum. Originally used in gardens, rocking chairs were simply ordinary chairs with rockers attached. In 1725, early rocking chairs first appeared in England. Though American inventor Benjamin Franklin is sometimes credited with inventing the rocking chair, historians actually trace the modern rocking chair’s origins to North America during the early 18th Century, when Franklin was a child. The production of wicker rocking chairs reached its peak in America during the middle of the 18th Century. These wicker rockers, as they were popularly known, were famous for their craftsmanship and creative designs.  The first known use of the term “rocking chair” was in an English nursery poem in 1766, and it has since come to be synonymous with parenting, evoking the gentle rocking motion commonly used to soothe infants and help them to sleep.  During the 1830s Peter Cooper designed the first steel rocking chair in America, which was displayed at the Crystal Palace Exhibition in 1851. In the 20th Century several innovations were made in style and weight distribution, as the rocking motion was found to be as soothing to adults as it was to children and adolescents, and contemporary studies of gentle rocking motion have shown it to provide faster onset of sleep than simply remaining stationary. Rocking chairs are also usually more comfortable than stationary chairs because when a user sits in one without rocking the chair automatically rocks backward until the sitter’s center of gravity is met, thus granting an ergonomic benefit with the occupant kept at an unstressed position and angle. Some doctors recommend rockers for use during pregnancy as it reduces back pain and promotes relaxation and stress reduction. Contemporaneous varieties of rockers include those mounted on a spring base (or platform) called “platform rockers” and those with swinging braces commonly known as gliders.

Lot: 1562 - Reproduction of South American Folk Art Angel

Reproduction of South American Folk Art Angel.  Carved wood figure depicting an angel with outstretched wings and hands clasped together. Simple and rustic carving style. Wings nailed to back.  Condition: Commensurate with age.  Size: 17 x 10 in. #4796

Lot: 1563 - Taxidermied Black Bear Rug with Head

Taxidermied Black Bear Rug with Head. Enormous, soft, and perfect for posing on if you're Burt Reynolds or Jayne Mansfield.  Size: 71 x 77 x 8 in.  #4537 .  The use of animal hides dates back to prehistoric times when humans let no part of their kills go to waste, and first discovered the practical benefits of using animal skins for warmth and protection. As civilizations developed, so did the techniques for treating and using these hides, making them safer and more efficient to wear and take care of. In modern times cowhide, once a simple staple of frontier and pioneer life, has become an indispensable part of the “Western chic” aesthetic, and leather is still one of the most common substances used to make garments much the same way it was thousands of years ago. Although hides are used less for home furnishing due to changing tastes and societal attitudes towards the practice, the bearskin rug is one of the most collectible and appreciated pieces. Bearskin rugs have been created from the pelts of polar, black, and grizzly bears for centuries, and were most often found in cabins or rural homes in mountainous areas, sometimes where the animal had actually been encountered. The tanning and taxidermy methods used to create a bearskin rug have existed for millennia, but they were perfected in the 18th Century when a new way of preserving the hide and stuffing the skull of the bear was found to prevent the spread of disease and to extend the longevity of the finished work beyond more than a decade. President Theodore Roosevelt, famous for his love of the outdoors and hunting, helped repopularize the animal skin rug (particularly the grizzly bear variety) in the 1920s, and even old Hollywood pictures of famous celebrities standing, sitting, or reclining on bearskin rugs have fetched premium prices at auctions. Although the practice has fallen out of vogue, and some states (like California) have outright banned the making and selling of bearskin rugs for conservation purposes, they are still popular pieces for hunters, mancave enthusiasts, and period film sets depicting a different era.

Lot: 1564 - Significant Vintage Chinese Savonnerie-Style Rug

Vintage Chinese Savonnerie-Style Rug. Deep rich red field with an oval central medallion and soft-colored floral designs throughout.  Size: 48 x 93 in.  #52 #9008 .  From roughly 1650 to 1685 the Savonnerie textile manufacturer was the most prestigious in all of Europe. Their knotted-pile carpets were so ubiquitous and beloved that the name is now casually applied to many rugs made at other centers in Europe and beyond. It first opened in an abandoned soap factory on the Quai de Chaillot downstream of Paris in 1615 by Pierre DuPont, who was granted a patent monopoly to make carpets for the kingdom. This lasted until 1768, with their products exclusively the property of the Crown and considered some of the grandest of French diplomatic gifts. Some early carpets broadly imitate Persian models, but the Savonnerie style soon diversified extensively, incorporating pictorial or armorial framed medallions, densely massed flowers in bouquets or leafy rinceaux against deep blue, and black or deep brown grounds within multiple borders. Their incorporation of Oriental patterns was partially responsible for the spread of the style through the country prior to the 18th Century, as the elite class sought out all things deemed exotic and opulent. In the late 18th Century Savonnerie produced panels for screens and firescreens as well as wall-hangings. The factory was shut during the Revolution, but the style and the company was revived during the reign of Napoleon, who commissioned carpets in the Empire style. In 1825 the Savonnerie was incorporated with the Gobelins Tapestry Manufactory, ending its independence, but the facility continued to function, still employing 40 weavers today who make each intricate piece by hand.

Lot: 1565 - Enormous Semi Antique Intricate Bidjar Persian Rug

Enormous Semi Antique Intricate Bidjar Persian Rug. Intense geometric rhomboid pattern repeats throughout field, with tight floral patterns around the border, all in muted blues, reds, pinks, and darker tones.  Size: 142 X 100 1/2 in.  #9010 .    Bidjar (sometimes spelled Bijar) rugs are Persian textiles made in a small northwestern town of the same name in Iran that is inhabited by Kurdish artisans. It is one of the oldest cities still centered around the rug trade, known since the Achaemenid Era (550-330 BC) for their quality. Their extremely tight and high weave has made them longer-lasting than some other styles in the region, which may also account for their long history of appreciation. Their patterns are often very restrained, frequently with a single diamond in center that is then repeated to the outer edges of the main field in alternating shades, making them popular with many Muslim sects, and their sizes range from the size of a fist up to a covering for a ballroom, which results in dizzying intricate patterns.

Lot: 1566 - Immense Turkish Anatolian Runner

Immense Turkish Anatolian Runner. Beautiful tight floral pattern with multiple medallions in rust, blue, and ivory tones.  Size: 145 x 31 in.  #9001 .    Anatolian rug or “Turkish carpet” is a term commonly used today to denote rugs and carpets woven in Anatolia (also known as Asia Minor) and its adjacent regions. Geographically, its area of production can be compared to the territories which were historically dominated by the Ottoman Empire. It denotes a knotted, pile-woven floor or wall covering which is produced for home use, local sale, and export, and religious purpose. Together with the flat-woven kilim, Anatolian rugs represent an essential part of the regional culture, and derives from the ethnic, religious and cultural pluralism of one of the most ancient centers of human civilization. Although it is impossible to trace the exact origins of rug weaving throughout history, Byzantine designs can be observed in Anatolian rugs. The Turkic peoples migrated from Central Asia alongside Armenians, Caucasian, and Kurdic tribes. The arrival of Islam and the development of Islamic art profoundly influenced the Anatolian rug design, and the extremely diverse ornaments and patterns reflect the political history and social diversity of the area as well. Within the group of oriental carpets, the Anatolian rug is distinguished by particular characteristics of its dyes and colors, motifs, textures, and techniques, though they bear many similarities to their closest brethren, the Persian rugs. Examples range in size from small pillows (yastik) to large, room-sized carpets. The earliest surviving examples of Anatolian rugs known today date from the 13th Century AD. Rugs were simultaneously produced at all different levels of society, mainly using sheep wool, cotton, and natural dyes. Anatolian rugs are most often tied with symmetrical knots, which were so widely used in the area that Western rug dealers in the early 20th century adopted the term “Turkish” or “Ghiordes” knot for the technique. From the 1870s onwards, the Ottoman court manufactures also produced silk-piled rugs, sometimes with in-woven threads of gold or silver, but the traditional material of the majority of Anatolian rugs was hand-spun, naturally-dyed wool. In Europe Anatolian rugs were frequently depicted in Renaissance paintings, often in a context of dignity, prestige and luxury. Political contacts and trade intensified between Western Europe and the Islamic world after the 13th Century, and when direct trade was established with the Ottoman Empire during the 14th Century all kinds of carpets were at first indiscriminately given the trade name “Turkish,” regardless of their actual place of manufacture. Since the late 19th Century, oriental rugs have become subjects of study by art historians in the Western world. Flat woven carpets like Kilim, Soumak, Cicim, and Zili have attracted the interest of collectors and scientists.

Lot: 1567 - Persian Sarouk Open Medallion Rug

Persian Sarouk Open Medallion Rug. The medallion in the middle of the white field has tones of red, blue, green, and pink, with repeating motifs and colors there and along the edges.  Size: 105 x 75 1/2 in.  #9002 .  A Sarouk rug (also Saruk or Sarough) is a type of Persian rug from the Markazi Province in Iran. They are primarily woven in the village of Saruk as well as the city of Arak and the surrounding countryside. Sarouk rugs became particularly popular in the 20th Century thanks to the American market, which led to an abundance of stylish pieces with curvilinear and floral designs. The designs evolved from patterns commonly found in the city of Tabriz that migrated southeast throughout the 19th Century, as the northern provinces began to share more and more styles with their Turkish neighbors and the middle and southern provinces began to distinguish themselves. Today these heavy body carpets fetch excellent prices and stand out from many of their peers thanks to the unique use of free space, something more commonly found in Oriental rugs.

Lot: 1568 - Monumental 17 Foot Long Persian Kashan Rug

Monumental 17 Foot Long Persian Kashan Rug. Perfect for a ballroom or palace hall, incredible detail in the floral patterns with red, green, and muted tones throughout.  Size: 17 x 9 ft.  #5497 .  Kashan rugs originate from Kashan, an oasis town along the Kavir desert, in central Iran. It is one of the oldest cities in Iran, with archeological excavations in the Sialk hills indicating that this area was the home of prehistoric humans. By the 17th Century Kashan was well established in the silk rug industry, and to this day they are still woven in the time honored traditions of the old masters. Coveted by kings, at one time it was commonplace to see Kashan rugs hanging on palace walls all over the world. Extremely dense Persian knots are used to weave Kashan rugs, producing an exquisite object of art.

Lot: 1569 - Extra Large Turkish Killim Rug

Extra Large Turkish Killim Rug. A light colored border with six equally shaped medallions of alternating colors over the rather open bright red field, displaying geometric branching patterns juxtaposed against floral shapes in muted burgundies, browns, pinks, and greys.  Size: 82 1/2 x 118 in.  #8001 .    A kilim is a flat tapestry-woven carpet or rug traditionally produced in countries of the former Persian Empire, including Iran, but also in the Balkans and the Turkic countries. Kilims can be purely decorative or can function as prayer rugs. Modern kilims have become popular floor coverings in Western households. The word originates from the Persian “galim,”which means “to spread roughly.” Kilims are produced by tightly interweaving the warp and weft strands of the weave to produce a flat surface with no pile. They are beloved by collectors, as they produce very sharp-etched designs, emphasizing the geometry of the weave. The weft strands, which carry the visible design and color, are almost always wool, whereas the hidden warp strands can be either wool or cotton. Many motifs are used in Turkish kilims, particularly the elibelinde, a stylized female figure representing motherhood and fertility. Other motifs express desires for protection from wolves, scorpions, and the Evil Eye. Less durable than other weaves, kilims made during or before the 19th Century are considered priceless by collectors, as most were made by skilled nomadic weavers and few survive more than a hundred years due to regular use.

Lot: 1570 - Large Vintage Rectangular Chinese Art Deco Rug

Large Vintage Rectangular Chinese Art Deco Rug. Striking mostly-empty blue field with three floral medallions and a floral border.  Size: 58 x 28 in.  #53 #9009 .  While Oriental motifs and Japonisme had a significant impact on European art forms and movements from the mid 1800s onward, a fascinating reversal came about in the 1920s thanks to Art Deco. A wide range of Oriental rugs manufactured in China from then through the 1930s combined traditional Chinese motifs with the much more open, often asymmetrical, designs and unusual color combinations of that trend. They represented a marked departure from the traditional Chinese weavings up to that point, catering to American and European tastes of the period. One of the pioneers in this style was Walter Nichols, an American who worked in Tientsin (modern day Tianjin) as a wool grader. After a conversation with a visiting American rug dealer who informed him of the difficulty of finding carpets that were suited for the new aesthetics, Nichols established his own carpet weaving factory in 1924, immediately establishing a receptive market in the West. At its peak Nichols had fourteen factories throughout China, and many other imitators quickly sprang up to make similarly inspired carpets, but the Great Depression impacted the global market so badly that by the time China entered World War II in 1937 the trend had burnt out, and the style of rug never saw a revival again in Southeast Asia, although their influence was felt in other textiles in the post-War era.

Lot: 1571 - Antique Nepalese Traveler's Rug

Antique Nepalese Traveler's Rug. Unique diagonally repeating floral and vine patterns in contrasting muted and bright colors.  Size: 66 x 35 in.  #9011 .  Nepalese carpets, or Nepali rugs, are one of the Oriental rugs woven in Nepal, a country located on the northern border of India and the southern border of Tibet. The major urban and weaving centers are the capital Kathmandu, Pokhara, and Patan. Some Tibetan carpets are woven in Nepal by refugees from Tibet who immigrated in the late 1950s, and the two styles have been closely linked due to the sharing of techniques and patterns between the two countries. Rugs are woven in the traditional Tibetan manner with many different designs, usually less geometric than their  Middle Eastern counterparts, although bright synthetic colors are used more and more commonly in modern times. The pile is Himalayan wool on a cotton foundation, and the size is typically 3 feet by 6 feet or less. In some instances commercial importers may describe these rugs as “Tibetan” even though they are woven in Nepal, due to their similarities.

Lot: 1572 - Expansive Persian Kashan Rug

Expansive Persian Kashan Rug. Repeating diamond pattern throughout field, with definitive red, blue, ivory, and similar tones overall.  Size: 112 1/2 x 77 in.  #9003 .  Kashan rugs originate from Kashan, an oasis town along the Kavir desert, in central Iran. It is one of the oldest cities in Iran, with archeological excavations in the Sialk hills indicating that this area was the home of prehistoric humans. By the 17th Century Kashan was well established in the silk rug industry, and to this day they are still woven in the time honored traditions of the old masters. Coveted by kings, at one time it was commonplace to see Kashan rugs hanging on palace walls all over the world. Extremely dense Persian knots are used to weave Kashan rugs, producing an exquisite object of art.

Lot: 1573 - Magnificent Floral Motif Kerman Persian Rug

Magnificent Floral Motif Kerman Persian Rug. The city of Kerman in southeastern Iran is renowned for its prized variety of Persian rugs, usually adorned throughout with a floral design in white, red, and Aegean blue tones. They are highly esteemed for their intricate patterns, vibrant colors, and meticulous craftsmanship, hand-knotted by skilled artisans using premium materials like wool and silk. Kerman rugs are a great source of pride for the city, and are sought after both for their material and decorative value as symbols of luxury and tradition stretching back many hundreds of years when their style of weaving came from wandering tribes who chose to settle within the safety of the city walls. Size: 37 X 59 1/2 in.  #5102 .    A Persian carpet, or Persian rug, is a heavy textile made for a wide variety of utilitarian and symbolic purposes and produced in Iran (historically known as Persia), for home use, local sale, and export. Carpet weaving is an essential part of Persian culture and Iranian art. Within the group of Oriental rugs produced by the countries of the so-called “Rug Belt,” that stretches across three continents, the Persian carpet stands out particularly due to the variety and elaborateness of its manifold designs, remaining one of the most popular styles of rug in history. Persian rugs today are woven by nomadic tribes, town workshops, and by large manufacturers. The carpets woven in the Safavid court manufactories of Isfahan during the 16th Century are famous for their elaborate colors and artistic design, and are treasured in museums and private collections all over the world today, as well as serving as the primary template for modern patterns. Carpets woven in towns and regional centers like Tabriz, Kerman, Ravar, Neyshabour, Mashhad, Kashan, Nain and Qom are characterized by their specific weaving techniques and use of high-quality materials, with Tabriz in particular playing an important historical role in reviving the weaving tradition after several periods of decline due to political unrest and changing commercial interests. Although it is impossible to pinpoint the origin of rugmaking, due to the extremely limited lifespan of most substances involved in making them throughout human history, it is safe to say that Persian rugs remain the standard in quality and design against which all other carpets are judged.

Lot: 1574 - Monumental Antique Turkish Anatolian Rug

Monumental Antique Turkish Anatolian Rug. Beautiful green hue with prominent central medallion.  Size: 49 x 77 in.  #4514 .  Anatolian rug or “Turkish carpet” is a term commonly used today to denote rugs and carpets woven in Anatolia (also known as Asia Minor) and its adjacent regions. Geographically, its area of production can be compared to the territories which were historically dominated by the Ottoman Empire. It denotes a knotted, pile-woven floor or wall covering which is produced for home use, local sale, and export, and religious purpose. Together with the flat-woven kilim, Anatolian rugs represent an essential part of the regional culture, and derives from the ethnic, religious and cultural pluralism of one of the most ancient centers of human civilization. Although it is impossible to trace the exact origins of rug weaving throughout history, Byzantine designs can be observed in Anatolian rugs. The Turkic peoples migrated from Central Asia alongside Armenians, Caucasian, and Kurdic tribes. The arrival of Islam and the development of Islamic art profoundly influenced the Anatolian rug design, and the extremely diverse ornaments and patterns reflect the political history and social diversity of the area as well. Within the group of oriental carpets, the Anatolian rug is distinguished by particular characteristics of its dyes and colors, motifs, textures, and techniques, though they bear many similarities to their closest brethren, the Persian rugs. Examples range in size from small pillows (yastik) to large, room-sized carpets. The earliest surviving examples of Anatolian rugs known today date from the 13th Century AD. Rugs were simultaneously produced at all different levels of society, mainly using sheep wool, cotton, and natural dyes. Anatolian rugs are most often tied with symmetrical knots, which were so widely used in the area that Western rug dealers in the early 20th century adopted the term “Turkish” or “Ghiordes” knot for the technique. From the 1870s onwards, the Ottoman court manufactures also produced silk-piled rugs, sometimes with in-woven threads of gold or silver, but the traditional material of the majority of Anatolian rugs was hand-spun, naturally-dyed wool. In Europe Anatolian rugs were frequently depicted in Renaissance paintings, often in a context of dignity, prestige and luxury. Political contacts and trade intensified between Western Europe and the Islamic world after the 13th Century, and when direct trade was established with the Ottoman Empire during the 14th Century all kinds of carpets were at first indiscriminately given the trade name “Turkish,” regardless of their actual place of manufacture. Since the late 19th Century, oriental rugs have become subjects of study by art historians in the Western world. Flat woven carpets like Kilim, Soumak, Cicim, and Zili have attracted the interest of collectors and scientists.

Lot: 1575 - Persian Runner, Hamadan Tribal Weave

Persian Runner, Hamadan Tribal Weave. Hamadan rugs and runners come from the hundreds of villages in the mountainous Hamadan region in western Iran, so named for the main tribe who inhabits them.  Condition: Excellent.  Size: 110 x 27 in.  #3505 .  A Persian carpet, or Persian rug, is a heavy textile made for a wide variety of utilitarian and symbolic purposes and produced in Iran (historically known as Persia), for home use, local sale, and export. Carpet weaving is an essential part of Persian culture and Iranian art. Within the group of Oriental rugs produced by the countries of the so-called “Rug Belt,” that stretches across three continents, the Persian carpet stands out particularly due to the variety and elaborateness of its manifold designs, remaining one of the most popular styles of rug in history. Persian rugs today are woven by nomadic tribes, town workshops, and by large manufacturers. The carpets woven in the Safavid court manufactories of Isfahan during the 16th Century are famous for their elaborate colors and artistic design, and are treasured in museums and private collections all over the world today, as well as serving as the primary template for modern patterns. Carpets woven in towns and regional centers like Tabriz, Kerman, Ravar, Neyshabour, Mashhad, Kashan, Nain and Qom are characterized by their specific weaving techniques and use of high-quality materials, with Tabriz in particular playing an important historical role in reviving the weaving tradition after several periods of decline due to political unrest and changing commercial interests. Although it is impossible to pinpoint the origin of rugmaking, due to the extremely limited lifespan of most substances involved in making them throughout human history, it is safe to say that Persian rugs remain the standard in quality and design against which all other carpets are judged.

Lot: 1576 - Monumental Caucasian Kazak Red and Ivory Rug

Monumental Caucasian Kazak Red and Ivory Rug.  Size: 41 x 74 in.  #4595 .  Contrary to the spelling of the name, Kazak rugs are not from Kazakhstan but rather come from the Caucasus region overall, particularly among tribes that modern day Armenians, Turks, and Kurds are descended from. The rugs often display red, ivory, blue, and yellow colors, and are hand-knotted, with their particular patterns (usually floral and geometric) depending on the region or geographical area that particular tribe calls home. The three main types of Kazak rugs are Bordjalou, Erevan, and Echmiadzin, each named for the district or city they are most associated with. Bordjalou are the most simple, and sometimes even have seemingly-random elements in their weave, incorporating natural brown tones into them. Erevan rugs are larger but have a shorter pile, and traditionally incorporate medallions. The rugs from Echmiadzin are broken down further into three additional categories, due to tribal separations of the region, but whether they are Ekhegnadzor, Martuni, or Shamshadeen they all use double wefts to make them much thinner and are significantly longer than the others, sometimes greater than a dozen feet in length, and the colors are usually darker with much less ivory and greater use of blue. Despite being made primarily by nomadic tribes (particularly by female members), Kazak rugs are seen as extremely luxurious and symbols of status, and they are found in churches, homes, businesses, and more opulent locations. Some of the earliest surviving rugs are from the 17th Century, preserved by the drier climate, and the most desired had strands of gold and silver woven into them.

Lot: 1577 - Excellent Caucasian Shirvan Rug with Triple Medallion Pattern

Excellent Caucasian Shirvan Rug with Triple Medallion Pattern.  Size: 45 x 65 in.  #4596 .  Shirvan rugs are tribal rugs made by the indigenous peoples that reside in the Southern Caucasus in an area that is now the eastern and northeastern part of present day Azerbaijan, including the city of Shirvan, from which they take their name. They share many similarities with Kuba and Shemakha rugs, especially in their use of floral and geometric patterns, but a common distinctive feature of them is a tendency to use more light colors contrasting against stark reds and blue, often with a triple medallion design in the main field. The Shirvan rugs are made much less often now, as the process of making them has become less desirable to the people in the city who tend to gravitate more and more toward modern industrial, commercial, and communications jobs, and antique pieces are highly sought by collectors, particularly for their intricate detail and less symmetrical designs.

Lot: 1578 - Oriental Kashan-Style Rug

Oriental Kashan-Style Rug. Label on back side reads "Made in the People's Republic of China."  Size: 23 x 33 in.  #5103 .  An oriental rug is a heavy textile made for a wide variety of utilitarian and symbolic purposes and produced in “Oriental countries” for home use, local sale, and export. “Orient” is an archaic term referring to the Eastern part of the Eurasian supercontinent in relation to Europe, and is the antonym of the term “Occident,” which was used to refer to the Western world. The term is still commonly in use, however, for certain research, sale, and service purposes, particularly of antiquities and items traditionally associated with the region, like spices, rugs, and medicine. Oriental carpets can be pile woven or flat woven without pile, using various materials such as silk, wool, cotton, jute, and animal hair. Examples range in size from pillows to large, room-sized carpets, and include carrier bags, floor coverings, decorations for animals, Islamic prayer rugs (Jai’namaz), Jewish Torah ark covers (parochet), and Christian altar covers. Since the High Middle Ages, oriental rugs have been an integral part of their cultures of origin, as well as of the European and, later on, the North American culture. Geographically, oriental rugs are made in an area referred to as the “Rug Belt,” which stretches from Morocco across North Africa, the Middle East, and into Central Asia and northern India. It includes countries such as China, Mongolia, Tibet, Nepal, Turkey, Iran, the Maghreb in the west, the Caucasus in the north, and India and Pakistan in the south. People from different cultures, countries, racial groups, and religious faiths are involved in the production of oriental rugs, indicating the wide spread of the form during the earliest establishment of trade routes. Since many of these countries lie in an area which today is referred to as the Islamic world, oriental rugs are sometimes also called “Islamic Carpets,” but the blanket term “oriental rug” has become used mainly for convenience. The carpets from Iran are particularly sought after, and known by the blanket term “Persian carpets” or “Persian rugs,” despite the dozens of the tribes that each have an individual style and motif they incorporate into their works.

Lot: 1579 - Excellent Caucasian Shirvan Rug

Excellent Caucasian Shirvan Rug. Three rhomboid connected medallions with latch-hook edges in the main field, surrounded by floral shapes.  Size: 21 1/2 x 31 in.  #5105 .  Shirvan rugs are tribal rugs made by the indigenous peoples that reside in the Southern Caucasus in an area that is now the eastern and northeastern part of present day Azerbaijan, including the city of Shirvan, from which they take their name. They share many similarities with Kuba and Shemakha rugs, especially in their use of floral and geometric patterns, but a common distinctive feature of them is a tendency to use more light colors contrasting against stark reds and blue, often with a triple medallion design in the main field. The Shirvan rugs are made much less often now, as the process of making them has become less desirable to the people in the city who tend to gravitate more and more toward modern industrial, commercial, and communications jobs, and antique pieces are highly sought by collectors, particularly for their intricate detail and less symmetrical designs.

Lot: 1580 - Exceptional Antique Turkish Anatolian Bergama Kilim

Exceptional Antique Turkish Anatolian Bergama Kilim. The designs around the edge are inversions of the larger patterns in the field of the rug.   Condition: Some fading. Commensurate with age and wear.  Provenance: Bought over 100 years ago in Greece.  Size: 104 x 143 in.  #8000 .  Bergama Anatolian rugs come from the Bergama district of the Izmir Province of northwest Turkey, near the Aegean Sea. The ancient city of Pergamon was one of the most powerful and richest places in Anatolia due to its strategic location between the Black and Mediterranean Seas, a traditional stopping place for Greek travelers at the height of the Hellenistic period. The modern city of Bergama rests roughly on top of its ruins, and for hundreds of years the area attracted thousands of artisans and merchants on their way to Constantinople long before that city fell to Sultan Mehmen II in 1453. The history of rug weaving in the Bergama district, both hand-knotted pile rugs and flat-woven pileless kilims, dates back to approximately the 11th Century, and the district includes around 80 villages which each produce their unique patterns on woven rugs. The term Bergama is actually used as a catch-all in the rug trade for the various local antique rugs from Bergama and surrounding areas, due to the close similarities between all but a few of the rug patterns.

Lot: 1581 - Excellent Tan Turkish Kula Niche Prayer Rug

Excellent Tan Turkish Kula Niche Prayer Rug. Geometric patterns surround the central prominent mihrab, or prayer niche, as found in a mosque. During prayer the head is bowed and placed within the point of the niche.  Size: 27 x 45 in.  #4479 .  Anatolian rug or “Turkish carpet” is a term commonly used today to denote rugs and carpets woven in Anatolia (also

Lot: 1582 - Vibrant Persian Bokhara Rug

Vibrant Persian Bokhara Rug. Very bright red wool juxtaposed with white geometric patterns.  Size: 36 x 58 in.  #4479 .  Bokhara rugs take their names from the city of Bukhara in the southwest of Uzbekistan, although they are produced all over the area between Central Asia and the Middle East. They were preceded by the Teke (or Tekke) rug, which was usually a similar reddish color with comparable geometric patterns, and were made by the Turkoman tribes of the same name from the 8th to the 17th Century. Due to the popularity and the long rule of the tribe before modern times, many variants of the rug have emerged through the diaspora, with the most popular and luxurious coming from Pakistan, as well as Afghanistan and Turkey. Their soft pile, vibrant red tone, and abundance of repeating diamond or oval motifs make them highly sought by collectors, particularly those who are interested in the different tribes and their unique takes on the style. The Salor tribe in Afghanistan, for example, makes rugs with just one row of symmetrical octagons that feature a diamond or smaller octagon within their borders, with flowery designs at the heart of them. Meanwhile the Yomud tribe, which is more nomadic and moves throughout Central Asia, tends to favor more eclectic designs, often incorporating the Greek cross to divide the rug into four sections and using Persian knots as well as Indian motifs including the octagons known as “elephant’s feet.” Beshir or Ersari Bokharas are characterized by their zig-zag borders that go around a row of either tree patterns or diamond medallions that conjoin decorating the center, and Khina Bokharas (sometimes ubiquitous referred to as “Afghans”) are larger, dominated by rich red accents and multiple rows of dual-colored octagons that appear quartered. Pinde Bokharas are the most difficult to find, woven in Turkmen, a remote Pinde district, and are almost exclusively used for prayer. The most sought after are the Royal Bokhara, which are non-prayer rugs, and the Princess Bokhara, which is smaller and used in places of worship to pray. The Royal Bokhara Rugs are dominated by red hues and feature multiple rows of elongated octagons. These join both vertically and horizontally and alternate with small diamond motifs, which earned them a Western nickname “the window pane rug.” Princess Bokharas hold religious and cultural importance and are more distinct, having higher levels of intricacy but often more austere colors, to show humility.

Lot: 1583 - Antique American Red, White, & Blue Jacquard Coverlet

Antique American Red, White, & Blue Jacquard Coverlet. Size: 88 x 90 1/2 in.  #9012

Lot: 1584 - Antique Handwoven Tapestry with Floral Design

Antique Handwoven Tapestry with Floral Design. Size: 51 x 52 1/2 in.  #9016

Lot: 1585 - Belgian Louis De Poortere Oriental Rug

Belgian Louis De Poortere Oriental Rug. Customs label and manufacturers label on the back.  Size: 24 1/2 x 37 1/2 in.  #5104 .  In 1929 Louis De Poortere, who had worked since his youth in the family business De Poortere Freres, established his own company in the Belgian city of Kortrijk. He produced many of the same things his family had for the past two generations, but he added one particular item that swiftly set them apart from other textile manufacturers in the region: rugs with Oriental patterns, of a high enough quality that they immediately became popular with the French and British markets. Poortere traveled extensively, and routinely brought back new design concepts to keep his selection fresh. The ability to blend traditional Wilton weaving and modern Jacquard flatweave with diverse designs set a trend that other companies tried to match, but Poortere remained the primary European maker of Oriental rugs throughout the 20th Century. In 2023 the company began selling “Ecorugs,” using recycled and reclaimed polyester yarn to make their newest lines, and they remain a top seller of machine-made, high quality rugs around the world.

Lot: 1586 - Vibrant Persian Hamadan Rug

Vibrant Persian Hamadan Rug. Bright reds, blues, pinks, and ivory tones with a small central diamond.  Size: 50 x 28 in.  #9000 .  Hamadan is a city in western Iran, surrounded by numerous villages where rug weaving is abundant, and the city center is used for their trading and purchase. Each of the 134 villages has their own design of rug, such as Nahavand, Tuyserkan, Malayer, Hossein Abad, and so on. Due to the extreme proliferation of the form in the area, they are all generally referred to as “Hamadan” outside of Iran. Hamadan rugs are fairly easily recognizable by their use of repeated patterns, mostly geometric with floral designs. They are usually deeper in color palettes than textiles from other parts of the country and feature reds, navy, and some more pastel colors.

Lot: 1587 - Persian Hamadan Runner

Persian Hamadan Runner. Triple medallion, with red, green, and ivory tones throughout.  Size: 84 x 26 in.  #3 #9004 .  Hamadan is a city in western Iran, surrounded by numerous villages where rug weaving is abundant, and the city center is used for their trading and purchase. Each of the 134 villages has their own design of rug, such as Nahavand, Tuyserkan, Malayer, Hossein Abad, and so on. Due to the extreme proliferation of the form in the area, they are all generally referred to as “Hamadan” outside of Iran. Hamadan rugs are fairly easily recognizable by their use of repeated patterns, mostly geometric with floral designs. They are usually deeper in color palettes than textiles from other parts of the country and feature reds, navy, and some more pastel colors.

Lot: 1588 - Persian Hamadan Rug

Persian Hamadan Rug. Small scatter. Rich ivories, reds, greens, and black tones throughout with Herati patterns.  Size: 49 1/2 x 30 in.  #1 #9005 .  Hamadan is a city in western Iran, surrounded by numerous villages where rug weaving is abundant, and the city center is used for their trading and purchase. Each of the 134 villages has their own design of rug, such as Nahavand, Tuyserkan, Malayer, Hossein Abad, and so on. Due to the extreme proliferation of the form in the area, they are all generally referred to as “Hamadan” outside of Iran. Hamadan rugs are fairly easily recognizable by their use of repeated patterns, mostly geometric with floral designs. They are usually deeper in color palettes than textiles from other parts of the country and feature reds, navy, and some more pastel colors.

Lot: 1589 - 3 Antique Prayer Rugs/Mats

3 Antique Prayer Rugs/Mats.  Handwoven, likely using a pile weave or possibly a flatweave technique in some areas.  Left Rug: This rug has a diamond-shaped central medallion with geometric patterns within it. The field (the main area of the rug) is a reddish-purple color, and the border has a contrasting color. Center Rug: This rug has a rectangular central field with a geometric design, possibly a stylized tree of life or a similar motif. The field is red, and there are contrasting colors like white and green. Right Rug: This rug has a rectangular field with a stepped or hooked geometric design. The field is dark blue or navy, and there are contrasting colors like red and white. Size: 13 1/2 x 13 1/2  in.  #7034

Lot: 1590 - Persian Karaja Runner

Persian Karaja Runner. Repeating medallions with floral patterns in striking reds, blues, and ivory tones.  Size: 80 x 27 in.  #9006 .    Karadagh rugs (also known as Karaja, Karadja, and Gharajeh rugs) are Persian rugs traditionally handmade in or near the village of Qarājeh (Karaja), in the Qareh Dāgh (Karadagh) region of Iran just south of the Azerbaijan border, northeast of TabrÄ«z. The area is known for being one of the most influential on rugmaking throughout the centuries due to its important place in the midst of the ancient Silk Road, and became an incredible melting pot of styles due to the many travelers who passed through bringing their unique wares and exchanging them with each other as well as the locals. Today the patterns of these rugs are so familiar and beloved that many are machine-made, although the crafting of them by hand is still considered an honorable profession, practiced both by nomadic tribesmen and village dwellers alike.

Lot: 1591 - Long Persian Hamadan Rug

Long Persian Hamadan Rug. Central medallion shares color and form with corners and two minor side medallions, with the rest of the rug in floral patterns of rich reds, deep blues, salmon pinks, and more.  Size: 60 1/2 x 31 1/2 in.  #9007 .  Hamadan is a city in western Iran, surrounded by numerous villages where rug weaving is abundant, and the city center is used for their trading and purchase. Each of the 134 villages has their own design of rug, such as Nahavand, Tuyserkan, Malayer, Hossein Abad, and so on. Due to the extreme proliferation of the form in the area, they are all generally referred to as “Hamadan” outside of Iran. Hamadan rugs are fairly easily recognizable by their use of repeated patterns, mostly geometric with floral designs. They are usually deeper in color palettes than textiles from other parts of the country and feature reds, navy, and some more pastel colors.

Lot: 1592 - Navajo Ganado Squash Blossom Rug

Navajo Ganado Squash Blossom Rug. Central jagged diamond with alternating colors expanding to the edges, in browns, pinks, greys, and white tones.  Size: 36 1/2 x 16 1/2 in.  #5392 .  Navajo weaving (called diyogí in their language) are textiles produced by Navajo people, who are based near the Four Corners area of the Southwestern United States. Navajo textiles are highly regarded and have been sought after as trade items for more than 150 years, with commercial production of handwoven blankets and rugs an important element of the Navajo economy. Navajo textiles were originally utilitarian weavings including cloaks, dresses, saddle blankets, and similar items, likely learned from their earlier Pueblo neighbors, but by the mid-19th Century Navajo wearing blankets were trade items prized by Indigenous peoples of the Great Plains and neighboring tribes. Toward the end of the 19th Century Navajo weavers began to make rugs for non-Native tourists and for export. When William Randolph Hearst began to amass a collection of them and had favorable articles written about the process they experienced a boost in popularity in the early 20th Century. Earlier Navajo textiles have strong geometric patterns, with modern designs appearing to appease the desires of the changing consumer base. They are a flat tapestry-woven textile produced in a fashion similar to kilims of Eastern Europe and Western Asia, but with some notable differences like avoiding the slit weave technique and keeping only fringe at the corners. Today Navajo weavers work in a wide range of styles from geometric abstraction and representationalism to biomorphic abstraction and use a range of natural undyed sheep wool, natural dyes, and commercial dyes. The most commonly encountered styles are all highly sought after, including Ganado, Two Grey Hills, Red Mesa, Chinle, and Eye Dazzler. Frequent motifs include pictorial representations of spirits and animals, as well as jagged diamonds representing squash blossoms, tall mountains, or thunderous clouds.

Lot: 1593 - Monumental French-Made Grandfathers Clock

Monumental French-Made Grandfathers Clock. With winder, 2 weight, pendulum. The writing on the face indicates it comes from Locminé, a commune in the Morbihan department and Brittany region of northwest France.  Condition: Unknown if in working order.  Size: 10 x 19 x 90 in.  A grandfather clock (also known as a longcase clock, tall-case clock, grandfather’s clock, hall clock, or floor clock) is a tall, freestanding, weight-driven pendulum clock, with the pendulum held inside the tower or waist of the case. Clocks of this style are commonly six to eight feet tall, with an enclosed pendulum and weights suspended by either cables or chains, which have to be occasionally calibrated to keep the proper time. The case often features elaborately carved ornamentation on the hood (or bonnet), which surrounds and frames the dial, or clock face. The English clockmaker William Clement is credited with developing the form in 1670. Pendulum clocks were the world’s most accurate timekeeping technology until the early 20th Century, and longcase clocks, due to their superior accuracy, served as time standards for households and businesses. Today, they are kept mainly for their decorative and antique value, having been superseded by analog and digital timekeepers.

