Major Modern Art, Jewelry & Silver Day 2

Lot: 1001 - Charles Sidney Raleigh (1830-1925) English, Oil on Canvas Maritime Art

Charles Sidney Raleigh (1830-1925) English, Oil on Canvas Maritime Art. Depicting a sailboat with an American flag and several figures on board navigating choppy waters under a cloudy sky. Signed lower right. dated 1882. Framed. Overall Size: 30 x 42 in. Sight Size: 23 1/2 x 35 1/2 in.   Charles Sidney Raleigh (1830-1925) was a self-taught maritime and folk artist best known for his vivid paintings of whaling ships and seafaring life. Born in Gloucester, England, he reportedly ran away to sea at the age of ten and spent nearly three decades as a sailor and merchant seaman, experiences that deeply informed his art. After settling in Massachusetts in the 1870s, Raleigh worked as a house and decorative painter while developing a prolific career as a marine artist, eventually producing more than 1,100 paintings, including over 600 depictions of whaling vessels. His colorful, detailed ship portraits captured the drama and romance of nineteenth-century maritime culture and are now held in major collections such as the New Bedford Whaling Museum and the Smithsonian Institution.

Lot: 1002 - Theodore Rousseau (1812–1867) French, Oil on Canvas Landscape at Sunset

Théodore Rousseau (1812-1867) French, Oil on Canvas Landscape at Sunset. Landscape painting in a dramatic, moody style, featuring a dark, wooded path under a stormy, sunset-lit sky, housed in an ornate, gilded, and heavily detailed frame with a plaque labeled "TH. ROUSSEAU." Signed lower left. Framed. Overall Size: 20 1/2 x 22 in. Sight Size: 12 x 16 in.  Thickness: 3 1/2 in.  Théodore Rousseau (1812–1867) was a French landscape painter and a leading figure of the Barbizon School, known for his dedication to painting directly from nature at a time when academic conventions favored idealized scenes. Born in Paris, Rousseau rejected the rigid standards of the official Salon, often facing repeated rejections before gaining recognition later in life. He spent much of his career in the village of Barbizon near the Forest of Fontainebleau, where he produced deeply observed, atmospheric landscapes that emphasized natural light, texture, and mood. His work influenced the development of Realism and paved the way for the Impressionists, securing his legacy as a pioneer of modern landscape painting.

Lot: 1003 - Pierre-Eugene Grandsire (1825-1905) French, Oil on Canvas

Pierre-Eugene Grandsire (1825-1905) French, Oil on Canvas. The Seine at Courbevoie Bridge, Paris, viewed from the Isle de la Grande Jatte (site of the famous Seurat masterpiece). Signed lower right. Painted circa 1890. In earlier lemon gold molded frame, cleaned and relined, with fine craquelure.  Overall Size: 30 1/2 x 41 1/2 in.  Sight Size: 26 x 36 1/2 in.  Pierre-Eugène Grandsire was born March 18th, 1825 in Orléans, and in his youth became a student of Jules Noël and Jules Dupré. His first trip abroad to study art outside France was in 1852, first to Venice, and then to Austria, Flanders, and a multi-year tour of Spain. His favorite subjects were romantic pictures, forest landscapes, and views of harbor towns, with his favorite locations in France being views of the Vosges, Brittany, Normandy, and Paris, where he regularly exhibited in Salons from the 1850s right up through 1903. Many of his illustrations were published in magazines such as Le Monde illustré, Le Tour du Monde, and L’illustration, giving early credibility to the form and inspiring several of the first generation of Impressionists. He passed away on May 27th, 1905 in the 17th Arrondissement in Paris, and his works are displayed in countless museums around the world. 

Lot: 1004 - Robert Atkinson Fox (1860-1935) American, Oil on Canvas Laid on Board Atmospheric Mountain Landscape

Robert Atkinson Fox (1860-1935) American, Oil on Canvas Laid on Board Atmospheric Mountain Landscape. Lovely oil on canvas mountain landscape depicting a rider in a red jacket leading pack horses along a narrow mountain cliff trail with a massive, snow-dusted peak rising in the background. Signed lower right. Framed. Includes catalogue. Overall Sie: 42 1/2 x 32 in. Sight Size: 35 1/2 x 23 1/2 in.

Lot: 1006 - Jean-Antoine Watteau (1684-1721) French, Oil on Copper

Jean-Antoine Watteau (1684-1721) French, Oil on Copper. A gloriously bucolic scene of drunken feasting and reveling in the streets, the aristocrats mingling with the poor thanks to the great unifier: alcohol. Ornately gilt frame, with a plaque bottom middle that attributes it to Watteau and gives a title: "Fete Champetre" ("Country Festival").  Overall Size: 22 x 25 1/4 in.  Sight Size: 15 1/4 x 18 in.  Jean-Antoine Watteau was born on October 10th, 1684 in Valenciennes, France, and became an influential painter and draftsman who revitalized the waning Baroque style into the less severe, more naturalistic Rococo movement. He is historically credited with inventing the genre of fêtes galantes, which depicted idyllic, bucolic scenes heavily suffused with a theatrical atmosphere, and many of his works had a looser, more sketchlike quality than his more polished contemporaries. His unique, influential artistic style was deeply inspired by the Flemish traditions of Peter Paul Rubens and the vibrant characters of Italian commedia dell’arte, but despite his immense impact Watteau suffered from fragile health his entire life and died of a chronic illness at the young age of 36 on July 18th, 1721. His final masterpiece, The Shop-sign of Gersaint, is celebrated as a brilliant urban meditation on art and illusion, and Watteau’s enduring legacy extended far beyond painting into the decorative arts and fashion, even inspiring the creation of the pleated “Watteau dress” as well as the beginnings of Impressionism. 

Lot: 1007 - Hamilton Hamilton (1847-1929) American, Oil on Canvas Impressionist Landscape

Hamilton Hamilton (1847-1929) American, Oil on Canvas Impressionist Landscape. Impressionist landscape features a vibrant, golden sunset with fiery orange clouds stretching across a pale blue sky over a dark, silhouetted desert horizon dotted with cacti and brush. Signed lower right. Attributed verso. Overall Size: 26 1/4 x 22 3/4 in. Sight Size: 19 1/4 x 13 1/4 in.   Hamilton Hamilton (1847–1928) was an American landscape painter known for his luminous, atmospheric scenes of the Northeast, particularly coastal and pastoral views of Maine and New Hampshire. Born in Oxford, England, he immigrated to the United States as a child and was largely self-taught, though he later studied in Europe, where he absorbed influences from the Barbizon School. Hamilton became associated with the White Mountain School, producing tranquil, finely detailed works that emphasized light, mood, and seasonal change. His paintings were widely exhibited during his lifetime, including at major institutions like the National Academy of Design, and today his work is held in prominent museum collections, reflecting his role in shaping 19th-century American landscape art.

Lot: 1008 - Antique Tiffany Studios New York Art Nouveau Arrowroot Table Lamp

Antique Tiffany Studios New York Art Nouveau Arrowroot Table Lamp. Stunning Tiffany Studios table lamp features a conical leaded glass shade meticulously patterned with sweeping green arrowroot leaves and delicate white blossoms over a cool, mottled geometric background. The shade rests upon a classic patinated bronze "Urn" base supported by four elegant legs, perfectly exemplifying the harmonious blend of organic beauty and structural sophistication. Produced early 20th century. Marked on base, TIFFANY STUDIOS NEW YORK / D. 888'.  Size: 20 1/2 x 20 1/2 x 21 1/2 in.   Tiffany Studios, founded in 1902 by Louis Comfort Tiffany in New York City, was a leading force in the Art Nouveau style in the United States, celebrated for its innovative use of opalescent glass and richly colored designs. The studio produced a wide range of luxury decorative objects, including stained-glass windows, lamps, mosaics, and metalwork, with its iconic “Tiffany lamps” becoming enduring symbols of American craftsmanship and design. Drawing inspiration from nature—flowers, insects, and organic forms—the studio’s work combined artistry with technical experimentation, particularly through its development of Favrile glass. Although the company closed in 1932, Tiffany Studios remains highly influential, and its creations are now prized in major museum collections and among collectors worldwide.

Lot: 1009 - Antique Tiffany Studios New York Art Nouveau "Belted Dogwood" Table Lamp

Antique Tiffany Studios New York Art Nouveau "Belted Dogwood" Table Lamp. Elegant Tiffany Studios New York table lamp with dark bronze candlestick-style base, on which is balanced a beautiful shade of textured leaded glass, featuring a geometric dome and ornate heat cap, banded with pale dogwood blossoms. Produced early 20th century. Marked on base, TIFFANY STUDIOS NEW YORK / 9925. There is a slight bend in one of the arms on the base.  Size: 16 x 16 x 22 in.   Tiffany Studios, founded in 1902 by Louis Comfort Tiffany in New York City, was a leading force in the Art Nouveau style in the United States, celebrated for its innovative use of opalescent glass and richly colored designs. The studio produced a wide range of luxury decorative objects, including stained-glass windows, lamps, mosaics, and metalwork, with its iconic “Tiffany lamps” becoming enduring symbols of American craftsmanship and design. Drawing inspiration from nature—flowers, insects, and organic forms—the studio’s work combined artistry with technical experimentation, particularly through its development of Favrile glass. Although the company closed in 1932, Tiffany Studios remains highly influential, and its creations are now prized in major museum collections and among collectors worldwide.

Lot: 1010 - Antique Tiffany Studios New York Art Nouveau "Tulip" Table Lamp

Antique Tiffany Studios New York Art Nouveau "Tulip" Table Lamp. Exquisite, genuine Tiffany Studios New York lamp with the leaded glass shade in the Tulip pattern, intricately woven with vibrant pink blossoms and lush green foliage that radiate timeless artistry. Anchoring this masterpiece is a beautifully sculpted, patinated bronze base, capturing the peak of Art Nouveau elegance and the unmatched craftsmanship defining the Tiffany legacy. Produced early 20th century, circa 1905, with impressed TIFFANY STUDIOS NEW YORK medallion on base. Condition: Repair near edge of shade, as pictured. Size: 16 1/2 x 16 1/2 x 20 in.   Tiffany Studios, founded in 1902 by Louis Comfort Tiffany in New York City, was a leading force in the Art Nouveau style in the United States, celebrated for its innovative use of opalescent glass and richly colored designs. The studio produced a wide range of luxury decorative objects, including stained-glass windows, lamps, mosaics, and metalwork, with its iconic “Tiffany lamps” becoming enduring symbols of American craftsmanship and design. Drawing inspiration from nature—flowers, insects, and organic forms—the studio’s work combined artistry with technical experimentation, particularly through its development of Favrile glass. Although the company closed in 1932, Tiffany Studios remains highly influential, and its creations are now prized in major museum collections and among collectors worldwide.

Lot: 1011 - Antique Tiffany Studios New York Art Nouveau "Swirling Leaf" Table Lamp

Antique Tiffany Studios New York Art Nouveau "Swirling Leaf" Table Lamp. Elegant Tiffany Studios table lamp features a domed leaded glass shade composed of a rich green brickwork pattern that seamlessly transitions into an organic, swirling mottled border along the top crown. Supporting the shade is a slender, reeded bronze standard base with a dark, rich patina that echoes the refined, understated luxury of the Arts and Crafts era. Impressed signautre on base, TIFFANY STUDIOS NEW YORK / 589. Size: 18 x 18 x 24 1/2 in.   Tiffany Studios, founded in 1902 by Louis Comfort Tiffany in New York City, was a leading force in the Art Nouveau style in the United States, celebrated for its innovative use of opalescent glass and richly colored designs. The studio produced a wide range of luxury decorative objects, including stained-glass windows, lamps, mosaics, and metalwork, with its iconic “Tiffany lamps” becoming enduring symbols of American craftsmanship and design. Drawing inspiration from nature—flowers, insects, and organic forms—the studio’s work combined artistry with technical experimentation, particularly through its development of Favrile glass. Although the company closed in 1932, Tiffany Studios remains highly influential, and its creations are now prized in major museum collections and among collectors worldwide.