Lot: 1594 - Exceptional Early 19th Century English Selfe Worcester 8-Day Elm Wood Double Fusee Mantle Clock

Exceptional Early 19th Century English Selfe Worcester 8-Day Elm Wood Double Fusee Mantle Clock. Circa 1810s. Appears to be in original condition, commensurate with age. Original feet, roman numeral face, original hardware, retaining its original color. Original bill of sale included in images from 1964.  Size: 13 x 6 1/2 x 19 1/2 in. #4531 .  Fusee clocks use a conical pulley called a fusee to keep time accurate. 

Lot: 1595 - Rare Bulova Bellcore 20 Years of Service World Mantel Clock

Rare Bulova Bellcore 20 Years of Service World Mantel Clock. These clocks were given to individuals who had worked for Bellcore for a significant period of time, and since the company name changed only 13 years after their formation, they were specifically for those who had started with the company after their separation from AT&T. Shows the time of countries around the world circling the

Lot: 1596 - Whitehall Hammond Synchronous Movement Art Deco Clock in Onyx and Bronze

Whitehall Hammond Synchronous Movement Art Deco Clock in Onyx and Bronze. Round clockface and surrounding green mineral, bookended by beautiful bronze eagles on the green onyx base. Information stamped on the back, including "Made in the U.S.A."  Condition: Some signs of repair.  Size: 16 x 3 1/2 x 10 in.  #4399 .  In 1928 the Hammond Clock Company of Chicago began producing electric clocks. Laurens Hammond, who was most famous for the invention of the Hammond organ, modeled his design directly after Henry Warren’s Telechron clock, creating a synchronous movement with a unique starting knob on the back to restart the motor. Within a year he had developed a close association with several prominent jewelers and designers in an effort to make the most luxurious Art Deco clocks in history. Whitehall Jewelers, started by Ira Marks, was his favorite company to build the cases, and Marks introduced Hammond to Joseph B. Hirsch, a Romanian immigrant who had recently expanded his bronze foundries from New York into Illinois. The partnership between the three of them was short-lived, but they achieved their goal, producing some of the most exquisite and opulent clocks of the 1930s. These clocks were not cheap, though, with sturdy bronze figures adorning their elaborate and sometimes abstract shapes, and although all three companies survived the Great Depression, Hirsch closed down during World War II. Hammond quit making clocks in 1941, pivoting solely to building organs from then on. Whitehall Jewelers went through an endless parade of name changes and new owners throughout the 20th Century, but for a brief moment the Whitehall Hammond synchronous movement clocks reigned supreme, and are highly sought by collectors today for their special place in the history of design and their unrivaled beauty.

Lot: 1597 - Swedish Albin Ahlberg Carved Gilt Cartel Clock

Swedish Albin Ahlberg Carved Gilt Cartel Clock. Stockholm carving style. Albin Ahlberg and Goteborg is written on the dial. Sticker with information on reverse. Possible signature on reverse, upper left side.    Size: 24 x 12 1/2 in. #5131

Lot: 1598 - Edwardian Style Resin Balloon Desk Clock with Floral Designs

Edwardian Style Resin Balloon Desk Clock with Floral Designs. Matching designs on front and back as well as both sides, with winding hole in back. Original label on bottom. Face in Roman numerals with quartz movement.  Size: 11 x 7 x 5 1/2 in.  #5226 .  Mantel clocks are relatively small house clocks traditionally placed on the shelf, or mantel, above the fireplace. The form, first developed in France in the 1750s, can be distinguished from earlier chamber clocks or contemporary carriage clocks of similar size due to a lack of carrying handles. In the beginning mantel clocks were often highly ornate, decorative works, constructed from a combination of ormolu, porcelain, and wood. One of the most common and valued types of mantel clocks are the French Empire-style timepieces. An important evolution of the form was Simon Willard’s shelf clock (also known as the half clock and the Massachusetts shelf clock), which was a relatively economical clock produced by his celebrated Roxbury Street workshop, in Boston, Massachusetts, around the first decade of the 19th Century, a direct correlation to the banjo clock he invented. In contrast to wall clocks, whose movements were attached to the backboard, the shelf clock had its movement supported by a seat board. Willard’s shelf clocks were produced until the 1830s, and although the company revolutionized clock manufacturing with their practices regarding labor division and using multiple previously molded parts, the shelf clocks were not popular when they first came out. The Connecticut clockmaker and inventor Eli Terry popularized mantel clock ownership among common American people in the 1840s, which led to a renewed appreciation of the older European styles. Today, traditionally styled mantel clocks are less common, and are often smaller or made for use on a desk, with modern pieces often functioning more as alarm clocks than decorative objects and frequently digital as opposed to analog.

Lot: 1599 - Burled Wood Natural Shape Tree Slice Specimen Analog Clock

Burled Wood Natural Shape Tree Slice Specimen Analog Clock. Clock face in center with only 3, 6, 9, and 12 with lines between. Epoxy sealed, with embedded battery unit on back.  Size: 2 5/8 x 21 x 21 1/2 in.  #5326 .  A burl (American English) or burr (British English) is a tree growth in which the grain has grown in a deformed manner. It is commonly found in the form of a rounded outgrowth on a tree trunk or branch that is filled with small knots from dormant buds. Burl formation is typically a result of some form of stress such as an injury or a viral or fungal infection. For much of the history of wood harvesting, imperfections were avoided by companies, but lumberjacks and woodworkers routinely made use of all parts of a tree, with one of the most common pieces being sliced burls made into wall clocks. This practice entered the mainstream in the 19th Century after coastal redwood became highly sought after, and expanded significantly after the commercial harvesting and trade of redwood ended due to early conservation efforts after World War I. In the aftermath of the 1990 “Redwood Summer” environmentalist activity that kicked off the Timber Wars, many companies began experimenting with resin and other substances to meet the demand for the clocks without having to harvest from any more endangered tree species. Since burls of all varieties yield a very peculiar and highly figured pattern, however, burled wood does continue to be fiercely sought after in woodworking, often fetching tremendous prices and resulting in unique, one-of-a-kind works of art. “Burr maple” is the most highly prized, as its coloration is rich and varied after treatment.

Lot: 1600 - Mantel Clock and (2) Decorative Vases

Table Clock in Pink Verona Marble with Matching Garniture Set.  Late 19th Century. Temple-shaped with white enamel dial. Gilded metal finishes and friezes. Size: 8 3/4 x 3 1/2 x 10 1/2 in. #5402

Lot: 1601 - Swiss Traveling Pocket Clock

Swiss Traveling Pocket Clock. Small Swiss-made eight-day pocket clock in foldable silver case. Monogrammed MSD. Unmarked. Size: 3 1/2 x 4 x 1/2 in.  #8549

Lot: 1602 - Pair of 1950s English Hand-Painted Porcelain Lamps

Pair of 1950s English Hand-Painted Porcelain Lamps. Wooden bases and detailed brown floral patterns adoring both vase-shaped lamps. Includes original harps and matching wooden finials.  Size: 7 x 7 x 31 1/2 in.  #4510 .  Pottery has been used for lighting and lamps for thousands of years. One of the earliest surviving pieces was excavated from Nal in the Indus Valley, located in present day Pakistan, and dates to around 2500 BC. The discovery of terracotta and other lightweight sculpting materials led to the development of more ornate designs, as functionality and practicality gave way to artistic inspiration and religious worship. It was also useful to keep the flame of a simple candle from being extinguished, or to keep the fire from spreading by accident. In modern times, many designs and shapes remain virtually unchanged from when they were developed in antiquity.

Lot: 1603 - Pair of Antique Sevres Style Gilt Porcelain Lamps

Pair of Antique Sevres Style Gilt Porcelain Lamps. Signed Gillet. Mounted on brass bases.  Lamp Size: 6 1/ 2x 6 1/2 x 27 in.  Shade Size: 15 x 15 x 10 1/2 in.  #8632

Lot: 1604 - Pair of English Candlestick lamps

Pair of English Mahogany Candlesticks, Mtd. as Lamps Each with a fluted stem on a circular base, and later square plinth, electrified.  Size: 6 1/4x 6 1/4 x 26 in.  #7675  

Lot: 1605 - Pair of Brass/Marble Girondoles Candlesticks

Pair of Brass and Cut-Glass Girondoles American. Each cast as a Native American Chief, hung with glass prisms, on marble bases.  Size: 5 1/4 x 3 3/8 x 13 7/8 in.  #8216 

Lot: 1606 - Pair of Bronze Wall Mounted Renaissance Candlesticks

Pair of Bronze Wall Mounted Renaissance Candlesticks. Greek Mythology.  Size: 14 x 10 x 18 in.  #7654 

Lot: 1607 - Antique Pair of Bronze 8-Light Swan Chandeliers

Antique Pair of Bronze 8-Light Swan Chandeliers.  Each chandelier has a central stem, which is decorated with different sections. There are sections that appear to be ribbed or textured, and some that are dark-colored, possibly painted black or a very dark blue. The chandeliers have multiple arms extending outwards from the central stem. These arms hold the light sockets. Empire style.  Size: 26 1/2 x 26 1/2 x 36 in.  #7000

Lot: 1608 - Pair of Antique French Sconces Louis XVI with Bow Detail

Pair Antique French Louis XVI Neoclassical Cast Brass Wall Sconces are the ideal choice for creating a special visual effect!  Each is designed with a pair of French hunting horns forming the mounts for the bobeches which hold the candle sleeves, which are finely crafted to look as realistic as possible.  The horns are mounted on ribbon with tassels cast in solid brass, with a bow appearing at the top.  The fixtures have not yet been electrified. Size: 13 x 6 x 24 in.  #7662 

Lot: 1609 - (2) Wall Mounted Electric Candle Holders

Pair of wall mounted three-armed candle holders. Gilt bronze.  Condition: One candle breaking off.  Size: 12 1/2 x 12 x 7 1/2 in.  #2295 

Lot: 1610 - (2) English Liberty & Co. Art Nouveau Lily Leaf Form Brass Wall Sconces

(2) English Liberty & Co. Art Nouveau Lily Leaf Form Brass Wall Sconces. Pair of matched leaf-form brass candelabras with single sconce apiece. With impressed details, including leaf veins and image of frog hunting a fly. Likely made during one of the revival periods of their famous style, probably in the 1960s.  Size: 10 3/4 x 7 in.  #4366 .  In 1876 Arthur Lasenby

Lot: 1611 - Pair of Louis XVI Style Two-Light Brass Sconces

Pair of Louis XVI Style Two-Light Brass Sconces. The ribbon-tied backplates supporting two up-ward turned candle arms, electrified.  Size: 13 x 6 1/2 x 22 in.  #7802   

Lot: 1612 - Pair of Cast Iron Wall Sconce / Candle Holders

Pair of Cast Iron Wall Sconce / Candle Holders. In the shape of a pumpkin or tomato. With a central heart design. 3 Candle shelves per sconce.  Size: 15 x 10 x 20 in.  #7879

Lot: 1613 - Pair of Bronze and Crystal Candle Sconces

Pair of Bronze and Crystal Candle Sconces.  Frames are made of bronze. Decorative elements are made of clear crystal, cut into various shapes, including teardrops, prisms, and other forms. Each sconce has two arms extending outwards. Light sockets are designed to resemble candle sleeves. The sconces are heavily decorated with crystal prisms and drops, which are designed to catch and refract light, creating a sparkling effect. The bronze/brass frames also have decorative elements, such as leaves, scrolls, or other ornate details. Size: 10 x 10 x 5 in.  #5097

Lot: 1614 - Pair of Art Nouveau Style Metal Candelabras

Pair of Art Nouveau Style Metal Candelabras. Delicate leaf-like feet with curved arms and cupped flower-like candle holders coming from the central column.  Size: (each) 13 x 13 x 16 1/2 in.  #4562 .  A candelabrum (plural candelabra, but also used as the singular form in modern times) is a candle holder with multiple arms. The term “candelabra” can be used to describe a variety of candle holders including chandeliers, although those exclusively hang from the ceiling while all other forms can be carried or rested on a surface. The Romans used the term to describe a form of ornamental lighting, and in Judaism the menorah and hanukkiah are special kinds of candelabra. Candelabra are also used in church ceremonies in certain Eastern Catholic and Eastern Orthodox Church liturgy, such as the dikirion and trikirion. Candelabra in the form of branched candlesticks also became popular in homes as decorative lighting starting in the 16th Century. In modern times electricity has largely relegated candleholders to decorative use in homes, with interior designers still incorporating candelabra and candlesticks into their lighting accessories as a way to convey elegance and luxury.

Lot: 1615 - Pair of Brass Pricket Candlesticks

Pair of Brass Pricket Candlesticks.  Size: 3 3/8 x 3 3/8 x 10 1/2 in.  #7994 . 

Lot: 1616 - (2) 18th C. Bell Metal English Candlesticks

(2) 18th C. Bell Metal English Candlesticks. Pair of English candlesticks made of bell bronze, an allow commonly used in the construction of bells and other instruments. Adams style. Circa 1780.  Size: 3 3/4 x 3 3/4 x 9 1/2 in. #4044

Lot: 1617 - (2) Porcelain Accent Candle Holders

(2) Porcelain Accent Candle Holders. Matched pair of painted porcelain candle holders, with pale green painted flowers and scrollwork over off-white base. Size: 4 x 4 x 9 1/2 in.  #509 #4320

Lot: 1618 - Group of 3 European Brass and Porcelain Figural Candlesticks

Group of 3 European Brass and Porcelain Figural Candlesticks. Dressed in noble gentleman and lady attire.  Comparables are describes as: Pair of Bohemian candlesticks circa 1850-1870 in the historicist style of the 19th century. century. This original is a rare and exquisite addition to your collection of antique objects. Each candlestick is richly decorated with human motifs and fits perfectly into an elegant interior. The antique candlesticks are made of brass and porcelain Size: 4 1/4 x 4 1/4 x 9 1/2 in.  #7668 

Lot: 1619 - Pair of Vintage French Gilt Bronze Candlesticks

Pair of Vintage French Gilt Bronze Candlesticks. Floral patterns on the feet and top with a spiral design along the main stick broken up by an ornate bulb in the middle.  Condition: Commensurate with age.  Size: 10 x 10 x 36 1/2 in.  #5327 .    A candlestick is a device used to hold a candle in place, and usually comes in one of two varieties: a cup that cradles the base of the candle, or a spike (“pricket”) that sticks up into the base, both to keep the candle in place. Candlesticks are sometimes called “candleholders,” and can be stationary on a surface or crafted for carrying to light the way. Before the proliferation of electricity, candles were carried between rooms using a chamberstick, a short candlestick with a pan to catch dripping wax. Although electric lighting has phased out the practical application of candles in much of the world, candlesticks and candelabras are still used in homes as decorative elements or to add atmosphere on special occasions.

Lot: 1620 - Antique Black Finish Brass Candlestick

Black Finish Brass Candlestick. Green oxidation visible on the underside. Brass color showing through in small instances throughout. Not Magnetic.  Size: 14 1/2 x 14 1/2 x 15 1/2 in.  #7651 . 

Lot: 1621 - 19th Century Brass English Sextant

19th Century Brass English Sextant. Made by Norie & Wilson, London. In original case with 3 sighting scopes, a sun filter, and a mirror adjusting tool.  Size: 12 X 11 X 5 in.  #8602 .    The octant, also called a reflecting quadrant, is a reflecting instrument used in navigation. The name derives from the Latin “octans” meaning eighth part of a circle, which constitutes the instrument’s arc. “Reflecting quadrant” derives from the instrument using mirrors to reflect the path of light to the observer and, in doing so, doubles the angle measured. This allows the instrument to use a one-eighth of a turn to measure a quarter-turn or quadrant. Isaac Newton’s reflecting quadrant concept was invented around 1699, and two men independently developed the modern octant roughly around 1730: John Hadley, an English mathematician, and Thomas Godfrey, a glazier from Philadelphia. Both of these men also developed the more commonly used sextant a year later, which was wider and more accurate, although both instruments were very sensitive and the mirrors could easily be knocked out of adjustment, meaning that they had to be checked frequently for errors and adjusted accordingly. Nevertheless, by 1780 their remarkable accuracy and the ease of transporting and using them meant that they had almost completely displaced all previous navigational instruments, and they remain the most common analog navigational tools in existence to this day. 

Lot: 1622 - American Whaling Scrimshaw Drinking Horn Beaker with Ship Scene

American Whaling Scrimshaw Drinking Horn Beaker with Ship Scene. Shows the vessel Charity on the waves with whaling boats and breaching whales around her. The Nantucket Historical Association has a logbook of the Brig Charity's voyage from 1821 to 1822, originating in New York with Master Charles H. Barnard.  Size: 2 1/2 X 2 1/2 X 4 1/2 in.  #4839 .  Scrimshaw is scrollwork,

Lot: 1623 - Original 19th Century Sailing Ship Captain's Octant As Lamp

Original 19th Century Sailing Ship Captain's Octant As Lamp. Ebony and brass with original fitted case and key, mounted as a lamp.  Size: 13 X 15 X 28 in.  #8638 .  The octant, also called a reflecting quadrant, is a reflecting instrument used in navigation. The name derives from the Latin “octans” meaning eighth part of a circle, which constitutes the instrument’s arc. “Reflecting quadrant” derives from the instrument using mirrors to reflect the path of light to the observer and, in doing so, doubles the angle measured. This allows the instrument to use a one-eighth of a turn to measure a quarter-turn or quadrant. Isaac Newton’s reflecting quadrant concept was invented around 1699, and two men independently developed the modern octant roughly around 1730: John Hadley, an English mathematician, and Thomas Godfrey, a glazier from Philadelphia. Both of these men also developed the more commonly used sextant a year later, which was wider and more accurate, although both instruments were very sensitive and the mirrors could easily be knocked out of adjustment, meaning that they had to be checked frequently for errors and adjusted accordingly. Nevertheless, by 1780 their remarkable accuracy and the ease of transporting and using them meant that they had almost completely displaced all previous navigational instruments, and they remain the most common analog navigational tools in existence to this day.

Lot: 1624 - American Brass Marine Yacht Lantern

American Brass Marine Yacht Lantern. Made by Robert Findlay Manufacturing Co., New York. From the bow of a yacht with fresnel lenses, hinged door, vented top and handle.  Size: 11 X 9 X 10 in.  #8630 .  Nautical lanterns for guidance and travel on the water can be traced back almost to the beginnings of seafaring. Ancient imagery and writings tell us that oil burning within a container of some sort was used by Greek and Indian sailors, and the The Lighthouse of Alexandria, sometimes called the Pharos of Alexandria, built in Egypt during the reign of Ptolemy II Philadelphus (280-247 BC), expanded the principle to extremes, standing over 300 feet high and visible for miles. Over the centuries oil and candlelight were the predominant form of lighting, until electricity became regularly transferable and harnessable. Ship’s lights, lamps and lanterns are constructed of high quality brass and have multiple color schemes for different situations. Specifically, red, green, and white lights may only be displayed at night in configurations known as “Navigation Lights.” The blue lights are displayed exclusively for emergency or law enforcement vessels, and so are rarely seen. White lights are commonly used all around the vessel, while red and green are usually only positioned on the bow or stern, with red indicating the port (left) side of the vessel, and green representing the starboard (right) side. In a Fresnel lens, such as the one on this lamp, hundreds of pieces of specially cut glass surround the bulb. This design intensifies the glow from the light, focusing rays of light that would normally scatter into a single, intense beam of light, which shines out in a specific direction.

Lot: 1625 - Vintage Large Brass and Copper Ship's Lantern

Vintage Large Brass and Copper Ship's Lantern. Contains red fresnel lens. Manufactured by Tung Woo Ltd. of Hong Kong, in a style called "All Round Red."  Size: 12 X 12 X 19 1/2 in.  #8631 .    Nautical lanterns for guidance and travel on the water can be traced back almost to the beginnings of seafaring. Ancient imagery and writings tell us that oil burning within a container of some sort was used by Greek and Indian sailors, and the The Lighthouse of Alexandria, sometimes called the Pharos of Alexandria, built in Egypt during the reign of Ptolemy II Philadelphus (280-247 BC), expanded the principle to extremes, standing over 300 feet high and visible for miles. Over the centuries oil and candlelight were the predominant form of lighting, until electricity became regularly transferable and harnessable. Ship’s lights, lamps and lanterns are constructed of high quality brass and have multiple color schemes for different situations. Specifically, red, green, and white lights may only be displayed at night in configurations known as “Navigation Lights.” The blue lights are displayed exclusively for emergency or law enforcement vessels, and so are rarely seen. White lights are commonly used all around the vessel, while red and green are usually only positioned on the bow or stern, with red indicating the port (left) side of the vessel, and green representing the starboard (right) side. In a Fresnel lens, such as the one on this lamp, hundreds of pieces of specially cut glass surround the bulb. This design intensifies the glow from the light, focusing rays of light that would normally scatter into a single, intense beam of light, which shines out in a specific direction. 

Lot: 1626 - Antique Bronze Nautical Lamp

Antique Bronze Nautical Lamp. Bowlight with port and starboard lights and flagpole socket, attached to wood base.  Size: 7 1/2 X 7 1/2 X 4 1/2 in.  #8596 .  Nautical lanterns for guidance and travel on the water can be traced back almost to the beginnings of seafaring. Ancient imagery and writings tell us that oil burning within a container of some sort was used by Greek and Indian sailors, and the The Lighthouse of Alexandria, sometimes called the Pharos of Alexandria, built in Egypt during the reign of Ptolemy II Philadelphus (280-247 BC), expanded the principle to extremes, standing over 300 feet high and visible for miles. Over the centuries oil and candlelight were the predominant form of lighting, until electricity became regularly transferable and harnessable. Ship’s lights, lamps and lanterns are constructed of high quality brass and have multiple color schemes for different situations. Specifically, red, green, and white lights may only be displayed at night in configurations known as “Navigation Lights.” The blue lights are displayed exclusively for emergency or law enforcement vessels, and so are rarely seen. White lights are commonly used all around the vessel, while red and green are usually only positioned on the bow or stern, with red indicating the port (left) side of the vessel, and green representing the starboard (right) side.

Lot: 1627 - African Senufo Milk Stool With Carved Bird Design

African Senufo Table With Carved Bird Design. A Senufo milk stool is a type of stool carved from a single piece of wood by the Senufo people of West Africa. These stools are used for various purposes, including milking animals, serving food, or simply as decorative objects. Senufo stools are highly valued for their beauty, craftsmanship, and cultural significance. They are often collected by art enthusiasts and used as decorative objects in homes and offices. Size: 23 1/2 x 18 x 16 in. #8455

Lot: 1628 - Carved Volcanic Rock Foot Stool

Carved Volcanic Rock Foot Stool. Four feet with a curved middle.  Size: 12 1/2 x 11 x 6 in.  #4691 .    Volcanic rocks are formed from lava erupted from a volcano. In nature volcanic rocks grade into hypabyssal and metamorphic rocks and constitute an important element of some sediments and sedimentary rocks. Volcanic rocks and sediment that form from magma erupted into the air are called “pyroclastics,” and these are also technically sedimentary rocks. It has been estimated that volcanic rocks cover about 8% of the Earth’s current land surface, with an inestimable amount on the ocean floor where volcanic activity is most prevalent. One of the most unique and versatile of all volcanic rocks is pumice, widely used to make lightweight concrete and insulative low-density cinder blocks. The air-filled vesicles in this porous rock serve as a good insulator, and was used as far back as Roman times to build the huge dome of the Pantheon as well as an additive in cement for most of their aqueducts. Ancient civilizations in South and Central America used it to build furniture that was light enough to move with ease but sturdy enough to support significant weight, and pumice was used by ancient Pacific Islanders as ballast on their long journeys. Throughout history legends of “floating islands” that sometimes disappeared shortly after being discovered were dismissed by conventional academia, until scientists discovered in the 19th Century that enormous areas of pumice habitually formed on the surface of oceans, with one of the largest ever encountered found in 2012, being roughly 10,000 square miles in size.

Lot: 1629 - English Brass and Etched Mirror 3 Panel 1880 Fireplace Screen

English Brass and Etched Mirror 3 Panel 1880 Fireplace Screen.  A larger central panel and two smaller side panels that can be adjusted or folded inward. Frame made of brass. The side panels have etched or engraved starburst designs. The mirror has small feet or legs that allow it to stand on a vanity or dresser. The frames are decorated with ornate details, including scrolling patterns, floral motifs, or other decorative elements. The top of the central panel often has a more elaborate crest or finial. Size When Fully Open: 37 x 8 x 33 1/2 in.  #4564 

Lot: 1630 - Antique Nautical Cast Brass Andirons

Antique Nautical Cast Brass Andirons. Two anchors encircled by shells, sea creatures, and rope shapes, with rings on top and pieces on the back to attach to horizontal firedogs.  Size: 16 x 9 1/2 x 2 in.  #8403 .    Andirons, or firedogs, are bracket supports, normally in pairs, on which logs are laid for burning in an open fireplace, so that air may circulate under the firewood, allowing better burning and less smoke. They generally consist of a tall vertical element at the front to stop logs from rolling into the room with at least two legs to support it. The other element is one or more low horizontal pieces stretching back into the fireplace to rest the logs upon. Before the Renaissance, European andirons were made entirely of iron and of plain design. From the Renaissance onwards the front vertical element was increasingly given decorative treatment and made of a different metal, such as bronze, silver, or brass, which is how this particular piece is constructed. When metals that could be cast began to be used for the fronts, these ordinary objects of the household received the attention of artisans, who lavished ornate designs upon them. During the 18th Century fireplaces began to have built-in metal grates to hold the firewood or coal up off the floor and in place, thus removing the need for andirons. However, andirons were often still kept for decorative reasons, and sometimes as a place to rest pokers, tongs and other fire implements. These andirons are likely from the late 19th or early 20th Century, based on their design and the condition.

Lot: 1631 - Group of Fireplace Items, Screen and Brass Fender Floral Pattern

Group of Fireplace Items, Screen and Brass Fender Floral Pattern Condition: Appears to minor interior paint splatter.  Size: 59 x 6 1/2 x 10 in. (Fender) 53 x 33 in.  (Screen)  #7807   

Lot: 1632 - Wooden Pedestal / Art Stand

Wooden Pedestal / Art Stand Size: 10 3/4 x 12 1/2 x 31 1/2 in.  #5107

Lot: 1633 - French Round Wooden Table With Waterproof Top

French Round Wooden Table With Waterproof Top. Round with a circular top, four curved legs that taper towards the base. Central support structure with a cross-shaped design. Has a newer Venetian plaster look.  Size: 31 1/4 x 30 1/4 in. #4301

Lot: 1634 - Moroccan Coffee Table with Brass Oval Tray Arabesque Etched Motifs

Size: 41 1/2 x 28 x 19 in.  #5160 #2

Lot: 1635 - Imperial Furniture Company Regency Period Style Lipped Side Table

Imperial Furniture Company Regency Period Style Lipped Side Table. Classic design with curved feet and central pedestal, with a thin lip around the round top. Label and marking on bottom identifies maker as Imperial Furniture Company, made some time between 1903 and 1954.  Size: 24 x 27 in.  #4300 .  Imperial Furniture Company was opened in 1903 in Grand Rapids, Michigan, by Frank Stuart Foote (1872-1954). Prior to opening the company he had worked for 10 years for the Grand Rapids Chair Company, which was owned by his father Elijah H. Foote. He learned much about design as well as business, but left due to numerous disagreements with his father over the future of furniture and design. Although he founded his own company with help from Daniel McCoy, who was the president of Kent State Bank and served as the first president of the furniture maker, he bought out McCoy in less than a year, remaining president for the next fifty years. Imperial’s primary product was tables, with the addition of bookcases to its line later in its history. They worked mostly in mahogany, but also had stunning pieces of cherry. Foote laid claim to inventing the “coffee table” after he helped his wife prepare for a party by lowering the legs on a table so people could reach their beverages while sitting and conversing in a huddled group. Imperial made dining room tables to go along with buffets, and was the first factory in Grand Rapids to bring out Duncan Phyfe reproductions. In 1936 an enormous showroom and dining hall for the workers was built adjacent to the factory, in an effort to boost production and provide some relief during the Depression. In the 1940s they made wood airplane wings for the government, and was the first company to concentrate large-scale efforts on occasional furniture after the War ended. When Foote died from a heart attack in 1954, the company was sold to Bergsma Brothers, who had opened their own furniture and cabinetry manufacturing facility in 1940 and consolidated most of the workers, equipment, and assets into their space. In 1984 Bergsma declared bankruptcy, and both buildings fell into disrepair, officially closing for good the following year.

Lot: 1636 - Teal Primitive Chest

Teal Primitive Chest. From Muskoka, Ontario.  Rectangular chest with a hinged lid. Sits on short legs. Painted teal with a distressed finish. Simple keyhole is visible on the front.  Size: 38 x 20 x 25 1/2 in.  #7014

Lot: 1637 - Antique Straight Back Wood and Wicker Rocking Chair

Antique Straight Back Wood and Wicker Rocking Chair. Simple, elegant, classic design.  Size: 26 1/2 x 17 3/4 x 30 1/4 in.  #7022 .    A rocking chair or rocker is a type of chair with two curved bands (also known as rockers) attached to the bottom of the legs, connecting the legs on each side to each other. The rockers contact the floor at only two points, giving the occupant the ability to rock back and forth by shifting their weight or pushing lightly with their feet. Rocking chairs are most commonly made of wood, and some modern versions are made to fold for transportation. Rocking cradles long predate rocking chairs and an example exists from antiquity, found in the ruins of Herculaneum. Originally used in gardens, rocking chairs were simply ordinary chairs with rockers attached. In 1725, early rocking chairs first appeared in England. Though American inventor Benjamin Franklin is sometimes credited with inventing the rocking chair, historians actually trace the modern rocking chair’s origins to North America during the early 18th Century, when Franklin was a child. The production of wicker rocking chairs reached its peak in America during the middle of the 18th Century. These wicker rockers, as they were popularly known, were famous for their craftsmanship and creative designs.  The first known use of the term “rocking chair” was in an English nursery poem in 1766, and it has since come to be synonymous with parenting, evoking the gentle rocking motion commonly used to soothe infants and help them to sleep. During the 1830s Peter Cooper designed the first steel rocking chair in America, which was displayed at the Crystal Palace Exhibition in 1851. In the 20th Century several innovations were made in style and weight distribution, as the rocking motion was found to be as soothing to adults as it was to children and adolescents, and contemporary studies of gentle rocking motion have shown it to provide faster onset of sleep than simply remaining stationary. Rocking chairs are also usually more comfortable than stationary chairs because when a user sits in one without rocking the chair automatically rocks backward until the sitter’s center of gravity is met, thus granting an ergonomic benefit with the occupant kept at an unstressed position and angle. Some doctors recommend rockers for use during pregnancy as it reduces back pain and promotes relaxation and stress reduction. Contemporaneous varieties of rockers include those mounted on a spring base (or platform) called “platform rockers” and those with swinging braces commonly known as gliders.

Lot: 1638 - Antique Carved Wooden Child's Rocking Chair

Antique Carved Wooden Child's Rocking Chair. Ornate face-like carving in the top of the chair, with a small enough base for a child aged four or more to comfortably sit in it.  Size: 24 1/2 x 14 x 25 in.  #7023 .    A rocking chair or rocker is a type of chair with two curved bands (also known as rockers) attached to the bottom of the legs, connecting the legs on each side to each other. The rockers contact the floor at only two points, giving the occupant the ability to rock back and forth by shifting their weight or pushing lightly with their feet. Rocking chairs are most commonly made of wood, and some modern versions are made to fold for transportation. Rocking cradles long predate rocking chairs and an example exists from antiquity, found in the ruins of Herculaneum. Originally used in gardens, rocking chairs were simply ordinary chairs with rockers attached. In 1725, early rocking chairs first appeared in England. Though American inventor Benjamin Franklin is sometimes credited with inventing the rocking chair, historians actually trace the modern rocking chair’s origins to North America during the early 18th Century, when Franklin was a child. The production of wicker rocking chairs reached its peak in America during the middle of the 18th Century. These wicker rockers, as they were popularly known, were famous for their craftsmanship and creative designs.  The first known use of the term “rocking chair” was in an English nursery poem in 1766, and it has since come to be synonymous with parenting, evoking the gentle rocking motion commonly used to soothe infants and help them to sleep.  During the 1830s Peter Cooper designed the first steel rocking chair in America, which was displayed at the Crystal Palace Exhibition in 1851. In the 20th Century several innovations were made in style and weight distribution, as the rocking motion was found to be as soothing to adults as it was to children and adolescents, and contemporary studies of gentle rocking motion have shown it to provide faster onset of sleep than simply remaining stationary. Rocking chairs are also usually more comfortable than stationary chairs because when a user sits in one without rocking the chair automatically rocks backward until the sitter’s center of gravity is met, thus granting an ergonomic benefit with the occupant kept at an unstressed position and angle. Some doctors recommend rockers for use during pregnancy as it reduces back pain and promotes relaxation and stress reduction. Contemporaneous varieties of rockers include those mounted on a spring base (or platform) called “platform rockers” and those with swinging braces commonly known as gliders.

Lot: 1639 - Felt Lined Vitrine With 3 Glass Shelves

Felt Lined Vitrine With 3 Glass Shelves. This display cabinet opens and closes smoothly. Four legs raise the displayed items to an adequate viewing height.  Size: 25 1/2 x 15 1/4 x 65 in.  #15 #5161 

Lot: 1640 - Renaissance Style Accent Chair with Gold Velvet and Fringe

Renaissance Style Accent Chair with Gold Velvet and Fringe.  Dark stained wood. Seat and back are upholstered in a gold colored velvet. Back of chair is decorated with nail head trim along the edges. Seat cushion has a decorative fringe along the bottom edge.  Underside of seat shows woven webbing.  Condition: Commensurate with age.  Size: 15 1/2 x 19 x 43 in. #5158

Lot: 1641 - Vintage Brass Yacht Compass on Wood Base

Vintage Brass Yacht Compass on Wood Base. Gimbal mounted on varnished wood, with red and green bulbs on either side to indicate port and starboard. Manufactured by Coubro & Scrutton, London. The company was established in 1840, making maritime lift and handling equipment, and closed in 2001 when they were acquired by Lloyds Equipment Group.  Size: 10 1/2 X 7 X 6 in.  #8597 .    A gimbal is a pivoted support that permits rotation of an object about an axis. On a ship the gyroscopes, shipboard compasses, stoves, and even drink holders typically use gimbals to keep them upright with respect to the horizon despite the ship’s pitching and rolling. The gimbal suspension used for mounting compasses and the like is sometimes called a Cardan suspension after Italian mathematician and physicist Gerolamo Cardano (1501-1576) who described it in detail. However, Cardano did not invent the gimbal, nor did he claim to. The device has been known since antiquity, first described in the 3rd Century BC by Philo of Byzantium, although some modern authors support the view that it may not have a single identifiable inventor. Philo described an eight-sided ink pot with an opening on each side, which can be turned so that while any face is on top, a pen can be dipped and inked, yet the ink never runs out through the holes of the other sides. This was done by the suspension of the inkwell at the center, which was mounted on a series of concentric metal rings so that it remained stationary no matter which way the pot is turned. There is mention during the Chinese Liang Dynasty (502-557 AD) that gimbals were used for hinges of doors and windows, while an artisan once presented a portable warming stove to Empress Wu Zetian which employed gimbals. After antiquity gimbals remained widely known in the Near East. In modern times gimbals play a crucial role in spacecraft propulsion, as rocket engines are generally mounted on a pair of gimbals to allow a single engine to vector thrust about both the pitch and yaw axes. Gimbals are now ubiquitous in much technology, used to mount everything from small camera lenses to large photographic telescopes, and remain an indispensable part of sea navigation around the globe.

Lot: 1642 - 6.3' Large Renaissance Revival, Carved Mahogany Console Table

6.3' Large Console Table With Rolled Legs. Details include: Cabriole legs. Scroll Pattern. Acanthus Leaves. Renaissance Revival, Carved Mahogany Console Table Size: 76 x 16 x 29 1/2 Inches #100003

Lot: 1643 - Ten Drawer Patented Amberg Filing Cabinet and Index System with Black Base

Ten Drawer Patented Amberg Filing Cabinet and Index System with Black Base. All drawers include an oval inset for labels on the exterior, a compression spring to keep papers organized, and some drawers include a folder detailing Amberg's patented index system. On each side of the cabinet are lockable wooden panels to protect the contents of the cabinet. Key is missing. There is scratching on the back of cabinet and a piece has broken off. Otherwise, wear is commensurate with age.   An Amberg cabinet is a specialized antique filing cabinet designed and patented by the Amberg File & Index Company in the late 19th and early 20th centuries. These primarily wooden cabinets, often made of oak or mahogany, feature multiple drawers designed to hold papers upright for efficient storage and retrieval. The key to Amberg's innovation was his patented indexing systems, which used specialized tabs, dividers, and sometimes pull-out shelves within the drawers to facilitate organization. Therefore, Amberg cabinets are frequently found with these patent file indexes because the cabinets and indexes were designed and marketed as a complete, integrated filing system—the cabinets were built to specifically accommodate the dimensions and functionality of Amberg's unique indexing methods, ensuring immediate and effective use for customers.   Size: 12 x 29 x 34 3/8 Inches

Lot: 1644 - Antique American Fall Front Secretary Plantation Writing Desk

Antique Fall Front Secretary Plantation Writing Desk. Carved wood writing desk with fall front door revealing an array of small cabinets and shelves behind. Obtained from a railroad in Ohio. Size: 31 x 23 x 55 in.  #5345

Lot: 1645 - Vintage Trompe L'Oeil Hand Painted Table - AS IS

Vintage Trompe L'Oeil Hand Painted Table - AS IS. Wood carved vintage table with faux pink tablecloth and cream table runner. Four caned legs painted white with black feet. Trompe l'oeil, meaning 'to deceive the eye', refers to artistic creations designed to deceive the eye, giving the illusion of three-dimensional objects or textures on a flat surface. This decorative technique often features intricate paintings of items like books, fabrics, or fruit, meticulously rendered to appear lifelike and as if they are part of the table itself. Popularized during the Renaissance and Baroque periods, trompe l'oeil tables showcase the artist's mastery of perspective, shadow, and detail. These pieces serve as both functional furniture and captivating works of art, blending utility with visual storytelling. Size: 36 x 17 1/2 x 31 in. #5346

Lot: 1646 - European Carved Wooden Marriage Chest AS IS

European Carved Wooden Marriage Chest AS IS. Cracks and wear throughout. AS IS.    A marriage chest, also known as a wedding chest, hope chest, or cassone, is a large, sturdy box with a lid that was traditionally used to store a bride's clothing and dowry before marriage   Size: 66 x 24 x 33 in.   