Lot: 1012 - Antique Tiffany Studios New York Counter-Balance Floor Lamp

Antique Tiffany Studios New York Counter-Balance Floor Lamp. elegant floor lamp, features a slender, dark metal base with a fluted stand and is topped with a charming green, dragonfly-accented glass shade. Marked on base. Signed C.T. Favrile on shade.  Size: 14 1/2 x 54 1/2 in.   Tiffany Studios, founded in 1902 by Louis Comfort Tiffany in New York City, was a leading force in the Art Nouveau style in the United States, celebrated for its innovative use of opalescent glass and richly colored designs. The studio produced a wide range of luxury decorative objects, including stained-glass windows, lamps, mosaics, and metalwork, with its iconic “Tiffany lamps” becoming enduring symbols of American craftsmanship and design. Drawing inspiration from nature—flowers, insects, and organic forms—the studio’s work combined artistry with technical experimentation, particularly through its development of Favrile glass. Although the company closed in 1932, Tiffany Studios remains highly influential, and its creations are now prized in major museum collections and among collectors worldwide.

Lot: 1013 - Antique Tiffany Studios New York Floor Lamp

Elegant Tiffany Studios floor lamp features a slender dark metal tripod stand and a distinctive dome-shaped metal shade decorated with a colorful, pierced floral pattern along the lower edge. Marked on base. Size: 12 x 54 1/2 in.   Tiffany Studios, founded in 1902 by Louis Comfort Tiffany in New York City, was a leading force in the Art Nouveau style in the United States, celebrated for its innovative use of opalescent glass and richly colored designs. The studio produced a wide range of luxury decorative objects, including stained-glass windows, lamps, mosaics, and metalwork, with its iconic “Tiffany lamps” becoming enduring symbols of American craftsmanship and design. Drawing inspiration from nature—flowers, insects, and organic forms—the studio’s work combined artistry with technical experimentation, particularly through its development of Favrile glass. Although the company closed in 1932, Tiffany Studios remains highly influential, and its creations are now prized in major museum collections and among collectors worldwide.

Lot: 1014 - Antique Tiffany Studios New York "Aladdin's Lamp" Floor Lamp

Tiffany Studios New York "Aladdin's Lamp" Floor Lamp. Unique floor lamp, attributed to Tiffany Studios New York, features an ornate tripod base and an arm designed in the shape of an oil lamp, topped with a geometric leaded glass shade. Condition: Shade is as is, one or two mica panels have damage. See images. Missing panel. Size: 16 x 55 in.   Tiffany Studios, founded in 1902 by Louis Comfort Tiffany in New York City, was a leading force in the Art Nouveau style in the United States, celebrated for its innovative use of opalescent glass and richly colored designs. The studio produced a wide range of luxury decorative objects, including stained-glass windows, lamps, mosaics, and metalwork, with its iconic “Tiffany lamps” becoming enduring symbols of American craftsmanship and design. Drawing inspiration from nature—flowers, insects, and organic forms—the studio’s work combined artistry with technical experimentation, particularly through its development of Favrile glass. Although the company closed in 1932, Tiffany Studios remains highly influential, and its creations are now prized in major museum collections and among collectors worldwide.

Lot: 1015 - Antique Tiffany Studios New York Art Nouveau Geometric Ceiling Light

Antique Tiffany Studios New York Art Nouveau Geometric Ceiling Light. Appears to be in the stylized form of an acorn with a flattering bronze and high finish lava rock collar. Tiffany Studios New York light with dark bronze, four-footed base topped by a leaded glass shade showcasing a vibrant pattern of yellow and amber blossoms nestled among green leaves. Size: 8 3/4 x 8 3/4 x 12 1/2 in.   Tiffany Studios, founded in 1902 by Louis Comfort Tiffany in New York City, was a leading force in the Art Nouveau style in the United States, celebrated for its innovative use of opalescent glass and richly colored designs. The studio produced a wide range of luxury decorative objects, including stained-glass windows, lamps, mosaics, and metalwork, with its iconic “Tiffany lamps” becoming enduring symbols of American craftsmanship and design. Drawing inspiration from nature—flowers, insects, and organic forms—the studio’s work combined artistry with technical experimentation, particularly through its development of Favrile glass. Although the company closed in 1932, Tiffany Studios remains highly influential, and its creations are now prized in major museum collections and among collectors worldwide.

Lot: 1016 - Antique Tiffany Studios New York Floor Lamp with Quezal Iridescent Glass Lamp Shade

Antique Tiffany Studios New York Floor Lamp with Quezal Iridescent Glass Lamp Shade. Elegant floor lamp features an ornate dark metal stand with a decorative base, topped with a glowing, iridescent Quezal art glass shade that is attributed to Tiffany & Co. Condition: Base bent in transit at midpoint, leans forward, per images. Size: 12 1/4 x 11 x 55 1/4 in.   Tiffany Studios, founded in 1902 by Louis Comfort Tiffany in New York City, was a leading force in the Art Nouveau style in the United States, celebrated for its innovative use of opalescent glass and richly colored designs. The studio produced a wide range of luxury decorative objects, including stained-glass windows, lamps, mosaics, and metalwork, with its iconic “Tiffany lamps” becoming enduring symbols of American craftsmanship and design. Drawing inspiration from nature—flowers, insects, and organic forms—the studio’s work combined artistry with technical experimentation, particularly through its development of Favrile glass. Although the company closed in 1932, Tiffany Studios remains highly influential, and its creations are now prized in major museum collections and among collectors worldwide.

Lot: 1017 - Antique Attributed Unsigned Bronze Tiffany Base with Signed Quoizel Pulled Feather Style Domed Shade

Antique Attributed Unsigned Bronze Tiffany Base with Signed Quoizel Pulled Feather Style Domed Shade. Elegant Art Nouveau table lamp features a slender, dark bronze base supporting an iridescent mushroom-style glass shade decorated with a delicate yellow feathered pulled-thread pattern. Size: 9 x 9 x 17 in.   Tiffany Studios, founded in 1902 by Louis Comfort Tiffany in New York City, was a leading force in the Art Nouveau style in the United States, celebrated for its innovative use of opalescent glass and richly colored designs. The studio produced a wide range of luxury decorative objects, including stained-glass windows, lamps, mosaics, and metalwork, with its iconic “Tiffany lamps” becoming enduring symbols of American craftsmanship and design. Drawing inspiration from nature—flowers, insects, and organic forms—the studio’s work combined artistry with technical experimentation, particularly through its development of Favrile glass. Although the company closed in 1932, Tiffany Studios remains highly influential, and its creations are now prized in major museum collections and among collectors worldwide.

Lot: 1018 - Carl Radke "Phoenix" Art Nouveau Illuminated Bronze Vanity Lamp

Carl Radke "Phoenix" Art Nouveau Illuminated Bronze Vanity Lamp Exquisite, Art Nouveau-style table mirror features an ornate, dark metal frame adorned with sculptural floral motifs and a single, glowing iridescent glass lily lamp. Incise signature on shade. In working conditon. Size: 13 x 14 in.

Lot: 1018A - Tiffany Studios Grapevine Picture Frame

Size: 9 1/2 x 8 Inches Photo size: 5 1/2 x 4 Inches Tiffany Studios Grapevine Picture Frame Circa 1905, favrile glass, patinaed bronze. Impressed 'TIFFANY STUDIOS NEW YORK

Lot: 1019 - Louis Comfort Tiffany Furnaces Bronze Tray with Red Favrile Enamel

Louse Comfort Tiffany Furnaces Bronze Tray with Red Favrile Enamel This is a Louis Comfort Tiffany Furnaces circular bronze tray featuring a wide, relief-decorated rim set with twenty-four vibrant red glass cabochons. Signed on back. Size: 8 1/4 in.   “Louis Comfort Tiffany Furnaces” was the specialized glassmaking workshops and furnaces operated by Louis Comfort Tiffany as part of Tiffany Studios, rather than a separate company. Tiffany was deeply involved in developing new types of artistic glass—especially opalescent and Favrile glass—and these furnaces were where raw materials were melted, colored, and manipulated into the richly textured sheets and forms used in his lamps and windows. Unlike many designers of his time, Tiffany controlled both the artistic and manufacturing processes, allowing for experimentation with color, layering, and surface effects. References to “Tiffany furnaces” today usually highlight this hands-on innovation in glass production, which played a major role in defining the distinctive look and enduring value of his work.

Lot: 1020 - Tiffany Studios Gold "Dore" Plate with Mother-of-Pearl Inlay

Tiffany Studios Gold "Dore" Plate with Mother-of-Pearl Inlay.  Circular bronze tray with gold Dore finish featuring an ornate, relief-decorated border set with iridescent abalone or mother-of-pearl cabochon inlays. Diameter: 12 in.   Tiffany Studios was a renowned American design firm established in the late 19th century by Louis Comfort Tiffany, celebrated for its luxurious decorative arts, especially stained glass. Based in New York City, the studio became famous for its innovative use of opalescent glass, intricate craftsmanship, and nature-inspired designs seen in lamps, windows, mosaics, and jewelry. Active during the height of the Art Nouveau movement, Tiffany Studios blended artistic beauty with technical experimentation, producing iconic works like the Tiffany lamp, which remains highly collectible today. The company closed in 1932, but its legacy endures through museum collections and continued admiration for its distinctive aesthetic.

Lot: 1021 - Louis Comfort Tiffany Iridescent Gold Favrile Glass Bowl

Louis Comfort Tiffany Iridescent Gold Favrile Glass Bowl. Antique iridescent Favrile glass bowl featuring a shallow, wide-mouthed form with a scalloped rim and a ribbed, swirled texture that displays a luminous golden-amber glow with pearlescent blue and pink highlights. Incise signature on bottom, LCT. Size: 7 x 7 x 3 1/4 in.    Favrile glass is an iridescent art glass invented and patented in the 1890s by Louis Comfort Tiffany, best known for its rich, shimmering colors and metallic surface effects. Unlike ordinary painted or coated glass, the iridescent quality of Favrile glass is embedded into the material itself during production, giving each piece a luminous appearance that changes with the light. Tiffany used it extensively in stained-glass windows, vases, lampshades, and decorative objects produced by Tiffany Studios during the Art Nouveau period. Favrile glass drew inspiration from ancient Roman and Syrian glassware but became a hallmark of American decorative arts through its innovative techniques, flowing organic forms, and vivid coloration.

Lot: 1022 - Louis Comfort Tiffany Iridescent Gold Favrile Vase

Louis Comfort Tiffany Iridescent Gold Favrile Vase. Antique iridescent Favrile art glass vase featuring a squat, bulbous form with a pinched or "dimpled" texture and a luminous, opalescent finish that shifts between golden and pinkish-purple hues. Incise signature LCT on base. Size: 5 1/2 x 5 1/2 x 7 1/2 in.    Favrile glass is an iridescent art glass invented and patented in the 1890s by Louis Comfort Tiffany, best known for its rich, shimmering colors and metallic surface effects. Unlike ordinary painted or coated glass, the iridescent quality of Favrile glass is embedded into the material itself during production, giving each piece a luminous appearance that changes with the light. Tiffany used it extensively in stained-glass windows, vases, lampshades, and decorative objects produced by Tiffany Studios during the Art Nouveau period. Favrile glass drew inspiration from ancient Roman and Syrian glassware but became a hallmark of American decorative arts through its innovative techniques, flowing organic forms, and vivid coloration.