Lot: 1647 - Contemporary Rusted Iron Garden Trellis

Contemporary Rusted Iron Garden Trellis.  It has a tapering, pyramidal or obelisk shape. The base is wider, and it narrows towards the top, culminating in a pointed or finial-like top. It's constructed with vertical and horizontal metal bars or rods. The horizontal bars create a series of square or rectangular "rungs" or levels. The vertical bars provide the main support structure. Size: 12 x 12 x 59 in.   

Lot: 1648 - Meiji Era Japanese Bronze Wave Usubata

Antique Japanese Bronze Wave Usubata. Display stand for ikebana (flower arrangements), elevated on a base of swirling waves, embracing wabi sabi, the aesthetic of natural imperfection. Patinated bronze. Ikebana, the Japanese art of flower arrangement, emphasizes simplicity, harmony, and balance. Unlike Western floral arranging, which often focuses on abundant blooms, ikebana highlights the beauty of individual stems, leaves, and the natural forms of plants. Arrangements are typically asymmetrical and aim to capture the flow and grace of nature, often incorporating elements like branches, grasses, and seasonal flowers. Size: 13 x 13 x 7 3/4 in.  #8413

Lot: 1649 - (2) Framed Japanese Fukusa with Family Mon

(2) Framed Japanese Fukusa with Family Mon. Pair of framed fukusa in faux bamboo frames depicting two family mons (crests). One mon with triple umbrellas, crossed, and the other with three fern leaves, ringed, emerging.  Overall Size: 23 x 21 1/4 in.  Sight Size: 13 1/2 x 13 1/2 in.  #4464  Fukusa are a type of Japanese textile used for gift-wrapping or for purifying equipment during a Japanese tea ceremony. Fukusa are square or almost square pieces of lined fabric ranging in size about 9 to 36 inches along one side. They are typically made of fine silk and may be decorated with embroidery in auspicious designs. Traditionally in Japan, gifts were placed in boxes or on a wooden or lacquered tray, over which a fukusa would be draped. The choice of a fukusa appropriate to the occasion was considered an important part of the gift itself, and part of its formality. The practice of covering a gift became widespread during the Edo period (1603-1867), but the use of fukusa as a way of presenting gifts has mostly died out in modern times, lingering mainly in certain ritual exchanges of gifts during weddings in a few regions of Japan. The scene or motifs depicted on fukusa are chosen to indicate either the occasion for which the gift is being given, or because they are appropriate for one of the annual festivals when gifts are exchanged. The richness of the decoration of the fukusa attests to the giver’s wealth and aesthetics. Once a gift was exchanged, after being admired, the fukusa and box or tray presented with the gift are typically returned to the gift’s original giver, although during the Meiji Restoration the fukusa often stayed with gifts given to a high official. Especially in the Edo period a number of eminent artists were commissioned to design textiles, including fukusa, but they seldom signed their work. Satin silk was the preferred fabric for embroidered fukusa, which often made extensive couched gold- and silver-wrapped thread. As paste-resist dyeing (yÅ«zen) became popular, crepe silk (chirimen or kinsha) was favored. Tapestry-weave fabrics such as tsuzure-ori were also popular, as was the use of weft brocade (nishiki). By the 19th Century family crests, or mon, were added on the lining side of the fukusa, and tassels were placed at each corner so that the fukusa could be picked up without touching the fabric. The most common themes and motifs found in fukusa are nature, auspicious birds and other animals, and aristocratic culture, although as the practice became more prevalent with the merchant class starting in the late 18th Century other images like folklore and mythological scenes, local deities, and even Confucian and Taoist symbols began to be used. Several variants of fukusa are still used in the Japanese tea ceremony, keeping the tradition alive, and in some families the mon is used on business cards crafted in the same materials fukusa once were, to honor their past and inspiration.

Lot: 1650 - Monumental Japanese Shirokiya Folding Screen with Mountain Landscape Design

Monumental Japanese Shirokiya Folding Screen with Mountain Landscape Design. 4 panel screen made in Japan c. 1970 with original brass trim and paintings on rice paper. Shirokiya label on back top edge.  Size When Open: 36 1/4 x 73 in.  Size When Closed: 36 1/4 x 18 1/2 x 3 in.  #4610 .  In 1662 a merchant named Hikotaro Omura opened a dry goods store at Nihonbashi in

Lot: 1651 - (2) Japanese Taisho Era Farmhouse Shoji Screens

(2) Japanese Taisho Era Farmhouse Shoji Screens. Pair of 1920s floor screens for a Japanese farmhouse. Screen has water damage on far right panel. One small tear in the back of the screen.  Purchased in Koto Don, Tokyo. Size: 59 x 53 in.  #5428

Lot: 1652 - Utagawa Hiroshige (1797-1858) and Kunisada (1786-1865) Japanese, Woodblock Prints

Utagawa Hiroshige (1797-1858) and Kunisada (1786-1865) Japanese, Woodblock Prints. Two together in one frame. Descriptive kanji throughout. Gallery label on back. The piece on the left depicts the kabuki actor Iwai Kumesaburō III as Kojorō, from Hiroshige's 1852 series "The 53 stations of Tōkaidō." The piece on the right depicts the

Lot: 1653 - Keisai Eisen (1790–1848) Japanese, Woodblock Print

Keisai Eisen (1790–1848) Japanese, Woodblock Print. Titled "Fish Ascending Waterfall". Color woodblock print depicting a koi ascending a waterfall, representing a traditional Japanese fable that a koi with the power and strength to overcome the forces of the waterfall shall ascend into a dragon.  Overall Size: 19 x 37 1/2 in. Sight Size: 9 x 27 1/2 in. #8475   Artist Biography: Keisai Eisen (1790–1848) was a celebrated Japanese ukiyo-e artist renowned for his bijin-ga, or portraits of beautiful women, which captured the elegance and allure of Edo-period courtesans. Born in Edo (modern-day Tokyo) as the son of a calligrapher, Eisen initially studied under Kanō Hakkeisai before transitioning to ukiyo-e under Kikugawa Eizan. His works often depicted the sophisticated fashion and culture of the pleasure districts, characterized by intricate detailing and a refined sense of color and composition. Beyond his bijin-ga, Eisen also created landscapes, contributed to the famous Edo Meisho Zue (Famous Views of Edo), and wrote essays and guidebooks about the entertainment quarters. Despite his success, his later years were marked by personal struggles, but his artistic legacy remains a vital part of ukiyo-e's enduring appeal.

Lot: 1654 - Utagawa Hiroshige (1797-1858) Japanese, Woodblock Print

Utagawa Hiroshige (1797-1858) Japanese, Woodblock Print. Originally created around 1833 as part of the "Fifty Three Stations of Tokaido" series, depicting Okitsu River. Kanji throughout. Shows several barely clad men carrying two others over a river, one in a palaquin (litter) and the other on horseback, with sailing ships and a tall mountain the distance. Original gallery label on reverse. 

Lot: 1655 - Kitagawa Utamaro (1753-1806) Japanese, Bijinga Woodblock Print

Kitagawa Utamaro (1753-1806) Japanese, Bijinga Woodblock Print. In bamboo-lined frame with framing label on back. Kanji on top and middle right side. Informative label on the back indicates the artist, the title (Festival Trio), and the date it was made (mid-1790s), as well as an explanation of its place in the James A. Michener Collection of Japanese Prints in the Honolulu Academy of Arts, Hawaii.  Overall Size: 16 x 12 in.  Sight Size: 10 1/2 x 7 in.  #4677 .  Kitagawa Utamaro was born some time in 1753 in Japan. Although one of the most highly regarded designers of ukiyo-e (“floating world”) woodblock prints and paintings, particularly of beautiful women with exaggerated and elongated features, little is known of his actual life, and much that is known is contradictory and difficult to confirm. He was born Kitagawa Ichitaro, and at times used the names Yusuke and Yuki. He studied under Toriyama Sekien (1712-1788), first naming himself Toyoaki before settling on his most common moniker. Utamaro apparently married, although nothing is known about his wife and there is no record of them having had children. There are, however, many prints of tender and intimate domestic scenes featuring the same woman and child over several years of the child’s growth among his works. He is known to have made several important improvements in woodblock printing techniques, and invented at least three himself: “Jitsubushi,” which makes the background of a piece hazy, “Unmozuri,” which creates a sheen by rubbing the background with mica, and “Odoshoku tsubushi,” which involves rubbing the background with ochre for a gradient effect. His art began to appear in the 1770s, and he rose to prominence in the early 1790s, producing over 2000 known prints. One of the few ukiyo-e artists to achieve fame throughout Japan in his own lifetime, it was his arrest in 1804 for making illegal prints depicting the 16th Century military ruler Toyotomi Hideyoshi that made him infamous, and likely contributed to his death two years later in October 1806. By the mid-19th Century his work had even reached Europe, where it garnered particular acclaim in France, heavily influencing the Impressionists with his use of partial views and his emphasis on light and shade.

Lot: 1656 - Eishosai Choki (fl. 1760-1820) Japanese, Bijinga Woodblock Print

Eishosai Choki (fl. 1760-1820) Japanese, Bijinga Woodblock Print. In bamboo-lined frame with framing label on back. Kanji on top and middle right side. Informative label on the back indicates the artist, the title (The Courtesan Tsukasa-dayu), and the date it was made (mid-1790s), as well as an explanation of its place in the James A. Michener Collection of Japanese Prints in the Honolulu Academy of Arts, Hawaii.  Overall Size: 16 x 12 in.  Sight Size: 10 1/2 x 7 in.  #4678 .  Eishōsai Chōki, also known as Shiko and Momokawa Chōki, was a Japanese ukiyo-e artist active from the 1760s into the mid 1820s. Little is known about his personal life, including his birthdate, birthplace, and the date of his death, but he was a star pupil (and possibly adopted son) of Toriyama Sekien and his early works show the influence of Nishikawa Harunobu and Torii Kiyonaga, and later that of Kitagawa Utamaro (another pupil of Sekien) and Chōbunsai Eishi. His bijinga (beautiful women) prints are often unique for showing women languidly or forlornly engaged in activities such as smoking and applying makeup, rather than the usual idolized poses and actions they were commonly portrayed doing by his contemporaries. His early works also display his immense fascination with shunga (erotica), sometimes depicting the same character or characters in a vast variety of settings but in the exact same sexual position, a portraiture study akin to some landscape series popularized by artists like Hiroshige and Toyokuni III. For almost a decade Chōki lived in the Nihonbashi home of Tsutaya JÅ«zaburō, who published several of Chōki’s print series. Tsutaya was a patron and mentor to many writers and artists, including Utamaro, TōshÅ«sai Sharaku, and Takizawa Bakin, and Chōki cared for him during the final stages of his early death at the age of 48 in 1797. Amongst Chōki’s more popular series were the Eight Views of Lake ÅŒmi and the Eight Views of the Treasury of Loyal Retainers. He also produced hashira-e pillar prints, kachō-e prints of birds and flowers, and book illustrations. His last known major work is the illustrations for the book Nakoso Gate by Kanwatei Onitake in 1809, although pieces with his signatures sporadically appeared over the next thirteen years, but the death of his main supporter likely contributed to his descent into obscurity.

Lot: 1657 - Toyohara Kunichika (1835-1900) Japanese, Antique Framed Woodblock

Toyohara Kunichika (1835-1900) Japanese, Antique Framed Woodblock. Depicts the kabuki actor Bandô Mitsugorô VI (1841-1873) in a role from 1872. Print has kanji in the upper left and right corners. Label on reverse with information about the piece and its origins.  Overall Size: 21 3/4 x 16 in.  Sight Size: 14 x 9 1/4 in.  #4746 .    Toyohara Kunichika was born ÅŒshima Yasohachi in June 1835 in the Kyobashi district, a merchant and artisan area of Edo, Japan. He abandoned an apprenticeship at a thread and yarn store at age ten to work at a dry goods shop, painting and sketching items. His father lost the bathhouse he ran shortly thereafter, and the family changed their surname to distance themselves from this failure, making him Arakawa Yasohachi. At twelve he began to design kabuki actor portraits for local artist Toyohara Chikanobu, who recommended him at thirteen to become a student of Tokyo’s leading print maker, Utagawa Kunisada. His deep appreciation and knowledge of kabuki drama led to his production primarily of yakusha-e, which are woodblock prints of actors and scenes from popular plays of the time. In 1854 he took the name “Kunichika,” a composite of the names of his two teachers, Kunisada and Chikanobu. In 1861 Kunichika married his first wife, Ohana, and in that same year had a daughter, Hana. He fathered two out-of-wedlock children with whom he had no contact, but remained strongly attached to Hana after divorcing Ohana. By the 1870s he was known as a womanizer and alcoholic, sometimes performing in amateur burlesque shows. He enjoyed partying with the geishas and prostitutes of the Yoshiwara district, and was a backstage regular at numerous theaters. He was constantly in debt and often borrowed money from the kabuki actors he depicted so admiringly. Only one photograph of him exists, taken in his brother’s photo shop the year before he died in Honjo in July 1900. His work is credited with bridging the tumultuous gap between the Edo and Meiji periods.

Lot: 1658 - Katsuyuki Nishijima (Born 1945) Japanese, Woodblock Print

Katsuyuki Nishijima (b. 1945) Japanese, Woodblock Print. Title written at bottom middle in pencil, and translates both as "February" and "Kisaragi," a double meaning indicating both the time of year as snow falls in front of the idyllic Kyoto teahouse in the image, and referencing a legend about a way station that allows travel to other worlds. Signed bottom right in pencil.  Overall Size: 15 1/2 x 12 1/4 in.  Sight Size: 11 1/2 x 8 1/4 in.  #4755 .  Katsuyuki Nishijima was born in 1945 in the Yamaguchi Province of Japan. From 1964 to 1968 he studied the art of woodblock prints in the studio of the Mikumo Publishing House in Kyoto, exhibiting his work with many Kyoto-based independent artists and in solo displays. From 1972 onward he has focused his immense talents on limited edition woodblocks using traditional old buildings as his main subject matter. He rarely includes people in his works, preferring to focus on the countryside and the structures to simultaneously explore man’s contributions to his surroundings, as well as his intense isolation in doing so. His work style is akin to the shin hanga (“new prints”) movement led by earlier artists like Hasui Kawase and Hiroshi Yoshida, who portrayed romanticized visions of Japan with subtle hints at the growing sense of alienation consuming the population in the 20th Century and the post-War period. Unlike many of his contemporaries, however, Nishijima routinely deliberately excludes modern elements like cars, telephone wires, or other technological achievements, imbuing his scenes with a sense of timelessness while embracing modern traditions.

Lot: 1659 - Clifton Wayne Karhu (1927- 2007) American Woodblock Print Shonenji Kyoto

Clifton Wayne Karhu (1927- 2007) American Woodblock Print Shonenji Kyoto. Limited Edition 14/100 An American of Finnish descent, Clifton Karhu was born in Minnesota in 1927. Raised together with his twin brother Raymond, Karhu was the son of painters Arne and Anna Karhu. Karhu grew up in Duluth, before moving to Worthington, Minnesota with his family in 1944 where he finished his schooling. Graduating in 1946, Karhu spent the next couple of years with the military, serving at an American Navy base in Sasebo, Kyushu, Japan following the end of the Second World War.   Overall Size: 16 1/2 x 20 3/4 in. Sight Size: 12 3/4 x 16 3/4 in. #4756

Lot: 1660 - Jim Salem 1977 Lithograph Print, Sumo Study

Jim Salem 1977 Lithograph Print, Sumo Study. Limited edition numbered lithograph depicting two Sumo wrestlers mid-struggle, with judge watching from behind, done in a style inspired by Japanese woodblock prints. Signed and dated lower right. Numbered 19/138 lower left. Red chop mark lower right reads 'Study'. Provenance: Obtained from a Tokyo gallery. Overall Size: 20 1/2 x 26 in. Sight Size: 13 3/4 x 19 in. #5052

Lot: 1661 - Keisai Eisen (1790-1848) Japanese, Woodblock Print

Keisai Eisen (1790-1848) Japanese, ,Woodblock Print. "Okazaki: Aimachi of the Sugata-Ebiya," from the series A Tokaido Board Game of Courtesans: Fifty-three Pairings in the Yoshiwara.  Condition: Commensurate with age.  Overall Size: 23 1/4 x 18 1/2 in.  Sight Size: 13 1/2 x 10 1/4 in.  #5031 #17j .  Keisai Eisen was born as Ikeda Yoshinobu in Edo (modern day Tokyo) in 1790. His father was a noted calligrapher, who instilled discipline in him from an early age. He was apprenticed to Kanō Hakkeisai, from whom he took the name Keisai, and after the death of his father he studied under Kikukawa Eizan. His initial works reflected the influence of his mentor, but he soon developed his own style. He became a celebrated ukiyo-e artist who specialized in bijin-ga (pictures of beautiful women). His best known works, including his ōkubi-e (“large head pictures”), are considered to be masterpieces of the “decadent” Bunsei Era (1818-1830). In his later years he also signed his works Ikeda Eisen, as well as Ippitsuan. He was known to be a genial supporter of fellow artists, and collaborated on the Sixty-nine Stations of the Kiso Kaidō landscape series  with his contemporary Utagawa Hiroshige. In addition to producing a prolific number of prints he was an accomplished writer, producing biographies of the Forty-seven Ronin and several books including a continuation of the Ukiyo-e Ruiko (History of Prints of the Floating World), a book which documented the lives of the ukiyo-e artists. His supplement is known as “Notes of a Nameless Old Man.” This is the best direct source of information about his life, as he describes himself therein as a dissolute hard-drinker and claims to have been the owner of a brothel in Nezu in the 1830s which had burned down. He also claimed to have apprenticed as a kabuki actor before becoming an artist, although no records exist to corroborate this. He passed away in 1848, with his last major work an illustrated tourist guide to the Edo pleasure district.

Lot: 1662 - Utagawa Kunisada (1786-1865) Japanese, Woodblock Print from the series Contest of Modern Beauties and Flowers

Utagawa Kunisada (1786-1865) Japanese, Woodblock Print from the series Contest of Modern Beauties and Flowers.  Condition: Commensurate with age.  Overall Size: 18 1/4 x 14 1/2 in.  Sight Size: 14 x 9 1/2 in.  #5033 #2 .  Born in the Honjo district of Edo in 1786 as Kunisada Tsunoda, Utagawa Kunisada’s family owned a small ferryboat service. Although his father, an amateur poet, died when Kunisada was a child, the family business provided him financial security and the ability to pursue the arts. During his childhood he showed considerable promise in painting and drawing, and thanks to his familial ties with literary and theatrical circles he spent a great deal of time studying actor portraits. At the age of 14 he was admitted to study under Toyokuni I, the head of the Utagawa school. His works embodied the traditional subjects of his master such as kabuki, bijin (beautiful women), shunga (erotic prints), and historical prints. His first known print dates to 1807, and his first illustrated book to 1808. Successful throughout his life, he expanded his masters’ ukiyo-e style into new formats, credited with innovative diptych, triptych, and polyptych designs that increased the popularity of woodblock prints exponentially. He often signed his works “Kunisada” or “Ichiyusai,” sometimes with the studio names of Gototei and Kochoro affixed. In 1844, he adopted the name of his teacher and became Toyokuni III, since Toyokuni’s son-in-law, Toyoshige, had adopted the gō earlier and became Toyokuni II. Kunisada passed away in 1865 in the very same neighborhood where he was born.

Lot: 1663 - Utagawa Kunisada Hiroshige II (1826-1869) Japanese, Woodblock Print

Utagawa Kunisada Hiroshige II (1826-1869) Japanese, Woodblock Print, "Water Lilies in Horikiri."  Condition: Commensurate with age.  Overall Size: 18 1/2 x 14 3/4 in.  Sight Size: 13 x 9 1/4 in.  #5039 #6j .  Utagawa Kunisada Hiroshige II (1826-1869) was a Japanese designer of ukiyo-e art. Born Suzuki Chinpei in 1826, it is said that he was born to a fireman, which likely first ingratiated him to his master Hiroshige, who grew up under the same circumstances. He became apprenticed to Hiroshige under the name Shigenobu at an unknown age, and his earliest known work is the illustrations for a book called Twenty-four Paragons of Japan and China from 1849. Hiroshige II produced a large number of commissioned works in the 1850s that he signed IchiryÅ«sai mon (“student of IchiryÅ«sai,” another art name of Hiroshige I), and sometimes simply IchiryÅ«sai. In 1858 he married Hiroshige I’s daughter Otatsu after the master died, taking on the name and becoming head of the school, while continuing to use the names IchiryÅ«sai and RyÅ«sai. In 1865 he moved from Edo to Yokohama after his marriage dissolved, and began using the name Kisai Risshō. In his remaining years he produced a number of collaborative print series, particularly with Kunisada, who had earlier worked with Hiroshige I. His final works were mainly decorations on items intended for export, such as tea chests, kites, and lanterns. In September 1869 he died at the age of 44. Hiroshige I took on very few students, a rarity for the Utagawa school, with Hiroshige II the most successful. His work so resembled that of his master in style, subject, and signature that scholars have often confused them, with special attention paid to discrepancies in the middle lines of the kanji to help tell them apart. The confusion was compounded because a pupil of the first Hiroshige, Shigemasa, later married his master’s daughter, also named Otatsu, and began using the name Hiroshige as well; this artist now is known as Hiroshige III.

Lot: 1664 - Utagawa Kunisada II (1823-1880) Japanese, Woodblock Print

Utagawa Kunisada II (1823-1880) Japanese, Woodblock Print "No. 4, Yûgao, from the series Lady Murasaki's Genji Cards." Two labels on back, one with gallery information and one with artist information.  Condition: Commensurate with age.  Overall Size: 19 1/2 x 15 in.  Sight Size: 13 x 9 in.  #5040 #1 .  Little is known of the early life of Utagawa Kunisada II (1823-1880), a Japanese ukiyo-e print designer, one of three to take the name “Utagawa Kunisada” and become head of the Utagawa school. He signed much of his early work “Kunimasa III,” and his earliest known prints date to 1844. Kunisada I officially adopted him in 1846 after he married the master’s daughter Osuzu. He took the name Kunisada II around 1850 when he inherited the house of Kunisada I. Although he attempted to change his name once more in the 1860s to Toyokuni III, there were three artists called Toyokuni before him, so Kunisada II is now often referred to as Toyokuni IV. Kunisada II worked in the style of his master, but never achieved the same level of success. His prints include over 40 series, mostly of actors (yakusha-e), as well portraits of beauties, illustrations of scenes from literature, erotica, and other subjects. He illustrated nearly 200 books. One of his most celebrated actor series from 1852, Hakkendun inu no sōshi no uchi (“The Tale of the Eight Dog Heroes”), is drawn from Kyokutei Bakin’s epic novel Nansō Satomi Hakkenden, written from 1814 to 1842 and published in 106 volumes. Kunisada II’s popularity waned in the Meiji period (1868-1912), and he appears to have stopped making prints after 1874. He died on July 20th, 1880 and was buried at Banshōin Kōunji. His Buddhist posthumous name was Sankōin Hōkokujutei Shinji. His most well-known student is Utagawa Kunisada III (1848-1920). Kunisada II usually signed prints either “Kunisada ga” (drawn by Kunisada) or “Kunisada hitsu” (from the brush of Kunisada), never signing as Kunisada II. His signature can be distinguished from that of Kunisada I in that the sada kanji is straight in the signature of Kunisada I, but angular in the signature of Kunisada II. Furthermore, Kunisada I took the name “Toyokuni III” in 1844, and never included the “Kunisada” signature within the Toshidama cartouche, as Kunisada II often did in the 1850s and 1860s.

Lot: 1665 - Utagawa Kuniyoshi (1797-1861) Japanese, Woodblock Print

Utagawa Kuniyoshi (1797-1861) Japanese, Woodblock Print "Ogura Imitation of the Hundred Poems." First published c. 1847. This is Poem 88: The high steward to the retired empress Koka.  Condition: Commensurate with age.  Overall Size: 20 1/2 x 16 1/4 in.  Sight Size: 13 x 9 in.  #5043 #3j .  Utagawa Kuniyoshi was born on January 1st, 1798, the son of a

Lot: 1666 - Japanese Ink on Paper Scroll

Japanese Ink on Paper Scroll. Depicts figures on the edge of a lake in wintertime. Extensive verse in upper left corner.  Condition: Stain along bottom.  Overall Size: 28 x 16 in.  Sight Size: 26 1/2 x 14 1/2 in.  #5048 #32 .  Chinese silk banners and hanging scroll paintings have been discovered dating back to the Han Dynasty (260 BCE-220 CE). By the time of the Tang Dynasty in the 7th Century there was a standardized style and format to them, ranging from panoramic landscapes spanning multiple pieces side-by-side to single scrolls crammed with calligraphy. With the ascent of Emperor Taizu of Song in 960 cultural and artistic changes flourished, leading to innovations that were expanded upon greatly in the following Yuan Dynasty. One of the most important shifts was in the regular depiction of humans as opposed to animalistic and natural scenes, and often images were captured in a whimsically realistic style to portray both Empire-changing events as well as average day-to-day activities. Today the tradition continues in a myriad of forms, with some painters adhering to ancient protocol and others incorporating Western influences fluidly into their work.

Lot: 1667 - Utagawa Kunisada (1786-1865) Japanese, Woodblock Print

Utagawa Kunisada (1786-1865) Japanese, Woodblock Print "Portrait of Kabuki Actor."  Condition: Commensurate with age.  Overall Size: 20 3/4 x 15 3/4 in.  Sight Size: 14 1/4 x 10 in.  #5054 #9j .  Born in the Honjo district of Edo in 1786 as Kunisada Tsunoda, Utagawa Kunisada’s family owned a small ferryboat service. Although his father, an amateur poet, died when Kunisada was a child, the family business provided him financial security and the ability to pursue the arts. During his childhood he showed considerable promise in painting and drawing, and thanks to his familial ties with literary and theatrical circles he spent a great deal of time studying actor portraits. At the age of 14 he was admitted to study under Toyokuni I, the head of the Utagawa school. His works embodied the traditional subjects of his master such as kabuki, bijin (beautiful women), shunga (erotic prints), and historical prints. His first known print dates to 1807, and his first illustrated book to 1808. Successful throughout his life, he expanded his masters’ ukiyo-e style into new formats, credited with innovative diptych, triptych, and polyptych designs that increased the popularity of woodblock prints exponentially. He often signed his works “Kunisada” or “Ichiyusai,” sometimes with the studio names of Gototei and Kochoro affixed. In 1844, he adopted the name of his teacher and became Toyokuni III, since Toyokuni’s son-in-law, Toyoshige, had adopted the gō earlier and became Toyokuni II. Kunisada passed away in 1865 in the very same neighborhood where he was born.

Lot: 1668 - Utagawa Kunisada II (1823-1880) Japanese, Woodblock Print Figural

Utagawa Kunisada II (1823-1880) Japanese, Woodblock Print Figural.  Condition: Commensurate with age.  Overall Size: 18 x 13 in.  Sight Size: 13 x 8 in.  #5055 #14j .  Little is known of the early life of Utagawa Kunisada II (1823-1880), a Japanese ukiyo-e print designer, one of three to take the name “Utagawa Kunisada” and become head of the Utagawa school. He signed much of his early work “Kunimasa III,” and his earliest known prints date to 1844. Kunisada I officially adopted him in 1846 after he married the master’s daughter Osuzu. He took the name Kunisada II around 1850 when he inherited the house of Kunisada I. Although he attempted to change his name once more in the 1860s to Toyokuni III, there were three artists called Toyokuni before him, so Kunisada II is now often referred to as Toyokuni IV. Kunisada II worked in the style of his master, but never achieved the same level of success. His prints include over 40 series, mostly of actors (yakusha-e), as well portraits of beauties, illustrations of scenes from literature, erotica, and other subjects. He illustrated nearly 200 books. One of his most celebrated actor series from 1852, Hakkendun inu no sōshi no uchi (“The Tale of the Eight Dog Heroes”), is drawn from Kyokutei Bakin’s epic novel Nansō Satomi Hakkenden, written from 1814 to 1842 and published in 106 volumes. Kunisada II’s popularity waned in the Meiji period (1868-1912), and he appears to have stopped making prints after 1874. He died on July 20th, 1880 and was buried at Banshōin Kōunji. His Buddhist posthumous name was Sankōin Hōkokujutei Shinji. His most well-known student is Utagawa Kunisada III (1848-1920). Kunisada II usually signed prints either “Kunisada ga” (drawn by Kunisada) or “Kunisada hitsu” (from the brush of Kunisada), never signing as Kunisada II. His signature can be distinguished from that of Kunisada I in that the sada kanji is straight in the signature of Kunisada I, but angular in the signature of Kunisada II. Furthermore, Kunisada I took the name “Toyokuni III” in 1844, and never included the “Kunisada” signature within the Toshidama cartouche, as Kunisada II often did in the 1850s and 1860s.

Lot: 1669 - Utagawa Kunisada Toyokuni III (1786-1865) Japanese, Woodblock Print

Utagawa Kunisada Toyokuni III (1786-1865) Japanese, Woodblock Print. Title: "Moon viewing night/Mitsung (Modern Genji) visiting a lady." Printed between 1847-52 based on the red circle seal at the bottom of the signature.  Condition: Commensurate with age.  Overall Size: 20 3/4 x 15 3/4 in.  Sight Size: 14 1/4 x 10 in.  #5057 #8j .  Born in the Honjo district of Edo in 1786 as Kunisada Tsunoda, Utagawa Kunisada’s family owned a small ferryboat service. Although his father, an amateur poet, died when Kunisada was a child, the family business provided him financial security and the ability to pursue the arts. During his childhood he showed considerable promise in painting and drawing, and thanks to his familial ties with literary and theatrical circles he spent a great deal of time studying actor portraits. At the age of 14 he was admitted to study under Toyokuni I, the head of the Utagawa school. His works embodied the traditional subjects of his master such as kabuki, bijin (beautiful women), shunga (erotic prints), and historical prints. His first known print dates to 1807, and his first illustrated book to 1808. Successful throughout his life, he expanded his masters’ ukiyo-e style into new formats, credited with innovative diptych, triptych, and polyptych designs that increased the popularity of woodblock prints exponentially. He often signed his works “Kunisada” or “Ichiyusai,” sometimes with the studio names of Gototei and Kochoro affixed. In 1844, he adopted the name of his teacher and became Toyokuni III, since Toyokuni’s son-in-law, Toyoshige, had adopted the gō earlier and became Toyokuni II. Kunisada passed away in 1865 in the very same neighborhood where he was born.

Lot: 1670 - Utagawa Kunisada (1786-1865) Japanese, Woodblock Print

Utagawa Kunisada (1786-1865) Japanese, Woodblock Print. Depicts kabuki actors in the midst of a scene.  Condition: Commensurate with age.  Overall Size: 20 3/4 x 15 3/4 in.  Sight Size: 14 1/4 x 10 in.  #5058 #11j .  Born in the Honjo district of Edo in 1786 as Kunisada Tsunoda, Utagawa Kunisada’s family owned a small ferryboat service. Although his father, an amateur poet, died when Kunisada was a child, the family business provided him financial security and the ability to pursue the arts. During his childhood he showed considerable promise in painting and drawing, and thanks to his familial ties with literary and theatrical circles he spent a great deal of time studying actor portraits. At the age of 14 he was admitted to study under Toyokuni I, the head of the Utagawa school. His works embodied the traditional subjects of his master such as kabuki, bijin (beautiful women), shunga (erotic prints), and historical prints. His first known print dates to 1807, and his first illustrated book to 1808. Successful throughout his life, he expanded his masters’ ukiyo-e style into new formats, credited with innovative diptych, triptych, and polyptych designs that increased the popularity of woodblock prints exponentially. He often signed his works “Kunisada” or “Ichiyusai,” sometimes with the studio names of Gototei and Kochoro affixed. In 1844, he adopted the name of his teacher and became Toyokuni III, since Toyokuni’s son-in-law, Toyoshige, had adopted the gō earlier and became Toyokuni II. Kunisada passed away in 1865 in the very same neighborhood where he was born.

Lot: 1671 - Kaoru Kawano (1916-1965) Japanese, Woodblock Print

Kaoru Kawano (1916-1965) Japanese, Woodblock Print. Shows two black and white kittens snuggling together for comfort, one asleep, one awake. Artist's red stamp bottom right. Gallery label and artist's biography attached to back.  Overall Size: 20 1/2 X 16 1/2 in.  Sight Size: 15 X 10 1/2 in.  #4925 .  Kaoru Kawano was born in the village of Otaru in the prefecture of Hokkaido, Japan in 1916, and became interested in art at an early age. He studied at Kawabata Art School in 1934, first focusing on oil painting but eventually turning to woodblock printmaking. He is known for his contributions to the sosaku hanga movement, a modernist approach to the technique that emphasized the artist’s individual creativity. Because his earlier works showed such great promise, they were displayed at the Nihon Hanga Kyokai Exhibition (Japan Print Society) in 1944. His pieces were characterized by the use of bold, bright colors and simple, stylized forms. He often depicted traditional Japanese subjects, such as geisha, kabuki actors, and landscapes, but gave them a modern twist, integrating European Expressionist influences that made his prints have a distinctive, graphic quality that sets them apart from the more detailed and intricate prints of earlier periods, and even many of his early contemporaries. In 1944 he joined the army, and wound up as a prisoner of war in Siberia. The experience was traumatizing and led to health issues from which he never fully recovered, and influenced his art once he was able to return to Japan. He resumed exhibiting with Nihon Hanga Kyokai in 1949, followed by Kokugakai in 1952. He was awarded the Kokuga Prize in 1954, and exhibited for the first time outside the country in Yugoslavia. He moved to Tokyo in 1958 and participated in international competitions and solo exhibitions in New York, Seattle, Chicago, and other parts of the United States, gaining immense success throughout the country, especially with his highly textured abstract representations of children. Despite his rapid ascent Kawano remained modest and lived a simple life, plagued by the health issues from his imprisonment. They contributed to his tragic early death at the age of 49 in 1965, but his legacy and influence on modern Japanese woodblock work is still felt today.

Lot: 1672 - Mori Masamoto (1912-?) Japanese, Woodblock Print

Mori Masamoto (1912-?) Japanese, Woodblock Print. Title: "Nara in Rain." Shows a figure clad in a kimono carrying an umbrella through crowded Japanese streets on a rainy evening. Signed bottom left.  Overall Size: 21 1/4 X 15 1/4 in.  Sight Size: 15 X 9 3/4 in.  #4868 .  Very little is known about the life of the Japanese artist Masamoto Mori, other than he was born in 1912 and made an extremely limited number of ukiyo-e works. His woodblock prints were primarily landscapes, often capturing the majestic mountains, forests, and tranquil villages around Japan. A significant number of his works appeared through Adachi Publishing in the 1950s, most of them showing architectural landscapes and temple scenes. As a shin hanga artist he is highly regarded for his attention to detail and his specific use of a subdued palette, eschewing brighter colors like red in favor of deep varieties of blues, greens and browns. It is uncertain when he passed away, although his last known pieces appeared in the late 1980s.

Lot: 1673 - Hiroshi Yoshida (1876-1950) Japanese, Woodblock Print

Hiroshi Yoshida (1876-1950) Japanese, Woodblock Print. Shows a beautiful, tranquil lake. Title handwritten in English in pencil bottom left: "A Garden in Okoyama." Signed in pencil in English bottom right. Kanji on the left side of the image and in the print lower right. Symbols pressed into paper below the signature. Framing label on back.  Overall Size: 20 3/8 X 13 in.  Sight Size:

Lot: 1674 - Toshi Yoshida (1911-1995) Japanese, Woodblock Print

Toshi Yoshida (1911-1995) Japanese, Woodblock Print. Shows figures resting beside an idyllic tree-lined stream. Title handwritten in English in pencil bottom left: "Linnoji Garden." Signed in English in pencil bottom right. Kanji along left side of image and in lower right of print with Jizuri seal. Printed circa 1941. Framing label attached to back, along with a comprehensive bio and resume

Lot: 1675 - Shotei Hiroaki Takahashi (1871-1945) Japanese, Woodblock Print

Shotei Hiroaki Takahashi (1871-1945) Japanese, Woodblock Print. Stunningly colored image of Mount Fuji as dawn breaks while the land below is still in darkness. Titled in pencil in English bottom left: "Mt. Fuji from Mizukubo." Signed in English in pencil bottom right. Kanji on right side of image and left corner in print along with red seal. Framing label on back.  Overall Size: 19 1/4 X 14 in.  Sight Size: 15 X 10 in.  #4870 .  Takahashi Shōtei was born Komei Katsutaro in Tokyo, Japan in 1871. As a young artist he was given the artistic name Shotei by his uncle, Matsumoto Fuko, under whose tutelage he was apprenticing. When he was 16 years old he started a job with the Imperial Household Department of Foreign Affairs, where he copied the designs of foreign ceremonial objects. As with many Japanese woodblock artists over his lifetime he signed his work with various names and worked for several publishing companies, including the name Hiroaki which he used most often. After studying art, Shotei and Terazaki Kogyo founded the Japan Youth Painting Society in 1889. By 1907 he was so successful that he was recruited by Watanabe Shōzaburō to contribute shinsaku-hanga (souvenir prints) to his new publishing house. Watanabe helped to fulfill the Western demand for newly-styled ukiyo-e woodblock prints which would be similar to familiar historical masters of that genre, especially Hiroshige. In 1923 the Great Kanto earthquake (and subsequent fire) destroyed Watanabe’s facilities and all the woodblocks of the artists who worked with him. Shotei spent years recreating prior designs for him as well as producing new woodblocks in the shin-hanga style. Shotei died of pneumonia on February 11th, 1945. His works are held in the permanent collections of many museums worldwide, including the British Museum, the Los Angeles County Museum of Art, and the Honolulu Museum of Art.

Lot: 1676 - Utagawa Hiroshige (1797-1858) Japanese, Woodblock Print

Utagawa Hiroshige (1797-1858) Japanese, Woodblock Print. Shows boats on the water with a mountain range in the background and Mt. Fuji in the far distance. Kanji in upper right and lower left corner of image. Written on the back: "From the Series of 53 Views of Tokaido, Post-Station: Hiratsuka, by Hiroshige 1797-1858."  Overall Size: 20 3/4 X 15 5/8 in.  Sight Size: 13 X 8 1/2

Lot: 1677 - Utagawa Kunisada II (1823-1880) Japanese, Woodblock Print

Utagawa Kunisada II (1823-1880) Japanese, Woodblock Print. Title: "Ukifune, Chapter Fifty-one," from "The Fifty-four Chapters of the False Genji." Kanji on top and bottom right side, as well as in the artistic fan-shaped cartouche top center.  Overall Size: 18 X 13 7/8 in.  Sight Size: 14 1/2 X 10 1/2 in.  #4883 .  Little is known of the early life of Utagawa Kunisada II (1823-1880), a Japanese ukiyo-e print designer, one of three to take the name “Utagawa Kunisada” and become head of the Utagawa school. He signed much of his early work “Kunimasa III,” and his earliest known prints date to 1844. Kunisada I officially adopted him in 1846 after he married the master’s daughter Osuzu. He took the name Kunisada II around 1850 when he inherited the house of Kunisada I. Although he attempted to change his name once more in the 1860s to Toyokuni III, there were three artists called Toyokuni before him, so Kunisada II is now often referred to as Toyokuni IV. Kunisada II worked in the style of his master, but never achieved the same level of success. His prints include over 40 series, mostly of actors (yakusha-e), as well portraits of beauties, illustrations of scenes from literature, erotica, and other subjects. He illustrated nearly 200 books. One of his most celebrated actor series from 1852, Hakkendun inu no sōshi no uchi (“The Tale of the Eight Dog Heroes”), is drawn from Kyokutei Bakin’s epic novel Nansō Satomi Hakkenden, written from 1814 to 1842 and published in 106 volumes. Kunisada II’s popularity waned in the Meiji period (1868-1912), and he appears to have stopped making prints after 1874. He died on July 20th, 1880 and was buried at Banshōin Kōunji. His Buddhist posthumous name was Sankōin Hōkokujutei Shinji. His most well-known student is Utagawa Kunisada III (1848-1920). Kunisada II usually signed prints either “Kunisada ga” (drawn by Kunisada) or “Kunisada hitsu” (from the brush of Kunisada), never signing as Kunisada II. His signature can be distinguished from that of Kunisada I in that the sada kanji is straight in the signature of Kunisada I, but angular in the signature of Kunisada II. Furthermore, Kunisada I took the name “Toyokuni III” in 1844, and never included the “Kunisada” signature within the Toshidama cartouche, as Kunisada II often did in the 1850s and 1860s.

Lot: 1678 - Utagawa Kunisada (1786-1865) Japanese, Woodblock Print

Utagawa Kunisada (1786-1865) Japanese, Woodblock Print. Shows a kabuki actor, one of the artist's favorite subjects. Kanji middle left.  Overall Size: 9 5/8 X 7 3/4 in.  Sight Size: 8 5/8 X 6 5/8 in.  #4865 .  Born in the Honjo district of Edo in 1786 as Kunisada Tsunoda, Utagawa Kunisada’s family owned a small ferryboat service. Although his father, an amateur poet, died when Kunisada was a child, the family business provided him financial security and the ability to pursue the arts. During his childhood he showed considerable promise in painting and drawing, and thanks to his familial ties with literary and theatrical circles he spent a great deal of time studying actor portraits. At the age of 14 he was admitted to study under Toyokuni I, the head of the Utagawa school. His works embodied the traditional subjects of his master such as kabuki, bijin (beautiful women), shunga (erotic prints), and historical prints. His first known print dates to 1807, and his first illustrated book to 1808. Successful throughout his life, he expanded his masters’ ukiyo-e style into new formats, credited with innovative diptych, triptych, and polyptych designs that increased the popularity of woodblock prints exponentially. He often signed his works “Kunisada” or “Ichiyusai,” sometimes with the studio names of Gototei and Kochoro affixed. In 1844, he adopted the name of his teacher and became Toyokuni III, since Toyokuni’s son-in-law, Toyoshige, had adopted the gō earlier and became Toyokuni II. Kunisada passed away in 1865 in the very same neighborhood where he was born.

Lot: 1679 - After Shunkōsai Hokushū (active 1802-1832) Japanese, Watercolor Figural Based on Woodblock Print

After Shunkōsai HokushÅ« (active 1802-1832) Japanese, Watercolor Figural Based on Woodblock Print. Direct copy of the original piece dated 1822, titled "Ichikawa EbijÅ«rō I as Miura Arajirō," depicting the famous kabuki actor in costume as a priest. Signed and dated "Smibert/90" lower right. Framed. Overall Size: 16 1/2 x 12 1/2 in.  Sight: 12 1/4 x 8 1/4 in.  #3646 .  Shunkōsai HokushÅ«, also known as Shunkō IV, was a designer of ukiyo-e style Japanese woodblock prints in Osaka who was active from about 1802 to 1832. He is known to have been a student of Shōkōsai Hambei, and may have also studied with Hokusai. He used the name Shunkō until 1818, when he changed his name to Shunkōsai HokushÅ«. He was the most important artist in Osaka during the 1810s and 1820s and established the Osaka style of actor prints. It is uncertain where or when he was born and died, and there is virtually no information about his personal life other than his strong affinity for the theater and his somewhat geometric approach to prints that separates him from some of his contemporaries.

Lot: 1680 - Fine Quality Japanese Meiji Period Ink on Paper Painting

Fine Quality Japanese Meiji Period Ink on Paper Painting. Landscape with distant mountains and small structures in the foreground lower right. Kanji and seal bottom right, with faded kanji in red next to it.  Overall Size: 21 1/4 X 17 in.  Sight Size: 15 1/2 X 7 in.  #4869 .  Two distinct strains of landscape painting developed in Japan by the 14th Century. One followed the example of the mostly monochromatic landscapes of China’s Song Dynasty (960-1279), which saw the massive proliferation of the shan shui (“mountain and water”) genre. Adhering closely to the Chinese traditions, these images nonetheless feature numerous formal innovations, including dramatically pruned pine trees and thick, swirling mists. The other landscape tradition in Japan focused on brilliantly colored scenes quite different from contemporary Chinese works, more ornamental than topographical, and often using thick layers of paint or gold leaf. Japanese painters working in both landscape traditions were inspired by the distinctive seasons of their homeland, and often the passing of spring to summer or autumn to winter was depicted within a single image or across a series of pieces, from diptychs to triptychs and beyond. Landscape paintings in China often were meant to invite the viewer to mentally travel through the scene, while the Japanese in both landscape schools primarily focused on verisimilitude and exacting form rather than storytelling. By the time of the later Edo and Meiji periods, the first school had become much less common while the latter flourished, and with the widespread popularity of ukiyo-e woodblock prints more emphasis was placed on color and poetry, further distancing them from their early Chinese inspirations.

Lot: 1681 - Japanese Meiji Period Ink on Paper Painting

Japanese Meiji Period Ink on Paper Painting. Landscape with houses in the foreground and mountains in the background. Signed in kanji bottom right.  Overall Size: 25 1/2 X 24 in.  Sight Size: 17 1/2 X 19 3/4 in.  #4888 .  Two distinct strains of landscape painting developed in Japan by the 14th Century. One followed the example of the mostly monochromatic landscapes of China’s Song Dynasty (960-1279), which saw the massive proliferation of the shan shui (“mountain and water”) genre. Adhering closely to the Chinese traditions, these images nonetheless feature numerous formal innovations, including dramatically pruned pine trees and thick, swirling mists. The other landscape tradition in Japan focused on brilliantly colored scenes quite different from contemporary Chinese works, more ornamental than topographical, and often using thick layers of paint or gold leaf. Japanese painters working in both landscape traditions were inspired by the distinctive seasons of their homeland, and often the passing of spring to summer or autumn to winter was depicted within a single image or across a series of pieces, from diptychs to triptychs and beyond. Landscape paintings in China often were meant to invite the viewer to mentally travel through the scene, while the Japanese in both landscape schools primarily focused on verisimilitude and exacting form rather than storytelling. By the time of the later Edo and Meiji periods, the first school had become much less common while the latter flourished, and with the widespread popularity of ukiyo-e woodblock prints more emphasis was placed on color and poetry, further distancing them from their early Chinese inspirations.

Lot: 1682 - Japanese Meiji Period Vertical Landscape Ink on Paper Painting

Japanese Meiji Period Vertical Landscape Ink on Paper Painting. Cliffs and trees on the left side with faint clouds on the right. Structures perch precariously on the mountainside, and below a small boat is docked with a lone fisherman at the bow.  Size: 36 X 20 in.  #4993 .  Two distinct strains of landscape painting developed in Japan by the 14th Century. One followed the example of the mostly monochromatic landscapes of China’s Song Dynasty (960-1279), which saw the massive proliferation of the shan shui (“mountain and water”) genre. Adhering closely to the Chinese traditions, these images nonetheless feature numerous formal innovations, including dramatically pruned pine trees and thick, swirling mists. The other landscape tradition in Japan focused on brilliantly colored scenes quite different from contemporary Chinese works, more ornamental than topographical, and often using thick layers of paint or gold leaf. Japanese painters working in both landscape traditions were inspired by the distinctive seasons of their homeland, and often the passing of spring to summer or autumn to winter was depicted within a single image or across a series of pieces, from diptychs to triptychs and beyond. Landscape paintings in China often were meant to invite the viewer to mentally travel through the scene, while the Japanese in both landscape schools primarily focused on verisimilitude and exacting form rather than storytelling. By the time of the later Edo and Meiji periods, the first school had become much less common while the latter flourished, and with the widespread popularity of ukiyo-e woodblock prints more emphasis was placed on color and poetry, further distancing them from their early Chinese inspirations.

Lot: 1683 - Ikeda Koson (1801-1866) Japanese, Ink and Watercolor on Paper

Ikeda Koson (1801-1866) Japanese, Ink and Watercolor on Paper. Shows delicate cypress trees in a forest. Kanji and seal bottom left.  Overall Size: 37 1/2 X 39 3/4 in.  Sight Size: 31 X 33 in.  #4983 .  Ikeda Koson was born in the Japanese Echigo Province (known today as Niigata Prefecture) in 1801. Little is known of Koson’s early life, but he showed an aptitude for painting and moved to Edo in his twenties to study under Sakai Hōitsu (1761-1828). He created a series of paintings in 1830 that are closely related to a set by Hoitsu depicting court festivals (gosekku), that were adapted from Chinese practices and celebrated in Japan since the Nara period. According to researchers for the New York Metropolitan Museum of Art, Koson “brought a fresh vitality to standard themes in the Rinpa repertoire through his virtuoso brushwork and ability to convey naturalistic forms without sacrificing the bold decorative impact of his predecessors.” Because he focused on gosekku and hanging scroll art rather than exploring the increasingly popular ukiyo-e woodblock printing trends, his work is less common today than many of his contemporaries, although their quality sets him apart from many others working in the period and he is considered one of the most important revivalists of the Rinpa tradition. Late in life he became a recluse, known for his eccentricities and being an ardent aficionado of the tea ceremony. He passed away in 1866, and his works are found in museums around the world, particularly his larger tapestries and multi-part scrolls. 

Lot: 1684 - Imari Ware Japanese Porcelain Elephant Incense Censer Sculpture

Imari Ware Japanese Porcelain Elephant Incense Censer Sculpture. Detailed Asian elephant design with raised trumpeting trunk and ornate garments and beads sculpted along it.  Condition: AS IS. Censer cover is missing. Signs of recoloring.  Size: 15 1/2 x 6 x 9 1/2 in.  #8449 .    Imari ware is a Western term for a brightly-colored style of Japanese porcelain made in the area of Arita in northwestern Kyushu. Typically Imari ware is decorated in cobalt blue underglaze with red, gold, and black for outlines, with other colors added in overglaze. Imari porcelain often features intricate patterns of flowers, birds, and landscapes. They were heavily exported to Europe in large quantities between the second half of the 17th Century and the first half of the 18th Century. The style was so successful that Chinese and European producers began to copy it. The name derives from the port of Imari, Saga, from which they were shipped to the Chinese and Dutch East India Company outposts in Nagasaki. Today the use of the term “Imari” as a descriptor has declined, and they are often called Arita wares (or Hizen wares, after the old province), and are continuously produced today.

Lot: 1685 - Japanese Enameled Vase

Japanese Enameled Vase. Vintage Japanese enameled vase with bird on flowering branch against yellow field. Illegibly marked on base. Size: 5 3/4 x 5 3/4 x 12 1/4 in.  #8415

Lot: 1686 - Japanese Royal Kutani Satsuma Ginger Jar

Japanese Royal Kutani Satsuma Ginger Jar. Marked on underside.  Slightly elongated, baluster or ovoid shape, with a narrow neck and a flared or slightly everted rim. Fitted lid with a pointed finial. Depicts a large colorful bird as the central motif. It is perched on some branches with flowers and leaves. Gold gilt details. The neck and base are decorated with geometric  patterns.  Size: 7 1/2 x 7 1/2 x 17 in.  #4561

Lot: 1687 - Japanese Sumida Gawa Uncontrolled Glaze Porcelain Vase

Japanese Sumida Gawa Uncontrolled Glaze Pottery Vase. Hand thrown Sumida Gawa pottery vase with mottled blue and white glaze over red base. Decorated with applied molded figures, depicting a humanoid monster sitting on a grassy field, with a creature peering around from the other side of the vase neck. Unmarked. Size: 6 x 6 x 12 in. #4527

Lot: 1688 - Japanese Imari Porcelain Hibachi

Japanese Imari Porcelain Hibachi. Large imari porcelain hibachi heater with florets of phoenixes amid trees, accented with flowers against red field. Trimmed with flowers and petals. Size: 17 1/2 x 17 1/2 x 11 1/1 in. #5053

Lot: 1689 - (2) Antique Japanese Kutani Porcelain Signed Collectors Vases

(2) Antique Japanese Kutani Porcelain Signed Collectors Vases. Matched pair of kutani porcelain vases with painted springtime scenes of ladies at court under cherry trees.  Size: 3 x 3 x 5 1/4 in. #5139

Lot: 1690 - Vintage Japanese Hand Painted Satsuma Porcelain Vase

Vintage Japanese Hand Painted Satsuma Porcelain Vase. Glazed painted porcelain vase with seated male and female figures on cream and black ground with gilt outlining. Japanese three-toed dragon in background. Satsuma porcelain is a type of Japanese pottery originating in the Satsuma province (modern-day Kagoshima) in the late 16th century. Known for its creamy, ivory-colored body and distinctive crackle glaze, it features intricate hand-painted designs, often depicting mythological scenes, floral motifs, or traditional Japanese figures. Lavish use of gold and raised enamel decoration adds to its ornate appeal. Popularized during the Meiji period (1868–1912), it became highly sought after in Western markets, with many pieces created specifically for export. Today, Satsuma porcelain is prized by collectors for its artistic detail and historical significance. Size: 6 x 6 x 13 in. #5177

Lot: 1691 - Mikasa Bowl Crafted by Japanese Glassmaker Kurata

Mikasa Bowl Crafted by Japanese Glassmaker Kurata. Black sturdy glass throughout, small label on side. Kurata Craft Glass is produced by the Joetsu Crystal Glass Company (JCGC), founded in the Joetsu region of Japan in 1905. Kurata is the name of the family that owns the company, and JCGC is still in existence despite economic difficulties in the late 20th Century. Kurata developed a successful

Lot: 1692 - Antique Japanese Meiji Cast Iron and Gold Inlay Teapot

Antique Japanese Meiji Cast Iron and Gold Inlay Teapot. Writing on underside of lid. Rounded body, short spout, and large arched handle that is hinged. Embossed floral design with a dragonfly and some leaves in gold. Small rounded finial.  Size: 6 x 8 1/2 in. #4777

Lot: 1693 - Vintage Asian Cloisonne Bowl with Scrolls and Blossoms

Vintage Asian Cloisonne Bowl with Scrolls and Blossoms. The bowl depicts blossoming plants, fruit, calligraphy tools, and two scrolls. These images are repeated on the outside of the dish. Original price sticker on bottom. Commensurate with age. Size: 9 x 9 x 3 1/4 in. #5210

Lot: 1694 - 14 Japanese Porcelain Table Items

Group of Fourteen Japanese Porcelain Table Items 20th Century, most Imari decorated plates and bowls, some with markings, one a Satsuma covered jar.   Largest Size: 9 1/2 x 4 1/2 in.  #7769

Lot: 1695 - (8) Japanese Imari Plates

Lot comprised of eight Japanese Imari plates.  Condition: One cracked on front and back.  Size: 9 x 9 in.  #2290 .  Imari ware is a Western term for a brightly-colored style of Japanese porcelain made in the area of Arita in northwestern Kyushu. Typically Imari ware is decorated in cobalt blue underglaze with red, gold, and black for outlines, with other colors added in overglaze. Imari porcelain often features intricate patterns of flowers, birds, and landscapes. They were heavily exported to Europe in large quantities between the second half of the 17th Century and the first half of the 18th Century. The style was so successful that Chinese and European producers began to copy it. The name derives from the port of Imari, Saga, from which they were shipped to the Chinese and Dutch East India Company outposts in Nagasaki. Today the use of the term “Imari” as a descriptor has declined, and they are often called Arita wares (or Hizen wares, after the old province), and are continuously produced today.

Lot: 1696 - (24) Japanese Ceramic Cups

(24) Japanese Ceramic Cups.  Cylindrical with a simple, straight sided form. Decoration is the most distinctive feature and points towards Soma ware. Crackle glaze, two tone design, and running horse motif.  Size: 2 5/8 x 5 in. #5199

Lot: 1697 - Japanese Meiji Style Bronze Samurai Sculpture

Japanese Meiji Style Bronze Samurai Sculpture.  A cast bronze samurai sculpture depicting an armored samurai. Attached to stone base with felt foot. The samurai were a class of elite warriors in feudal Japan, known for their military skill, strict code of honor, and service to nobility. Originating in the Heian period (794-1185), samurai played a central role in Japanese society, often serving as loyal retainers to powerful feudal lords, or daimyo. Their ethos was governed by Bushido, the "way of the warrior," which emphasized values like loyalty, bravery, honor, and discipline. Samurai were skilled in various forms of combat, particularly swordsmanship, and their distinctive armor and katana (sword) became iconic symbols of their status. Over time, the samurai evolved from warriors into influential administrators and scholars, but their role diminished with the Meiji Restoration in the late 19th century, which led to the modernization of Japan and the dissolution of the samurai class. Today, samurai are revered as symbols of Japanese culture, ethics, and martial tradition. Size: 7 x 13 1/2 in.  #5083 

Lot: 1698 - Gilt Bronze Samurai Statue with Two Swords

Gilt Bronze Samurai Statue with Two Swords.   Size: 7 1/2 x 11 1/2 in.  #5092

Lot: 1699 - Bronze Thai Statue of the Sage Toba on his Mule with a Book of Sutras in Hand

Bronze Thai Statue of the Sage Toba on his Mule with a Book of Sutras in Hand. Toba (Soshi) was a 11th century Chinese statesman, calligrapher and poet of the Song Dynasty. Accused of intrigue by the emperor he went into exile. Hence he exemplifies the free spirit of a wise man. "Made in Thailand" is printed on a sticker on the horses back. The rider can be separated from the mule. Wear commensurate with age.   Size: 16 x 17 in.  #5091 

Lot: 1700 - Antique Thai Bronze Deity Riding a Garuda

Antique Thai Bronze Deity Riding a Garuda.  Main subject is a human-like figure seated atop the mythical creature. Deity is seated with legs crossed wearing a headdress and holding an object in each hand. The bird has a large powerful body with prominent wings and a long tail. Body and wings are decorated with intricate patterns.  Condition: Commensurate with age.  Size: 6 5/8 x 8 in.  #4826

Lot: 1701 - Balinese Carved Vishnu Riding Garuda Figure

Balinese Carved Vishnu Riding Garuda Figure.  Condition: Commensurate with age.  Size: 4 1/2 x 3 1/2 x 8 in.  #2312 .  Garuda is a Hindu deity who is primarily depicted as the mount (vahana) of the Hindu god Vishnu. This divine creature is mentioned in the Hindu, Buddhist and Jain faiths, and is described in all as the king of the birds and sometimes a kite-like figure, able to fly at a moment’s notice. He is shown either in a zoomorphic form (a giant bird with partially open wings) or an anthropomorphic form (a man with wings and some ornithic features). Generally portrayed as a protector with the power to swiftly travel anywhere, ever vigilant and an enemy of serpents, he became Vishnu’s mount while on a quest to acquire Amrita, the elixir of immortality, to free his mother from slavery, and is now permanently associated with Vishnu as an extension of his power. The Hindu texts on Garuda iconography vary in their details, either eagle-like when in bird form or thin and angular with an eagle-like nose and legs in his human form. The earliest Garuda iconography is found in early temples of India, such as on the underside of the eave at Cave 3 entrance of the Badami cave temples from the 6th Century. Garuda is a part of state insignia of India, Indonesia and Thailand, and in Bali and Java the Garuda has become a primary cultural symbol, often made into wooden statues and masks for artworks and souvenirs.

Lot: 1702 - Asian Woven and Lacquered Bamboo Three-Tiered Wedding Basket

Asian Woven and Lacquered Bamboo Three-Tiered Wedding Basket. Sturdy handle and beautiful designs overall.  Size: 17 1/2 x 16 1/2 x 25 in.  #4612 .  Asian wedding baskets are traditional, intricately designed containers, usually made of bamboo, wood, or rattan, and often lacquered in red to symbolize happiness and prosperity. They feature detailed carvings or embroidery with motifs like dragons, phoenixes, and peonies, representing good fortune and fertility. These baskets are used during weddings to carry gifts such as food, jewelry, and money, symbolizing the hope for a prosperous, harmonious, and fruitful marriage. Though less commonly used today, they remain cherished as decorative and symbolic heirlooms. 

Lot: 1703 - Burmese Mandalay Buddha Head Marble Sculpture on Stand

Burmese Mandalay Buddha Head Marble Sculpture on Stand. Austere painted facial features and a low head covering with a black wooden truncated pyramid base.  Size: 5 3/4 x 5 3/4 x 12 7/8 in.  #5204 .  Much Buddhist art uses depictions of the historical Buddha who likely lived in the 6th or 5th Centuries BC, known as Gautama Buddha. These types of art are collectively known as BuddharÅ«pa (literally ”Form of the Awakened One”) in Sanskrit and Pali. They may be statues, paintings, or drawings, and the main figure in an image may be someone else who has obtained Buddhahood (or is on the journey to do so, called boddhisattva), especially in the various traditions of Mahayana Buddhism. Other Buddhas and bodhisattvas in art have become increasingly common over the centuries, now outnumbering surviving images of the historical Buddha. In its first centuries Buddhism was largely or entirely aniconic, not showing the person of Buddha except by symbols and relics. This changed around the 1st Century BC, and figures of the Buddha became very common in the art of Gandhara and Gupta art. As forms of esoteric Buddhism developed, other figures from the expanding array of Buddhist sacred persons became more prominent, akin to the proliferation of the images of Saints following the death of Jesus Christ. In Theravada Buddhism this was much less the case, and figures of the historical Buddha remain the most common main images in temples and shrines to the present. Early images were most often of Buddha standing, but later seated meditating postures, essentially the lotus position of yoga, came to predominate. Often these represent a specific moment in the Buddha’s life, which is identified by the Buddha’s hand gesture (mudra), or attributes shown. There are also statues of the Reclining Buddha, lying down, usually showing the moment of his death. Sets of narrative scenes from the life of the Buddha tend to concentrate on standard groupings such as the Eight Great Events or other sets, but may be much larger. Originally common in reliefs and probably paintings (of which few have survived), they have more recently mostly been in painted form. Narrative scenes may show the Buddha in various poses, though they tend to show the Buddha in the same standing, seated or lying positions, with other figures or a mudra indicating what moment is being depicted. In the modern age, economic and space considerations have led to a vast array of busts or simple head sculptures of the Buddha becoming extremely popular, both with secular and religious collectors and organizations.

Lot: 1704 - (2) Vintage Filipino Hand Carved Wooden Busts

(2) Vintage Filipino Hand Carved Wooden Busts. Pair of carved wooden busts, one male and one female, in traditional Filipino garb.  Filipino wooden busts are a distinctive form of traditional art that reflects the country's rich cultural heritage and skilled craftsmanship. These sculptures, often carved from hardwoods like narra or mahogany, depict various subjects, including historical figures, religious icons, and everyday people. Intricate details and expressive features are hallmarks of these busts, showcasing the artisans' dedication to their craft. Rooted in both indigenous and colonial influences, they serve as decorative pieces and cultural artifacts, embodying the Philippines' diverse history and artistic traditions. Today, they remain popular for their aesthetic appeal and cultural significance. Size; 5 1/2 x 8 1/2 x 12 in. #5198

Lot: 1705 - Vintage Balinese Hand Carved Hardwood Bust

Vintage Balinese Hand Carved Hardwood Bust. Vintage hand-carved wooden bust of a male figure in traditional garb. Balinese wood carving is a highly intricate and expressive art form that reflects the cultural, religious, and spiritual values of Bali. Traditionally, these carvings depict scenes from Hindu mythology, nature, and daily life, with motifs often featuring deities, animals, and intricate floral patterns. Skilled artisans use local hardwoods like mahogany or teak to create detailed works, employing techniques passed down through generations. Balinese wood carvings are not only decorative but also hold deep symbolic significance, often used in temples, homes, and ceremonial spaces to convey spiritual meaning and to honor the gods. The art form continues to thrive in Bali today, blending traditional craftsmanship with contemporary design. Size: 10 x 7 x 13 in. #5225

Lot: 1706 - Nataraja Dancing Shiva Figurine

Nataraja Dancing Shiva Figurine. In this bronze creation, Nataraja, “the cosmic dancer”, mesmerises with divine grace. Encircled by a ring of flames, Nataraja, “the Lord of Dance”, stands upon a lotus pedestal, his left leg lifted, poised to trample the dwarf demon (Apasmara) of spiritual ignorance. In this dynamic dance, his hair whirls like strands of cosmic energy. The upper right hand beats a rhythm on the “Damaru (Udukai)”, echoing the cosmic heartbeat. Flames in the upper left hand symbolize the forces of creation and destruction. A cobra uncoils from the lower right forearm, while the palm gestures peace with the “Abhaya Mudra”. The lowered left hand, crossing his chest, signifies salvation. Nataraja, in cosmic ballet, embodies the eternal cycles of creation, preservation, and dissolution.   Size: 12 1/2 x 4 1/2 x 14 in.  #5086

Lot: 1707 - Antique Filipino Wood Carved Jesus of Prague

Antique Filipino Wood Carved Jesus of Prague. Hand carved wooden statue of Jesus of Prague. Jesus of Prague, also known as the Infant Jesus of Prague, is a revered statue of the child Jesus, traditionally depicted dressed in royal robes and holding a globe and scepter, symbolizing His kingship and sovereignty. The statue originated in the 16th century in Prague, Czech Republic, where it became an important object of devotion, particularly for those seeking blessings, protection, and miracles. According to legend, the statue was a gift from a Spanish princess to a Carmelite monastery, and its miraculous powers were believed to have brought healing and assistance to countless devotees. Today, the Infant Jesus of Prague remains an icon of faith, especially among Catholics, with devotion to the statue spreading worldwide, particularly in places with strong Catholic communities. Size: 4 3/8 x 5 x 12 in.  #8681 

Lot: 1708 - Carved Teak Wood Dancing Goddess of Love - Weathered

Large Thai Carved Wood Female Dancer Dressed in a skirt with a traditional Thai headdress. 18/19th century.  Condition: Chips throughout. Signs of repair near arm.  Size: 47 x 18 in.  #8020 

Lot: 1709 - Carved Wooden Buddha

Carved Wooden Buddha.    Size: 4 1/2 x 5 x 9 in.  #8686

Lot: 1710 - Antique Taiwanese Sandimen Aboriginal Carving

Antique Taiwanese Sandimen Aboriginal Carving. Antique aboriginal figural wood carving from Sandimen, Taiwan. Written on base: 'Sandeman Aboriginal Carving Antique Taiwan". Aboriginal Taiwanese wood carvings are a rich artistic tradition that reflects the cultural heritage and spiritual beliefs of Taiwan's Indigenous peoples. Often crafted from locally sourced wood, these carvings depict themes from nature, mythology, and daily life, symbolizing a deep connection to the land and ancestral spirits. Common motifs include human figures, animals, and intricate geometric patterns, which vary among Taiwan's Indigenous groups. These works are not only decorative but also hold ceremonial significance, used in rituals or as markers of status and identity. Aboriginal wood carvings are celebrated for their craftsmanship and serve as a testament to the resilience and creativity of Taiwan's Indigenous cultures. Size: 2 3/4 x 2 3/4 x 12 in.  #8685

Lot: 1711 - Tibetan Parcel Gilt Bronze Earth Touching Buddha Statue

Tibetan Parcel Gilt Bronze Earth Touching Buddha Statue. A moderate size bronze statue with partial gilt covering of the Buddhia in 'Earth Touching' mudra. This hand position in Buddhism is called the "Bhumisparsha Mudra," also known as the "Earth Touching Mudra," where the left hand rests in the lap with the palm facing upwards, while the right hand is placed on the right knee with the palm facing down, signifying the moment when Buddha called upon the earth to witness his enlightenment by touching the ground with his fingers; essentially symbolizing his victory over temptation. Size: 19 x 18 x 12 in. #5442

Lot: 1712 - Turquoise Glazed Asian Foo Dogs

Turquoise Glazed Asian Foo Dogs. An Asian foo dog sculpture made of ceramic and painted a truquoise blue. Foo dog has intricate patterns in the fur and is depicted sitting on a square pedestal with the dog holding a ball under the paw.   Condition: Signs of repair. Cracks throughout.  Size: 3 1/4 x 2 3/8 x 10 1/2 in.  #8683

Lot: 1713 - Antique Tibetan Buddhist Temple Copper Extending Long Dungchen Horn

Antique Tibetan Buddhist Temple Copper Extending Long Dungchen Horn. Incredible repousse segments along the length of the instrument.  Size: 6 1/2 x 14 1/2 in.  #8679 .    The Tibetan horn or dungchen is a long trumpet or horn used in Tibetan Buddhist and Mongolian buddhist ceremonies. It is the most widely used instrument in Tibetan Buddhist culture, and is often played in pairs or multiples, with the sound compared to the singing of elephants. It is likely that the horn and its unusual length evolved out of monastic and tantric Buddhist practices, specifically to capitalize on the terrain of the Tibetan mountain range which has incredibly resonant caves and valets ideal for the echoing, bombastic sounds of horns and percussive instruments. Many models were made to be telescoping, for easy storage and transport.

Lot: 1714 - Antique Tibetan Buddhist Temple Copper Extending Long Horn Without Mouthpiece

Antique Tibetan Buddhist Temple Copper Extending Long Horn Without Mouthpiece. Incredible repousse segments along the length of the instrument.  Size: (extended): 22 3/4 x 6 x 6 in.  #8680 .  The Tibetan horn or dungchen is a long trumpet or horn used in Tibetan Buddhist and Mongolian buddhist ceremonies. It is the most widely used instrument in Tibetan Buddhist culture, and is often played in pairs or multiples, with the sound compared to the singing of elephants. It is likely that the horn and its unusual length evolved out of monastic and tantric Buddhist practices, specifically to capitalize on the terrain of the Tibetan mountain range which has incredibly resonant caves and valets ideal for the echoing, bombastic sounds of horns and percussive instruments. Many models were made to be telescoping, for easy storage and transport.

Lot: 1715 - Two-Toned Thai Carving of a Dancing Hindu Deity Playing Music

Two-Toned Thai Carving of a Dancing Hindu Deity Playing Music.   Size: 5 3/4 x 26 1/2 in. #4804

Lot: 1716 - Asian Soapstone Carving

Asian Soapstone Carving.  Primary subject is a cluster of grapes hanging from vines with leaves. Grapes are a common motif in Chinese art and can symbolize abundance, fertility, and prosperity. Carving done in a high relief style, with some areas deeply carved and others more shallow.  Condition: Signs of repair on base.  Size: 6 1/2 x 12 in.  #5094

Lot: 1717 - (6) Collection of Southeast Asian Hand Carved Wood Masks

(6) Collection of Southeast Asian Hand Carved Wood Masks. Six Southeast Asian Painted Wood Variously Decorated Masks. Includes a Balinese Barong mask with human hair, a Three-Face Balinese Barong mask, a white Balinese Barong mask, a bird mask, a frog mask, and a rabbit mask. Chip inside white monkey mask. Crack on mouth of frog mask. Edge of rabbit ear chipped off.   A Barong is a panther-like creature and character in the Balinese mythology of Bali, Indonesia. He is the king of the spirits, leader of the hosts of good, and enemy of Rangda, the demon queen and mother of all spirit guarders in the mythological traditions of Bali. The battle between Barong and Rangda is featured in the Barong dance to represent the eternal battle between good and evil   Largest: 15 x 12 x 10 in.  #5095 

Lot: 1718 - (9) Miscellaneous Items - Terracotta Oil Lamps, Vietnamese Vertu, Etc.

(9) Miscellaneous Items - Terracotta Oil Lamps, Vietnamese Vertu, Etc.. Lot of miscellaneous decorative items, including terra cotta oil lamps and vertu from Vietnam. Size: 1 3/4 x 4 in.  #4830 

Lot: 1719 - (4) Miscellaneous Figures

(4) Miscellaneous Figures. Includes two white chess knights, one polo player on horse, one seated woman. Largest: 2 x 3 in.  #4822

Lot: 1720 - Antique Group of 3 Weathered Stone Figural Carvings / Pendants

Antique Group of 3 Stone Figural Carvings / Pendants. Size: 3 x 2 1/2 in.  #4825 

Lot: 1721 - Collection of 5 Animal or Figural Miniature Bronze / Brass Sculptures

Collection of 5 Animal or Figural Miniature Bronze / Brass Sculptures. These spiritual objects have patina representative to their age. Honoring nature, horses, travel, courage, bravery with a majestic or ceremonious intent.   Size: 6 1/2 x 5 1/2 in.  #4832 

Lot: 1722 - Long Thangka Attached to Blue Cloth with Hanging Rod

Long Thangka Attached to Blue Cloth with Hanging Rod. Stunning Kalachakra mandala in center, surrounded by spiritual beings.  Size: 28 x 60 in.  #5098 .  A thangka is a Tibetan Buddhist painting on cotton or silk applique, usually depicting a Buddhist deity, scene, or mandala. Thangkas are traditionally kept unframed and rolled up when not on display, mounted on a textile backing somewhat in the style of Chinese scroll paintings, with a further silk cover on the front. So treated, thangkas can last a long time, but because of their delicate nature, they have to be kept in dry places where moisture will not affect the quality of the silk. They are designed to be displayed for brief periods on a monastery wall as part of religious festivals. Most thangkas are intended for personal meditation or instruction of monastic students. They often have elaborate compositions including many very small figures. A central deity is often surrounded by other identified figures in a symmetrical composition. 

Lot: 1723 - Intricate Tibetan Buddhist Thangka Framed Behind Glass

Intricate Tibetan Buddhist Thangka Framed Behind Glass.  Overall Size: 43 1/2 x 34 3/4 in.  Sight Size: 31 1/2 x 18 /2 in.  #5099 .    A thangka is a Tibetan Buddhist painting on cotton or silk applique, usually depicting a Buddhist deity, scene, or mandala. Thangkas are traditionally kept unframed and rolled up when not on display, mounted on a textile backing somewhat in the style of Chinese scroll paintings, with a further silk cover on the front. So treated, thangkas can last a long time, but because of their delicate nature, they have to be kept in dry places where moisture will not affect the quality of the silk. They are designed to be displayed for brief periods on a monastery wall as part of religious festivals. Most thangkas are intended for personal meditation or instruction of monastic students. They often have elaborate compositions including many very small figures. A central deity is often surrounded by other identified figures in a symmetrical composition. 

Lot: 1724 - Large Old Framed Wall Hanging Indian Banjara Cloth

Large Old Framed Wall Hanging Indian Banjara Cloth. Textiles embroidered with mirrors.  Overall: 59 3/8 X 59 3/8 in.  Sight: 52 3/4 X 52 3/4 in.  #3971 .  The Banjara are nomadic tribes found in India. The Gor usually refer to themselves as Banjaras and outsiders as Kor, but this usage does not extend outside their own community. A related usage is Gor Mati or Gormati,

Lot: 1725 - Korean Ink and Watercolor Illustration of Chong Gak Party

Korean Ink and Watercolor Illustration on Paper of Chong Gak Party. The men cavort and laugh before the bridegroom, likely an upper class citizen wearing a Jeongjagwan, while the women bring them refreshment.  Condition: Commensurate with age.  Overall Size: 24 3/4 x 28 1/2 in.  Sight Size: 19 1/2 x 23 1/2 in.  #5023 #31 .  In 1392 Taejo of Joseon established the Joseon Dynasty in modern-day Korea, in the aftermath of the overthrow of Goryeo under the control of the Mongol Yuan Chinese Dynasty. During its 500 year duration, Joseon encouraged the entrenchment of Confucian ideals and doctrines in Korean society, supplanting the Golden Age of Buddhism from the last two centuries. In the 1590s, the kingdom was severely weakened due to the two failed Japanese invasions of 1592 and 1598. Several decades later, Joseon was invaded by the Later Jin dynasty and the Qing dynasty in 1627 and 1636 respectively, leading to an increasingly harsh isolationist policy, for which the country became known as the “hermit kingdom” in Western literature. After the invasions Joseon experienced a nearly 200 year period of peace and prosperity, along with cultural and technological development. However, faced with internal strife, power struggles, international pressure, and rebellions, the kingdom declined rapidly in the late 19th Century, being replaced by the short-lived Korean Empire in 1897. Much of modern Korean culture, etiquette, norms, and societal attitudes toward current issues, along with the modern Korean language and its dialects, derive from the culture and traditions of Joseon. Modern Korean bureaucracy and administrative divisions were also established during the Joseon period. One of the most drastic changes during the Joseon period was a shift in attitudes and purposes for marriage, as Goryeo did not function in a purely patrilineal hierarchy. Joseon society, completely restructured by Neo-Confucianism, destroyed women’s rights and put paramount importance on clan structure and bloodlines. Society was broken down into Yangban (ruling class), Jungin and Sangmin (upper and lower middle class), and Cheonmin (outcasts, either free or slaves), with strict laws to ensure that individuals would remain in their station, no matter their abilities or intellect. While men enjoyed relative freedom of speech and even engaged in Chong Gak (bachelor parties), the women were expected simply to serve, silently and chastely, and were forbidden to remarry if they were widowed. These policies, along with the preference for wearing impractical all-white clothing called minbok at all times and nation-wide sahwa (purges of the literati and artistic groups) during particularly autocratic periods of the Dynasty, contributed to the aggressive stance outside nations took towards them, as they were viewed as backwards, old-fashioned, and exclusionist.