Lot: 1023 - Louis Comfort Tiffany Favrile Glass Bowl

Louis Comfort Tiffany Favrile Glass Bowl. Antique Tiffany Favrile art glass bowl, characterized by its iridescent golden and blue luster, scalloped rim, and a ribbed, swirled texture indicative of Louis Comfort Tiffany’s signature hand-blown technique. Incise signature LCT / Favrille. Size: 8 1/4 x 8 1/4 x 3 1/4 in.    Favrile glass is an iridescent art glass invented and patented in the 1890s by Louis Comfort Tiffany, best known for its rich, shimmering colors and metallic surface effects. Unlike ordinary painted or coated glass, the iridescent quality of Favrile glass is embedded into the material itself during production, giving each piece a luminous appearance that changes with the light. Tiffany used it extensively in stained-glass windows, vases, lampshades, and decorative objects produced by Tiffany Studios during the Art Nouveau period. Favrile glass drew inspiration from ancient Roman and Syrian glassware but became a hallmark of American decorative arts through its innovative techniques, flowing organic forms, and vivid coloration.

Lot: 1024 - (2) Louis Comfort Tiffany Favrile Art Glass Candlesticks

(2) Louis Comfort Tiffany Favrile Art Glass Candlesticks.  Pair of Favrile iridescent art glass candlesticks featuring a spiraled rib design and a lustrous gold finish with subtle purple and blue highlights. Incise signature LCT on base. Size: 4 x 4 x 5 1/8 in.  Tiffany Studios is the design firm through which Louis Comfort Tiffany produced many of his most influential works in glass and decorative arts in the late 19th and early 20th centuries. Based in New York City, the studio became famous for its stained glass windows, mosaics, and especially its iconic lamps, which feature intricate designs inspired by nature such as flowers, dragonflies, and wisteria. Tiffany’s development of Favrile glass gave these works their distinctive shimmering, iridescent quality, allowing for rich color and texture without the need for paint. His work at Tiffany Studios blurred the line between fine and decorative art, and many pieces were created through a collaborative workshop process, though they still reflect his artistic vision and leadership.

Lot: 1025 - Signed Tiffany Studios Blue Favrile Glass Vase

Signed Tiffany Studios Blue Favrile Glass Vase. Signed Tiffany Studios iridescent glass trumpet vase, featuring a ribbed, flaring body and a scalloped rim finished in a luminous blue Favrile luster. Incise on base: 3849E - Tiffany - Favrile. Size: 4 1/4 x 4 1/4 x 10 1/2 in. Tiffany Studios Favrile glass is an innovative type of art glass developed in the late 19th century by Louis Comfort Tiffany, known for its rich, iridescent colors that are embedded within the glass rather than applied to the surface. The name “Favrile,” derived from an old French word meaning handmade, reflects the emphasis on artistry and craftsmanship. Makers created the effect by mixing metallic oxides into molten glass, producing shimmering hues that shift with the light. Tiffany Studios used Favrile glass in vases, windows, and especially lamps, where its luminous, organic qualities became a defining feature of Art Nouveau design.

Lot: 1026 - (2) American Quezal Art Nouveau Gold Glass Lily Lamp Shades

(2) American Quezal Art Nouveau Gold Glass Lily Lamp Shades. Exquisite Quezal art glass lamp shades feature a delicate, fluted flower-like form with a distinctive golden iridescent finish. Size: 3 x 3 x 4 3/4 in.

Lot: 1027 - Steven Correla (Born 1940) American, Art Nouveau "Pulled Feather" Iridescent Art Glass Table Lamp

Steven Correla (Born 1940) American, Art Nouveau "Pulled Feather" Iridescent Art Glass Table Lamp. Art Nouveau table lamp is crafted from iridescent art glass featuring a bell-shaped shade and a slender, tapered base, both decorated with a coordinated blue and white pulled-feather pattern. Size: 8 x 8 x 15 1/2 in.

Lot: 1028 - Tiffany Studios "Zodiac" Bronze Pen Tray

Tiffany Studios "Zodiac" Bronze Pen Tray. Long, rectangular patinated bronze pen tray with raised relief medallions on each end that depict zodiac figures surrounded by scrolling ornamentation. Size: 10 x 3 1/4 in. Tiffany Studios desk sets, produced primarily in the early 20th century under the direction of Louis Comfort Tiffany, are prized examples of Art Nouveau design applied to everyday office objects. Typically crafted in bronze and often paired with favrile glass or richly colored enamel inlays, these sets included coordinated pieces such as inkwells, blotters, letter racks, and stamp boxes. Their designs frequently feature organic motifs—like vines, dragonflies, and flowing lines—reflecting Tiffany’s fascination with nature and craftsmanship. Today, these desk sets are highly collectible for their artistry, material quality, and embodiment of the decorative elegance associated with the early 1900s.

Lot: 1029 - Tiffany Studios "Venetian" Leather and Bronze Desk Blotter

Tiffany Studios "Venetian" Leather and Bronze Desk Blotter. Rectangular desk blotter featuring a dark green writing surface flanked by two copper-toned side panels with intricate, pierced filigree designs in a "Pine Needle" or spiderweb motif. Size: 20 1/4 x 13 1/4 in. Tiffany Studios desk sets, produced primarily in the early 20th century under the direction of Louis Comfort Tiffany, are prized examples of Art Nouveau design applied to everyday office objects. Typically crafted in bronze and often paired with favrile glass or richly colored enamel inlays, these sets included coordinated pieces such as inkwells, blotters, letter racks, and stamp boxes. Their designs frequently feature organic motifs—like vines, dragonflies, and flowing lines—reflecting Tiffany’s fascination with nature and craftsmanship. Today, these desk sets are highly collectible for their artistry, material quality, and embodiment of the decorative elegance associated with the early 1900s.

Lot: 1030 - Tiffany Studios Zodiac Pattern Bronze Picture Frame

Tiffany Studios Zodiac Pattern Bronze Picture Frame. Rectangular photo frame featuring an oxidized metal finish and a relief pattern around its border consisting of circular motifs, which appear to depict the twelve signs of the zodiac. Marked Tiffany Studios, New York on back. Size: 7 1/4 x 8 1/4 x 5 in.   Tiffany Studios is a celebrated line of early 20th-century luxury office accessories produced under the direction of Louis Comfort Tiffany, renowned for their rich materials and distinctive craftsmanship. Created primarily between about 1900 and the 1920s, these objects—such as inkwells, blotters, letter racks, and desk sets—often featured the фирма’s signature Favrile glass alongside bronze, gilt metal, and intricate geometric or organic designs inspired by the Art Nouveau movement. Tiffany Studios deskware combined functional elegance with artistic innovation, transforming everyday office items into decorative art pieces; today, they are highly prized by collectors for their beauty, craftsmanship, and connection to the broader legacy of American decorative arts in the early modern period.

Lot: 1031 - (4) Vintage Tiffany Studios Bronze Zodiac Pattern Desk Set Corners

(4) Tinvage Tiffany Studios Bronze Zodiac Pattern Desk Set Corners. Four L-shaped bronze corner mounts, likely from a chest or casket, featuring intricate relief carvings of zodiac symbols and swirling decorative patterns. Size: 3 1/2 x 3 3/4 in. Tiffany Studios desk sets, produced primarily in the early 20th century under the direction of Louis Comfort Tiffany, are prized examples of Art Nouveau design applied to everyday office objects. Typically crafted in bronze and often paired with favrile glass or richly colored enamel inlays, these sets included coordinated pieces such as inkwells, blotters, letter racks, and stamp boxes. Their designs frequently feature organic motifs—like vines, dragonflies, and flowing lines—reflecting Tiffany’s fascination with nature and craftsmanship. Today, these desk sets are highly collectible for their artistry, material quality, and embodiment of the decorative elegance associated with the early 1900s.

Lot: 1031A - Tiffany Studios Cast Bronze Large Clip

Tiffany Studios Cast Bronze Large Clip. Early 20th Century (approx. 1902–1915). Zodiac pattern. The top of the spring-loaded pivoting clip is decorated with an intricate stylized Celtic interlocking knot border that frames a central medallion. The central emblem depicts the astrological symbol for Aquarius (traditionally represented in this specific Tiffany series as a stylized, disembodied hand or "the water bearer" gesture pointing amidst a field of stars).Marked on underside.  Size: 3 3/4 x 3 x 1 in. 

Lot: 1032 - 1865 Signed Todd Oil on Canvas 3/4 Portrait of Abraham Lincoln

1865 Signed Todd Oil on Canvas 3/4 Portrait of Abraham Lincoln. A somber, three-quarter-length oil portrait of a bearded Abraham Lincoln standing in a dark, formal suit with a bow tie against a muted architectural background. signed lower left "Todd," attributed to Tim Todd, dated 1865. Unframed. Condition: Commensurate with age. Needs to be re-stretched. Some rubbing loss to corners and edges. Small holes on canvas. From a smoker's house. Size: 50 x 40 in.

Lot: 1033 - Emil Rau (1858–1937) German, Oil on Canvas Rural Landscape of Horses Plowing Field

Emil Rau (1858–1937) German, Oil on Canvas Rural Landscape of Horses Plowing Field. Rural landscape painting depicting a farmer guide a plow behind a pair of horses—one brown and one white—along the crest of a rolling hill under a dramatic, cloud-filled sky. Signed lower right. Framed. Overall Size: 34 x 37 1/2 in. Sight Size: 24 1/2 x 29 1/2 in.   Emil Rau (1858–1937) was a German painter, illustrator, and writer associated with late 19th- and early 20th-century academic and genre art. Born in Dresden, Rau studied at the Academy of Fine Arts in Munich and became known for his detailed depictions of rural life, historical subjects, and idealized scenes influenced by German Romanticism and Realism. In addition to painting, he wrote extensively on art and artists, contributing essays and criticism that helped document European artistic movements of his era. His works were widely exhibited in Germany and abroad, and his imagery became popular through reproductions and illustrated publications. Today, Rau is remembered both for his paintings and for his contributions to art literature during a transformative period in European cultural history.

Lot: 1034 - Michiel Jacobus Van Der Schaft (1829-1889) Dutch, Oil on Canvas

Michiel Jacobus Van Der Schaft (1829-1889) Dutch, Oil on Canvas. Signed along bottom. Depicts a dramatic narrative scene where a group of men in historical, rustic attire are gathered outside a stone tower, with some appearing to keep watch or take cover near a low wall. In the background, a hazy coastline meets the sea under a dark, atmospheric sky, adding to the tense and secretive mood of the composition. Overall Size: 35 1/4 x 41 in.  Sight Size: 27 x 32 1/4 in. 

Lot: 1035 - 17th/18th Century Dutch School Oil on Canvas Genre Scene, "A Village Feast"

17th/18th Century Dutch School Oil on Canvas Genre Scene, "A Village Feast". Antique oil painting in a decorative gilt frame, depicting a lively, traditional Dutch or Flemish-style tavern scene with villagers gathering, drinking, and socializing outdoors near a stone archway. Gallery label verso. Framed. Overall Size: 24 x 26 1/4 x 2 3/4 in. Sight Size: 19 1/2 x 22 in.

Lot: 1036 - Eugene von Blaas (1843-1931) Italian, Signed Monumental Pastel on Paper

Eugene von Blaas (1843-1931) Italian, Signed Monumental Pastel on Paper. The stunning image shows three women in orange robes gathered near a throne, one woman resting sleepily on it and the other two on either side, fanning her. Signed bottom right and dated 1919 below. Under glass in an opulent gilt frame that makes the soft glowing colors of the piece pop.  Overall Size: 54 x 49 in.  Sight Size: 44 1/2 x 39 1/2 in.  Eugene de Blaas, also known as Eugene von Blaas or Eugenio Blaas, was born on July 24th, 1843, in Albano Laziale, Italy to Austrian painter Karl von Blaas, who trained him from a young age. After moving to Venice in the 1850s when his father became a professor at the Academy of Venice, Eugene drew inspiration from the city’s scenery. By the 1860s he expanded into portraiture and religious works, but became best known for richly colored, theatrical depictions of Venetian life, capturing playful scenes of young love and peasant girls with a striking emotional warmth. His style contributed significantly to Academic Classicism, and his work was exhibited at prestigious venues such as the Royal Academy of London, the British Fine Art Society, and Liverpool’s Walker Art Gallery. He died on February 10th, 1931 at his home in Venice, leaving a legacy of idealized, timeless portrayals that inspired many imitators.

Lot: 1037 - Attributed Jean Baptiste Andre Gautier-Dagoty (1740-1786) French, Oil on Canvas Rococo Genre Scene "The Concert"

Attributed Jean Baptiste Andre Gautier-Dagoty (1740-1786)) French, Oil on Canvas Rococo Genre Scene "The Concert"". Antique oil painting depicts an elegant 18th-century social gathering of men and women in period attire seated around a table in a dimly lit room with a chandelier. Unsigned. Attributed on plaque. Framed. Overall Size: 30 3/4 x 39 in. Sight Size: 22 1/2 x 30 1/2 in. Frame Thickness: 3 in.    Jean-Baptiste André Gautier-Dagoty (1740–1786) was a French painter, engraver, and printmaker best known for his finely detailed color mezzotint portraits and anatomical illustrations produced during the 18th century. The son of pioneering printmaker Jacques Gautier-Dagoty, he continued the family’s innovative use of multi-plate color printing techniques that brought unusual realism and vibrancy to engravings of the period. Gautier-Dagoty created portraits of notable aristocrats and intellectuals in pre-Revolutionary France, combining Rococo elegance with scientific precision. His work reflects both the artistic refinement and growing interest in anatomy and natural observation that characterized the Enlightenment era.

Lot: 1038 - Attributed Edmund Adler (1871-1957) Austrian, Oil on Canvas Traditional Genre Scene of Children "Curiosity"

Attributed Edmund Adler (1871-1957) Austrian, Oil on Canvas Traditional Genre Scene of Children "Curiosity". Oil painting, titled "Curiosity," depicts four young children in traditional European country attire gathered around a boy who is holding up a glass jar for inspection. Unsigned. Attributed on plaque. Framed. Overall Size: 26 3/4 x 33 in. Sight Size: 20 1/2 x 26 3/4 in.  Frame Thickness: 2 1/2 in.    Edmund Adler (1871-1957) was an Austrian painter known for landscapes, genre scenes, and finely detailed depictions of rural European life. Working in the late 19th and early 20th centuries, Adler painted in a traditional academic style influenced by the naturalism and Romanticism popular in Central Europe at the time. His works often featured pastoral settings, village scenes, and atmospheric mountain landscapes rendered with careful attention to light and texture. Although not widely known outside regional European collections, his paintings continue to appear in galleries and auctions, appreciated for their craftsmanship and evocative portrayal of Austrian countryside traditions.

Lot: 1039 - Gertrude Fay Lothrop (Born 1880) American, Oil on Canvas Painting of a Young Girl Holding Her Doll

Gertrude Fay Lothrop (Born 1880) American, Oil on Canvas Painting of a Young Girl Holding Her Doll. Lothrop exhibited at the society of independent artists in New York City in 1917. Signed with initials. Retains partial exhibition label on the reverse. Lothrop was a painter and an illustrator. She is known for portraits and interiors listed in all major references. Overall Size: 32 1/4 x 26 1/4 in. Sight Size: 27 1/4 x 21 in.

Lot: 1040 - George Gardern Symons (1861-1930) American, Oil on Panel Board Impressionist Winter Scene "Snowy Winter Landscape"

George Gardern Symons (1861-1930) American, Oil on Panel Board Impressionist Winter Scene "Snowy Winter Landscape". Depicting a sunlit, snow-covered winter landscape with a prominent bare tree in the foreground. Attributed on plate, signed with estate stamp verso. In hand carved American-style gold leaf frame. Overall Size: 17 x 20 3/4 in.  Sight Size: 9 1/2 x 13 1/2 in.    George Gardner Symons (1861-1930)  was an American Impressionist landscape painter known for his energetic plein-air style and panoramic scenes of snow-covered New England landscapes, coastal settings, and the American West. Born in Chicago in 1861, he studied at the School of the Art Institute of Chicago and later continued his training in Paris, Munich, and London. Symons became closely associated with the art colonies of Laguna Beach, California, and St Ives, England, where he developed a style blending realism with Impressionism. He gained recognition for his winter scenes and Grand Canyon paintings, exhibiting widely and earning honors from institutions such as the National Academy of Design and the Corcoran Gallery of Art. His works are now held in major collections including the Art Institute of Chicago and the Smithsonian American Art Museum.

Lot: 1041 - 19th Century English School Nautical Oil on Canvas

19th Century English School Nautical Oil on Canvas. Depicts a sailing ship flying the British blue ensign flag passing by a fort with a high surf tossing other nearby sail and rowboats. Obscured signature at bottom left, along with the date 1826. Presented in a later gilt frame.  Overall Size: 15 1/4 x 18 1/2 in.  Sight Size: 9 1/4 x 12 3/4 in.  Frame Thickness: 2 1/2 in. 

Lot: 1042 - Edouard Hostein (1804-1889) French, Oil on Canvas, 1855 Panoramic View of the Seine Near Le Havre

Edouard Hostein (1804-1889) French, Oil on Canvas, 1855 Panoramic View of the Seine Near Le Havre. Signed and dated. Overall Size: 23 x 32 1/2 in.  Sight Size: 16 3/4 x 26 in. 

Lot: 1043 - Emile Pinedo (1840-1916) French, Bronze of Napolean Bonaparte

Emile Pinedo (1840-1916) French, Bronze of Napolean Bonaparte. Size: 10 3/8 x 10 3/4 x 30 in. 

Lot: 1044 - Renzo Colombo (1856-1885) Italian, 1885 Bronze Sculpture of Napolean

Renzo Colombo (1856-1885) Italian, 1885 Bronze Sculpture of Napolean. Signed with an eagle on the base. Size: 11 x 13 x 22 in. 

Lot: 1045 - German Postmodern Carved Marble Face of Eduard Morike

German Postmodern Carved Marble Face of Eduard Mörike. The smooth, extremely German face rests within jagged but polished lines, a small relief plaque carved at the bottom edge that translates to "In Reverence to Our Mörike, Chemnitz People's Hall," indicating that this was likely a commemorative sculpture to honor the poet.  Size: 17 x 12 x 9 in.  Eduard Friedrich Mörike was born on September 8th, 1804 in Ludwigsburg, then part of the Holy Roman Empire, and became a prominent German Lutheran pastor and Romantic author celebrated for his lyrical poetry and imaginative prose. Though he initially struggled with his clerical duties, declaring a desire to escape the “servitude of the vicar,” he eventually balanced his faith with a prolific literary career, but led an unhappy personal life made tumultuous by many passionate affairs. His poems are famous for their simple, everyday German style and have been set to music by composers like Hugo Wolf, with many becoming beloved folk songs. He is perhaps best known for his masterpiece novella, Mozart on the Way to Prague, and his earlier popular novel, Maler Nolten, and throughout his life he maintained close friendships with other writers of the Swabian school, inventing the mythical fairyland “Orplid” with his peers. Despite financial struggles, his work was highly praised by figures like Ludwig Wittgenstein, and after his death on June 4th, 1875 in Stuttgart his poetic beauty was considered on par with titans of German literature such as Goethe. 

Lot: 1046 - Antique Chinese Hand Mirror with Cloisonne Enameled Handle and Back

Antique Chinese Hand Mirror with Cloisonne Enameled Handle and Back. Ornate hand mirror features a decorative cloisonné enamel border and an intricate repoussé back depicting two phoenixes amongst flowers, complemented by a handle inset with carved jade. Size: 11 x 5 x 1 1/2 in. 

Lot: 1047 - Chinese Gilt Bronze Mounted and Cloisonne Enamel Footed Bowl

Chinese Gilt Bronze Mounted and Cloisonne Enamel Footed Bowl. Ornate Chinese turquoise ground cloisonné enamel bowl featuring intricate floral and scroll motifs, supported by a decorative gilt-bronze stand with four stylized dolphin supports. Size: 9 1/2 x 9 1/2 x 4 1/2 in. 

Lot: 1048 - 14th Century Vietnamese Annam Blue and White Ceramic Lidded Jar

14th Century Vietnamese Annam Blue and White Ceramic Lidded Jar. Stoneware baluster form with underglaze decoration of floral motifs, including lotus or chrysanthemum patterns, and traditional crackle glaze. Originally used as a storage vessel for goods like spices or preserved foods, but now highly prized as decorative art.  Provenance: A note inside reads "Annam: 14th Century Blue and White Jar with Lead. Bought in the 'Russian Market' in Phnom Phen Cambodia, in Oct. 2004."  Size: 5 1/2 x 5 1/2 x 6 in.  Annam stoneware originated from northern Vietnam (known by that name at the time as the southernmost province of China after the Tang Dynasty), with a rich history spanning over 2,000 years, deeply influenced by Chinese technology but developing a distinct, often rustic, local aesthetic. Key production centers like Bat Trang and Tho Ha, dating back to the 14th Century and earlier, specialized in celadons, underglaze blue, and iron-black decorated wares that were widely traded throughout Southeast Asia. Much modern knowledge of the wares comes from the Há»™i An wreck, a massive archaeological find in 1983 that unearthed a sunken cargo vessel carrying over 250,000 intact ceramics from the Red River Delta in the 15th Century. Today, these pieces are considered museum-worthy, and collectors pay high prices for the most pristine surviving works.

Lot: 1049 - Antique Pair of Chinese Bronze Monkey Basins

Antique Pair of Chinese Bronze Monkey Basins. The large prayer bowls are identical in form, with three sets of three monkeys climbing the sides to look into the bottom and kanji on the sides. Original patina within and without.  Size: 9 3/4 x 19 1/2 in. 

Lot: 1050 - Chinese Pierce Carved Lapis Lazuli Snuff Bottle

Chinese Pierce Carved Lapis Lazuli Snuff Bottle. Meticulously carved Chinese lapis lazuli snuff bottle featuring a deep blue hue with characteristic calcite inclusions, adorned with high-relief openwork depicting writhing chilong dragons encircling the body. On raised ovoid foot. Size: 3 1/2 x 2 x 4 1/4 in.  Chinese snuff bottles are small, finely crafted containers used to hold powdered tobacco (snuff), which became popular during the Qing Dynasty. Artisans made these bottles from a wide range of materials, including glass, porcelain, jade, and hard stones, often shaping and decorating them with intricate carvings, painted scenes, or inside-painted designs applied with a fine brush inserted through the neck. Snuff bottles are compact and typically fitted with a stopper and spoon for dispensing the powder, and they served both practical and artistic purposes as personal accessories carried by elites. Today, they are valued as collectibles that showcase exceptional craftsmanship and reflect Chinese culture, symbolism, and courtly life.