Lot: 1726 - (2) Brass Rice Paddles

(2) Brass Rice Paddles.  Condition: Commensurate with use.  Largest Size: 12 1/2 x 4 1/2 in.  #2327 .  A rice paddle is a large flat spoon used in Southeast Asian cuisine. It is used to stir and to serve rice, to dip gochujang, and to mix vinegar into the rice for sushi. Rice paddles are traditionally made from bamboo, wood, or lacquer, and nowadays often from plastic. The specific origin of the rice paddle is unknown, but it has been attributed as artifacts dating back to the 4th Century, particularly one originating from the Silla Dynasty in Korea that was excavated from the Gold Crown Tomb in Gyeongju along with a pot. The Japanese version of the rice paddle, the “shamoji,” is said to have been first devised by a monk on the island of Itsukushima in Hiroshima Prefecture in the 7th Century. In March 2023 Prime Minister Fumio Kishida visited Ukraine and presented President Volodymyr Zelenskyy with a shamoji with the word “hissho” (victory) written on it to pray for Ukraine’s triumph over Russia.

Lot: 1729 - After Viktor Vasnetsov (1848-1926) Vintage Russian Lacquered Box - "Alyonushka"

Russian Lacquered Box - After Viktor Vasnetsov (1848-1926) "Alyonushka." Based on the fairy tale of the same name, about a lonely orphan girl sitting by a riverside waiting for a savior, similar to the trickster Rasalka spirits. Original image painted in 1881. Red interior.  Size: 4 1/2 x 6 1/4 x 2 in.  #8414 .  Viktor Mikhaylovich Vasnetsov was born in the remote

Lot: 1730 - Raised Pewter Profile of Smooth Fox Terrier on Wood Plaque

Raised Pewter Profile of Smooth Fox Terrier on Wood Plaque. Lovingly detailed dog brightly stands out against the dark wood.  Size: 7 x 7 x 1 in.  #4352 .  The Smooth Fox Terrier is a breed of dog, one of many terrier breeds. Their long, smooth snouts are reminiscent of greyhounds, and their size and shape is somewhat similar to whippets, but it is their distinctive forward-curling ears that can easily differentiate them at a distance. They were the first breed in the fox terrier family to be given official recognition by The Kennel Club (circa 1875, breed standard 1876). They are well known in hunting and show circles, and are extremely significant due to the large number of terriers believed descended from the breed. The Smooth Fox Terrier’s original development is largely undocumented, but the dog has been known as a distinct breed in England since at least the 18th Century, as the first documented evidence of the Smooth Fox Terrier came in 1790 when Colonel Thomas Thornton painted a portrait of his dog, Pitch. The Smooth Fox Terrier entered the show ring during the mid-19th Century, making them one of the earliest entrants in such events. The American Kennel Club recognized the Fox Terrier in 1885, and one hundred years later recognized the Smooth Fox Terrier as being a distinct breed from the Wire Fox Terrier. Whereas the Wire Fox Terrier is probably directly descended from the Rough Black and Tan Terrier of Wales, the Smooth Fox Terrier is thought to count the Smooth Black and Tan Terrier as their primary ancestor, with traces of Beagle and Bull Terrier thrown in as well. However, the two breeds were considered to be varieties of one breed and were occasionally interbred until the mid 1980s when the AKC changed them from varieties to separate breeds. The Smooth Fox Terrier’s historic profession is fox bolting. A fox bolting dog will accompany a pack of foxhounds and “bolt” after foxes, driving them out from their hiding spots and into the line of sight of the larger dogs and men on horses. Smooth Fox Terriers with white coats were less likely to be mistaken for the fox in close combat situations, and were therefore more highly prized. 

Lot: 1731 - English Hand Painted Wood Treasure Box

English Hand Painted Wood Treasure Box. Image on lid painted after "The Road" from 1825 by Owen Bailey (18th/19th Century), an English engraver. Depicts a horse pulling a short one-wheel carriage with a single rider wearing a hat with his loyal dog by his side, and a stone marker with LONDON carved into it on the left side, in the direction the carriage is headed. Hinged top opens to reveal a wood interior with four separated drawers.  Size: 5 3/4 X 3 3/4 X 1 1/2 in.  #4843 .    A jewelry or treasure box, also known as a case or the more archaic term casket, is a decorative box or container that is usually smaller than a chest and is typically decorated. In recent centuries they are often used as boxes for jewelry, but in earlier periods they were also used for keeping important documents and smaller items, often for religious purposes. Many ancient caskets are reliquaries, for both Buddhist and Christian relics. Although mostly cube-shaped with a hinged or removable lid, there are distinct variants, such as the tall round casket called a pyxis (after a shape in Ancient Greek pottery) that has remained popular in Islamic art, often made from a section of the ivory tusk of an elephant. The term “casket” overlaps with “strongbox,” a heavily-made box for storing or transporting coin and other valuables. These include more metal, in bands or as the main material, and are functional rather than decorative. Though caskets are often regarded as boxes for jewelry, at least until the Renaissance this was probably not a common use, as at least the most important jewelry was kept in a strongbox. The overall difference between a jewelry box and a strongbox is primarily determined by the level of accessibility, which can be complete or extremely limited depending on locks or other latching mechanisms, as well as the type of items placed inside.

Lot: 1732 - Vintage Wooden Music Box

Vintage Wooden Music Box. Faded logo on cover, cylinder intact.  Condition: Broken glass, uncertain if it works.  Size: 7 1/4 x 8 3/8 x 5 1/4 in.  #8367 .  A music box (American English) or musical box (British English) is an automatic musical instrument in a box that produces musical notes by using a set of pins placed on a revolving cylinder or disc to pluck the tuned teeth (or lamellae) of a steel comb. The earliest iteration appeared in 9th Century Baghdad where the BanÅ« MÅ«sā brothers, a trio of Persian inventors, produced the earliest known mechanical musical instrument: a hydro powered organ that played interchangeable cylinders automatically, which they described in their Book of Ingenious Devices. In Flanders in the 13th Century a bell ringer took the concept further and created a cylinder with pins that operated cams, which then hit the bells to create a melody. The popular device best known today as a “music box” developed from musical snuff boxes of the 18th Century and were originally called carillons à musique (French for “chimes of music”). Some of the more complex boxes also contain a tiny drum and/or bells in addition to the metal comb. Thomas Edison was heavily inspired by the devices when he created the phonograph in 1877. The Symphonium company started business in 1885 as the first manufacturer dedicated solely to disc-playing music boxes. Two of the founders of the company, Gustave Brachhausen and Paul Riessner, left to set up a new firm, Polyphon, in direct competition with their original business and their third partner, Oscar Paul Lochmann. Following the establishment of the Original Musikwerke Paul Lochmann in 1900, the founding Symphonion business continued until 1909. Meanwhile, Polyphon expanded to America, where Brachhausen established the Regina Company, which had early success but eventually reinvented itself as a maker of vacuums and steam cleaners. In the heyday of the music box, some variations were as tall as a grandfather clock and all used interchangeable large disks to play different sets of tunes. These were spring-wound and driven and both had a bell-like sound. The machines were often made in England, Italy, and the United States, with additional disks made in Switzerland, Austria, and Prussia. In the modern era innovations are still being made to the music box, such as the Marble Machine created by the band Wintergatan in 2016, and the first app-controlled mechanical music box developed in Taiwan in 2019.

Lot: 1733 - Antique Ceramic Israeli Lion on Box

Antique Ceramic Israeli Lion on Box.  Depicts a seated animal with its front paws resting on a rectangular base. Stylized mane and its tail curls around its body. The base is flat and uneven, and there are no visible markings. Condition: Commensurate with age.  Size: 3 1/4 x 1 3/4 x 3 1/2 in.  #8412

Lot: 1734 - Vintage White Stone Trinket Box AS IS

Vintage White Stone Trinket Box AS IS. Crack on one side. AS IS.    Size: 2 1/4 x 3 5/8 x 2 in. #5205

Lot: 1735 - Antique Asian Lacquered Wood Pillow Box

Antique Asian Lacquered Wood Pillow Box. Bright red lacquered wood with metal hardware.  Condition: Commensurate with age.  Size: 4 3/4 x 5 1/2 x 10 in.  #5234 .  Wood, leather, and ceramic pillows were used throughout the ages in Asia and other regions to support the head and neck. The geishas of Japan slept on “makura” which supported the neck and kept their elaborate hairstyles intact. The aim of providing comfort did not seem to arise until the modern era, however, and instead these pillows were often made to support people during medical procedures or other similar circumstances. Pillows made of fabric and filled with feathers or other soft items appeared in Europe in the Renaissance period, and were one of the items that made its way along the Silk Road to Asia, first in the royal courts and then into the affluent merchant classes. Wooden pillow boxes remained particularly common, however, during the Opium Wars, precisely because they were used to elevate the user's head and to store the opium and other smoking paraphernalia inside. Comfort was not a prime concern for these individuals, as the opium made them oblivious to the material they laid upon. In the Edo period, Japanese travelers and merchants began using wooden pillow boxes to store traveling items such as mirrors, abacuses, lanterns, and documents or money. These, due to the dangerous nature of travel and the public or corporate secrets they often held within, became the impetus for the original puzzle boxes which first appeared in the Odawara region in Japan in the late 19th Century. Today, antique pillow boxes from China, Japan, Korea, and the rest of Southeast Asia are a testament to a different time, a symbol of a radically tougher way of life before creature comforts became accessible to all.

Lot: 1736 - Handmade Leather Carrying Case

Handmade Leather Carrying Case. Treated and formed rectangular case with decorations incised into the leather on top. Simple, elegant, and very personal, with good quality handiwork and smooth lines.  Size: 14 3/8 x 8 1/2 x 3 in.  #8390 .    Leather is a strong, flexible and durable material obtained from the tanning, or chemical treatment, of animal skins and

Lot: 1737 - Asian Wood and Brass Jewelry Case

Asian Wood and Brass Jewelry Case. Multiple brass decorations on the outside, with a unique hinged lid that opens three-fourths of the way along the top instead of the full length of the top. Interior covered in lines of kanji.  Size: 18 x 10 1/8 x 4 1/2 in.  #8391 .  A jewelry box, also known as a case or the more archaic term casket, is a decorative box or container that is usually smaller than a chest and is typically decorated. In recent centuries they are often used as boxes for jewelry, but in earlier periods they were also used for keeping important documents and smaller items, often for religious purposes. Many ancient caskets are reliquaries, for both Buddhist and Christian relics. Although mostly cube-shaped with a hinged or removable lid, there are distinct variants, such as the tall round casket called a pyxis (after a shape in Ancient Greek pottery) that has remained popular in Islamic art, often made from a section of the ivory tusk of an elephant. The term “casket” overlaps with “strongbox,” a heavily-made box for storing or transporting coin and other valuables. These include more metal, in bands or as the main material, and are functional rather than decorative. Though caskets are often regarded as boxes for jewelry, at least until the Renaissance this was probably not a common use, as at least the most important jewelry was kept in a strongbox. The overall difference between a jewelry box and a strongbox is primarily determined by the level of accessibility, which can be complete or extremely limited depending on locks or other latching mechanisms, as well as the type of items placed inside.

Lot: 1738 - Couroc of Monterey Box With Inlay Design

Couroc of Monterey Box With Inlay Design. Signed on underside.  Hinged lid. Lacquered. Featuring a design with antique style pistols, possibly flintlock pistols. Inlayed design.  Size: 11 3/4 x 7 7/8 x 2 1/2 in.  #4310 

Lot: 1739 - Electric Wooden Music Box

Electric Wooden Music Box. Cherry wood finish on outside, idyllic sleighing scene on inside of lid, glass plate on front to view the moving sheets with the holes on them. Connecting cord attached to back, comes with adapter that it plugs into to connect to the wall.  Size: 10 1/2 x 7 x 8 in.  #4522 .    A music box (American English) or musical box (British English) is an automatic musical instrument in a box that produces musical notes by using a set of pins placed on a revolving cylinder or disc to pluck the tuned teeth (or lamellae) of a steel comb. The earliest iteration appeared in 9th Century Baghdad where the BanÅ« MÅ«sā brothers, a trio of Persian inventors, produced the earliest known mechanical musical instrument: a hydro powered organ that played interchangeable cylinders automatically, which they described in their Book of Ingenious Devices. In Flanders in the 13th Century a bell ringer took the concept further and created a cylinder with pins that operated cams, which then hit the bells to create a melody. The popular device best known today as a “music box” developed from musical snuff boxes of the 18th Century and were originally called carillons à musique (French for “chimes of music”). Some of the more complex boxes also contain a tiny drum and/or bells in addition to the metal comb. Thomas Edison was heavily inspired by the devices when he created the phonograph in 1877. The Symphonium company started business in 1885 as the first manufacturer dedicated solely to disc-playing music boxes. Two of the founders of the company, Gustave Brachhausen and Paul Riessner, left to set up a new firm, Polyphon, in direct competition with their original business and their third partner, Oscar Paul Lochmann. Following the establishment of the Original Musikwerke Paul Lochmann in 1900, the founding Symphonion business continued until 1909. Meanwhile, Polyphon expanded to America, where Brachhausen established the Regina Company, which had early success but eventually reinvented itself as a maker of vacuums and steam cleaners. In the heyday of the music box, some variations were as tall as a grandfather clock and all used interchangeable large disks to play different sets of tunes. These were spring-wound and driven and both had a bell-like sound. The machines were often made in England, Italy, and the United States, with additional disks made in Switzerland, Austria, and Prussia. In the modern era innovations are still being made to the music box, such as the Marble Machine created by the band Wintergatan in 2016, and the first app-controlled mechanical music box developed in Taiwan in 2019. 

Lot: 1740 - Antique Inlaid Mahogony Music Stand with Lyre Shaped Center

Antique Inlaid Mahogony Music Stand with Lyre Shaped Center.    Size: 16 1/2 x 6 x 13 in. #8637

Lot: 1741 - Antique English Army Brass Bugle

Antique English Army Brass Bugle. Makers name of Mayers and Harrison Limited, Manchester.  Size: 10 1/2 X 7 X 4 in.  #4850 .  The bugle is a simple signaling brass instrument with a wide conical bore. It normally has no valves or other pitch-altering devices, and is thus limited to its natural harmonic notes, and pitch is controlled entirely by varying the air and embouchure. The English word bugle comes from a combination of the French “cor buglèr” and “bugleret,” indicating a signaling horn made from a small cow’s horn, and the Latin “buculus,” meaning bullock. Old English also influences the modern word with its own word bugle, meaning “wild ox.” The modern bugle is made from metal tubing, and that technology has roots which date back to the Roman Empire, as well as to the Middle East during the Crusades, where Europeans re-discovered metal-tubed trumpets and brought them home. Historically musical horns were curved or conical trumpets, often made from ox or other animal horns, shells, and hollowed ivory such as the olifant. There existed another tradition of trumpets made of straight metal tubes of brass or silver made in Europe as far back as the Greeks (salpinx) and Romans (Roman tuba), and further back to the Etruscans, Assyrians and Egyptians. By the 18th Century the simple bugle shape was used for military reverie and other calls, which became the primary use associated with it as more complicated instruments began to make up the bulk of orchestras and musical arrangement.

Lot: 1742 - Sandalwood 3 Octave Asian Hulusi Flute in the Key of G with Case

Sandalwood 3 Octave Asian Hulusi Flute in the Key of G with Case. Includes instructions on how to play in Chinese. Marked "G" on sound tube along with kanji that translates to "Fine Hulusi." Red, blue, and yellow tassel below a pan chang knot attached to the sound tube. Plastic carrying case covered in stylized writing, soft orange felt interior.  Case Size: 23 x 6 x 6 in.  #5347 .  The hulusi, also known as the cucurbit flute and the gourd flute, is a free reed wind instrument usually played by people in China, Vietnam, and other Southeast Asian countries. It is held vertically and has three bamboo pipes that pass through a Calabash gourd wind chest; the center pipe has finger holes and the outer two are typically drone pipes. The drone pipe has a finger hole which allows it to be stopped. Advanced configurations have keyed finger holes similar to a clarinet or oboe, which can greatly extend the range of the hulusi to several octaves. The hulusi was originally used primarily in the Shan State of Myanmar, Yunnan province in southwest China, and Assam in northeastern India by a number of ethnic-minority groups, in particular the Dai people who call the instrument “pi lamtao” (roughly translated as “woodwind instrument from a gourd”). Over the past three hundred years the hulusi gained widespread popularity throughout China, with a variety of innovations to capitalize on its pure, mellow, clarinet-like sound. Towards the end of the 20th Century as multicultural music began to gain appreciation in the West, the hulusi and other Eastern instruments were heard in the works of Jack Reddick and Peter Gabriel in England, Paul Simon in America, and Herman Witkam in the Netherlands, demonstrating their versatility and appeal beyond the Sinosphere.

Lot: 1743 - Mid 19th Century Walnut Tea Caddy or Humidor with Bone Keyhole

Mid 19th Century Walnut Tea Caddy or Humidor with Bone Keyhole. Cigar inside.  Size: 4 1/2 x 5 3/8 x 6 in.  #4827 .  A tea caddy is a box, jar, canister, or other receptacle used to store tea. When first introduced to Europe from Asia, tea was extremely expensive, and kept under lock and key. The containers used were often highly decorative, to fit in with the rest of a drawing-room or other reception area. The word is believed to be derived from catty, the Chinese pound. The earliest examples that came to Europe were of Chinese porcelain, and similar in shape to the ginger-jar. They had Chinese-style lids or stoppers, and were most frequently blue and white. Until roughly 1800 they were commonly called tea canisters. By the Georgian era in England the caddy came in countless shapes, designs, and materials, reflecting a growing artistic appreciation for functional sculpting.

Lot: 1744 - Antique Round French Box with Porcelain Miniature

Antique Round French Box with Porcelain Miniature. Man and Maiden in a picnic scene.  Size: 5 3/4 x 1 in. #4805

Lot: 1745 - Handmade Wooden Box with Inlaid Pre-Columbian Style Textile Lid

Handmade Wooden Box with Inlaid Pre-Columbian Style Textile Lid. The metal of the lid has a dent and some discoloration.   Size: 1 7/8 x 3 1/2 x 4 1/2 in. #5202

Lot: 1746 - Antique Primitive Carved Wooden Box

Antique Primitive Carved Wooden Box. Antique carved wooden box in a primitive style, depicting gazelles among foliage on lid, edges decorated with carvings of bamboo and grass. Size: 2 x 4 1/2 x 7 1/2 in. #5203

Lot: 1747 - Vintage Art Nouveau Goddess of Victory Picture Frame

Vintage Art Nouveau Goddess of Victory Picture Frame. Solid brass.   Size: 6 1/2 x 6 x 3 in. #4857    

Lot: 1748 - 6 Various Sterling Silver Framed Objects

6 Various Sterling Silver Framed Objects. Two are picture frames, the rest are mirrors.  Largest: 6 1/8 x 8 1/8 in.  #5413 .  In the early days of the United States, prior to the general adoption of sterling silver as the standard of purity in 1868, silver was generally obtained from the melting of coins. Since these could vary considerably in purity, from around .750 millesimal fineness to around .900, silver known as “coin silver” varies in purity. Silver at that time was sometimes marked “COIN” or “PURE COIN,” if it was marked at all. After the adoption of the sterling standard, pieces were marked with “STERLING,” the number “925” or the notation “925/1000.” Because the U.S. also had no established date marking system, early companies such as Tiffany, Reed & Barton, and Gorham adopted their own. While American manufacturers did not apply assay marks, city marks or date marks, they did apply a maker’s mark, which is generally not done today. The old hallmarks were as unique as today’s logos, and disputes often arose when one company copied another’s stamp.

Lot: 1749 - Vintage Ornate Picture Frame

Vintage Ornate Picture Frame.  Rectangular with a simple, flat inner edge and a wider, more decorative outer section. Gilt. Floral motifs and scrolls.  Overall Size: 31 1/2 x 27 1/2 in. Sight Size: 21 1/2 x 17 1/2 in. #8330

Lot: 1750 - Carved Wooden Frame

Carved Wooden Frame.  Gilt. Rectangular with a simple inner edge and a wide, heavily decorated outer edge. Heavily decorated with raised ornamentation, including floral motifs and scrolls.  Size: 15 x 17 in. #4476

Lot: 1751 - American Antique Gold Leaf Frame

American Antique Gold Leaf Frame.   Overall Size: 31 1/2 x 43 1/2 in.  Sight Size: 23 1/2 x 35 1/2 in.  #5010

Lot: 1752 - J. T. Parry (1853-1913) United Kingdom, Watercolor

J. T. Parry (United Kingdom, 1853-1913) Watercolor, Stone Bridge. A landscape etching depicting a stone bridge over a river, running from forested hills on either side. Signed lower left. Framed, under glass. Overall Size: 24 7/8 x 20 1/8 in.  Sight Size: 22 3/8 x 17 1/2 in.  #7586    Artist Biography: J. T. Parry (John T. Parry) was a 19th-century British artist and watercolorist known for his detailed and atmospheric landscapes, particularly of Welsh and English scenery. His works often focused on capturing the beauty of rural life, mountains, and coastal views, blending realism with a romantic appreciation of nature. Parry's paintings are characterized by their subtle use of color and light, reflecting the serene and picturesque qualities of the countryside. Though less well-known today, his art was admired during his time for its ability to evoke a sense of tranquility and natural splendor, contributing to the appreciation of landscape art in Victorian England.

Lot: 1753 - William Henry Bartlett (1809-1854) British, Print

William Henry Bartlett (1809-1854) British, Print.  Depicts a scenic landscape with a river, trees, and buildings. Black and white tones. Set in a gilded frame with ornate details.  Cropped version of "Little Falls on the Mohawk" engraved by R.Brandard after a picture by T.Creswick from a sketch by W.H.Bartlett, published in American Scenery, about 1840.  William Henry Bartlett was a British artist, best known for his numerous drawings rendered into steel engravings. Robert Brandard was a British landscape engraver and landscapist. Brandard was the eldest son of Thomas Brandard, engraver and copperplate printer, of Barford Street, Deritend, Birmingham, and his wife, Ann. He went to London in 1824, and entered the studio of Edward Goodall, with whom he remained a year. Overall Size: 6 5/8 x 8 in.  Sight Size: 3 x 4 1/4 in.  #7590 

Lot: 1754 - Vintage Russian Propaganda - Rolled Oil on Canvas

Rolled Oil On Canvas Portrait of 3 White Collared Males in Discussion. Situated at a nice restaurant on a tropical or summer hill side. The discussion seems to be passionate, though provoking, and something personal to everyone involved.  Size: 32 1/2 x 40 in.  #8030 

Lot: 1755 - Vintage Russian Propaganda - Rolled Oil on Canvas, Russian School Portrait of Vladimir Lenin

Rolled Oil on Canvas, Russian School Portrait of Vladimir Lenin. This coastal image of him looking out into the sea on a cloudy windy day.  Size: 45 x 46 in.  #8039 

Lot: 1756 - Vintage Russian Propaganda - Rolled Oil on Canvas, Vladimir Lenin with Child

Rolled Oil on Canvas, Vladimir Lenin with Child. A propaganda piece distributed to Soviet schools, depicting Lenin leading a child through the Russian winter. Translates to: Be present to our dear school from students of 8th grade 1981-1982 Size: 56 x 39 in.  #8040 

Lot: 1757 - Vintage Russian Propaganda - Rolled Oil on Canvas Russian School Portrait of Vladimir Lenin

Rolled Oil On Canvas Russian School Portrait of Vladimir Lenin. Dressed formally for the day. Mid sentence as he is writing amidst a busy desk Inkwell is open and ready for use as he holds one paper in one hand while working subsequently with his other. Subtle map behind showing details about the job directly behind him.  Size: 60 x 41 in.  #8042 

Lot: 1758 - Eugen Wolff (1873-1937) German, Winter Landscape Oil on Canvas Painting

Eugen Wolff (German 1873-1937) Winter Landscape Oil on Canvas Painting. Signed lower right. Eugen Wolff was a painter in Filseck, Hechingen and Munich. He received his training at the academies in Stuttgart, Karlsruhe, and Munich in reins.   Overall Size: 32 3/4 x 25 in. Sight Size: 31 x 23 1/2 in.  #5009  

Lot: 1759 - Thomas Moran (1837-1926) American, "Half Dome at Yosemite" Etching

Thomas Moran (American 1837-1926) "Half Dome at Yosemite" Etching. Signed in plate.    Overall Size: 20 x 16 in.  Sight Size: 12 5/8 x 9 in.  #4866

Lot: 1760 - (2) Pair of Italian Watercolor of Rome Circa 1950 Both Signed Branchi

(2) Pair of Italian Watercolor of Rome Circa 1950 Both Signed Branchi. One of the Trinita dei Monti and the other is a market scene.    Overall Size: 17 3/4 x 14 1/2 in.  Sight Size: 11 1/2 x 9 in. #4921   Overall Size: 17 3/4 x 14 3/4 in.  Sight Size: 11 3/4 x 9 in. #4923

Lot: 1761 - (2) Pair of Venice Watercolors by Bianchi

(2) Pair of Venice Watercolors by Bianchi. Both signed. One at a canal scene with gondolas. The other a street scene with cafe. Early to mid 20th Century watercolor on paper.   Overall Size: 17 3/4 x 14 1/2 in. Sight Size: 11 1/2 x 9 in.  #4922   Overall Size: 17 3/4 x 14 1/2 in Sight Size: 11 1/2 x 9 in. #4924

Lot: 1762 - Early 20th Century Circus Painting of a Clown Juggling Riding a Unicycle Under A Spotlight Oil on Canvas

Early 20th Century Circus Painting of a Clown Juggling Riding a Unicycle Under A Spotlight Oil on Canvas. Signed lower center.    Size: 31 x 25 1/4 in. #5006

Lot: 1763 - Bertha Lum (1869-1954) American, Color Woodblock "Temple Gate" Signed in Pencil

Bertha Lum (American 1869-1954) Color Woodblock "Temple Gate" Signed in Pencil. Printmaker, painter, illustrator. Born in Tipton, Indiana in May 1869. Bertha Bull left Duluth, MN in 1895 for five years of study in Chicago at the AIC and Holme Art School. She wed Burt Lum in 1903 and honeymooned in Japan. After that time she returned to the Orient often to study under various masters and to exhibit. A divorcée in the 1920s, the artist led a vagabond existence with studios in San Francisco, Peking, and Japan. She died in Genoa, Italy in February 1954. A specialist in oriental subjects, she is known for her Japanese-style wood block prints.    Overall Size: 17 1/2 x 11 3/4 in.  Sight Size: 10 x 5 in.  #4926  

Lot: 1764 - Masaaki Tanaka (Born 1947) Japanese, Signed Silkscreen Print "Warrior Procession at Spring Festival, Ibargi Pref" 1975

Masaaki Tanaka (Japanese b. 1947) Signed Silkscreen Print "Warrior Procession at Spring Festival, Ibargi Pref" 1975. Numbered 67/105. Titled, signed, and dated in pencil.    Overall Size: 27 3/4 x 17 1/4 in. Sight Size: 22 1/2 x 12 #4946  

Lot: 1765 - Johan Elias Ridinger (1698-1767) German, Pair of 18th Century Hunt Scenes Original Engravings

Johan Elias Ridinger (German 1698-1767) Pair of 18th Century Hunt Scenes Original Engravings. Ridinger is considered one of the most famous engravers of animals, especially of sporting subjects.     Johann Elias Ridinger (16 February 1698, Ulm – 10 April 1767, Augsburg) was a German painter, engraver, draughtsman and publisher. He is considered one of the most famous German engravers of animals, particularly horses, hounds and hunting scenes. He began his training in Ulm with the painter Christoph Resch (1701–16), and later studied under Johann Falch (1687–1727) in Augsburg. He learned the art of engraving from Georg Philipp Rugendas. On the invitation of Wolf, Freiherr von Metternich (1706–31), he spent three years in Regensburg: his coursing and visits to the riding school there proved decisive for his development. His engraved, etched and scratched sheets show the animals in characteristic movements and positions in a landscape environment. The ornamental movements in his works show visibly Rococo stylistic tendencies. He later founded his own art publishing house in Augsburg, where most of his works appeared. In 1759 he became the director of the Augsburg Stadtakademie. His drawings were often executed with precision and taste and hence his work was held in high esteem and was also transferred to decoration, porcelain and ceramics.   Overall Size: 19 1/2 x 17 in. Sight Size: 16 1/4 x 13 3/4 in.  #4879   Overall Size: 19 1/2 x 17 in. Sight Size: 16 1/4 x 13 3/4 in.  #4880

Lot: 1766 - Johan Elias Ridinger (1698-1767) German, Pair of 18th Century Hunting Scenes Original Engravings

Johan Elias Ridinger (German 1698-1767) Pair of 18th Century Hunt Scenes Original Engravings. Ridinger is considered one of the most famous engravers of animals, especially of sporting subjects.     Johann Elias Ridinger (16 February 1698, Ulm – 10 April 1767, Augsburg) was a German painter, engraver, draughtsman and publisher. He is considered one of the most famous German engravers of animals, particularly horses, hounds and hunting scenes. He began his training in Ulm with the painter Christoph Resch (1701–16), and later studied under Johann Falch (1687–1727) in Augsburg. He learned the art of engraving from Georg Philipp Rugendas. On the invitation of Wolf, Freiherr von Metternich (1706–31), he spent three years in Regensburg: his coursing and visits to the riding school there proved decisive for his development. His engraved, etched and scratched sheets show the animals in characteristic movements and positions in a landscape environment. The ornamental movements in his works show visibly Rococo stylistic tendencies. He later founded his own art publishing house in Augsburg, where most of his works appeared. In 1759 he became the director of the Augsburg Stadtakademie. His drawings were often executed with precision and taste and hence his work was held in high esteem and was also transferred to decoration, porcelain and ceramics.   Overall Size: 19 1/2 x 17 in. Sight Size: 16 1/4 x 13 3/4 in.  #4881   Overall Size: 19 1/2 x 17 in. Sight Size: 16 1/4 x 13 3/4 in.  #4878

Lot: 1767 - A Pair of 19th Century British Sporting Prints After William Parry Hodges "The Chase and Death of the Roebuck" and "Hare Hunting, SOHO" Plate 1

A Pair of 19th Century British Sporting Prints After William Parry Hodges "The Chase and Death of the Roebuck" and "Hare Hunting, SOHO" Plate 1. The former was published in 1834 by Thomas McLean, London. Engraved by H. Alken and R.G. Reeve. The latter was published in 1836 by Thomas McLean. and engraved by R.G. Reeve   Overall Size: 22 1/2 x 30 3/4 in.  Sight Size: 18 1/2 x 27 in. #5036   Overall Size: 22 1/2 x 30 3/4 in.  Sight Size: 18 1/2 x 27 in. #5037

Lot: 1768 - Pair of 18th Century Engravings: St. Marks Place Venice After Canaletto by Louis Philippe Boitard and Chateau des Tuileries After Courvoisier by Eugen

Pair of 18th Century Engravings: St. Marks Place Venice After Canaletto by Louis Philippe Boitard and Chateau des Tuileries After Courvoisier by Eugene Dubois.   Overall Size: 22 1/4 x 17 in. Sight Size: 20 3/4 x 15 1/2 in. #4873   Overall Size: 22 1/4 x 19 in. Sight Size: 17 3/8 x 13 in. #4935

Lot: 1769 - La Perouse Jean-Francois de Galaup 1785-1788 Map of the Voyage of the Frigates Boussole and the Astrolabe "Carte du Grand Ocean or Mer du Sud..."

La Perouse Jean-Francois de Galaup 1785-1788 Map of the Voyage of the Frigates Boussole and the Astrolabe "Carte  du Grand Ocean or Mer du Sud...". Engraved folding map of the Pacific Ocean showing the track of Perouse's voyage. On this voyage Perouse surveyed San Francisco Bay and the California Coast identifying many important landmarks.    Overall Size: 21 1/2 x 27 3/4 in. Sight Size: 15 1/2 x 21 3/4 in. #4976

Lot: 1770 - Mathew Carey (1760-1839) American, "A New Map of South America From the Latest Authorities"

Mathew Carey (American 1760-1839) "A New Map of South America From the Latest Authorities". Hand colored engraved map, 1814. From Carey General Atlas.    Overall Size: 26 1/4x 22 in. Sight Size: 20 1/2 x 16 in. #4975

Lot: 1771 - Frederik de Wit (1610-1698) Hand Colored Engraved Map of Europe c. 1680 "Nova et Accurata Totius Europae Descriptio"

Frederik de Wit (1610-1698) Hand Colored Engraved Map of Europe c. 1680 "Nova et Accurata Totius Europae Descriptio". Richly detailed with ships sailing, a compass rose, Europa captured by Zeus in the form of a bull. Engraved by Abraham Deur, signature bottom center.    Overall Size: 21 1/2 x 25 in. Sight Size: 16 x 19 1/2 in.  #4978

Lot: 1772 - Frederik de Wit (1629-1706) Map of Africa Engraved and Hand Colored Circa 1680 "Totius Africae Accuratissima Tabula"

Frederik de Wit (1629-1706) Map of Africa Engraved and Hand Colored Circa 1680 "Totius Africae Accuratissima Tabula".   "Frederik de Wit (1629 - 1706) was a Dutch Golden Age cartographer active in the second half of the 17th and the early 18th centuries.  De Wit was born of middle class Protestant stock in the western Netherlandish town of Gouda.  He relocated to Amsterdam sometime before 1648, where he worked under Willem Blaeu.  His first attributed engraved map, a plan of Haarlem for Antonius Sanderus' Flandria Illustrata, was issued around this time.  He struck out on his own in 1654. The first chart that De Wit personally both drew and engraved was most likely his 1659 map of Denmark, REGNI DANIÆ Accuratissima delineatio Perfeckte Kaerte van ‘t CONJNCKRYCK DENEMARCKEN.  His great wall map of the world and most famous work, Nova Totius Terrarum Orbis Tabula appeared one year later.  Following the publication of his wall map De Wit quickly rose in prominence as a both cartographer and engraver.  He married Maria van der Way in 1661 and through her became a citizen of Amsterdam in 1662.  Around this time he also published his first major atlas, a composite production ranging in size from 17 to over 150 maps and charts. Other atlases and individual maps followed.  In 1689 De Wit was granted a 15 year Privilege by the Dutch States General. (An early copyright that protected the recipient's rights to print and publish.) He was recognized with the honorific 'Good Citizen' in 1694.  De Wit died in 1706 after which his wife Maria continued publishing his maps until about 1710.  De Wit's son, Franciscus, had no interest in the map trade, instead choosing to prosper as a stockfish merchant. On her own retirement, Maria sold most De Wit maps and plates at a public auction.  Most were acquired by Pieter Mortier and laid the groundwork for the 1721 rise of Covens and Mortier, the largest Dutch cartographic publishing house of the 18th century." - Geographicus Rare Antique Maps   Overall Size: 22 x 25 in. Sight Size: 16 1/2 x 191/2 in. #4979

Lot: 1773 - 1799 Map of Asia by Laurie & Whittle London

1799 Map of Asia by Laurie & Whittle London "Asia with its Islands and Different Regions According to their Modern Divisions also the Discoveries Made by Capt. Cook". Hand colored engraved map.  Overall Size: 21 1/2 x 22 1/2 in.  Sight Size: 16 x 17 in.  #4977

Lot: 1774 - American 1860's Map of China & Japan by A.J. Johnson New York

American 1860's Map of China & Japan by A.J. Johnson New York. Alvin Jewett Johnson (1827-1884), also known as A.J. Johnson, led the New York City publishing company which published Johnson's Family Atlases from 1860 to 1887. These atlases were published under his name alone or with Browning (1860–62) and Ward (1862-1866), and are fascinating because the sequence of atlas maps documented the growth of the United States during this quarter century, showing the step-by-step expansion of railroads and the development of new states, counties and towns. As the years went by, the maps were updated creating for each map a set of map states or variations. These atlases and loose maps taken from them have become of increasing value to collectors and historians. In order for these loose maps to be of full use to historians for study (new counties showed up within two years of their creation and new states of the union almost as soon as they were announced) loose maps from these atlases need to be definitively dated. Collectors also need to know the true date of the maps; while some of the states/variations were utilized for up to two years, many changes occurred sometimes within one year, thus making some versions more plentiful than others.   Overall Size: 20 1/4 x 25 3/4 in. Sight: Size: 14 1/4 x 20 in. #4974

Lot: 1775 - Large African Carved Malachite Bust

Large African Carved Malachite Bust. A man with a fabulous turban and a powerful jaw, with mesmerizing black and green patterns across and felt on the base.  Size: 5 x 6 1/4 x 9 1/4 in.  #4444 .  Malachite is a copper carbonate hydroxide mineral, an opaque, green-banded monoclinic crystal whose name derives from a Latin word meaning “mallow-green stone.” The earliest malachite mines that have been identified were found near the Isthmus of Suez dating to around 4000 BC, although it was likely being found earlier than that, as it commonly appeared near or entwined with copper deposits. Its stunning green color made it as popular as turquoise and jade throughout the ancient world for jewelry, and it was ground down and used as a pigment in green paints from antiquity up until the beginning of the 19th Century. The synthetic color verditer, along with slightly similar greens, have replaced this usage entirely. Malachite was commonly used in furniture and large decorations as well, with large collections displaying its diverse use in the Malachite Room of the Hermitage in St. Petersburg, Russia, as well as the Malachite Room of the Castillo de Chapultepec in Mexico City. In the time of Tsar Nicolas I decorative pieces with malachite were among the most popular diplomatic gifts. It was used in China as far back as the Eastern Zhou period, and was often held as a talisman by Spanish and French peasants as late as the 17th Century, who believed it helped to improve sleep and ward off lightning and contagious diseases.