Lot: 1051 - Incredible Vintage Persian Silvered Filigree Hookah Shisha Pipe with Inset Turquoise and Agate Stones

Incredible Vintage Persian Silvered Filigree Hookah Shisha Pipe with Inset Turquoise and Agate Stones. Elaborate multi-section design with beaded detail, likely made in Isfahan during the reign of the Shah.  Condition: Sarasota Estate Auction does not endorse or condone the smoking of marijuana, hashish, tobacco, or any other stimulant/depressant via legal or illegal means, and lists this piece explicitly as a decorative artistic object, nothing more or less.  Size: 17 x 6 1/2 x 34 1/2 in. 

Lot: 1052 - H. Claude Pissarro (Born 1935) French, "Le Coq Jaune" Pastel on Paper Under Glass

H. Claude Pissarro (Born 1935) French, "Le Coq Jaune" Pastel on Paper  Under Glass. Depicts a canal with boats along it and a viaduct in the background leading to a city in the far distance in colorful Impressionist lines. Signed bottom left.  Overall Size: 22 x 28 1/4 in.  Sight Size: 12 3/4 x 19 1/4 in.  Hugues Claude Pissarro is the grandson of Camille Pissarro and son of Paul-Émile Pissarro, born in 1935 in Neuilly-sur-Seine, where he frequently returned with his father on painting excursions. He first exhibited his work at the age of fourteen, and subsequently studied in Paris, evolving through a variety of different styles and techniques, from abstract to avant-garde. He is known by a variety of names including professionally as Isaac Pomié or Hugues Pissarro dit Pomié, and frequently signs his first name simply as “H.” His work has been featured in exhibitions in Europe and the United States, and he was commissioned by the White House in 1959 to paint a portrait of U.S. President Dwight Eisenhower, later teaching art in Monaco, where he continues to divide his time when not painting in Paris. 

Lot: 1053 - H. Claude Pissarro (Born 1935) French, "La tour carree du Port de St. Andrews" Oil on Canvas

H. Claude Pissarro (Born 1935) French, "La tour carree du Port de St. Andrews" Oil on Canvas. Depicts a bright Impressionist harbor scene in vibrant colors. Signed bottom left. Title written in ink on the back of the canvas.   Overall Size: 27 x 30 1/2 in.  Sight Size: 17 1/2 x 21 in.  Hugues Claude Pissarro is the grandson of Camille Pissarro and son of Paul-Émile Pissarro, born in 1935 in Neuilly-sur-Seine, where he frequently returned with his father on painting excursions. He first exhibited his work at the age of fourteen, and subsequently studied in Paris, evolving through a variety of different styles and techniques, from abstract to avant-garde. He is known by a variety of names including professionally as Isaac Pomié or Hugues Pissarro dit Pomié, and frequently signs his first name simply as “H.” His work has been featured in exhibitions in Europe and the United States, and he was commissioned by the White House in 1959 to paint a portrait of U.S. President Dwight Eisenhower, later teaching art in Monaco, where he continues to divide his time when not painting in Paris. 

Lot: 1054 - Dietz Edzard (1893-1963) French/German, "Fleurs" Oil on Canvas

Dietz Edzard (1893-1963) French/German, "Fleurs" Oil on Canvas. Still life. Signed bottom left. Two labels on back, one on the stretcher from the original acquisition at the Marble Arch Gallery and the other on the frame from Alexander Kahan Fine Arts Ltd., both with information on the piece.  Overall Size: 23 x 26 1/2 in.  Originally purchased for $7,500 Sight Size: 14 1/2 x 17 3/4 in.  Dietz Edzard was born into a prominent trading family in Bremen, Germany on March 30th, 1893, but abandoned a career in the wool trade to pursue art, briefly studying in Karlsruhe and training under Max Beckmann in Berlin. His early life took an unconventional turn when he joined a traveling circus as a rope dancer, an experience that later inspired his frequent paintings of performers and acrobats, and the trauma of serving in the infantry during World War I profoundly impacted his mental health and early artistic style, which utilized dark, angular German Expressionist imagery to convey his distress. After a restorative period painting the Bavarian countryside Edzard moved permanently to Paris in 1928, where his work shifted toward more successful, atmospheric subjects after his marriage to fellow artist Suzanne Eisendieck (1906-1998), and established himself as a sought-after portrait painter and chronicler of Parisian life, capturing society beauties and theater scenes with newfound psychological depth. His career flourished internationally throughout the 1930s, with his work being exhibited in major galleries across Europe and New York, but he came to focus on still lifes during the horrors of World War II, producing some of his most memorable canvases in the following decades before his death on January 8th, 1963. 

Lot: 1055 - Dietz Edzard (1893-1963) German/French, "Ballerinas" Oil on Canvas

Dietz Edzard (1893-1963) German/French, "Ballerinas" Oil on Canvas. Depicts a principal dancer at the front with the rest of the company in matching leotard and tutus behind her, with forest-style set pieces in the background and their faces starkly shadowed from the stage lights below. Signed bottom left. Faded writing and tags on the back of the stretcher. One tag from the Alexander Kahan Fine Arts Ltd. gallery on the Upper East Side of New York City with information about the piece is affixed to the top middle of the back of the frame.  Overall Size: 34 x 40 in.  Sight Size: 23 x 28 in.  Dietz Edzard was born into a prominent trading family in Bremen, Germany on March 30th, 1893, but abandoned a career in the wool trade to pursue art, briefly studying in Karlsruhe and training under Max Beckmann in Berlin. His early life took an unconventional turn when he joined a traveling circus as a rope dancer, an experience that later inspired his frequent paintings of performers and acrobats, and the trauma of serving in the infantry during World War I profoundly impacted his mental health and early artistic style, which utilized dark, angular German Expressionist imagery to convey his distress. After a restorative period painting the Bavarian countryside Edzard moved permanently to Paris in 1928, where his work shifted toward more successful, atmospheric subjects after his marriage to fellow artist Suzanne Eisendieck (1906-1998), and established himself as a sought-after portrait painter and chronicler of Parisian life, capturing society beauties and theater scenes with newfound psychological depth. His career flourished internationally throughout the 1930s, with his work being exhibited in major galleries across Europe and New York, but he came to focus on still lifes during the horrors of World War II, producing some of his most memorable canvases in the following decades before his death on January 8th, 1963. 

Lot: 1056 - Dietz Edzard (1893-1963) German/French, "Roses" Oil on Canvas

Dietz Edzard (1893-1963) German/French, "Roses" Oil on Canvas. Still life of a glass two-handled vase with flowers in and around it. Signed bottom right. Two labels on the back of the ornate gilt frame, one from  the Alexander Kahan Fine Arts Ltd. gallery on the Upper East Side of New York City with information about the piece. Originally purchased for $8,000 Overall Size: 22 1/4 x 25 1/2 in.  Sight Size: 14 1/4 x 17 1/2 in.  Dietz Edzard was born into a prominent trading family in Bremen, Germany on March 30th, 1893, but abandoned a career in the wool trade to pursue art, briefly studying in Karlsruhe and training under Max Beckmann in Berlin. His early life took an unconventional turn when he joined a traveling circus as a rope dancer, an experience that later inspired his frequent paintings of performers and acrobats, and the trauma of serving in the infantry during World War I profoundly impacted his mental health and early artistic style, which utilized dark, angular German Expressionist imagery to convey his distress. After a restorative period painting the Bavarian countryside Edzard moved permanently to Paris in 1928, where his work shifted toward more successful, atmospheric subjects after his marriage to fellow artist Suzanne Eisendieck (1906-1998), and established himself as a sought-after portrait painter and chronicler of Parisian life, capturing society beauties and theater scenes with newfound psychological depth. His career flourished internationally throughout the 1930s, with his work being exhibited in major galleries across Europe and New York, but he came to focus on still lifes during the horrors of World War II, producing some of his most memorable canvases in the following decades before his death on January 8th, 1963. 

Lot: 1057 - Dietz Edzard (1893-1963) French/German, "Nature morte auz fleurs et a la mandoline" Oil on Canvas

Dietz Edzard (1893-1963) French/German, "Nature morte auz fleurs et a la mandoline" Oil on Canvas. Depicts a still life of flowers on a pile of papers next to a mandolin with a pink ribbon tied to its neck. Signed bottom left. Several labels adorn the back of the ornate gilt frame, including one from the Alexander Kahan Fine Arts Ltd. gallery on the Upper East Side of New York City with information about the piece.  Overall Size: 14 1/2 x 25 1/2 in.  Sight Size: 8 1/2 x 17 1/2 in.  Dietz Edzard was born into a prominent trading family in Bremen, Germany on March 30th, 1893, but abandoned a career in the wool trade to pursue art, briefly studying in Karlsruhe and training under Max Beckmann in Berlin. His early life took an unconventional turn when he joined a traveling circus as a rope dancer, an experience that later inspired his frequent paintings of performers and acrobats, and the trauma of serving in the infantry during World War I profoundly impacted his mental health and early artistic style, which utilized dark, angular German Expressionist imagery to convey his distress. After a restorative period painting the Bavarian countryside Edzard moved permanently to Paris in 1928, where his work shifted toward more successful, atmospheric subjects after his marriage to fellow artist Suzanne Eisendieck (1906-1998), and established himself as a sought-after portrait painter and chronicler of Parisian life, capturing society beauties and theater scenes with newfound psychological depth. His career flourished internationally throughout the 1930s, with his work being exhibited in major galleries across Europe and New York, but he came to focus on still lifes during the horrors of World War II, producing some of his most memorable canvases in the following decades before his death on January 8th, 1963. 

Lot: 1058 - Dietz Edzard (1893-1963) French/German, "Reminiscences of Ballet" Framed Screenprint

Dietz Edzard (1893-1963) French/German, "Reminiscences of Ballet" Framed Screenprint. The tall vertical piece is one of his endearing favorites, a still life of ballet pointe shotes, a clarinet, and flowers with his signature in the print bottom right. The words "Fin: Like Sample" are written in pen on the back of the exposed inner frame.  Overall Size: 14 3/8 x 30 in.  Sight Size: 8 x 23 3/4 in.  Dietz Edzard was born into a prominent trading family in Bremen, Germany on March 30th, 1893, but abandoned a career in the wool trade to pursue art, briefly studying in Karlsruhe and training under Max Beckmann in Berlin. His early life took an unconventional turn when he joined a traveling circus as a rope dancer, an experience that later inspired his frequent paintings of performers and acrobats, and the trauma of serving in the infantry during World War I profoundly impacted his mental health and early artistic style, which utilized dark, angular German Expressionist imagery to convey his distress. After a restorative period painting the Bavarian countryside Edzard moved permanently to Paris in 1928, where his work shifted toward more successful, atmospheric subjects after his marriage to fellow artist Suzanne Eisendieck (1906-1998), and established himself as a sought-after portrait painter and chronicler of Parisian life, capturing society beauties and theater scenes with newfound psychological depth. His career flourished internationally throughout the 1930s, with his work being exhibited in major galleries across Europe and New York, but he came to focus on still lifes during the horrors of World War II, producing some of his most memorable canvases in the following decades before his death on January 8th, 1963.