Lot: 1776 - African Beaded Bamileke Statue

African Beaded Bamileke Statue. The Bamileke, of Sudano-Bantu origin, are famous for the artistic qualities of their beaded objects, signs of prosperity and wealth, giving the royal object the brilliance that distinguishes it from common objects. Farmers make the most of the raffia palms in their region, the Grasslands in southwestern Cameroon, to produce wine, building materials and furniture. The Bamam craftsmen have produced innumerable works, all rivalling each other in terms of beauty. Masks, beadwork, Njoya's drawings and the architecture of the palaces reflects the quality and diversity of their art.  Condition: Wear commensurate with age. Wear commensurate with age including some loose threads.  Size: 13 x 13 x 46 in. #8453

Lot: 1777 - West African Yoruba Nigerian Carved Wood Veranda Post and Ancestral Totem

West African Yoruba Nigerian Carved Wood Veranda Post and Ancestral Totem. Includes three figures, with a masculine figure with three baskets  on his head riding a donkey on top, a woman with pendulous breasts supporting him from below, and a child at her side holding several items on their own head. Veranda posts were a commonly commissioned feature of royal palaces and courts

Lot: 1778 - (2) West African Ivory Coast Senufo Wood Carved Ceremonial Figural Drum Statues

(2) West African Ivory Coast Senufo Wood Carved Ceremonial Figural Drum Statues. Both drums have bird-like figures carved on them, and the female figures have the same marks on their bodies, although they differ slightly in height and width.  Size (largest): 14 1/2 x 49 1/2 in.  #4704 .  The Senufo people are a West African ethnolinguistic group living in a region spanning the northern Ivory Coast. They emerged as a distinct linguistic group some time within the 15th Century. The wars and violence as Muslims attempted to convert the populace led to their migration into their contemporary regions, but their sovereign control of the area collapsed in 1898 with the arrival of the French. Predominantly agriculturalists, they cultivate a wide variety of crops, including cotton and cash crops for the international market. As musicians they are world renowned, playing a multitude of wind, stringed, and percussive instruments. Senufo communities use a caste system, in which the farmers, known as Fo no, and the artisans are at opposite ends of the spectrum. The term artisan encompasses blacksmiths (Kule), carvers (Kpeene), brasscutters (Tyeli), potterers, and leather workers. Training to become an artisan takes about eight years, starting with an apprenticeship where the trainees create objects not associated with the religion of the Senufo and then culminating with an initiation process where they obtain the ability to create ritual objects. They are superb carvers of wood sculpture, masks, and figurines, passing their knowledge from one generation to the next within the subgroups found in each village. Typically each Senufo has an independent male secret society called Poro with elaborate initiation rituals in a patch of forest they consider as sacred. The rituals involve masks, figurines, and equipment that the Senufo people carve and are symbolic of events, beings, and even concepts in the Senufo mythos. The secrecy has helped the Senufo people to preserve their culture in times of wars and political pressure, and Senufo beliefs include ancestral and nature spirits, who may be contacted. A common form is the hornbill, which according to their traditions was one of the first living creatures on Earth, symbolizing fertility, strength, and the importance of passing knowledge on from the old to the young. They also believe in a Supreme Being, who is viewed in a dual female-male form and can be carved in many ways: an Ancient Mother, Maleeo, and a male Creator God, Kolotyolo. The art of the Senufo people inspired 20th Century European artists such as Pablo Picasso and Fernand Léger, with the proto-Cubism and masks found in Senufo pieces being a significant influence on Picasso’s African period. The term Senufo has therefore become a category in its own right to art collectors and scholars, sometimes a catch-all term for the artistic traditions of West Africa, and older pieces of Senufo art are found in many leading museums of the world.

Lot: 1779 - West African Sabar Drum AS IS

West African Sabar Drum AS IS. Sabar is a family of drums, a style of music, a dance, a culture and way of life in Senegal, West Africa. This passionate musical tradition has been passed down orally for many generations by the griots and their students via drumming, traditional instruments, dance, storytelling and song.  Condition: There is a tear in the skin of the drum. Sold AS IS.  Size: 16 x 16 x 25 in. #8454

Lot: 1780 - Group of (3) African Carved Wood Figural Statues

(3) African Carved Wood Figural Statues. Lot comprised of three traditional African carved wooden figures, one male and female in matching styles, one tall thin female. Provenance: Purchased in the 60s by a psychiatrist working in Reunion and Mauritius. Size: 3 x 2 x 18 in. #5227

Lot: 1781 - Group of (4) African Figures and Elk Carvings

Group of (4) African Figures and Elk Carvings.  (4) African Figures. Lot comprised of four traditional African figures, two matched human figures of man and boy, two antelope. Three figures of carved wood. Smaller antelope in mixed metal on stone base. Provenance: Purchased in the 60s by a psychiatrist working in Reunion and Mauritius. Size: 3 1/2 x 3 x 12 in. #5228

Lot: 1782 - African Carved Figure with Jug

African Carved Figure with Jug. Wooden carved figure of a female carrying jugs. Style is somewhat stylized and expressive. Light and dark wood.  Condition: Commensurate with age.  Size: 4 x 6 x 15 1/2 in. #5409

Lot: 1783 - Female Wood Carved Figure (Akua'ba) Ashanti People of Ghana

Female Wood Carved Figure (Akua'ba) Asante people of Ghana. Of classical form, the trunk-like figure with typical round flattened head with arching brow, the arms as small stubs with indications of hands, neck rings and elongated torso with breasts. Beads along the bottom and around the arms with earrings.  Size: 4 1/2 x 7 3/4 in. #4798

Lot: 1784 - Antique Wooden Carved African Figural Lidded Vessel

Antique Wooden Carved African Figural Lidded Vessel. Condition: Signs of repair on legs.  Size: 4 x 12 1/2 in. #4798

Lot: 1785 - Papua New Guinea Sepik Art Standing Carved Sculpture with Shell Beard

Papua New Guinea Sepik Art Standing Carved Sculpture with Shell Beard. Depicts a bug-eyed male figure with a beard made of many individual seashells, carved in a solid piece out of a wooden base, with a supportive stand running from the base up into the back of the figure and small hook-like protrusions coming from the spine above that.  Size: 10 x 7 x 54 in.  #7009 .  Papua New Guinea is a country in Oceania that comprises the eastern half of the island of New Guinea and its offshore islands in Melanesia. It shares its only land border with Indonesia to the west and it is directly adjacent to Australia to the south and the Solomon Islands to the east. Archaeological evidence indicates that humans first arrived in Papua New Guinea around 42,000 to 45,000 years ago, in one of the earliest waves of human migration from Africa. There are 839 known languages of Papua New Guinea, making it the most linguistically diverse country in the world. At the national level, after being ruled by three external powers since 1883, including nearly 60 years of Australian administration starting during World War I, Papua New Guinea established its sovereignty in 1975, becoming an independent Commonwealth realm with the British monarch as its leader. Papua New Guinea is world-famous for its tribal art, particularly from along the Sepik River, one of the most profuse and diverse art-producing regions of the world. The numerous different tribes living along the river produce magnificent wood carvings, clay pottery, and other arts and crafts. Different areas along the Sepik produce so many distinct art styles that it can take an experienced museum curator to be visually able to distinguish individual styles. The Sepik area is most well known for its sculptural masks, shields, exaggerated humanoid figures, and other artifacts like garamut drums, formed from long, hollowed-out tree trunks carved into the shape of various totem animals. Many of the best collections of these are held in overseas museums, and are identified as being in the first wave of contemporary art primarily from the capital city of Port Moresby. The oldest pieces, which were originally used solely for ritual and personal purposes by tribespeople before the tourist industry emerged around them, are considered particularly valuable and rare.

Lot: 1786 - 45 Inch Tribal Witch Doctor Fertility Figural Sculpture

45 Inch Tribal Witch Doctor Fertility Figural Sculpture. Size: 10 x 10 x 45 in.  #7011

Lot: 1787 - West African Senufo Tribal Seated Fertility Sculpture

West African Senufo Tribal Seated Fertility Sculpture. Humanoid feminine figure seated and breastfeeding a child while balancing a basket on her head, with a seabird resting on top of the basket, carved in the traditional style.  Size: 7 1/2 x 7 1/2 x 37 in.  #7012 .    The Senufo people are a West African ethnolinguistic group living in a region spanning the northern Ivory Coast. They emerged as a distinct linguistic group some time within the 15th Century. The wars and violence as Muslims attempted to convert the populace led to their migration into their contemporary regions, but their sovereign control of the area collapsed in 1898 with the arrival of the French. Predominantly agriculturalists, they cultivate a wide variety of crops, including cotton and cash crops for the international market. As musicians they are world renowned, playing a multitude of wind, stringed, and percussive instruments. Senufo communities use a caste system, in which the farmers, known as Fo no, and the artisans are at opposite ends of the spectrum. The term artisan encompasses blacksmiths (Kule), carvers (Kpeene), brasscutters (Tyeli), potterers, and leather workers. Training to become an artisan takes about eight years, starting with an apprenticeship where the trainees create objects not associated with the religion of the Senufo and then culminating with an initiation process where they obtain the ability to create ritual objects. They are superb carvers of wood sculpture, masks, and figurines, passing their knowledge from one generation to the next within the subgroups found in each village. Typically each Senufo has an independent male secret society called Poro with elaborate initiation rituals in a patch of forest they consider as sacred. The rituals involve masks, figurines, and equipment that the Senufo people carve and are symbolic of events, beings, and even concepts in the Senufo mythos. The secrecy has helped the Senufo people to preserve their culture in times of wars and political pressure, and Senufo beliefs include ancestral and nature spirits, who may be contacted. A common form is the hornbill, which according to their traditions was one of the first living creatures on Earth, symbolizing fertility, strength, and the importance of passing knowledge on from the old to the young. They also believe in a Supreme Being, who is viewed in a dual female-male form and can be carved in many ways: an Ancient Mother, Maleeo, and a male Creator God, Kolotyolo. The art of the Senufo people inspired 20th Century European artists such as Pablo Picasso and Fernand Léger, with the proto-Cubism and masks found in Senufo pieces being a significant influence on Picasso’s African period. The term Senufo has therefore become a category in its own right to art collectors and scholars, sometimes a catch-all term for the artistic traditions of West Africa, and older pieces of Senufo art are found in many leading museums of the world.

Lot: 1788 - Bronze Trio of Elephants Sculpture

Bronze Trio of Elephants Sculpture. They are connected together with their three trunks raised high, likely to be able to support a bowl or other rounded object on top of them.  Size: 4 3/4 x 4 3/4 x 4 1/2 in.  #5050 .    Elephants, the largest living land mammal today, have long been depicted in mythology, symbolism, and popular culture, recognized early on for their immense intelligence and emotional capacity. They are both revered in religion and respected for their prowess in war ever since the Stone Age, when elephants were represented by ancient petroglyphs and cave art. They have been portrayed in countless forms of art, including pictures, sculptures, music, film, and even architecture. The Asian elephant appears most prominently in various Eastern religious traditions and mythologies, with the Hindu god of wisdom, Ganesha, born with the head of an elephant. The African elephant is seen as the wise chief who impartially settles disputes among the forest creatures in African fables. The elephant does not figure in the folklore of indigenous people of the Americas, although some Inuit, Haida, and Kwakiutl oral histories speak of ancient beings that were clearly wooly mammoths, distant relatives of the Asian elephants which were hunted to extinction during the Holocene epoch. Elephants are often featured in modern artistic works, including those by artists such as Norman Rockwell, Andy Warhol and Banksy. The stork-legged elephant, found in many of Salvador Dalí's works, is one of the surrealist’s best known icons, and Rembrandt did a series of sketches of the famous 17th Century elephant Hansken as well as featuring her as a symbol of chastity in his 1638 etching “Adam and Eve.” Southeast Asian cultures continually associate them with royalty, and since the late 19th Century the animal has been the symbol of the American Republican Party. In modern times, rampant poaching and the near extermination of elephants in an effort to harvest their ivory has led to revolutionary conservation actions across the globe and between numerous nations and organizations, preserving them to inspire future generations of artists. 

Lot: 1789 - (35) Elephant Figurines of Various Sizes and Materials

(35) Elephant Figurines of Various Sizes and Materials. Includes wood, bone, plastic, metal, and glass, some with intricate patterns and others a solid color. Quite a collection of pachyderms!  Largest Size: 5 x 10 1/2 x 12 in.  #5200 .    Elephants, the largest living land mammal today, have long been depicted in mythology, symbolism, and popular culture, recognized early on for their immense intelligence and emotional capacity. They are both revered in religion and respected for their prowess in war ever since the Stone Age, when elephants were represented by ancient petroglyphs and cave art. They have been portrayed in countless forms of art, including pictures, sculptures, music, film, and even architecture. The Asian elephant appears most prominently in various Eastern religious traditions and mythologies, with the Hindu god of wisdom, Ganesha, born with the head of an elephant. The African elephant is seen as the wise chief who impartially settles disputes among the forest creatures in African fables. The elephant does not figure in the folklore of indigenous people of the Americas, although some Inuit, Haida, and Kwakiutl oral histories speak of ancient beings that were clearly wooly mammoths, distant relatives of the Asian elephants which were hunted to extinction during the Holocene epoch. Elephants are often featured in modern artistic works, including those by artists such as Norman Rockwell, Andy Warhol and Banksy. The stork-legged elephant, found in many of Salvador Dalí's works, is one of the surrealist’s best known icons, and Rembrandt did a series of sketches of the famous 17th Century elephant Hansken as well as featuring her as a symbol of chastity in his 1638 etching “Adam and Eve.” Southeast Asian cultures continually associate them with royalty, and since the late 19th Century the animal has been the symbol of the American Republican Party. In modern times, rampant poaching and the near extermination of elephants in an effort to harvest their ivory has led to revolutionary conservation actions across the globe and between numerous nations and organizations, preserving them to inspire future generations of artists. 

Lot: 1790 - Marked 84 Silver Antique Drinking Horn With Persian Marking

Antique Drinking Horn. Hollowed horn with silver adornment, decorated with impressed designs of ferns and flowers. Signed on silver near mouth. Drinking horns are vessels used for drinking, traditionally made from animal horns, often cattle or goat, and date back to ancient times. Originating as early as the Bronze Age, they were widely used by various cultures, including the Scythians, Greeks, Romans, and especially the Vikings and Germanic tribes. Drinking horns were not only functional but also held cultural and symbolic significance. Many were ornately decorated with carvings, metalwork, or jewel inlays, showcasing their owner’s status or wealth. Vikings, for example, used drinking horns in feasts and ceremonies, associating them with strength and camaraderie. Over time, drinking horns evolved from everyday items to ceremonial objects, especially in medieval and Renaissance Europe. Today, they remain a popular symbol of Viking culture and craftsmanship, often recreated for historical reenactments, festivals, and collectors. Size: 7 x 4 x 12 in. #4446

Lot: 1791 - Papua New Guinea Woven Basket and Bilum Bag

Papua New Guinea Woven Basket and Bilum Bag. Lot comprised of two items woven tree fiber from Papua New Guinea, hand basket and bilum bag. Bilum bag colored with natural vegetable dyes. Bilum bags are traditional handmade bags from Papua New Guinea, known for their cultural significance and intricate craftsmanship. Woven using a looping technique from natural fibers like tree bark or modern materials such as wool and synthetic yarns, bilum bags are both functional and symbolic. They often feature vibrant colors and patterns that carry cultural meanings or represent the maker’s clan or region. Used to carry everything from daily essentials to infants, bilum bags symbolize resilience and community, as they are commonly made by women and passed down through generations. Today, they are appreciated globally for their beauty, practicality, and cultural heritage. Largest Size: 10 3/4 x 9 1/4 x 13 in.  #4638 

Lot: 1792 - Papua New Guinea Carved Suspension Hook

Papua New Guinea Carved Suspension Hook.   Latmul suspension hooks have both utilitarian and ceremonial functions. Suspended from the rafters by a cord, they are used to safeguard food, clothing, and other items, which are placed in baskets or string bags and hung from the hook-shaped prongs at the base to keep them out of reach of vermin. Most hooks are adorned with representations of ancestral spirits and totemic animals associated with the owner's clan. In the past, some suspension hooks, especially those representing waken, the most powerful Iatmul supernatural beings, served as sacred images through which the supernatural beings they depicted could be consulted. Before embarking on a raid or hunting expedition, men gathered within the ceremonial house to consult the waken through the hook bearing its image. Offerings of chickens, betel nut, or other items were hung from the hook and then consumed by a human attendant who went into a trance during which the waken spoke through him, providing advice. Primarily functional, household suspension hooks were also used to contact spirits about more minor matters.   Size: 11 x 5 x 44 in.  #7013 

Lot: 1793 - (7) Collection of African Fang Masks

(7) Collection of African Fang Masks. The Fang people are spread over a vast area along the Atlantic coast line of equatorial Africa and inhabit parts of Cameroon, Equatorial Guinea, and Gabon. They were fine warriors and hunters and cultivated a reputation for cannibalism in order to repel attacks from outsiders. Fang wooden masks and idol carvings are on display at numerous museums around the world. Masks were worn for hunting during the initiation of new members, to honor ancestors and during the persecution of wrongdoers and sorcerers. During these ceremonies' masqueraders, clad in raffia costumes would materialize in the village after dark, illuminated by flickering torchlight. Condition: Wear commensurate with age. Size: 5 1/2 x 3 x 38 in. #8421

Lot: 1794 - Burkina Faso Plank Mask

Burkina Faso Plank Mask. These masks are known for their distinctive elongated shape and geometric designs. The Bobo and Bwa peoples of Burkina Faso use them in various ceremonies and rituals, often representing ancestral spirits or supernatural beings. The mask is typically carved from wood and painted with white kaolin clay and pigments. The geometric patterns and stylized features of the face are characteristic of Bobo-Bwa art. These masks are highly valued for their cultural significance and aesthetic appeal. Condition: Wear commensurate with age, including a crack along the moon section of the mask. Size: 10 x 7 x 79 in. #4685

Lot: 1795 - Large African Mbole Tribe Copper Currency Sculpture

Large African Mbole Tribe Copper Currency Sculpture. Large scale sculpture of the Mbole tribe's currency, resembling a copper anklet that would be worn to display wealth. Includes display base. The Mbole tribe is an ethnic group native to the central region of the Democratic Republic of Congo, particularly in the Orientale Province. Known for their rich cultural heritage, the Mbole people have a deep connection to their forest environment, which influences their art, spiritual beliefs, and daily life. They are renowned for their intricate wood carvings, particularly masks and figures used in religious and social rituals, reflecting their animist beliefs and reverence for ancestral spirits. The Mbole also have a strong tradition of communal living and a rich oral history, with storytelling playing a central role in preserving their customs and values. Their social structure is traditionally organized around clans, and they practice subsistence farming, with cassava and plantains being staple crops. Size: 10 1/2 x 10 1/2 x 9 in.  #5344

Lot: 1796 - Papa New Guinea Sepik River Shell Mask

Papa New Guinea Sepik River Shell Mask. This fascinating mask style originates in the Sepik River region of Papua New Guinea. The mask is crafted from wood and adorned with shells and feathers. The intricate carving and the use of natural materials showcase the rich cultural heritage of the region. Such masks often have spiritual significance and are used in rituals and ceremonies. Condition: Wear commensurate with age. Size Including Hair: 17 x 16 x 4 in.  Size Without Hair: 9 1/4 x 8 x 4 in.  #4636 

Lot: 1797 - African Bunda Wood Carved Tribal Mask

African Bunda Wood Carved Tribal Mask.  Size: 14 x 8 x 6 1/4 in.  #4662 .    The Bunda people (also known as the Ambuun or Mbuun) in the Democratic Republic of the Congo are an ethnic group that mostly live in the Idiofa Territory of Kwilu Province. They speak the Mpuono (Fuumu) language, an offshoot of the Teke languages dialect continuum that stretches across the Congolese plateau. The name and the territory they inhabit came from the Belgian colonial administration, who sought to both categorize and isolate the tribes during their conquest of the area, in order to prevent collaboration and potential uprisings. Today there are also some Bunda populations in Bulungu Territory and Gungu Territory, but the highest concentration is in the city of Idiofa, from which that Territory takes its name. Hunting and fishing are their primary activities, since the region is tropical with severely alternating dry and rainy seasons, making farming virtually impossible. For this reason also their tribal traditions and activities are less demonstrative and extravagant than some of their neighbors, although they still engage in a degree of animal worship and the making of ritual objects like masks. These masks are often more austere and in some ways more realistic than many of the lavish images of deities in other regions, partially because the masks sometimes serve protective purposes as well during hunting, and are made to be more sturdy and portable. Ethnographers have theorized that the mask serves a dual purpose during hunting, as a way to frighten or intimidate prey or enemies during combat, and guarding against attacks to the face. 

Lot: 1798 - African Tetela Wood Carved Tribal Mask

African Tetela Wood Carved Tribal Mask.  Size: 6 3/4 x 12 x 2 1/4 in.  #4663 .  The indigenous African people within the Kasai Basin in the Democratic Republic of the Congo are known as the Tetela (or Batetela in the plural). The name was first given to them by missionaries in the 18th Century, and was likely a corruption of the earlier “Watetera,” a term given for the people of the region by Arab slave traders who called the area “Utotera.” The tribe now mainly exists in an area of the eastern Congo which they call Maniema, and their oral history says that they are descendants of AnKutshu or AnKutshu-membele, sub-groups of the larger Mongo people who first entered the area between 1300 and 1500 AD. In the mid to late 19th Century they were under the rulership of the Kilembwe and chief Kasongo Lushie, who openly allowed Arab influences into the tribe. When the Belgians annexed the country they began to categorize and separate tribes by province, in an attempt to prevent collaboration and potential uprisings. This was relatively unsuccessful, as the Batetela initiated rebellions as early as 1893 up through 1908. The relentless cruelty of the Belgian government continued throughout the First and Second World Wars, and eventually a nationalist movement achieved independence in 1960, with a member of the Batetla tribe, Patrice Lumumba, made the first Prime Minister. His assassination by Belgian and CIA-backed Joseph Mobutu, as well as the restructuring of the country into the dictatorship of Zaire in the wake of the death of UN Secretary General Dag Hammarskjöld, led to a rift between the Tetela and the rest of the tribes in the Congo plateau, and they remain one of the most distant and isolated tribes in the heart of Africa into the 21st Century, despite multiple government reforms since Mobutu’s death. They survive by hunting-gathering, fishing, farming, and raising cassava, bananas, and kola nuts, and their tribal activities, which include masked dances and ritualistic body-modification, are rarely witnessed.

Lot: 1799 - African Ivory Coast Baule Carved Wood Ceremonial Horned Mask

African Ivory Coast Baule Carved Wood Ceremonial Horned Mask.  Size: 8 x 15 x 6 1/2 in.  #4693 .    The Baule or Baoulé are an Akan people and one of the largest ethnicities on the Ivory Coast of Africa. Traditionally farmers who live in the center of the region between the Bandama and N’Zi Rivers, they share many similarities with their neighbors, the Yaoure, Gur, and the Gagu, although the Gagu speak Mande and the Gur speak a dialect of the Senufo language. The Baule Kingdom was established around 1730 by Queen Abla Pokou, part of the schism with the Mande Kingdom that saw many Akan descendents migrate there from Ghana. She subjugated several of the indigenous tribes and united them as a kingdom that lasted until 1893, with the annexation of the Ivory Coast as a colony of France, making up a part of French West Africa. In 1960 the Ivory Coast regained their independence and became a subnational monarchy, with cooperation between the tribes key to their rejection of colonialism. The Baule became the dominant tribe in the region during the 1960s and 70s due to their control of the Ivorian cocoa boom, and also provided a significant quantity of rubber and coffee to the global market. However, since the 2000s several civil wars have broken out, which has made the country one of the most dangerous on the continent. The Baule people are still well known for their artistic talent, with refined and extremely diverse sculptures. The sculptures are mainly face masks and human figurines, but also include a great variety of work in gold, bronze, and ivory. There is significant cross-over between the works of the Baule and the Yaoure, whose adherence to animism has influenced the subject of most of the masks. Their ram-headed figures, called Bonu Amuen, are particularly common, and both tribes view their work as not only a physical creation but imbued with spiritual energies, often representing protective or ancestral beings. When used in dances, it is common for the dancers to be “possessed” by the spirits within their masks, and sometimes cause havoc or damage as a destructive outlet for the beings in order to prevent them causing more widespread mischief, such as crop failure, disease, or political trouble. Because these two tribes deem their works sacred, and often try to restrict who can view them (with women forbidden to see them at all), their pieces are considered highly collectible and rare.

Lot: 1800 - African Ivory Coast Seli Guro Carved Wood Tribal Mask

African Ivory Coast Seli Guro Carved Wood Tribal Mask.  Size: 8 1/2 x 18 in.  #4694 .  The Seli Guro are a tribe of people from the Gur (or Guro or Gouro) ethnic group in the Ivory Coast of Africa. The Guro migrated from the northern region to the central savannahs over several centuries, due to the collapse of the Mali Empire and the Mande invasion in the 18th Century. Although they share lineage with the Senufo-speaking Gur tribe, the Seli speak a language that is part of the Mande branch of the Niger-Congo family of African languages, reflecting the enormous and complicated web of tribal conquests and migrations of the continent over many thousands of years. Their art shares many similarities with the dominant tribes of the region, the Baule and Yaoure, with ceremonial masks bearing horns and supposedly providing magical powers to the wearer. However, their dances and masks are not kept as secretive as the other tribes, and often engage the whole village as a communal activity rather than a private (mostly fraternal) ritual. The almond-shaped eyes, high rounded foreheads, finely sculpted noses, and usually tight, small, rectangular mouths are the defining characteristics, as the rest of their components, like animal horns or fangs, are a commonality among many tribes of the region.

Lot: 1801 - African Gabon Punu Wood Carved Tribal Mask

African Gabon Punu Wood Carved Tribal Mask. Shares similarities with the Baule tribal marks, but recognizable by its high hair and forehead carving.  Size: 9 x 19 1/2 x 8 1/2 in.  #4696 .  The Punu or Bapunu people are a Bantu meta-ethnicity of the Central African nations of Gabon and the Republic of Congo. According to oral tradition, the Punu people originated from the ancient Jagas tribe of Kasaï and Zambezi who invaded the Kingdom of Kongo in roughly 1568. Modern ethnographic and DNA studies have discovered that the warrior group is comprised of extremely diverse origins from all over the continent, and migrated into Southern Gabon in the 18th Century. In modern times they are best known for their masks, particularly humanoid figures in either stark white face or deep black coloring with elaborate hairstyles and diamond patterns carved into the foreheads, often totalling nine to symbolize the Nine Punu Clans. Pre-colonial masks are virtually non-existent because tribal leaders order them to be destroyed rather than fall into the hands of their conquerors, but their design and meaning as symbols of good, evil, and neutral spirits has permeated throughout the region and even as far west as the Ivory Coast, influencing the mask styles of the Baule tribe. This extreme proliferation and influence is due in some part to the diaspora of the tribe, as the Punu are believed to have been the most commonly enslaved group on the Western coast of Africa, traded and sold frequently between the African kingdoms as well as with American and European buyers. Punu wood carvers are also distinct from many of the surrounding tribes in that their subjects are mostly female, reflecting an idealized view of femininity, fertility, and one of the more gender-equal and matrilineal caste systems on the continent. Although part of the larger Bantu ethnic group they have no modern country of their own, with their largest concentration making up only 12% of the population of Gabon, and this has made it more difficult to preserve their culture and influence while simultaneously contributing to their impact on most of the equatorial part of the Africa.

Lot: 1802 - African Ivory Coast Gouro Carved Wood Tribal Mask

African Ivory Coast Gouro Carved Wood Tribal Mask.  Size: 9 x 16 x 9 1/4 in.  #4695 .  The Gouro (or Gur or Guro) are a tribe in the Ivory Coast of Africa. Like many tribes of the region they originally came from the north and northwest, driven by the collapse of the Mali Empire and the Mande invasion in the 18th Century. Their split from the other Senufo people during this time put them at greater odds with the other Mande-speaking tribes of the region, and resulted in them being more isolated, although they did engage in the slave trade and borrowed elements of their neighbors caste systems and art styles. They were forcibly united with several other groups under the banner of the Baule queen Abla Pokou around 1730, although they frequently clashed with their neighboring tribes and eventually broke away when most of the area was annexed into French West Africa in 1893. More militant than their primarily agrarian neighbors, they won several battles and were able to maintain their freedom longer, eventually falling under French colonial rule by 1912. Due to their prolonged resistance they were often tortured and treated more harshly, as a warning to the other tribes. This resulted in some fractionation within the tribe, and their place in modern Ivory Coast society reflects this. Despite their troubles, their art is considered exemplary in the West African style, as they include aspects of the prevalent animism into their works but often create masks and figures of a much wider variety of animals, not just the most frequently worshipped creatures. Their defining characteristic is the eschewing of elaborate hair or hat designs atop the humanoid faces in place of extremely long or unique horn, ear, and even antennae protrusions, with especially respected carvers showcasing this talent to great lengths and extremes. In modern times, the Gouro have been the most successful in crafting these masks for tourists and markets outside of Africa, thanks in part to their significant diversity.

Lot: 1803 - African Gabon Punu Wood Carved Tribal Mask

African Gabon Punu Wood Carved Tribal Mask.  Size: 10 x 20 x 7 in.  #4697 .  The Punu or Bapunu people are a Bantu meta-ethnicity of the Central African nations of Gabon and the Republic of Congo. According to oral tradition, the Punu people originated from the ancient Jagas tribe of Kasaï and Zambezi who invaded the Kingdom of Kongo in roughly 1568. Modern ethnographic and DNA studies have discovered that the warrior group is comprised of extremely diverse origins from all over the continent, and migrated into Southern Gabon in the 18th Century. In modern times they are best known for their masks, particularly humanoid figures in either stark white face or deep black coloring with elaborate hairstyles and diamond patterns carved into the foreheads, often totalling nine to symbolize the Nine Punu Clans. Pre-colonial masks are virtually non-existent because tribal leaders order them to be destroyed rather than fall into the hands of their conquerors, but their design and meaning as symbols of good, evil, and neutral spirits has permeated throughout the region and even as far west as the Ivory Coast, influencing the mask styles of the Baule tribe. This extreme proliferation and influence is due in some part to the diaspora of the tribe, as the Punu are believed to have been the most commonly enslaved group on the Western coast of Africa, traded and sold frequently between the African kingdoms as well as with American and European buyers. Punu wood carvers are also distinct from many of the surrounding tribes in that their subjects are mostly female, reflecting an idealized view of femininity, fertility, and one of the more gender-equal and matrilineal caste systems on the continent. Although part of the larger Bantu ethnic group they have no modern country of their own, with their largest concentration making up only 12% of the population of Gabon, and this has made it more difficult to preserve their culture and influence while simultaneously contributing to their impact on most of the equatorial part of the Africa.

Lot: 1804 - African Petrified Wood Mask

African Petrified Wood Mask. Size: 9 1/4 x 3 1/4 x 1 in. #5119

Lot: 1805 - Group of 3 Papua New Guinea Beavis Village Masks

Group of 3 Papua New Guinea Beavis Village Masks. Signed by the explorer from 1857 on the back.  Beavis village is a remote village in Papua New Guinea that is spread out along a narrow mountain ridge with deep gorges on either side. The village is known for being largely undeveloped, with no electricity or running water. The main sign of modernity in the village is the abandoned playing cards scattered around, indicating that the villagers are addicted to card games.  Size: 7 1/2 x 12 1/2 in.  #7863 

Lot: 1806 - (3) Collection of African Hand Carved Wooden Masks

(3) Collection of African Hand Carved Wooden Masks. Size: 8 x 3 1/2 x 1 in. #5120

Lot: 1807 - 2 Vintage African Zulu Hand-Made Baskets, Isichumo and Iquthu

2 Vintage African Zulu Hand-Made Baskets, Isichumo and Iquthu. Most Zulu baskets are handcrafted in the northeast coastal and inland areas of KwaZulu-Natal in South Africa. Most of the people in this region are subsistence farmers living in traditional Kraals, areas bordered by acacia sticks that encircle traditional family dwellings. Zulu women weave the baskets from strips of Ilala palm

Lot: 1808 - Set of 2 African Ceremonial Figural Carved Serving Pieces

Set of 2 African Ceremonial Figural Carved Serving Pieces Size: 3 1/2 x 12 in.  #4828

Lot: 1809 - (2) African Carved Wood Folding Palaver Chairs

(2) African Carved Wood Folding Palaver Chairs. Pair of carved and lacquered wood chairs in two pieces each. Decorated with incise dimensional carving of scenes of daily life, with dense symbological and floral accents. Size:  14 1/2 x 33 x 36 1/2 in. #5229

Lot: 1810 - East African Head Rest

East African Head Rest. Authentic artifact from Eastern Africa. This type of headrest is traditionally used by the people of present day Southern Somalia, Eastern Kenya, and Ethiopia. Used traditionally by the Somali people while resting or sleeping. Serves a protective function, elevating the head off the ground and preventing any (possibly deadly) attacks from scorpions, snakes and insects. Purposefully made very unstable, preventing the user from falling into a deep sleep when minding a herd. Hand carved from one piece of local wood in a traditional manner with a geometric pattern. Wear commensurate with age.    Size: 8 x 4 x 7 1/2 in. #5408

Lot: 1811 - Antique African Silver Bracelet / Cuff

Antique African (low grade) silver bracelet might have silver touch or makers mark inner side Size: 4 1/4 x 2 7/8 in.  #4829 

Lot: 1812 - Rope for Asian Wind Chime

Rope for Asian Wind Chime.  Condition: Commensurate with age.  Size: 9 x 1 1/2 x 1 1/2 in.  #2322 .  This rope has two leather tassels, one below a single hoop and the other above a set of three rope coils. The three rope coils of equal length would be tied into the hook at the top of a small bell or other metal object, and then it would be hung, usually in windows or corners to ward off evil in most Asia countries and in Buddhist, Jain, and Shinto traditions. When the three items banged together, it would chime. 

Lot: 1813 - 20th Century Galla Peoples Baby Holder Ankerba Ethiopia

20th Century Galla Peoples Baby Holder Ankerba Ethiopia, 20th C. Leather, applied cowrie shells. Size: 19 x 55 in. #5427

Lot: 1814 - Collection of 11 African Jewelry Pieces

Collection of 11 African Jewelry Pieces. Including seashell headdress, carved necklaces, shell and bead necklaces. Please look closely as the details and craftmanship are significant.  Largest Size: 27 x 11 in.  #4635

Lot: 1815 - Vintage African Zulu Hand-Made Iquthu Basket

Vintage African Zulu Hand-Made Iquthu Basket. Most Zulu baskets are handcrafted in the northeast coastal and inland areas of KwaZulu-Natal in South Africa. Most of the people in this region are subsistence farmers living in traditional Kraals, areas bordered by acacia sticks that encircle traditional family dwellings. Zulu women weave the baskets from strips of Ilala palm fronds combined with mud,

Lot: 1816 - Fetish Carving

Fetish Carving. A small black stone fetish carving resembling a trunked animal. Size: 1 1/2 x 2 1/2 in. #4815

Lot: 1817 - Large Antique Ethiopian Afar Gile Dagger / Knife

Antique Ethiopian Afar Gile Dagger / Knife  Condition: Can slightly come out of holster.  Size: 20 3/4 x 2 5/8 in.  #7855 

Lot: 1818 - Papua New Guinea Middle Sepik Region Crocodile Clan Carved Wood Ancestral Totem

Papua New Guinea Middle Sepik Region Crocodile Clan Carved Wood Ancestral Totem. Ornate carvings throughout, paying homage to the reptile.  Condition: Small signs of damage to the wood.  Size: 40 1/2 x 3 x 3 in.  #7015 .  In the Middle Sepik River region of Papua New Guinea is a tribe whose cultural and ancestral identity has evolved around the freshwater crocodiles that live along the riverbed. Every two years families bring their boys to the central Yen Jen village for an initiation ritual that involves carving their flesh across the back, chest, legs, and arms in scale-like patterns using razor sharp bamboo. The open wounds are then treated with tree oil and clay and exposed to smoke from campfires so that keloid scar tissue is produced. It is unknown how old the scarification ritual is, but it reflects their connection to the land and the prehistoric beasts that their mythology says gave birth to their civilization many thousands of years ago. The spirit houses of the village are adorned with crocodile statues and totems made from wood, bamboo, and the real skins, teeth, and bones of the creatures. The works of the Crocodile Clan are particularly sought after by collectors, as they are one of the few groups in the Oceanic country that have almost completely avoided attempts by Christian, Islamic, and other religious forces to change their way of life, as well as modern political and military factions. This is partially due to the extreme remoteness of the particular area, which makes crafts taken from the region even more rare.

Lot: 1819 - Imperial Japanese Police Officer's Gunto Short Sword

Imperial Japanese Police Officer's Gunto Short Sword. Fish skin wire-wrapped grip, with scabbard. Opens by pressing a button located on the handle.  Size: 29 3/4 X 3 3/4 in.  #8634 .    The guntō was a ceremonial sword produced for the Imperial Japanese army and navy after the introduction of conscription in 1872. During the early Meiji Period the

Lot: 1820 - Large East African Danakil Gile Dagger Sword

Large East African Danakil Gile Dagger Sword. A classic form of Horn of Africa dagger called a gile, similar in form and derived from the Arabian peninsular jambiya, the gile can be found in Ethiopia, Eritrea, Djibouti, and Somalia, where is known by a variety of different terms including qolxad in Somali and jile in the Afar language. Most closely associated with the Afar or Danakil people, the gile is primarily considered a dagger with a distinctive pommel ending in a cap-like protrusion often of bronze, zinc or silver. The double-edged blade is shaped like an asymmetrical leaf with a distinctive flare at the sharp curve of the blade. The blades were most often made from salvaged metal, usually iron or steel from vehicle springs, though older examples would have forged trade blades. The sheaths were made of hardened leather or leather wrapped wood and in some cases would be decorated, such as this example. The sheath usually has a prolonged metal tip, sometimes embellished with metal decoration of varying quality with an enlarged knob on the end. The sheath is worn on a belt around the waist and attached to the belt with a circular or square buckle or more rarely sewn on. As with other daggers in this region, the dagger's handle often indicates the social status of the person who wears it. Wear and rust commensurate with age. Decorative point of the sheath is dented.   Size: 24 1/2 x 7 in. #5410

Lot: 1821 - Moroccan Koummya Dagger with Metal Sheath AS IS

Moroccan Koummya Dagger with Metal Sheath AS IS. Wooden handle. Some pieces are loose and there is severe rusting to the blade, metal ornamentation along the pommel is detached. Sheath is in good condition, but the design appears to have rubbed off in certain areas. AS IS.   The koummya is a curved dagger used by Muslim peoples of North Africa, particularly in Morocco. The curved blade shape does more than just deliver a slashing cut; it is shaped to resemble the tusk of a boar, an animal that responds aggressively when threatened and can protect against the Evil Eye. The distinctive 'peacock'-shaped pommel provides protection for the back of the hand and the two protrusions from the sheath were used to hang the weapon from its wearer's baldric (leather or silk sash).   Size: 14 1/4 x 2 3/4 in. #5411

Lot: 1822 - Gurkha Kukri with 2 Smaller Karda Knives and Leather Sheath

Gurkha Kukri with 2 Smaller Karda Knives and Leather Sheath. Engraved "Original Gurkha" along the side of the blade and "India" and "Romo" at the base of the blade. Kukri's are often paired with a Karda and a chakmak. Karda are smaller knives useful for tasks where the Kukri is too large. A chakmak is a blunt piece of steel used to sharpen both blades and start fires with flint. This kukri is paired with two karda knives. All three knives fit in the leather sheath. Wear commensurate with age, damage to the lion  pommel, notching along the top (dull edge) of the blade.   Gurkha soldiers are famed for carrying a kukri, the national weapon of Nepal. This machete-like blade has been used by the Gurkhas for centuries, with some believing it dates back to the 13th century. Kukris are forged from spring steel with a notch at the end of the blade, designed so that blood and sap drip off the knife instead of seeping onto the hardwood handle. The knives, measuring 16 to 18 inches, are curved with a hard, tempered edge and a softer spine. When Britain initially encountered Gurkhas in the mountains of Nepal in 1814, the Gurkhas fought so fiercely and admirably with their kukris that they were recruited into the British Army. It was the start of a unique bond that has lasted over 200 years. Though technology has advanced through the centuries, Gurkhas have carried kukris into every major conflict where the British Army has been deployed. To this day, Gurkha soldiers are issued with two kukris – a ceremonial one for parades, ceremonies, and display, and the second kukri for training and general use. Though the kukri is best known as a ruthless weapon for combat, the knife has several other uses. Gurkhas can use their kukris to chop or carve wood, cut meat and vegetables, dig, and hunt wild animals. The famed knife also has ceremonial uses in weddings and other formal events.   Size: 4 x 13 in.  #4613 

Lot: 1823 - Homemade Knife and Sheath with Norwegian Brusletto Blade

Homemade Knife and Sheath with Norwegian Brusletto Blade. Handle is made from horn (likely deer), and the sheath is leather with hand-made forest and other natural designs on it. The blade indicates it came from Brusletto during their 100 year anniversary (1996).  Size: 2 x 8 1/4 in.  #4614 .  In 1896 Rognald Brusletto established the knife and scythe forging company in Geilo, Norway. At the time it was considered an innovative company that adopted new technology, including hydro-powered forges and a uniquely angled turning house. By 1912 their new techniques with a scythe gave them an edge over nearby competitors, effectively making them the only manufacturer in the region. However, in 1917 a dam was breached and a massive flood destroyed the factory. Over the next two years the company rebuilt an electric workshop in Lauvrudfossen, and renamed themselves AS R. Brusletto & Sønner. In 1930 Brusletto switched the company to salt hardening and casting in electric ovens instead of coal-fired kilns, a method they always used afterwards. Brusletto died in 1935 and his sons continued the company, changing the focus to hunting and outdoor knives. They weathered World War II and remained one of the most popular brands in northern Europe, crafting their first Olympic knife in 1952, introducing the well-balanced Brusletto Hunter knife in 1961, and a newly improved Olympic knife for the memorable Winter Olympics in Lillehammer in 1994. The 21st Century brought new challenges in a constantly expanding global market, and the company was acquired by the Dalema Group in 2018. Today they continue to manufacture knives as well as axes and sharpening tools at their Geilo factory, celebrating their 125th anniversary in 2021 despite the difficulties of the COVID-19 pandemic, and pioneered offering make-your-own knife, sheath, and ferrules kits to allow the ultimate customization in a weapon while keeping their high quality blades in demand.

Lot: 1824 - Indian Travelling Carving Set with Wooden Sheath

Indian Travelling Carving Set with Wooden Sheath. Carved wooden handles.  Size: 1 1/2 x 3 x 18 in.  #5309

Lot: 1825 - 13 Pocket Knives & 2 Cases

Most have wooden or bone like handles with various patterns and colors. Some have additional tools like corkscrews or bottle openers.  2 Rocktrail cases.  Longest: 5 1/2 x 1/2 in.  #7835

Lot: 1826 - 14 Pocket Knives

Most of the knives have wooden or bone-like handles with various patterns and colors. Some knives have additional tools like corkscrews or bottle openers.  Longest: 5 1/2 x 1 in.  #7836 

Lot: 1827 - Lladro Porcelain Dancer Figure

Lladro Porcelain Dancer Figure. Marked on underside. Comes with original box.  Female dancing in a long dress with hair up on a bun.  Box Size: 13 x 10 1/2 x 6 in.  #5491 

Lot: 1828 - Group of 2 English Spode & Wedgwood Figural Pitchers

Group of 2 English Spode & Wedgwood Figural Pitchers. Largest: 5 1/2 x 4 1/2 x 7 in.  #8464 

Lot: 1829 - Antique European Porcelain Reticulated Signed Compote Lillie & Ink Well

Antique European Porcelain Reticulated Signed Compote Lillie & Ink Well. Likely Sampson Factory.  Hand Painted. Nicely decorated.  Largest Size: 10 1/2 x 8 3/8 x 2 in.  #7770

Lot: 1830 - 3 Vintage Hand-Painted English Staffordshire Moorcroft Florian Ware Vases

3 Vintage Hand-Painted English Staffordshire Moorcroft Florian Ware Vases. All different shapes and sizes, but beautiful floral patterns appear on each. "Made in England" is incised on the bottom of each, which first appeared in 1918.  Tallest: 3 1/2 x 3 1/2 x 5 1/4 in.  #8477 .  In 1897 English Staffordshire pottery manufacturer James Macintyre & Co. Ltd hired

Lot: 1831 - (3) Vases

(3) Vases.  Dark blue vase with off white decorations. Tall slender vase with a narrow neck and slightly flared rim. Displayed on a carved wooden stand.  Teal vase with white flowers.  Light green bowl with three tripod legs.  Size: 2 1/2 x 2 1/2 x 5 3/8 in. #5213

Lot: 1832 - French Classical Profile Vase

French Classical Profile Vase. Impressed initial on bottom.  Bulbous rounded body that tapers towards a narrow neck and a flared rim. Slightly flared base. Decorated with a central motif of a circular medallion containing a profile portrait of a person wearing a helmet. Portrait in white with a reddish brown background and gold outline. Rest of the vase is decorated with stylized scrollwork, floral motifs in white and gold.  Size: 6 1/2 x 6 1/2 x 10 1/2 in. #8556

Lot: 1833 - Vintage German Wettin Porcelain Vase with Painted Portrait

Vintage German Wettin Porcelain Vase with Painted Portrait. Green paint throughout with white and gold borders, ornate curving handles on top with a bulbed top on the neck, and the portrait of a woman in a Roman robe in the middle of one side surrounded by elaborate gold patterns. Marked "Royal Wettin Germany" on base.  Size: 5 x 5 x 6 in.  #8469 .  For 800 years the Wettin Dynasty ruled Saxony from a seat of power in Dresden, still one of the most visited cities in Germany. One of their most important leaders was known as Augustus II the Strong (1670-1733), so called for his impressive physical prowess and his desire to strengthen the economic, cultural, and living standards of his people. He ordered the founding of a porcelain workshop in the town of Meissen, where after nearly a decade of experiments by Ehrenfried Walther von Tschirnhaus the first European hard-paste porcelain was created in 1710. It attracted artisans and artists from around Europe, and although it was eventually eclipsed by other manufacturing communities around the continent it remains one of the most famous in the world for its groundbreaking designs and techniques. Eventually there were several factories in the area competing to make the finest works, but in 1918 the House of Wettin lost control of Saxony and the area fell into decline. During the tumultuous 20th Century most of the factories were destroyed or faced economic collapse, until only the Meissen factory was still functioning, bringing in critical income during the difficult times under the Soviet Union. In 1975 the Higher Munich State Court decided to favor the newly named Saxon Porcelain Manufactory as the sole user of the term “Dresden Porcelain,” but in 1990 the German Reunification led to the company being restored to the State of Saxony and it has continued to produce high quality goods ever since.

Lot: 1834 - Large Richard Ginori Majolica Porcelain Amphora Vase

Antique footed porcelain amphora vase by Richard-Ginori coated in a majolica glaze and serpentine handles attached to vase body with satyr faces. Depicting imagery of female winged figure amid flowers, vines, and curtains. Deep blue field with silver decoration. Richard Ginori, originally known as the Manifattura di Doccia, was founded in 1735 by the Marquis Carlo Andrea Ginori near Florence, Italy. It became the first Italian manufacturer of hard porcelain and has been a symbol of Italian craftsmanship for nearly 300 years. In 1896, it merged with Augusto Richard's Milanese ceramics factory, forming Richard Ginori. Under the artistic direction of Gio Ponti in the 1920s, the brand gained international acclaim, including at the 1925 International Exhibition of Modern Decorative and Industrial Arts in Paris. Known for its elegant tableware and collaborations with renowned designers, the company remains an icon of Italian luxury.. Size: 8 x 7 x 14 in. #5212

Lot: 1835 - Antique European Hammered Gilt Bronze Center Bowl

Antique European Hammered Gilt Bronze Center Bowl.  Size: 5 1/4 x 4 1/2 in.  #4803 .  Bronze is an alloy consisting primarily of copper, commonly with about 12% tin and often with the addition of other metals including aluminum, manganese, nickel, or zinc. Sometimes regional variants used non-metals, such as phosphorus, or metalloids, such as arsenic or silicon. These

Lot: 1836 - Creussen Ceramic Apostle Jug Beer Mug Seyffarth Creussen Planet Jug

Creussen Ceramic Apostle Jug Beer Mug Seyffarth Creussen Planet Jug. Comes with authenticity, receipt and story. Size: 5 x 6 x 8 in. #8630

Lot: 1837 - Italian Ceramic Water Pitcher With Wolf Dog And Grape Decor

Italian Ceramic Water Pitcher With Wolf Dog And Grape Decor. Made in Italy stamped and written into the clay.  Condition: Small chips on base.  Size: 8 x 6 1/2 x 10 in.  #7624

Lot: 1838 - Italian Ceramic Folk Art Pitcher

Italian Ceramic Folk Art Pitcher.  Bulbous body, narrow neck, flaring rim, and simple handle. Simple landscape scene with an animal on the other side. Does not appear to be signed.  Condition: Commensurate with age.  Size: 6 1/4 x 7 x 11 1/2 in. #4767

Lot: 1839 - European Hand Painted Porcelain Lidded Vase - Drilled

European Hand Painted Porcelain Lidded Vase - Drilled as a Lamp Size: 9 x 8 1/2 x 21 in.  #7702 

Lot: 1840 - Porcelain Tureen and 2 Ladles

French Foliate Decorated Porcelain Soup Tureen. 20th Century. The underside with a factory mark, France. Together with an English silver soup ladle and a plated sauce ladle. (3 pieces) Condition: Small chip on rim of lid.  Size: 12 x 6 1/2 x 6 1/2 in.  #7742

Lot: 1841 - Antique Canadian W. E. Welding Works Stoneware Crock

Antique Canadian W. E. Welding Works Stoneware Crock. Dark interior, blue-and-white floral motif on bottom, with the words "W. E. Welding Brantford, Ont." and a large "4" incised on the top between the two handles.  Condition: Commensurate with age and use.  Size: 11 x 11 x 12 in.  #7018 .  In 1849 a businessman named Justus Morton opened Morton & Company in

Lot: 1842 - 18th Century Saint Cloud Trembleuse Cup, Saucer, Chelsea Fork, and Knife

Saint Cloud Porcelain Blue and White Cup and Trembleuse Saint Cloud Porcelain Blue and White Cup and Trembleuse Saucer (Tasse Trembleuse et Soucoupe) Circa 1730-40, blue + SC/T marks. Rare M Marking. A Chelsea Knife and Fork, circa 1750-55 Of small size, the hafts are moulded with flowering prunus branches, in the manner of the blanc de chine porcelains of Dehua. Inspired by French porcelain, prunus moulding of this type tends to date to the Raised Anchor period at Chelsea. The fork has three tines on a steel baluster stem. The curved steel blade is stamped with indistinct cutler’s marks. Silver ferrules, one of which is scalloped. Largest Size: 11 x 1 in.  #7731 

Lot: 1843 - 20th Century Limited Edition Wedgwood Jasperware Bowl

Wedgwood Limited Edition Jasperware Diced Bowl. 20th Century. The underside marked, also with presentation inscription, numbered 425 of 500. Circular, with an upper border of twisted-ribbon and leaves, the body with an alternating pattern of squares.   Size: 7 3/4 x 3 1/2 in.  #7880 

Lot: 1844 - Cauldon English Porcelain Oval Vegetable Serving Bowl with Underplate

Cauldon English Porcelain Oval Vegetable Serving Bowl with Underplate. Marked on base, both with Cauldon label and with Burley & Co. Chicago label.  Tray Size: 8 X 6 in.  Bowl Size: 8 X 4 X 3 1/2 in.  #5336 .  In 1802 the china and earthenware manufacturer Cauldon Place Works was founded by Job Ridgway in Stoke-on-Trent, England, after dissolving a partnership with his brother George at the nearby Bell Works and taking over the company (previously named Cauldon, Brown-Westhead, Moore & Co.). In 1920 the company was placed in receivership following difficulties during World War I and was taken over by Harold Taylor Robinson, who renamed it Cauldon Potteries Limited. J.A. Robinson & Sons was merged into the company after the acquisition of Coalport China Limited in 1924. Shelton, Hanley became a major source of chinaware going forward, although when the Great Depression happened the company went out of business and was bought by Harrison & Son (Hanley) Limited. In 1935 the Harrisons consolidated their pottery interests at their George Jones & Sons Limited Works in Stoke, and the three continued to operate as a group while maintaining separate identities to capitalize on their original popularity. In 1958 the fine china operations of the group (primarily Coalport but parts of the Cauldon Potteries Ltd and George Jones businesses) were sold to E. Brain & Co. Ltd. By 1962 the remaining earthenware business trading as Cauldon Potteries Ltd was in liquidation and the name was acquired by Pountney & Co. Ltd of Bristol, which continues to use their name to this day. The name “Royal Cauldon” found on pieces between 1930 and 1962 is a fascinating insight into the company’s history, alluding to Job’s son John Ridgway’s appointment as “Royal Potter” to Queen Victoria after the Great Exhibition of 1851. However, since there was no Cauldon Factory in 1774, the use of this date on pieces from the 1930s onward indicates how fond English potters were of working back to find the earliest possible date they could incorporate on their stamps, to lend credibility and superiority to their work in a crowded market. It likely refers to Job’s father, Ralph Ridgway, who was a potter before him and possibly began working in 1774, even though Job was not even connected to the company or facility that created this stamp until 1802. 

Lot: 1845 - Cauldon English Porcelain Covered Oval Tureen

Cauldon English Porcelain Covered Oval Tureen. Marked on underside, as well as retailer mark from Burley & Co. Chicago.  Size: 11 X 8 1/2 X 5 1/2 in.  #5335 .  In 1802 the china and earthenware manufacturer Cauldon Place Works was founded by Job Ridgway in Stoke-on-Trent, England, after dissolving a partnership with his brother George at the nearby Bell Works and taking over the company (previously named Cauldon, Brown-Westhead, Moore & Co.). In 1920 the company was placed in receivership following difficulties during World War I and was taken over by Harold Taylor Robinson, who renamed it Cauldon Potteries Limited. J.A. Robinson & Sons was merged into the company after the acquisition of Coalport China Limited in 1924. Shelton, Hanley became a major source of chinaware going forward, although when the Great Depression happened the company went out of business and was bought by Harrison & Son (Hanley) Limited. In 1935 the Harrisons consolidated their pottery interests at their George Jones & Sons Limited Works in Stoke, and the three continued to operate as a group while maintaining separate identities to capitalize on their original popularity. In 1958 the fine china operations of the group (primarily Coalport but parts of the Cauldon Potteries Ltd and George Jones businesses) were sold to E. Brain & Co. Ltd. By 1962 the remaining earthenware business trading as Cauldon Potteries Ltd was in liquidation and the name was acquired by Pountney & Co. Ltd of Bristol, which continues to use their name to this day. The name “Royal Cauldon” found on pieces between 1930 and 1962 is a fascinating insight into the company’s history, alluding to Job’s son John Ridgway’s appointment as “Royal Potter” to Queen Victoria after the Great Exhibition of 1851. However, since there was no Cauldon Factory in 1774, the use of this date on pieces from the 1930s onward indicates how fond English potters were of working back to find the earliest possible date they could incorporate on their stamps, to lend credibility and superiority to their work in a crowded market. It likely refers to Job’s father, Ralph Ridgway, who was a potter before him and possibly began working in 1774, even though Job was not even connected to the company or facility that created this stamp until 1802. 

Lot: 1846 - Tiffany & Co. Hand-Painted Porcelain Tureen and Underplate

Tiffany & Co. Hand-Painted Porcelain Tureen and Underplate. Matched tureen and underplate with hand-painted floral design. Signed by artist in gold on base. Tiffany & Co. (colloquially known as Tiffany’s) is an American luxury jewelry and specialty design house known particularly for its sterling silver and diamond jewelry along with countless other goods. The company was founded in 1837 by Charles Lewis Tiffany and became world-famous in the early 20th century under the artistic direction of his son Louis Comfort Tiffany. In its earliest days it adopted a more European style of business by accepting cash payment only instead of credit and refusing to allow haggling on prices. Their “Blue Book” mail order catalog was first introduced in 1845, and they supplied swords, flags, and surgical implements to the Union Army during the Civil War. In 1867 they became the first American company to be awarded for excellence in silverware at the Exposition Universelle in Paris. In 1879 they purchased one of the world’s largest diamonds, known afterwards as the Tiffany Diamond, which has only ever been worn by four people. A logo they created for a police medal of honor was adopted by the Yankees baseball team in 1909, and throughout the 20th Century countless celebrities from Andy Warhol to Lady Bird Johnson collaborated with them on unique pieces. Their blue gift boxes are almost as prized as the items they contain, and led to the opening of the Blue Box Cafe on the sixth floor of their flagship store in 2017. As of 2023, Tiffany operated over 300 stores globally, and is now part of the multinational holding company LVMH Moet Hennessy Louis Vuitton, still operating out of New York City as an independent subsidiary. Tureen Size: 11 1/2 x 9 1/2 x 10 in.  #4560

Lot: 1847 - Tureen Embellished with Seashell Imagery and Devil Head Handles

Tureen Embellished with Seashell Imagery and Devil Head Handles. The words "finial restored" and "bat print" are written on stickers on the underside of the lid. Signs of repair. Commensurate with age.   Size: 10 1/2 x 10 1/2 x 10 1/2 in. #8555

Lot: 1848 - Favolina Poland Soup Tureen, Ladle, And Underplate

Favolina Poland Soup Tureen, Ladle, And Underplate. Marked on underside.  Oval body with two handles, fitted lid with a knob. Decorated with gold trim and colorful floral arrangements. Matching underplate. While porcelain ladle.  Favolina is a brand associated with the Porcelana Karolina factory in Poland. This factory has a long and complex history, with various name changes and affiliations over the years. It's one of the most significant porcelain producers in Poland. Plate Size: 12 x 12 in.  Tureen Size: 12 1/2 x 9 x 7 in.  #3 #8497 

Lot: 1849 - Signed French Faience Polychrome Plate of a Renaissance Era Halberdier

Signed French Faience Polychrome Plate of a Renaissance Era Halberdier The soldier's appearance strongly suggests a 16th-century European origin. More specifically, several details point towards either Swiss or German (especially Landsknecht) associations: Swiss mercenaries were highly sought after during this period and were known for their distinctive clothing and use of the halberd. Puffy sleeves and slashed doublet: This style of clothing was popular during the Renaissance period, particularly in the 16th century. Pluderhose (puffy breeches): These were also a common fashion in 16th-century Europe. Beret with feathers: This type of headwear was fashionable among soldiers and civilians alike during the Renaissance. Size (Diameter): 10 1/4 in.  #4810

Lot: 1850 - Sevres Porcelain Bowl

Sevres Portrait Decorated Porcelain Small Bowl. French, 19th Century. The underside with interlaced L's, an indistinct date letter beneath three dots. The center recess with a portrait of a princess or Queen, on a blue celeste and rose pompadour ground, gilt highlights.  Size: 5 3/8 x 5 3/8 x 1 1/4 in.  #7744

Lot: 1851 - Royal Worcester Witley Court Chamberlain View Limited Edition Bone China Plate

Royal Worcester Witley Court Chamberlain View Limited Edition Bone China Plate. In original box and bag with certificate numbering it 139 out of 500. Marked on base.  Size: 12 x 12 x 2 in.  #5492 .    In 1751 two British apothecaries named John Wall and William Davis bought out a Bristol porcelain company that was using steatite and soapstone as their raw

Lot: 1852 - Royal Worcester River Scene Chamberlain View Limited Edition Bone China Plate

Royal Worcester River Scene Chamberlain View Limited Edition Bone China Plate. In original box and bag with certificate numbering it 139 out of 500. Marked on base.  Box Size: 12 x 12 x 2 in.  #5493 .  In 1751 two British apothecaries named John Wall and William Davis bought out a Bristol porcelain company that was using steatite and soapstone as their raw material

Lot: 1853 - Carved Amethyst Display Bowl on Stand

Carved Amethyst Display Bowl on Stand. Carved amethyst bowl with relief of birds among branches. Includes fitted display stand. Size: 2 x 10 1/4 in.  #5088

Lot: 1854 - (2) Spanish Arte Servi Bronze Lace and Porcelain Decorative Plates

(2) Spanish Arte Servi Bronze Lace and Porcelain Decorative Plates. Pair of decorative plates made of bronze 'lace' in floral patterns and scrollwork, with painted porcelain plates around rim and dominating center. Impressed Arte Servi shield logo. Purchased in Madrid. Diameter: 12 1/2 in. #4690 #9

Lot: 1855 - Pair of Malachite Glass Ring Dishes

Pair of Malachite Glass Ring Dishes . High style. Early 20th century.  Size: 2 1/4 x 2 1/4 in.  #4787 .  Malachite is a copper carbonate hydroxide mineral, an opaque, green-banded monoclinic crystal whose name derives from a Latin word meaning “mallow-green stone.” The earliest malachite mines that have been identified were found near the Isthmus of Suez dating to around 4000 BC, although it was likely being found earlier than that, as it commonly appeared near or entwined with copper deposits. Its stunning green color made it as popular as turquoise and jade throughout the ancient world for jewelry, and it was ground down and used as a pigment in green paints from antiquity up until the beginning of the 19th Century. The synthetic color verditer, along with slightly similar greens, have replaced this usage entirely. Malachite was commonly used in furniture and large decorations as well, with large collections displaying its diverse use in the Malachite Room of the Hermitage in St. Petersburg, Russia, as well as the Malachite Room of the Castillo de Chapultepec in Mexico City. In the time of Tsar Nicolas I decorative pieces with malachite were among the most popular diplomatic gifts. It was used in China as far back as the Eastern Zhou period, and was often held as a talisman by Spanish and French peasants as late as the 17th Century, who believed it helped to improve sleep and ward off lightning and contagious diseases.

Lot: 1856 - Three Graduated English Cauldon Porcelain Serving Platters

Three Graduated English Cauldon Porcelain Serving Platters. Marked on undersides, as well as Burney & Co. Chicago Retailers Mark.  Size: (largest) 18 1/2 X 15 X 2 in.  #5337 .  In 1802 the china and earthenware manufacturer Cauldon Place Works was founded by Job Ridgway in Stoke-on-Trent, England, after dissolving a partnership with his brother George at the nearby Bell Works and taking over the company (previously named Cauldon, Brown-Westhead, Moore & Co.). In 1920 the company was placed in receivership following difficulties during World War I and was taken over by Harold Taylor Robinson, who renamed it Cauldon Potteries Limited. J.A. Robinson & Sons was merged into the company after the acquisition of Coalport China Limited in 1924. Shelton, Hanley became a major source of chinaware going forward, although when the Great Depression happened the company went out of business and was bought by Harrison & Son (Hanley) Limited. In 1935 the Harrisons consolidated their pottery interests at their George Jones & Sons Limited Works in Stoke, and the three continued to operate as a group while maintaining separate identities to capitalize on their original popularity. In 1958 the fine china operations of the group (primarily Coalport but parts of the Cauldon Potteries Ltd and George Jones businesses) were sold to E. Brain & Co. Ltd. By 1962 the remaining earthenware business trading as Cauldon Potteries Ltd was in liquidation and the name was acquired by Pountney & Co. Ltd of Bristol, which continues to use their name to this day. The name “Royal Cauldon” found on pieces between 1930 and 1962 is a fascinating insight into the company’s history, alluding to Job’s son John Ridgway’s appointment as “Royal Potter” to Queen Victoria after the Great Exhibition of 1851. However, since there was no Cauldon Factory in 1774, the use of this date on pieces from the 1930s onward indicates how fond English potters were of working back to find the earliest possible date they could incorporate on their stamps, to lend credibility and superiority to their work in a crowded market. It likely refers to Job’s father, Ralph Ridgway, who was a potter before him and possibly began working in 1774, even though Job was not even connected to the company or facility that created this stamp until 1802. 

Lot: 1857 - (3) Continental Porcelain Pieces

Three Continental Porcelain Table Items. Late 19th/early 20th Century. Each marked, comprising two Vienna pieces and one Dresden item.  Largest Size: 5 1/2 x 2 3/8 in.  #7725 

Lot: 1858 - 2 Bernardaud Limoges French Louvre Pattern Pieces and a BIA Cordon Bleu Crock

2 Bernardaud Limoges French Louvre Pattern Pieces and a BIA Cordon Bleu Crock. All marked on bases; BIA made in China.  Largest: 11 x 11 x 4 3/4 in.  #235 #4350 .    Bernardaud is a French family-run business that manufactures Limoges porcelain. In the 1890s Léonard Bernardaud (1856-1923) was introduced to Rémi Delinières, who ran a porcelain

Lot: 1859 - (4) Lorenz Hutschenreuther Germany Porcelain Bowls

(4) Lorenz Hutschenreuther Germany Porcelain Bowls. Marked on underside.  Simple, elegant and minimalist bowls. Silver edge. The bowls have gentle sloping sides.  Size: 1 1/4 x 5 1/2 in.  Hutschenreuther is a very reputable German porcelain manufacturer with a long and rich history. They are known for producing high-quality porcelain tableware, figurines, and decorative items. #5215

Lot: 1860 - 12 Pieces of Cauldon English Fine China

12 Pieces of Cauldon English Fine China. Marked on bases.  Bowl Size: 8 3/4 in.  #4390 .    In 1802 the china and earthenware manufacturer Cauldon Place Works was founded by Job Ridgway in Stoke-on-Trent, England, after dissolving a partnership with his brother George at the nearby Bell Works and taking over the company (previously named Cauldon, Brown-Westhead, Moore & Co.). In 1920 the company was placed in receivership following difficulties during World War I and was taken over by Harold Taylor Robinson, who renamed it Cauldon Potteries Limited. J.A. Robinson & Sons was merged into the company after the acquisition of Coalport China Limited in 1924. Shelton, Hanley became a major source of chinaware going forward, although when the Great Depression happened the company went out of business and was bought by Harrison & Son (Hanley) Limited. In 1935 the Harrisons consolidated their pottery interests at their George Jones & Sons Limited Works in Stoke, and the three continued to operate as a group while maintaining separate identities to capitalize on their original popularity. In 1958 the fine china operations of the group (primarily Coalport but parts of the Cauldon Potteries Ltd and George Jones businesses) were sold to E. Brain & Co. Ltd. By 1962 the remaining earthenware business trading as Cauldon Potteries Ltd was in liquidation and the name was acquired by Pountney & Co. Ltd of Bristol, which continues to use their name to this day. The name “Royal Cauldon” found on pieces between 1930 and 1962 is a fascinating insight into the company’s history, alluding to Job’s son John Ridgway’s appointment as “Royal Potter” to Queen Victoria after the Great Exhibition of 1851. However, since there was no Cauldon Factory in 1774, the use of this date on pieces from the 1930s onward indicates how fond English potters were of working back to find the earliest possible date they could incorporate on their stamps, to lend credibility and superiority to their work in a crowded market. It likely refers to Job’s father, Ralph Ridgway, who was a potter before him and possibly began working in 1774, even though Job was not even connected to the company or facility that created this stamp until 1802. 

Lot: 1861 - 3 German Porcelain Pieces

3 German Porcelain Pieces. Each piece has similar floral markings, as well as the use of hollow-carving technique. Markings on the bottom of each are from different manufacturers.  Largest: 12 3/8 x 8 1/2 x 2 in.  #8472 .   

Lot: 1862 - Antique St Louis Crystal Gold Encrusted Saucers Set

Antique St Louis Crystal Gold Encrusted Saucers Set. Floral Pattern.  6 saucers and 4 cups Size: 4 5/8 x 4 5/8 in.  #7824   

Lot: 1863 - (3) Collection of Limited Edition Villeroy & Boch Wall Plates Including "Parnassus", "Muttertag", and "Fruhlingsreigen"

(3) Collection of Limited Edition Villeroy & Boch Wall Plates Including "Parnassus", "Muttertag", and "Fruhlingsreigen". Porcelain stoneware. Blue matte plate with white relief layer in the phanolith technique, which brings together the characteristics of the Jasperware from Wedgewood and the Pâte sur Pâte technique. More information is included on the reverse of each piece. The "Parnassus" Plate is after Raphael Sanzio, depicting music-making Apollo with the muses on Parnassus, the mountain and home of the muses in mythology. Signed in lower right corner. The "Muttertag" (Mother's Day) plate depicts a mother and child. Signed and dated '79 in lower left. The "Fruhlingsreigen" (Spring Dance) plate depicts a mother and two girls in a dance. Signed and dated '78 in the lower right.    Villeroy & Boch is a German manufacturer of ceramics, with the company headquarters located in Mettlach. The company boasts a rich history dating back to 1748. It began with François Boch establishing a pottery workshop in Lorraine, France. In 1836, Jean-François Boch's company merged with Nicolas Villeroy's, creating Villeroy & Boch. This merger marked the beginning of a global enterprise. Over the centuries, Villeroy & Boch has become synonymous with high-quality tableware, sanitary ware, and tiles, blending traditional craftsmanship with innovative design. Beyond their renowned tableware and sanitary ware, Villeroy & Boch has a rich history of artistic production. From finely detailed porcelain figurines and decorative plates featuring elaborate scenes to collaborations with artists like Bjørn Wiinblad and Gérard Laplau, their output showcases a blend of craftsmanship and artistic vision.   Largest: 12 x 21 in.  Smaller Ones: 8 x 5 1/2 in.  #5319

Lot: 1864 - Set of 8 Vintage Lenox Porcelain Dinner Plates

Set of 8 Vintage Lenox Porcelain Dinner Plates. Highly intricate cobalt blue and gold pattern around the edge with a blank center. Identification code "1830)Z.92.B.Q." inscribed along base edges. Marked in middle of bases "Silver-Lenox Made Expressly for Ovington Bros. New York" with a wreath around a cursive "L." This logo indicates the piece was made between 1906 and 1930, as the words

Lot: 1865 - (4) Bjorn Wiinblad (1918-2006) Danish, Black and White Porcelain Pieces

(4) Bjorn Wiinblad (1918-2006) Danish, Black and White Porcelain Pieces. Marked on underside. Signed along bottom.  Wiinblad's work is characterized by stylized, often feminine figures with large eyes, flowing hair, and ornate clothing. The figures are often surrounded by floral patterns, swirling lines, and other decorative elements.  Two cylindrical vases that are tall and narrow, providing a vertical canvas for the decorative designs. Two bowls, one is a smaller bowl, and the other is a larger, shallow dish or bowl. The designs flow around the interior surfaces of the bowls. Condition: Small chip on bottom of one vase.  Tallest: 4 3/4 x 3 1/2 x 8 1/4 in.  Bjorn Wiinblad (1918-2006) was a renowned Danish artist known for his whimsical and highly decorative style. His work often features stylized figures, floral motifs, and intricate details.  Rosenthal Studio-Line is a German porcelain manufacturer known for collaborating with prominent artists and designers. Wiinblad designed many pieces for Rosenthal, and these are classic examples of that collaboration. #4552

Lot: 1866 - Lot of 6 Vintage Bavarian Porcelain Plates

Lot of 6 Vintage Bavarian Porcelain Plates. Three have a green color on their edge, and the other three are pink, with otherwise identical central and cornered floral patterns.  Size: (each) 8 x 8 in.  #5423 .    Cico was an importer of German pottery, particularly from two companies in Bavaria, operating between 1949 and 1955. The mark was large enough to cover the original manufacturer, but the patterns can help distinguish which company provided them with the wares, although it can be difficult at times. The two producers were Christoph Schumann of Arzberg and Heinrich & Co. located in Selb. This particular pattern, with the large floral center and the criss-cross sections along the edges, comes from Porzellanfabrik Schumann, which was founded in 1905 by Christoph Shumann and eventually closed down in 1986.

Lot: 1867 - 4 Wedgwood Style Green Jasperware Ceramic Knobs

4 Wedgwood Style Green Jasperware Ceramic Knobs. All matching image of two classical female figures cavorting hand-in-hand with two butterflies flitting above them. Removable screw backings.  Size: 3 1/8 x 3 1/8 in.  #5189 .  Wedgwood is an English fine china, porcelain and luxury accessories manufacturer that was founded on May 1st, 1759 by the potter and entrepreneur Josiah Wedgwood (1730-1795) and was first incorporated in 1895 as Josiah Wedgwood and Sons Ltd. It rapidly became one of the largest manufacturers of Staffordshire pottery, exporting as far as Russia and the Americas. It was especially successful at producing fine earthenware and stoneware that were accepted as equivalent in quality to porcelain (which Wedgwood only made later) but were considerably cheaper. Wedgwood is mostly associated with the “dry-bodied” (unglazed) stoneware called Jasperware in contrasting colors, and in particular the “Wedgwood blue” and white color palette. Jasperware has been made continuously by Wedgwood since 1775, although in the 18th Century their table china called Creamware represented most of their sales. The company flourished in the 19th Century, but despite remaining a family business much work began to be contracted to other countries as the pottery business took successive hits from World Wars and economic collapses. After acquiring most of the other Staffordshire ceramics companies in the 1960s and 70s, they merged with Waterford Crystal in 1987 to form Waterford Wedgwood plc, an Ireland-based luxury brands group. In 1995 Wedgwood was granted a Royal Warrant from Queen Elizabeth II. After a 2009 purchase by KPS Capital Partners, a New York-based private equity firm, the group became known as WWRD Holdings Limited (an acronym for Waterford Wedgwood Royal Doulton). This was acquired in July 2015 by Fiskars, a Finnish consumer goods company, under which they continue to produce many lines of highly-sought products.

Lot: 1868 - 12 French Georges Boyer Limoges Birds and Flowers Pattern Porcelain Plates

12 French Georges Boyer Limoges Birds and Flowers Pattern Porcelain Plates. Marked on bases.  Size: (each) 7 1/2 x 7 1/2 in.  #8479 .  The term Limoges Porcelain refers to hard-paste porcelain produced by factories in and around the city of Limoges, France, beginning in the late 18th Century, by any manufacturer. The industry was established by economist Anne Robert Jacques Turgot, Baron de Laune in 1771 following the discovery of local supplies of kaolin and a material similar to petuntse in the economically distressed area at Saint-Yrieix-la-Perche. Limoges quickly became known for producing goods extremely similar to Chinese porcelain. This led to a manufactory at Limoges coming under the patronage of the comte d’Artois, brother of Louis XVI, and was later purchased by the King in 1784, although the French Revolution diminished production in all workshops. After the Revolution multiple private factories were established at Limoges, including Bernardaud, Haviland & Co. and Royal Limoges, and by about 1830 Limoges had replaced Paris as the main center for porcelain due to their proximity to the most ideal sources of clay, although the state-owned Sèvres porcelain near Paris remained dominant in the market for a few decades more. Limoges remains the primary hub for all porcelain production in France to this day, producing more than 50% of all porcelain in the country.