Lot: 1059 - Suzanne Eisendieck (1906-1998) German/French, Oil on Canvas Post-Impressionist Figural "Riviere en Normandie"

Suzanne Eisendieck (1906-1998) German/French, Oil on Canvas Post-Impressionist Figural "Riviere en Normandie". Post-impressionist oil painting depicting a young woman in a striped dress resting by a riverbank with a floral-adorned hat in her lap, rendered in the artist's signature delicate, textured brushwork. Originally purchased for $2,300 Overall Size: 31 x 27 1/2 in.  Sight Size: 21 x 17 3/4 in.  Suzanne Eisendieck (1908-1998) was a German-born painter associated with the School of Paris, best known for her intimate, softly lit scenes of women and children rendered in a gentle, impressionistic style. After studying in Berlin, she moved to Paris in the 1930s, where she and her husband, painter Dieter Berndt, became part of the expatriate artistic community. Eisendieck’s work is characterized by muted pastel palettes, delicate brushwork, and a quiet, contemplative mood, often depicting domestic interiors, figures at leisure, and moments of everyday life. Though she maintained a relatively low public profile, her paintings found steady appreciation among collectors, particularly in the United States, for their warmth, subtlety, and timeless, poetic atmosphere.

Lot: 1060 - Suzanne Eisendieck (1908-1997) French, Oil on Canvas Impressionist Genre Painting "Jongleur Ambuliantes"

Suzanne Eisendieck (1908-1997) French, Oil on Canvas Impressionist Genre Painting "Jongleur Ambuliantes". Impressionist painting portrays two young performers in pink and white costumes juggling several pink clubs against a muted blue and green background. Originally purchased for $8,000 Overall Size: 18 x 21 1/4 in. Sight Size: 10 x 13 in. Suzanne Eisendieck (1908–1998) was a French-born painter known for her delicate, intimate depictions of women, children, and quiet interior scenes rendered in a soft, lyrical style. Born in Danzig, she studied at the Berlin Academy of Fine Arts before moving to Paris, where she became part of the city’s vibrant artistic community. There she met and married fellow painter Timothy Osborne, and the two developed parallel careers while maintaining distinct artistic voices. Eisendieck’s work often evokes a dreamlike, introspective mood, marked by muted tones and graceful compositions that reflect both European modernist influences and a personal sensitivity to everyday life. Her paintings were widely exhibited in Europe and the United States, and she later settled in New York City, where she continued to paint and exhibit throughout her long career.

Lot: 1061 - David Burns Patterson (20th/21st Century) American, Oil on Canvas Winter Landscape

David Burns Patterson (20th/21st Century) American, Oil on Canvas Winter Landscape. Impressionistic landscape painting depicts a winding river reflecting a golden sky amidst a winter forest, rendered with soft brushstrokes and a palette of pale yellows, purples, and whites. Overall Size: 23 1/4 x 28 in. Sight Size: 14 1/2 x 19 1/4 in. David Burns Patterson is an American Impressionist landscape painter known for his luminous, atmospheric depictions of coastal marshes, tidal inlets, and rural vistas, particularly inspired by the Southeastern United States. His work emphasizes shifting light, subtle color harmonies, and a sense of quiet observation, often painted en plein air to capture fleeting natural conditions. Patterson has built a reputation through gallery exhibitions, workshops, and teaching, sharing both his technical approach to impressionist oil painting and his philosophy of direct engagement with the landscape. His paintings are widely collected and appreciated for their balance of realism and expressive brushwork, reflecting the enduring influence of classical Impressionism in a contemporary context.

Lot: 1062 - David Burns Patterson (20th/21st Century) Amercan, Oil on Canvas Impressionist Landscape "Stream Bed, Patterson, NY"

David Burns Patterson (20th/21st Century) Amercain, Oil on Canvas Impressionist Landscape "Stream Bed, Patterson, NY". Atmospheric, impressionistic oil painting depicting a quiet, sunlit woodland scene during the autumn season. Signed lower left. Information verso. Framed. Overall Size: 25 x 31 in.  Sight Size: 17 1/4 x 23 1/2 in.  David Burns Patterson is an American Impressionist landscape painter known for his luminous, atmospheric depictions of coastal marshes, tidal inlets, and rural vistas, particularly inspired by the Southeastern United States. His work emphasizes shifting light, subtle color harmonies, and a sense of quiet observation, often painted en plein air to capture fleeting natural conditions. Patterson has built a reputation through gallery exhibitions, workshops, and teaching, sharing both his technical approach to impressionist oil painting and his philosophy of direct engagement with the landscape. His paintings are widely collected and appreciated for their balance of realism and expressive brushwork, reflecting the enduring influence of classical Impressionism in a contemporary context.

Lot: 1063 - Large Antique Italian Bronze Female Figural Candleholder

Large Antique Italian Bronze Female Figural Candleholder. This exquisite piece was originally part of a pair, the other being a male figure similarly standing on a mythological dolphin form, suggesting they were Poseidon and Amphitrite. Original patina, as well as the remains of previously used candles, indicate its purpose, as the two would be positioned beside a door to illuminate the entryway with enormous candles that would last quite a long time.  Size: 16 1/2 x 58 in. 

Lot: 1064 - 19th Century Bronze Neoclassical Urn Vase with Angel Form Handles

19th Century Bronze Neoclassical Urn Vase with Angel Form Handles. Ornate brass or bronze vessel features two praying angel figures as handles and a central relief of a woman's face surrounded by intricate scrollwork and architectural motifs. Condition: Loose on base. Size: 11 x 5 1/2 x 19 3/4 in.

Lot: 1065 - Neoclassical Sculptural Maiden Cast Bronze Candlestick

Neoclassical Sculptural Maiden Cast Bronze Candlestick. A delicate female form in toga with left arm raised above her head, holding the candleholder, which appears to be newer based on the patination.  Size: 7 1/2 x 31 3/4 in. 

Lot: 1066 - Bronze Art Nouveau Sculpture of a Nude

Bronze Art Nouveau Sculpture of a Nude. Marked with initials on the base. Size: 8 x 8 x 15 in. 

Lot: 1067 - Vintage French Bronze and Marble Art Deco Figurative Electrified Table Lamp

Vintage French Bronze and Marble Art Deco Figurative Electrified Table Lamp. Art Deco-style bronze lamp featuring a central female figure with crossed legs flanked by two curved arms holding light sockets, all mounted on a circular marble base. Illegibly signed. The medallion to the right of the foot stamped Paris, France.  Size: 12 3/4 x 4 1/2 x 15 in.

Lot: 1068 - Zimbalist Nickel-Plated Taj Mahal Music Box with Swiss Thorens Movement

Zimbalist Nickel-Plated Taj Mahal Music Box with Swiss Thorens Movement. The beautiful reproduction of the mausoleum has intricate detailing of the main structure and the surrounding four minarets, with four feet elevating the base it rests on. A knob on one side can be pulled out or pushed in to make the piece pause playing or continue once it is wound, with the winding knob on the underside. A label for Thorens on the bottom identifies the song as the "Merry Widow Waltz Dream," and another label indicates it was made "entirely by hand" in India.  Condition: Working.  Size: 5 1/4 x 5 1/2 x 6 in.  The Zimbalist Music Box Company was founded by Russian immigrant Fred Zimbalist just after World War II in Cleveland, Ohio. Born in 1909 into a family of musicians, he fled from political unrest to Switzerland in the early 1930s, where he found work with the Thorens company developing music boxes. In the United States he produced many nickel-plated pieces shaped like animals, vehicles, and famous structures from around the world like the Taj Mahal and St. Basil’s Cathedral, commissioned from artisans in India and almost always utilizing Swiss movements from Thorens, with no two pieces ever exactly alike. The company peaked in the 1970s and saw a decline in sales in the 1980s that eventually led to them shuttering after the fall of the Berlin Wall, with Fred passing away from complications due to Alzheimer’s in 2003. Today, many of their pieces are sought by collectors for their high quality and uniqueness. 

Lot: 1069 - AS IS - French Neo-Rococo Brass Hanging Light with Cherub Faces

Doesn't hang perfectly straight, but pictures accurately depict design.  French Neo-Rococo Brass Hanging Light with Cherub Faces. The opulent piece has a descending bulbous tassie that has a green painted base, with the putti and their wings at the four corners of the bowl and leaf and curl decorations throughout. Wired for electric lights.  Condition: We cannot guarantee the working condition of any lighting device.  Size: 21 x 21 x 46 in.

Lot: 1070 - Antique French Neoclassical Gilt Bronze Chandelier with Glass Inserts

Antique French Neoclassical Gilt Bronze Chandelier with Glass Inserts. The piece likely originated in the late 19th Century during the early period of the Beaux Arts movement, later rewired for electric. The bulb shapes and panes are a mixture of frosted and cut clear glass. Cherub faces, leaf and vine decorations, and long curvaceous lines make the piece an immediate eye-catcher.  Size: 26 x 24 x 53 in. 

Lot: 1071 - Antique Rococo Rosewood Pier Table with Marble Top Attributed to John Henry Belter

Antique Rococo Rosewood Pier Table with Marble Top Attributed to John Henry Belter.  Size: 22 x 39 x 55 1/2 in. 

Lot: 1072 - Monumental Italian Renaissance Revival Carved Oak Office Desk with Glass Top

Monumental Italian Renaissance Revival Carved Oak Office Desk with Glass Top. The surface is in excellent condition thanks to the large protective piece of glass over it. Beautiful faces (stylized and realistic) peer out from beneath the sturdy top, which has three drawers in one side, with the brass keys within. The central beam that connects the two side legs together has three columns with curved tops, emulating the waterways of Venice. A maker's mark is branded into the wood on the underside, partially obscured by a newer coat of varnish.  Size: 72 3/4 x 31 x 31 in. 

Lot: 1073 - French Aubusson Louis XV Style Needlepoint Settee and Armchair with 5 Pillows

French Aubusson Louis XV Style Needlepoint Settee and Armchair with 5 Pillows. The parlor set in the tapestry style have lovely detailed rose and vine shapes throughout, with a rich blue main field and cream-painted carved wood supports. The top of the chair, top middle of the three-seater settee, and one of the pillows also share a design of a woman with a basket and large hat, her back turned and trees and buildings in the distance. The other pillows have somewhat similar floral patterns, and one has a white field instead of blue.  Settee Size: 53 x 23 1/2 x 33 1/4 in.  Aubusson style refers to a luxurious, flat-woven textile tradition originating from the French town of Aubusson, characterized by pastel-toned, neoclassical, and baroque designs. Primarily producing rugs, carpets, and tapestries, this style features central medallions, floral garlands, architectural scrolls, and romantic, painterly motifs, often imitating Savonnerie carpets.

Lot: 1074 - Mid 19th Century Italian Renaissance Revival Inlaid Console Table on Casters

Mid 19th Century Italian Renaissance Revival Inlaid Console Table on Casters. Fitted beveled glass top covers the exquisitely constructed wood top with many floral and vine designs. Ebonized and exotic woods compliment the piece, making it a stunning conversation starter.  Provenance: Was a wedding gift to an elderly Italian woman who bequeathed it to the consignor's stepfather many years ago.  Size: 26 x 31 x 49 in. 