Lot: 1869 - (44) Vintage Translucent Serving Ware Set

(42) Piece Translucent Serving Set. Including: 14 lunch plates, 7 dinner plates, 2 trays, 1 serving plate, 11 goblets, and 9 bowls, 4 are clear and frosted.  Glassware with colorful abstract design. The glass is clear, but it features colorful, abstract designs in vibrant hues, such as red, blue, green, and yellow. The designs are abstract and geometric, reminiscent of mid-century modern style. Size (Largest): 13 x 13 in. #4412

Lot: 1870 - (63) Italian Tre Erre Ceramiche Majolica Dish 63-Piece Set

(63) Italian Tre Erre Ceramiche Majolica Dish 63-Piece Set. This vibrant, 63-piece set of Italian majolica dinnerware is the work of Tre Erre Ceramiche, an Italian family business in Palermo, Sicily, dedicated to the art of quality majolica. The set includes 11 cups, 12 saucers, 12 bowl, 11 medium plates, 12 large plates, 3 tea/pitcher. 1 circular platter, 1 rectangular platter. The pieces are decorated with bright yellow lemons amidst green leaves and branches, creating a lively and summery aesthetic. The edges of the pieces are trimmed with blue, enhancing the design. ""Tre Erre" FA" and ""Tre Erre" Via G. Calabro '8 Palermo" is written on the bottom of certain pieces of the set. Some chipping and wear commensurate with age.   Founded in Palermo in 1979 by the Raffa couple, Tre Erre Ceramiche is today an irreplaceable point of reference for those who appreciate the art of majolica and prefer the superb quality of unique pieces. Since the early 90s, the Raffa couple's children have supported their parents in running the family business.   Size (Tray): 19 1/2 x 11 in. #5287

Lot: 1871 - Vintage 54 Piece English Royal Crown Derby Porcelain Tea Set, 1939 to 1940

Vintage 54 Piece English Royal Crown Derby Porcelain Tea Set, 1939 to 1940. Delicately painted pink with floral shapes and patterns. Markings on the bases include "II" and "III," indicating the years they were made.  Condition: Overall excellent. Hairline crack on two pieces.  Largest Plate: 10 1/2 x 10 1/2 in.  #4652 .  The Royal Crown Derby Porcelain Company is one

Lot: 1872 - 24 Piece Spode Christmas Set

24 Piece Spode Christmas Set.  "Christmas Tree" pattern. It features a decorated Christmas tree as the central motif. Green trim.  4 mugs, 8 smaller plates, 12 larger plates. Marked on underside.  Largest Plate Size: 10 1/2 x 10 1/2 in.  Smaller Plate Size: 8 x 8 in.  Mug Size: 3 x 3 x 3 1/2 in.  #5494 

Lot: 1873 - 5 Piece Spode Christmas Serving Set

5 Piece Spode Christmas Serving Set. 2 serving dishes, 1 covered dish, 2 tree shaped dishes.  "Christmas Tree" pattern. It features a decorated Christmas tree as the central motif. Green trim. Marked on underside.  Largest: 11 1/4 x 8 5/8 x 2 in.  #5495

Lot: 1874 - (93) Mason's "Willow" English Ironstone Set

(93) Mason's "Willow" English Ironstone Set.  Made of ironstone. Decoration done using the transferware technique. Design has lots of buildings and trees. Blue and white.  Condition: Chip on rim of one cup.  Largest Size: 9 x 7 in.  Mason's is a very well-known English pottery company famous for their ironstone. Mason's was founded in Staffordshire, England, in the late 18th century. They became particularly famous for their ironstone in the 19th century. #5223

Lot: 1875 - Pair of Gilt Reticulated Chargers With Floral Grape Trim With Arabesque Geometric Pattern

Pair of Brass Gilt Reticulated Chargers With Floral Grape Trim With Arabesque Geometric Pattern Size: 19 x 1 1/4 in. #5217

Lot: 1876 - Brass Etched Arabesque Design With Mosque In Central Quadrant

Brass Etched Arabesque Design With Mosque In Central Quadrant. Mosque closely resembles Wazir Khan Mosque which has a central dome adjoined by two towers and two towers to the left and right of the central dome. The horizontal line of brickwork with rounded openings also resemble the entrance of the mosque. The Wazir Khan Mosque is a stunning 17th-century mosque located in Lahore, Pakistan. It's considered one of the most beautiful mosques in the world, renowned for its exquisite tile work and intricate frescoes.   Size: 23 1/2 x 23 1/2 in.  #5308

Lot: 1877 - Unique Hacienda Real Mexican Pewter Serving Tray

Unique Hacienda Real Mexican Pewter Serving Tray. Half the top has a hammered, alligator skin-like design, and the other is smooth. Initialed "HR" on bottom, for Hacienda Real, a Mexican pewter company founded in Guadalajara in 1995. They began as a small foundry workshop with only 4 employees, and have since grown to over 100 employees serving countries all over the world. They aspire to high quality standards, contribute to social justice efforts, and focus heavily on community engagement, seeing themselves as representatives not just of Mexico but their city to their clientele in the United States, Europe, and Central America. Size: 24 1/4 x 17 1/4 in.  #4391 .  "Mexican pewter" (Estaño in Spanish) is the name for a distinct alloy that bears little resemblance to traditional European pewter, which contains high quantities of lead and is produced by a different process. It was developed in the 1980s by a collective of Mexican metalworkers who were seeking a durable alternative to precious metals that would not tarnish. It is composed of aluminum, copper, and silica, with silver occasionally added in, depending on the maker. Mexican pewter is fired in sand molds, and each item is individually hand cast and carefully polished by local artisans to create a brilliant finish that is reminiscent of silver. With a much more reasonable price point, it has become a popular alternative to sterling silverware in much of the New World. It can be used in an oven as well as kept in the refrigerator, can be cleaned with simple soap and water, and has been approved by the government for a maximum temperature of 573 degrees Fahrenheit, making it incredibly versatile for food service. In addition to tableware, it is being increasingly used by artisans throughout Mexico to create decorative items like lamps, mirrors, chandeliers and much more.

Lot: 1878 - (5) Piece Stainless Steel Coffee Set

Five-Piece Stainless Steel Coffee Set. Includes three cups, one coffee pot, and serving tray. Pot marked Hotel Black Label Collection on base; cups marked Breville Cafe Roma on base. Size (Tray Diameter): 14 in. #4420

Lot: 1879 - Silver Plate Cruet Set

Set of Glass and Silver Plate Items. Reticulated edges to the base. Heart Shaped Finial / Handle. 5 Glass and Silver Plate items. 1 Spoon. Holder & Base. Aesthetically pleasing. Markings are worn.  Largest Size (Holder): 14 x 7 1/2 x 7 1/2 in.  #7650 

Lot: 1880 - Cruet Set Consisting of 5 Fitted Containers

Cruet Set Consisting of 5 Fitted Containers. Silver Plate Holder is decorated around the rim of the design.  Size: 7 x 7 x 15 1/2 in.  #7750 

Lot: 1881 - Redfield and Rice Silver Plated Serving Tray

REDFIELD & RICE NEW YORK MAGNIFICENT CIRCA 1860's Size: 30 x 19 1/2 x 2 in.  #7693 

Lot: 1882 - Godinger Crystal Carafe Chiller Plated Pitcher Ice Core Tube

This vintage Godinger crystal carafe, paired with a silver-plated pitcher and ice core tube, offers a sophisticated touch to any setting. Featuring an intricate American Victorian pattern, it is crafted from high-quality silverplate, making it a valuable addition to antique or silver collections. Size: 15 x 6 x 6 in.  #7796   

Lot: 1883 - Silver Plated Wine Coaster

Silver Plated Wine Coaster.  Wooden bottom on inside.  Size: 2 x 5 3/4 x 5 3/4 in.  #7858 

Lot: 1884 - Lisa Jenks (20th/21st Century) American, Lunt Silversmiths Metal Champagne Bucket

Lisa Jenks (20th/21st Century) American, Lunt Silversmiths Metal Champagne Bucket. Retro Chic design, silver overlaid, with asymmetrical pattern around base. Marked on bottom by the designer and the company.  Size: 10 1/4 x 10 1/4 x 7 1/2 in.  #5243 .      In 1902 George C. Lunt, a former engraver for the A .F. Towle & Son Company in Newbury, Massachusetts, bought out a smaller rival business in nearby Greenfield and renamed it Rogers, Lunt and Bowlen Co. They made hollowware, jewelry, and other silver items, often similar to the designs Lunt had originally created for Towle. In 1935 the name was changed to Lunt Silversmiths as George’s son took over. During World War II Lunt Silversmiths had a government contract to make yokes for airplanes used in the war effort, which led to a significant expansion in the machinery and personnel. In the 1950s Lunt’s Embassy Scroll pattern was chosen by the United States government as its official tableware in all U.S. embassies and consulates around the world. Throughout the second half of the 20th Century they frequently collaborated with designers to come up with unique but functional items, including renowned jewelry and clothing maker Lisa Jenks. In 2009 the company sold its name and inventory to competitor Reed & Barton, although descendents of Lunt continued to head the business as part of the terms of sale. Sadly, in early 2010 the company filed for bankruptcy protection and all remaining manufacturing and inventory assets at the factory were sold at auction.

Lot: 1885 - (2) English Electroplated Silver Fish Serving Utensils

(2) English Electroplated Silver Fish Serving Utensils. Fork and knife with elaborate detailing. Fork with sterling handle, marked "EPNS" and "Made in England."  Size: (longest) 2 1/2 x 12 1/2 in.  #4459 .  Silver plate (also written as “silverplate”) has been used since the 18th Century to provide cheaper versions of household items that would otherwise be made of solid silver, including cutlery, vessels of various kinds, and candlesticks. In the United Kingdom the assay offices, silver dealers, and collectors use the term “silver plate” for items made from solid silver, derived long before silver plating was developed from the Spanish word for silver “plata.” The earliest form of silver plating was Sheffield Plate, where thin sheets of silver are fused to a layer or core of base metal, but in the 19th Century new methods of production (including electroplating) were introduced. For modern applications in electronics, silver is sometimes used for plating copper, as its electrical resistance is lower. Care should be used for silver plated pieces exposed to high humidity environments, because the silver layer is porous and may contain cracks, allowing the underlying copper (or other metals) to undergo rapid galvanic corrosion, flaking off the plating and exposing the copper itself. Silver plated copper maintained in a moisture-free environment will not undergo this type of corrosion, theoretically lasting for many centuries.

Lot: 1886 - (6) Silver, Silverplate, Porcelain, Steel, and Crystal Utensils

(6) Silver, Silverplate, Porcelain, Steel, and Crystal Utensils. Lot includes two marked electroplated Martin, Hall & Co. spoons, a marked Silvercraft silverplate spoon with a porcelain handle, a marked Silvercraft silverplate spork with a porcelain handle, a marked A. E. Lewis & Co. stainless steel cake knife with a porcelain handle, and a marked Waterford Crystal steak knife. 

Lot: 1887 - Set of 8 French Limoges Porcelain Cups and 12 Saucers

Set of 8 French Limoges Porcelain Cups and 12 Saucers. Marked on undersides, along with mark of Wm Guerin & Co.  Saucer Diameter: 5 1/2 in.  Cup Size: 5 1/2 X 2 X 4 in.  #5334 .  The term Limoges Porcelain refers to hard-paste porcelain produced by factories in and around the city of Limoges, France, beginning in the late 18th Century, by any manufacturer. The industry was established by economist Anne Robert Jacques Turgot, Baron de Laune in 1771 following the discovery of local supplies of kaolin and a material similar to petuntse in the economically distressed area at Saint-Yrieix-la-Perche. Limoges quickly became known for producing goods extremely similar to Chinese porcelain. This led to a manufactory at Limoges coming under the patronage of the comte d’Artois, brother of Louis XVI, and was later purchased by the King in 1784, although the French Revolution diminished production in all workshops. After the Revolution multiple private factories were established at Limoges, including Bernardaud, Haviland & Co. and Royal Limoges, and by about 1830 Limoges had replaced Paris as the main center for porcelain due to their proximity to the most ideal sources of clay, although the state-owned Sèvres porcelain near Paris remained dominant in the market for a few decades more. Limoges remains the primary hub for all porcelain production in France to this day, producing more than 50% of all porcelain in the country. 

Lot: 1888 - Gucci Style Metal Salad Spoon Stirrup Serving Set

Gucci Style Metal Salad Spoon Stirrup Serving Set. One spoon whole, one pronged for gathering salad to serve. Unique stirrup on end of each, making them easy to hang up to dry off after washing. Unmarked.  Size: 2 3/4 x 12 in.  #4462 . 

Lot: 1889 - Antique French Horn and Silver Carving Set

Antique French Horn and Silver Carving Set. Silver markings are not present to know the percent at this time.  Size: 11 1/2 in. long.  #7986 

Lot: 1890 - Group of 4 Intricate Designed Silver Plated Souvenir Utensils

Group of 4 Intricate Designed Silver-Plated Souvenir Utensils.  Fork has a twisted handle with a figure at the top.  First spoon on the left has a designed bowl, simple handle with design at top.  Middle spoon has a perforated bowl with a decorated handle.  Right spoon has a small bowl with an etched design. Long ornate handle.  Longest: 7 1/2 x 1/4 in.  Gross Weight: 3.030 ozt.  #8270

Lot: 1891 - (11) American Gorham Silverplate Silverware

(11) American Gorham Silverplate Silverware. Marked on back.  5 teaspoons, 2 smaller forks, 3 dinner forks, and 1 butter spreader.  Long slender handle with decorative floral design.  Size: 1 x 7 1/4 in. #5449

Lot: 1892 - Group of 24 Silver Plated Utensils and Table Accessories

Group of 24 Silver Plated Utensils and Table Accessories.  5 knives. 7 forks. 2 spoons. 1 plate. 3 cups. 1 coaster. 3 shakers. 1 lidded vessel. 1 oil holder.  Longest: 10 in.  #8060 

Lot: 1893 - 8 Christofle Silver Plate Knife Rest Birds in Box

8 Christofle Silver Plate Knife Rest Birds in Box. Marked on bases.  Box Size: 10 x 7 1/2 x 1 3/4 in.  Piece Size: 1 1/4 x 3 1/4 in.  #5416 .  Christofle is a luxury French silverware and tableware company founded in Paris in 1830 by Charles Christofle. The company is known for having introduced electrolytic gilding and silver plating in France in 1842. Christofle supplied wares for King Louis-Philippe in 1846 and for Emperor Napoleon III in 1851. Its titles of “Goldsmith of the King” and “Supplier of the Emperor” made them internationally famous, and foreign sovereigns began to solicit work from them, including Emperor Maximilian of Mexico, the Tsar of Russia, the German Kaiser, and the Sultan Abdulaziz of the Ottoman Empire. When Charles Christofle died his son Paul (1838-1907) and his nephew Henri Bouilhet (1830-1910) succeeded him and continued to expand the company. Thanks to the development of new techniques (massive electroplating, enamels, patinas, natural impressions, etc.) and the opening of new factories in Saint-Denis and Karlsruhe, Christofle became one of the major goldsmiths of the 19th Century. It was acquired in 2012 by one of its shareholders, the Chalhoub family’s luxury group.

Lot: 1894 - Group of 3 Silver Plate Frames

Group of 3 Silver Plate Frames. Tested each for silver content and did not pass 99% 92.5% 90%.  Largest Overall Size: 10 3/8 x 8 3/8 in.  Largest Sight Size: 6 3/4 x 5 in.  #7844 

Lot: 1895 - Pair of Silver Plated Pheasant Bird Sculptures

Pair of Silver Plated Pheasant Bird Sculptures.  The birds, male and female, are beautifully cast with fine detail and finished with a silver overlay. The figures depict pheasants, recognizable by their long tails, sturdy bodies, and distinctive heads. One pheasant has a prominent crest or tuft on its head, indicating it's likely a male (cock) pheasant. The other, lacking the crest, is likely a female (hen) pheasant. A great set of bird sculptures/decorative objects for a dining table, sideboard/credenza, mantel, etc. Size: 8 3/4 x 1 x 4 in. #5289

Lot: 1896 - Vintage Silver Plated Metal Hunting Dog Figurine

Vintage Silver Plated Metal Hunting Dog Figurine. Metal figurine of a hunting dog with game bird caught in his mouth. Size: 9 1/2 x 6 1/2 in.  #4364 

Lot: 1897 - Silver Mirror Tray

Silver mirror tray by WBD. Silver metal rim with leaf garland and feet. Round ornate mirror with elaborate frame featuring intricate designs and patterns. Series of decorative elements that resemble acanthus leaves, scrolls, and floral motifs.  Condition: Commensurate with age.  Size: 12 1/4 x 12 1/4 x 1 3/4 in.  #3416 

Lot: 1898 - Group of 5 European Silver Plated Chain Mail Small Purses

2 beaded bags, 1 with a sterling frame, 3 mesh bays. Some are beaded, lined with velvet, and decorated with floral design. Turn of the 20th century.  1 marked sterling, 1 marked German silver.  Size: 9 3/8 x 6 1/2 in.  #7788  

Lot: 1899 - (7) American Silver and Silver Plated Tobacco and Cigarette Holders

(7) American Silver and Silver Plated Tobacco and Cigarette Holders. With various designs, decoration, monogramming, and manufacturers. Largest Size: 3 3/4 x 4 in.  #8548

Lot: 1900 - Occupied German / American Metal Cigarette Case

Occupied German / American Metal Cigarette Case Ibelo Monopol has similar model. American Stewardess from 1950 Size: 4 x 3 1/2 x 1/2 in.  #7927 

Lot: 1901 - Vintage Handcrafted Silver Purse - 12.235 ozt.

Vintage Handcrafted Silver Purse.  Intricately decorated with filigree work, a technique that involves twisting and shaping thin wires of silver to create delicate patterns. The filigree creates a floral or lacy design across the surface of the purse. Hinged clasp.  Art deco style. Design and craftmanship suggests it might be of European origin. Ottoman/Persian.  Size: 7 x 4 x 2 1/2 in. Strap: 25 in. Gross Weight: 12.235 ozt. #5141

Lot: 1902 - Antique French Bone Ladies Fan With Mirror Embellishment

Antique French Bone Ladies Fan With Mirror Embellishment. French bone and silk fan with painted scene of nobles in a garden, with filigree vine frame. Small mirror embellishment on topmost fan blade. Size: 11 1/2 x 19 in.  #4529 .  The Zheshan (folding fan) was likely invented in Japan some time in the 9th Century AD, and in 988 they were first introduced in China by a Japanese monk as a tribute during the Northern Song dynasty; these folding fans became very fashionable in China by the time of the Southern Song dynasty. First referred to as “Japanese fans” by the Chinese, they gained popularity as Chinese artisans began to craft miniature images on them in ink or watercolor. The Qianlong Emperor painted a fan with a poem and landscape of the surrounding countryside as a gift for his mother, the Empress Dowager Xiaoshengxian, in 1762. They had reached their zenith in the Ming Dynasty, although towards the end of the Qing Dynasty they began to be seen as tools of lower-class people and servants, and today are primarily sold to tourists. They rapidly spread throughout Europe and eventually the New World as their popularity grew, and were manufactured in these areas using local materials and innovative designs to appeal to their regional markets, becoming a symbol of status and wealth. In the modern era, folding fans are made around the world, and of varying substances and degrees of quality, with stunning examples from past ages and countries found in museums all over the globe, and are infinitely more accessible to all classes.

Lot: 1903 - 9 Piece Ornate Filigree Vanity Set

9 Piece Vanity Set.  Ornate filigree design throughout the pieces. 258Gold toned metal. Includes an oval tray, 2 perfume bottles, 3 lidded boxes, rectangular box, brush, and hand mirror.  Condition: Tray and 1 perfume top as is.  Largest: 20 x 11 x 1 1/4 in.  #5314

Lot: 1904 - (6) Piece 24K Gold Plated Vanity Set

+(6) Piece 24K Gold Plated Vanity Set. Lot comprised of two perfume bottles, two trays,  Perfume top broken.. powder compact, and mirror. Ornate openwork decoration of fruiting vines; mirror with frame of roses and vines. Largest: 26 1/4 x 14 x 1 1/4 in.  #5316 

Lot: 1905 - French Mother of Pearl and Brass Vera Paris Opera Glasses with Original Parasol Handle

French Mother of Pearl and Brass Vera Paris Opera Glasses with Original Parasol Handle. Marked on irises.  Condition: Commensurate with age.  Size: 9 x 2 in.  #4785 .  Opera glasses, also known as theater binoculars or Galilean binoculars, are compact, low-power optical magnification devices, usually used at performance events, whose name is derived from traditional usage at opera performances. Lower magnification power is usually desired in these circumstances in order to minimize image shake and maintain a large enough field of view. The design of many modern opera glasses of the ornamental variety is based on the popular lorgnettes of the 19th Century. In addition to the more stereotypical binocular type, folding opera glasses were another common design. They were made mostly of metal and glass, with a leatherette cover for grip and color. Although folding glasses have existed in one form or another since the 1890s, they were most popular in the mid-20th Century. The design can still be purchased new, although the most common contemporary designs are now almost entirely plastic.

Lot: 1906 - Antique 1912 Carl Zeiss Microscope with Additional Lenses and Components

Antique 1912 Carl Zeiss Microscope with Additional Lenses and Components. Stamped with logo and serial number 55538, indicating that this was one of three microscopes made specifically for The Rockefeller Institute of Medical Research in New York City.  Condition: Commensurate with age.  Size: 6 1/4 x 12 3/4 in.  #5127 .  Carl Zeiss was born on September 11th, 1816 in

Lot: 1907 - Antique Mother of Pearl and Brass LeMaire French Opera Glasses with Napoleonic Bee

Antique Mother of Pearl and Brass LeMaire French Opera Glasses with Napoleonic Bee. The bee, a symbol chosen by the First Emperor Napoleon, appears on the inner bar, along with the number 63. The words "LeMaire Fi" and "Paris" encircle both viewing lenses.  Condition: Some scuffing and wear to brass and glass. Commensurate with age and use.  Size: 4 1/8 x 2 1/2 x 1 1/2 in.  #4551 .  Opera glasses, also known as theater binoculars or Galilean binoculars, are compact, low-power optical magnification devices, usually used at performance events, whose name is derived from traditional usage at opera performances. Lower magnification power is usually desired in these circumstances in order to minimize image shake and maintain a large enough field of view. The design of many modern opera glasses of the ornamental variety is based on the popular lorgnettes of the 19th Century. In addition to the more stereotypical binocular type, folding opera glasses were another common design. They were made mostly of metal and glass, with a leatherette cover for grip and color. Although folding glasses have existed in one form or another since the 1890s, they were most popular in the mid-20th Century. The design can still be purchased new, although the most common contemporary designs are now almost entirely plastic.

Lot: 1908 - German Army World War II Era Dienstglas 6X30 Binoculars

German Army World War II Era Dienstglas 6X30 Binoculars. During the war binoculars were expensive and strictly army property, which is why the (obscured) inscription translates to "Service Glass." The first number of 6X30 indicates the magnification level, and the second number indicates the diameter of the objective lens in millimeters. The "dds" below indicates the maker of the binoculars: Voigtlaender u. Sohn AG, Braunschweig.  Condition: Scratches and marks on body and lenses. Commensurate with use and age.  Size: 6 1/2 x 4 1/2 x 1 1/2 in.  #4766 .  Binoculars (or field glasses) are two refracting telescopes mounted side-by-side and aligned to point in the same direction, allowing the viewer to use both eyes (binocular vision) when viewing distant objects. Most binoculars are sized to be held using both hands, although sizes vary widely from opera glasses to large pedestal-mounted military models. Unlike a (monocular) telescope, binoculars give users a three-dimensional image: each eyepiece presents a slightly different image to each of the viewer’s eyes and the parallax allows the visual cortex to generate an impression of depth. Almost from the invention of the telescope in the 17th Century the advantages of mounting two of them side by side for binocular vision seems to have been explored, and most early binoculars used Galilean optics, with a convex objective and a concave eyepiece lens. The Galilean design has the advantage of presenting an erect image but has a narrow field of view and is not capable of very high magnification. This type of construction is still used in very cheap models and in opera glasses or theater glasses. An improved image and higher magnification are achieved in binoculars employing Keplerian optics, where the image formed by the objective lens is viewed through a positive eyepiece lens (ocular). Since the Keplerian configuration produces an inverted image, different methods are used to turn the image the right way up. But the binoculars with erecting lenses had a serious disadvantage: they are too long. Such binoculars were popular in the 1800s, but by the 1890s they were superseded by prism-based technology, which has dominated the form ever since. Optical prisms added to the design enabled the display of the image the right way up without needing as many lenses, and decreasing the overall length of the instrument, typically using Porro prism, named after the Italian inventor Ignazio Porro. Today binoculars can even be made in extremely compact styles suitable for almost any daytime activity from tourist attractions to bird watching, and even night vision and electrical innovations have made them usable at any time of day.

Lot: 1909 - Antique Turkish Handmade Hammered Copper Water Pitcher

Vintage Handmade Hammered Copper Water Pitcher. With scalloped rim.  Condition: Commensurate with age.  Size: 10 1/2 x 11 x 15 in.  #5073 #31 . 

Lot: 1910 - Copper Brass Handled Vase

Copper Brass Handled Vase.    Size: 21 1/2 x 21 1/2 x 23 in.  #5313

Lot: 1911 - Antique Turkish Hammered Copper Jug

Antique Turkish Hammered Copper Jug.  Condition: Commensurate with age.  Size: 18 x 15 x 16 1/2 in.  #5074 #31 . 

Lot: 1912 - Antique Tukish Hammered Copper Ewer

Antique Turkish Hammered Copper Ewer. With scalloped rim.  Condition: Commensurate with age.  Size: 11 x 5 1/2 x 11 in.  #2287 . 

Lot: 1913 - Antique Turkish Hammered Copper Pitcher

Antique Turkish Hammered Copper Pitcher.  Condition: Commensurate with age.  Size: 8 x 5 1/2 x 12 1/2 in.  #2288 

Lot: 1914 - 2 Handle Copper Urn With Insert and Fish Motif

2 Handle Copper Urn With Insert and Fish Motif. Carp style fish.  Size: 11 x 8 1/2 x 12 1/2 in.  #4309 #187 

Lot: 1915 - Islamic Arabesque Pattern Copper Basin

Islamic Arabesque Pattern Copper Basin. Size: 13 3/4 x 13 3/4 x 4 1/4 in. #4447

Lot: 1916 - Group of 3 Antique Table / Kitchen Items

Group of 3 Antique Table / Kitchen Items. 1 Funnel with handle. 1 Strainer / Open Basket. 1 Hand Punched Rope Ribbed Bowl With Small Stem.   Largest Size: 8 1/4 x 8 1/4 x 14 3/8 in.  #7748 

Lot: 1917 - (21) Pieces Silver Hardware

(21) Silver Hardware. Painted to appear golden. Contains knobs, handles, lamp finials, and more.  Exhibits a range of styles, from ornate and detailed to simple and functional.  Size: (Largest) 2 3/4 x 8 x 3 in.  #4403 . 

Lot: 1918 - Pair of English Inspired Wrought Iron Gate Finials

Pair of English Inspired Wrought Iron Gate Finials. New green paint over an  older ornate vine-like design. These pieces likely bookended each other on an opening gate of a property and were anchored atop a wall header.  Size (each): 11 x 11 x 26 in.  #7021 .  A finial (from the Latin finis, meaning “end”) or hip-knob is an element marking the top or end of some object, often formed to be a decorative feature. In architecture, it is a small decorative device, employed to emphasize the apex of a dome, spire, tower, roof, or gable or any of various distinctive ornaments at the top, end, or corner of a building or structure. The very top of a finial can be a floral or foliated element called a bouquet. In modern times finials have appeared in different materials and much smaller, often adorning the tops of poles, curtain rods, souvenir spoons, or to fasten lampshades.

Lot: 1919 - 17th/18th Century Italian Bronze Lion Doorknocker

17th/18th Century Italian Bronze Lion Doorknocker.    Size: 4 1/2 x 7 x 1 3/4 in. #4855

Lot: 1920 - Cast Iron Victorian Scroll Rococo Door Knocker

Cast Iron Victorian Scroll Rococo Door Knocker.  Rectangular backplate provides the mounting surface and features decorative flourishes, possibly floral or scrollwork motifs. Knocker features a central striking plate surrounded by intricate scrollwork.  Size: 8 3/4 x 6 1/4 x 3 in.  #7653 

Lot: 1921 - (5) Collection of Miniature Duck Decoys and a Wooden Fish

(5) Collection of Miniature Duck Decoys and a Wooden Fish. Lot consists of a 10-inch Pintail duck decoy, 7-inch female Mallard duck decoy, 8-inch wood duck decoy, 6-inch carved Goose decoy, 7-inch male Mallard duck decoy, and a 19-inch wood fish carving. Ken Harris Decoys Woodville N.Y. is inscribed on the underside of the wooden fish.  Largest Size: 19 x 6 3/4 x 2 in.  #3 #4604 

Lot: 1922 - (2) Carved Wood Hand-Painted Mallard Duck Decoys

(2) Carved Wood Hand-Painted Mallard Duck Decoys. One is a male mallard duck figure, and the other appears to be a seagull decoy that was repainted as a male mallard, based on the unique shape of the beak and the proportion of the head. Unsigned.  Condition: Some cracks, loss to paint.  Size: (largest) 9 3/4 x 3 1/4 x 4 1/4 in.  #4783 .    A duck decoy (or decoy

Lot: 1923 - Mallard and Bufflehead Duck Decoys with Basket

Mallard and Bufflehead Duck Decoys with Basket. 9-inch Bufflehead duck decoy by Charles R. Moore, signed on bottom. 11 1/2-inch Mallard duck decoy by unknown carver. Wear commensurate with age.   Basket Size: 15 1/2 x 12 1/2 x 13 1/2 in.  #6 #4602 

Lot: 1924 - (5) Beswick Porcelain Signed Figural Birds

(5) Beswick Porcelain Signed Figural Birds. Five porcelain birds by Beswick Porcelain, marked on base. Including wren, blue tip, robin, chaffinch, and grey wagtail. Size: 2 x 3 1/3 x 3 in. #4530

Lot: 1925 - Carved Wooden Shore Bird

Carved Wooden Shore Bird. Carved and painted wooden model of a shore bird attached to natural wood base. Shorebirds, or waders, are a diverse group of birds commonly found along coastal areas, wetlands, and inland water bodies. Characterized by their long legs, slender bills, and streamlined bodies, they are well-adapted for wading in shallow waters to forage for invertebrates, small fish, and other aquatic prey. This group includes species like sandpipers, plovers, avocets, and curlews, each exhibiting unique adaptations suited to their feeding habits and environments. Shorebirds are renowned for their remarkable migratory journeys, with some species traveling thousands of miles between breeding and wintering grounds. Their presence is an essential indicator of healthy ecosystems, as they rely on unpolluted water and intact habitats for survival.  Condition: Some nicks and scratches, loss to paint on extremities. Size: 13 x 4 x 8 1/2 in. #4773

Lot: 1926 - Carved Wood Eurasian Blue Tit

Carved Wood Eurasian Blue Tit. Carved wooden bird sculpture depicting the Eurasian blue tit, on a metal pillar attached to natural wood stand. The Eurasian blue tit is a small, vibrant songbird found throughout Europe and parts of western Asia. Renowned for its striking plumage, it features a bright blue cap, wings, and tail, contrasted with a yellow underbelly and a white face framed by a dark blue eye stripe. This agile and acrobatic bird is a frequent visitor to gardens and woodlands, often seen hanging upside down while foraging for insects, seeds, and berries. Known for its cheerful, high-pitched calls and social behavior, the blue tit is a favorite among bird enthusiasts. Size: 6 1/4 x 3 x 9 in. #4782

Lot: 1927 - (2) Signed Canvasback and Mallard Hen Duck Decoys with Basket

(2) Canvasback and Mallard Duck Decoys with Basket. The canvasback wooden duck decoy is signed on the bottom Herb Daisey Jr. The mallard hen wooden duck decoy is signed on the bottom Dan Brown. Basket Size: 12 3/4 x 13 x 17 in.  Largest Duck Size: 9 x 4 x 4 1/2 in.  #4 #4598

Lot: 1928 - (2) Pair of Captain Harry R. Jobes Signed Duck Decoys with Basket

(2) Pair of Captain Harry R. Jobes Signed Duck Decoys with Basket. The decoys include a 12-inch black duck with a white beak and a 14-inch female elder duck. Harry Robert Jobes was an acclaimed Havre de Grace decoy carver and patrol boat captain. Largest Duck: 14 1/4 x 5 3/4 x 5 1/2 in.  #5 #4599

Lot: 1929 - (3) Collection of Duck Decoys with Basket

(3) Collection of Duck Decoys with Basket. John Byron "J.B." Garton Ring neck duck decoy. Stamped on bottom, Made in Canada by JB Garton, with glass eyes. 6 1/2 inch. A. Lawrence Lewis drake green winged teal duck decoy. Handwritten on bottom, Drake Green Wing Teal, A Lawrence Lewis, Stacy, N.C. 1989, CL. 12 inch. Bufflehead male duck decoy by Quacker Box. Glass eyes. Stamped on bottom, Quacker Box, Bufflehead Male. 7 1/2 inch.  Basket Size: 16 x 13 x 15 in.  #7 #4600 

Lot: 1930 - 3 Decoy Ducks and a Basket

3 Decoy Ducks and a Basket.  Off white wicker woven basket with 3 wooden carved ducks. 1 duck is marked KE. Three stylized ducks with smooth rounded forms.  Ken Eldred signed one of the ducks.  Basket Size: 14 1/2 x 13 3/4 x 17 in.  Largest Duck: 10 1/2 x 3 1/2 x 3 1/2 in.  #8 #4601 

Lot: 1931 - Carved & Painted Wooden Sculpture of a Pair of Northern Shovelers and Basket

Carved & Painted Wooden Sculpture of a Pair of Northern Shovelers and Basket.  Features two Northern Shovelers: a male and a female, easily identified by its large spatulate bill. Wooden. Carved in a realistic style, with attention to detail in the body shape, feather patterns, and bill structure. They are then painted with realistic colors and markings. Also comes with white woven rectangular basket.  Condition: Both ducks are loose.  Duck Statue Size: 18 x 8 3/4 x 6 1/2 in.  #9 #4603 

Lot: 1932 - (5) Various Wooden Duck Decoys

(5) Various Wooden Duck Decoys. Includes a red-breasted merganser drake (comes with tag the states type of duck and "hand chopped, Hoopers Island"), another red-breasted merganser (with glass eyes), a  full-bodied snow goose, a full-bodied female mallard (with glass eyes), and a full-bodied male mallard. All carvers unknown.  Size: (largest) 21 x 7 1/2 x 9 in.  #5230 . 

Lot: 1933 - Carved and Painted Bufflehead Duck Decoy by Captain Larry Jarvis

Carved and Painted Bufflehead Duck Decoy by Captain Larry Jarvis. Original paint with glass eyes. Signed on bottom, from Chincoteague Island, Virginia for Gone Gunning Outfitters. Comes with business card from the Outfitters.  Size: 10 1/2 X 5 X 6 in.  #4848 .    A duck decoy (or decoy duck) is a man-made object resembling a duck. The earliest known use of duck decoys was by ancient Egyptians, who used decoys made of clay on the Nile to hunt ducks and geese around 2500 BC. Decoy ducks have been used in traditional hunting by Indigenous Australian peoples of the Murray River in South Australia for many centuries, and Native American people have been crafting and using duck decoys for thousands of years. More realistic, highly-detailed wooden carved decoys arose in North America in the 19th and 20th centuries. After World War II manufacturers began to make decoys out of papier-mâché and eventually plastic, and battery-powered moving decoys gained popularity in the 1990s. Duck decoys are primarily used in hunting to attract ducks (or other water fowl) to an area of water by giving the impression that other ducks are in the area, creating a false sense of security. Decoys are made in different forms designed to mimic different activities of ducks, including “feeders” and “sleepers.” Decoys are weighted to keep them anchored in place when floating. Duck decoys may be colored to have a natural appearance, or they may be entirely black, as black decoys are more easily visible to passing ducks on overcast days. Some modern decoys use batteries to move, which creates waves in the water, adding a sense of realism that may fool ducks more. One of the most popular forms of motion decoys is one that has spinning wings, creating the illusion of a duck in flight. Ever since Joel Barber, the first known decoy collector, started in 1918, decoys have become increasingly viewed as an important form of North American folk art. Barber’s book Wild Fowl Decoys was the first book on decoys as collectible objects. It was followed in 1965 by folk art dealer Adele Earnest’s The Art of the Decoy and American Bird Decoys by collector William F. Mackey. Collectors typically focus on particular categories of decoys, such as working, decorative, antique, or contemporary. In addition, collectors may focus on decoys from particular regions such as eastern North America, Louisiana, California, or the Upper Mississippi Flyway, which all have unique decoy-carving traditions. In early 2007 a red-breasted merganser hen decoy created by Lothrop Holmes sold at auction for $856,000. At the time, it was one of the highest prices ever paid for a duck decoy. The first million-dollar price was achieved when two decoys created by the 19th Century Massachusetts master carver A. Elmer Crowell, a Canada goose decoy and a preening Northern pintail drake decoy, were sold for $1.13 million each in a private sale in September of 2007.

Lot: 1934 - (2) Pair of Woven Winnowing Baskets

(2) Pair of Woven Winnowing Baskets.   Largest: 10 1/2 x 10 1/2 x 2 5/8 in.  #4637

Lot: 1935 - Large Woven Basket

Large Woven Basket.  A large, handwoven basket, constructed from natural plant fibers, including wicker/reed and wider pieces of bark or wood splints for reinforcement. The basket has a roughly semicircular or fan-shaped form with a flat or slightly rounded back and an open front. The weaving technique appears to be a combination of plain weave, coiling, and random weaving/twining. The handle is made from a thick, natural branch with smaller twigs or branchlets attached. The overall style is very natural, rustic, and organic. Size: 22 x 34 in. #5123