Lot: 1075 - Italian Olivewood Baroque Style Burled Wood and Bronze Accented Writing Desk

Italian Olivewood Baroque Style Burled Wood and Bronze Accented Writing Desk. Includes beautiful marquetry throughout, and the bronze side pieces and handles are adorned with cherubs and leaf-and-vine decorations.  Size: 38 3/4 x 24 x 30 In.  Dresden Baroque style furniture features elegant, bombé (curved) silhouettes, highly symmetrical book-matched walnut or fruitwood veneers, and sculptural bronze hardware. Originating in 18th Century Germany, these grand sculptural desks, beds, commodes, and cabinets defined royal wealth and remain sought-after statement pieces in historic and contemporary interiors alike.

Lot: 1076 - Antique Victorian style Mahogany Display Cabinet

Antique Victorian style Mahogany Display Cabinet. Elegant Edwardian inlaid mahogany display cabinet featuring a stepped architectural silhouette with mirrored back panels, intricate marquetry urn motifs, and a combination of glazed and solid cupboard doors standing on slender tapered legs. Size: 56 3/4 x 15 1/2 x 79 Inches

Lot: 1077 - Spanish Baroque Walnut Dining Table with Brass Accents

Spanish Baroque Walnut Dining Table with Brass Accents. Featuring a Catalan trestle base with wrought-iron stretcher support. The top is covered in rhomboid corner protectors, forming a unique look complimented by round brass knobs all around the outer edge.  Size: 98 1/2 x 36 1/2 x 30 in. 

Lot: 1078 - (6) Piece Matching Spanish Colonial Revival Frailera Leather Bound Oak Dining Chair Set

(6) Piece Matching Spanish Colonial Revival Frailera Leather Bound Oak Dining Chair Set. Includes 2 armchairs and 4 side chairs, all in dark-stained wood. Also known as "Monk's Chairs," these stylish pieces often combine stern Catholic themes with the materials and aesthetics available in the New World. The style here is specifically inspired by 16th and 17th Century Spanish Renaissance and Baroque furniture, with onion-minaret style brass accents on the tops of the backs and cartouches across the front and sides of the seats and backs.  Condition: Tears to some leather, some loose or missing brass accents.  Size: 24 1/2 x 23 x 47 in. 

Lot: 1079 - Modern Oval Glass Top Dining Table

Modern Oval Glass Top Dining Table. The inverted arch of brushed metal anchored to a round base supports the glass table top.  Size: 54 x 29 1/2 In. 

Lot: 1080 - Antique Chinese Carved Elmwood and Brass Cabinet

Antique Chinese Carved Elmwood and Brass Cabinet. The nearly six-foot-tall squared off rectangular shape is very subtly decorated at the bottom with elegantly carved swirls and and plant shapes. The two doors have a massive rectangular brass lock on the upper area, with pulls on each side and a locking rod. The cabinet opens to reveal three deep shelves for ample storage, as well as two pull-out drawers with brass handles below for smaller accessories.  Condition: Finger-sized hole in the back of the top shelf area.  Size: 39 3/4 x 22 x 70 1/2 In. 

Lot: 1081 - 19th Century Mahogany Pembroke Sewing Table Possibly From Duncan Phyffe Workshop on Casters

19th Century Mahogany Pembroke Sewing Table Possibly From Duncan Phyffe Workshop on Casters. The beautiful piece has a square top above three drawers with multiple compartments in each, raised on arched trestle supports conjoined by a straight stretcher and ending in gilt-bronze paw feet above the casters. Metal knobs and keyholes accent the top part.  Size (Extended): 33 1/4 x 20 1/2 x 28 1/2 in.  Length (Collapsed): 18 1/2 in.  American Classical furniture (roughly 1810-1840) is a bold, Neoclassical style inspired by Greek, Roman, and French Empire designs, characterized by large-scale, heavy forms, rich mahogany, veneers, and gilded stenciling. It served as a second, more robust phase of American Neoclassicism following the delicate Federal period, focusing on “solid and permanent grandeur.” Key centers of production included New York, Boston, Philadelphia, and Baltimore, with dominant cabinetmakers like Duncan Phyfe and Charles-Honoré Lannuier defining the era, specifically inspired by pieces of French Restoration furniture by designers like Thomas Hope and Percier & Fontaine.

Lot: 1082 - Early 19th century Flame Mahogany NY State Sewing Table In Good Condition

Early 19th century Flame Mahogany NY State Sewing Table In Good Condition.  The square top has drop leaves above two regular drawers with multiple compartments, and a hidden drawer beneath fitted with a rounded silk pouch below for extra storage room, raised on plain trestle supports conjoined by a simple straight stretcher.  Size (Extended): 39 1/2 x 39 1/2 in.  Collapsed: 22 x 19 x 29 in.  American Classical furniture (roughly 1810-1840) is a bold, Neoclassical style inspired by Greek, Roman, and French Empire designs, characterized by large-scale, heavy forms, rich mahogany, veneers, and gilded stenciling. It served as a second, more robust phase of American Neoclassicism following the delicate Federal period, focusing on “solid and permanent grandeur.” Key centers of production included New York, Boston, Philadelphia, and Baltimore, with dominant cabinetmakers like Duncan Phyfe and Charles-Honoré Lannuier defining the era, specifically inspired by pieces of French Restoration furniture by designers like Thomas Hope and Percier & Fontaine.

Lot: 1083 - (2) French Louis XVI Style Demi-Lune Two-Drawer Mahogany and Marble Top Chests

(2) French Louis XVI Style Demi-Lune Two-Drawer Mahogany and Marble Top Chests. Brass accents throughout in leaf patterns, with "Made in France" stamped on both the backs of the wood body and the undersides of the removeable marble tops.  Size: (each) 26 x 14 x 30 in.  The Louis XVI style developed during the reign of King Louis XVI (1774-1792), marking the transition from the elaborate Baroque style to the emergence of French Neoclassicism. The style emphasized simplicity, straight lines, and classical motifs, drawing inspiration from ancient Roman and Greek architecture. This aesthetic shift was also influenced by the philosophical call for a return to nature espoused by Jean-Jacques Rousseau.

Lot: 1084 - Maitland Smith Demilune Commode Server Buffet

Maitland Smith Demilune Commode Server Buffet. Labeled within. Made in China, making it a later piece.  Size: 34 x 46 x 20 3/4 In.  Paul Maitland-Smith founded Maitland-Smith Ltd. in 1979 to manufacture carved 18th Century style furniture. The first operation opened in the Philippines in 1981, and after partnering with Henredon Furniture he eventually sold the company to Masco in the late 1980s. His focus on curating items of eclectic design that are elegant, high-end case goods, upholstery and accessories came from his work as an antiques dealer in London in the 1950s. Today Maitland-Smith is running Theodore Alexander, founded in Vietnam in 1996. 

Lot: 1085 - Antique Chinese Carved Elmwood Cupboard and Food Cabinet

Antique Chinese Carved Elmwood Cupboard and Food Cabinet. Features intricate fretwork doors and mortise and tenon joinery, with three small pull-out drawers between the top shelves and the two bottom shelves with sliding doors. A paper identifying the piece as a "chicken coop cabinet" is in the middle drawer, and several brass figural keys with red tassels attached are in the right drawer.  Size: 40 1/2 x 21 1/2 x 70 1/2 In. 

Lot: 1085A - Vintage Chinese Storage Chest with Relief Carved Decoration

Vintage Chinese Storage Chest with Relief Carved Decoration and Circular Brass Escutcheon Plate.  Condition: One leg broken. Chest is wobbly. Size: 41 x 20 1/4 x 23 1/2 in. 

Lot: 1086 - Incredible Room Sized Chinese Silk Rug in the Manner of a Persian Rug

Incredible Room Sized Chinese Silk Rug in the Manner of a Persian Rug. One of the finest-looking rugs we've ever had the pleasure of seeing in our auctions, this piece is dominated by a stunning blue field in a rectangular oval, where the sunburst circle of life medallion and two teardrops on either long side therefor pop with remarkable clarity. The cream, green, red, light blue, black, and tan tones reappear in sharp palace latticework designs in the border and pansy garden motifs in the four curved inner field corners. That eye-dazzling field blue returns for the outermost border, with tiny floral and vine shapes acting as a division between the main body and the fringe. A signature is woven into a cartouche on one end of the piece, indicating the pride the maker took in constructing this piece by hand, which shows distinctive techniques and designs often seen in the works out of Qom.  Size: 143 x 97 In. 

Lot: 1087 - Incredible Semi Antique Oriental Style Rug

Incredible Semi Antique Oriental Style Rug A central medallion with navy hues bordered by a similar geometric shape in tan draws the eye to the center of the rust-hued field, with cream, navy, and light blue shapes in the borders and elsewhere, making this a truly exquisite piece of craftsmanship.  Size: 142 x 106 In.  Serapi rugs are highly sought-after, antique Persian rugs from Northwestern Iran (Heriz region), generally woven before 1900. They are renowned for their high-quality wool, finer, less dense knotting, spacious geometric designs, and soft-toned, vegetable-dyed colors, often featuring a distinct central medallion. When it comes to Heriz rugs, Serapi are considered some of the finest and most desirable, often commanding large sums at auctions due to their extravagance, size, and rich history. Modern Serapi’s have begun to be made since the late 1990s as tensions in the region began to ease, and there is a push by the government to preserve them as handmade art, rather than becoming a machine-drive industry. 

Lot: 1088 - Monumental Persian Nain Wool Carpet

Monumental Persian Nain Wool Carpet. Almost fifteen feet long and ten feet wide, and using the traditional light cream and ivory tones the Nain rugs are famous for, the form and central medallion show strong Isfahan influences, in a size and style meant to fill a room and be the center of attention.  Size: 178 x 115 1/2 In.  Nain rugs are produced in the city of Nain in central Iran, with the industry beginning shortly before World War II. They are constructed using the Persian knot, and typically have between 250 and 500 knots per square inch. The pile is wool, spun finer than most Persian wools, and the nap is short. The design of Nain rugs is similar to Isfahan and Kashan rugs, including the Shãh Abbãsi floral patterns and vines, but often use lighter colors like ivory or pastels. 

Lot: 1089 - Long Persian Tabriz Wool Runner

Long Persian Tabriz Wool Runner. Handmade with classic vine and leaf pattern in the border complimenting the striking red field with repeating paisley boteh pattern. Matching with the longer piece in our auction.  Size; 32 x 116 in.  A Tabriz rug or carpet is a type in the general category of Persian carpets from the city of Tabriz, the capital city of the East Azerbaijan province in northwestern Iran. Situated in the Quru River valley and at one time the most visited city in the world, it is one of the oldest rug weaving centers in Persian history and produced a hugely diverse array of carpets, due to the many nations that passed through and influenced or brought new styles there. Both wool and silk are used for their rugs, which incorporate medallions, Herati/Mahi influences, figural, pictorial, and even three-dimensionally representational rugs in addition to more traditional floral and geometric patterns. The art of Tabriz rugmaking reached its zenith in the 12th to 16th Centuries, with nations from the Far East to the west coast of Africa traveling to obtain and trade there. The Tabriz school of rugmaking is often divided into subgroups depending on subject matter, such as Heris, Lachak-turanj, Afshan, Aghajly, Ford Fasil, and Sardorud styles, and Ardabil carpets (now considered an artform in their own right) include the Sheikh Safi, Sarabi, Shah Abbasi, and Mir styles.

Lot: 1090 - Incredible Persian Tabriz Wool Runner

Incredible Persian Tabriz Wool Runner. Handmade masterwork with classic vine and leaf pattern in the border complimenting the striking red field with repeating paisley boteh pattern.  Size: 32 x 159 in.  A Tabriz rug or carpet is a type in the general category of Persian carpets from the city of Tabriz, the capital city of the East Azerbaijan province in northwestern Iran. Situated in the Quru River valley and at one time the most visited city in the world, it is one of the oldest rug weaving centers in Persian history and produced a hugely diverse array of carpets, due to the many nations that passed through and influenced or brought new styles there. Both wool and silk are used for their rugs, which incorporate medallions, Herati/Mahi influences, figural, pictorial, and even three-dimensionally representational rugs in addition to more traditional floral and geometric patterns. The art of Tabriz rugmaking reached its zenith in the 12th to 16th Centuries, with nations from the Far East to the west coast of Africa traveling to obtain and trade there. The Tabriz school of rugmaking is often divided into subgroups depending on subject matter, such as Heris, Lachak-turanj, Afshan, Aghajly, Ford Fasil, and Sardorud styles, and Ardabil carpets (now considered an artform in their own right) include the Sheikh Safi, Sarabi, Shah Abbasi, and Mir styles.

Lot: 1091 - Large Persian Tabriz Round Wool Rug

Large Persian Tabriz Round Wool Rug. Floral patterns throughout in a dazzling array of colors, with a stunning sun medallion in center.  Diameter: 78 in.  A Tabriz rug or carpet is a type in the general category of Persian carpets from the city of Tabriz, the capital city of the East Azerbaijan province in northwestern Iran. Situated in the Quru River valley and at one time the most visited city in the world, it is one of the oldest rug weaving centers in Persian history and produced a hugely diverse array of carpets, due to the many nations that passed through and influenced or brought new styles there. Both wool and silk are used for their rugs, which incorporate medallions, Herati/Mahi influences, figural, pictorial, and even three-dimensionally representational rugs in addition to more traditional floral and geometric patterns. The art of Tabriz rugmaking reached its zenith in the 12th to 16th Centuries, with nations from the Far East to the west coast of Africa traveling to obtain and trade there. The Tabriz school of rugmaking is often divided into subgroups depending on subject matter, such as Heris, Lachak-turanj, Afshan, Aghajly, Ford Fasil, and Sardorud styles, and Ardabil carpets (now considered an artform in their own right) include the Sheikh Safi, Sarabi, Shah Abbasi, and Mir styles.

Lot: 1092 - Persian Qom Hand-Knotted Wool Rug

Persian Qom Hand-Knotted Wool Rug. Beautiful traditional all-over paisley boteh design in the field, with repeating flower and vine patterns in the border.  Size: 65 1/2 x 83 in.  Qom rugs (or Qum, Ghom, Ghum, etc.) are made in the Qom Province of Iran, over 50 miles south of Tehran. Although rug weaving in Qom was not a major industry until the past century, the luxurious silk and wool rugs of Qom are known for their high quality and are regarded among the most expensive in the world. They often contain more modern and less geometric patterns than older works, incorporating pictorial elements and even full scenes into their fields. Tree of life and medallion motifs feature heavily in rugs knotted in Qom, and in the 21st Century even human figures have begun to appear in some images. Their shades are similar to the most popular colors of Persian rugs, including blue, red, and ivory, but they often have a cream background and are sometimes smaller than other types of Persian rugs. They are often placed on walls as well as floors, as they are increasingly constructed to be decorative works of art rather than simply functional.

Lot: 1093 - Stunning Persian Kashan Wool Rug

Stunning Persian Kashan Wool Rug. Intricate vine and flower shapes in both the border and field in rich reds, blacks, creams, blues, pinks, and more, augmented in the four corners and the central diamond by the lush red field filled with larger garden elements.  Size: 49 1/2 x 85 in.  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 and wool 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. The style has become so popular that various other countries, from Egypt to China, have begun producing “Kashan” rugs as well, with many variants now reflecting the origins of the weavers as much as the designs themselves.

Lot: 1094 - Persian Turkmen Kalat Gorgan Wool Rug

Persian Turkmen Kalat Gorgan Wool Rug. This particular piece is a stunning example of a form developed among the nomadic Turkmen tribes who still travel through the Northeastern part of Iran. Flower patterns fill the borders, while the middle field is awash with with repeating animal forms and a central, obtusely-shaped diamond medallion, all in striking blacks, creams, blues, oranges, reds, and more.  Size: 46 x 64 in.  A Kalat rug (or Kalat-e Naderi rug) is a handwoven textile, typically a Kilim (flat-weave) or Sumak (embroidered-style) rug, originating from the nomadic tribes in the mountainous regions near the historic Kalat-e Naderi fortress in northeastern Iran. These rugs are known for their cultural significance to the rural women and nomads of Northern Khorasan, featuring unique geometric designs and bold, earthy colors. Two main variants have developed over the decades, one centered around the city of Gorgan on the bottom-most edge of the Caspian Sea which often incorporates unique forms and colors influenced by Eastern Europe, and the other centered around Mashad, a thriving hub of rug-making for centuries and the second-largest city in Iran today, where more traditional forms are appreciated.

Lot: 1095 - Persian Sarouk Wool Rug

Persian Sarouk Wool Rug. A beautiful navy blue field in center is filled with rich reddish floral works and a God's eye medallion with two small bouquets bookending it. The border has a lighter blue field with the repeating leaf and blossom patterns to create a truly unique contrast.  Size: 80 1/2 x 54 In.  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: 1096 - Beautiful Persian Hamadan Wool Rug

Beautiful Persian Hamadan Wool Rug. A rich maroon hue dominates most of the piece, with a cream-backed inner border and an all-over geometric floral pattern throughout the main field.  Size: 81 x 56 1/2 In.  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: 1097 - Large Persian Mahal Wool Rug

Large Persian Mahal Wool Rug. All-over highly geometric floral pattern in the center field, with larger leaf, vine, and bud shapes in the red field of the border. A striking navy blue line at the farthest edge draws the whole piece together.  Size: 108 x 71 1/2 In.  A Mahal rug is a highly sought-after, hand-knotted Oriental-influenced rug originating from the village of Mahal (or Mahallat) in western Persia (modern-day Iran). Dating back to the late 19th and early 20th Centuries, they are famed for their versatile, overscale floral designs, deep rich color palettes, and heavy, durable wool weaves. Often featuring large, openly spaced floral medallions, palmettes, and all-over vine motifs rather than densely packed patterns, they became famous for rich reds, blues, and creams and are considered particularly desirable for still being handmade today in the village rather than machine-made in nearby cities. 

Lot: 1098 - Thomas Hart Benton (1889-1975) American, "Goin Home" Signed Original Lithograph

Thomas Hart Benton (1889-1975) American, "Goin Home" Signed Original Lithograph. Depicts a pair of children in the back of a horse drawn cart with the driver heading away into the sunset. Signed in print bottom right, and in pencil below that. A bio with the title of the piece is attached to the back, along with a flier and label from David Bendann's Fine Art Rooms and the Tomlinson Collection in Baltimore.  Overall Size: 16 1/2 x 19 1/4 in.  Sight Size: 10 x 12 1/4 in.  Thomas Hart Benton was born on April 15th, 1889, in Neosho, Missouri, and dropped out of high school at 17 to work as a cartoonist for the Joplin American newspaper before enrolling for a year at the Western Military Academy in Alton, Illinois in 1906. He attended the Art Institute of Chicago and then traveled to Paris to study at the Académie Julian, where he met and was inspired by California artist Stanton Macdonald-Wright’s synchromist style of abstract painting, and in 1911 he returned to the United States and settled in New York, teaching briefly at the Chelsea Neighborhood Association where he met his future wife, Rita Piacenza, one of his students. During World War I Benton served at the naval base in Norfolk, Virginia, where he made illustrations for a catalog of ships and military equipment, and his work until the early 1920s was generally modernist and often abstract until he revisited Missouri in 1924 to care for his sick father, when he began to focus instead on American rural subjects such as life in steel mills, logging camps, coal mines, and cotton fields, developing leftist political leanings that led him to champion working class people and represent them as heroes in his paintings and murals, heavily influenced by El Greco in his mural paintings across the country. Throughout this period Benton was an influential teacher at the Art Students League in New York until settling permanently in Kansas City, Missouri in 1935, but his style as well as his politics fell out of favor during World War II, and he died in relative obscurity of a heart attack on January 19th, 1975, although reevaluation of his work in the decades since has solidified his position as one of the most important regionalist American painters of the 20th Century.

Lot: 1099 - Thomas Hart Benton (1889-1975) American, "The Music Lesson" Signed Original Lithograph

Thomas Hart Benton (1889-1975) American, "The Music Lesson" Signed Original Lithograph. Depicts a man with a guitar showing a curious girl how to form a chord. Signed in print bottom left, and in pencil bottom right. A bio with the title of the piece is attached to the back, along with a flier and label from David Bendann's Fine Art Rooms and the Tomlinson Collection in Baltimore.  Overall Size: 16 1/2 x 19 1/4 in.  Sight Size: 10 1/2 x 13 in.  Thomas Hart Benton was born on April 15th, 1889, in Neosho, Missouri, and dropped out of high school at 17 to work as a cartoonist for the Joplin American newspaper before enrolling for a year at the Western Military Academy in Alton, Illinois in 1906. He attended the Art Institute of Chicago and then traveled to Paris to study at the Académie Julian, where he met and was inspired by California artist Stanton Macdonald-Wright’s synchromist style of abstract painting, and in 1911 he returned to the United States and settled in New York, teaching briefly at the Chelsea Neighborhood Association where he met his future wife, Rita Piacenza, one of his students. During World War I Benton served at the naval base in Norfolk, Virginia, where he made illustrations for a catalog of ships and military equipment, and his work until the early 1920s was generally modernist and often abstract until he revisited Missouri in 1924 to care for his sick father, when he began to focus instead on American rural subjects such as life in steel mills, logging camps, coal mines, and cotton fields, developing leftist political leanings that led him to champion working class people and represent them as heroes in his paintings and murals, heavily influenced by El Greco in his mural paintings across the country. Throughout this period Benton was an influential teacher at the Art Students League in New York until settling permanently in Kansas City, Missouri in 1935, but his style as well as his politics fell out of favor during World War II, and he died in relative obscurity of a heart attack on January 19th, 1975, although reevaluation of his work in the decades since has solidified his position as one of the most important regionalist American painters of the 20th Century.

Lot: 1100 - Louis Icart (1888-1950) French, Limited Edition Lithograph Print Art Deco Figural Nude "Eve"

Louis Icart (1888-1950) French, Limited Edition Lithograph Print Art Deco Figural Nude "Eve". Art Deco lithograph with oval-shaped composition of a reclining nude figure with dark, curly hair resting on draped fabric. Signed in plate along bottom right. Numbered 78/250 bottom left. Framed. Overall Size: 22 1/4 x 28 in.  Sight Size: 13 3/4 x 19 in.    Louis Justin Laurent Icart (1888-1950) was a French painter, etcher, and illustrator celebrated as a leading Art Deco artist. After moving to Paris in 1907, he was encouraged by etcher Louis Legrand to create his own original work, adopting the technique of copperplate engraving. Icart's artistic style drew from 18th-century French masters like Watteau and Fragonard, while his drawings were influenced by artists such as Degas and Monet. Icart's most recognizable works are his sensual, often humorous, depictions of women, who are frequently shown frolicking with animals. His career flourished during the 1920s and 30s as he began incorporating flapper iconography into his art, chronicling the shift in fashion from the 19th century to the Art Deco era. During World War I, he served as a fighter pilot and created patriotic sketches. After the war, his prints, often produced in two versions for European and American markets, became highly successful. Although he faced mixed reviews from critics, he maintained a loyal following among collectors. Later in his life, his work took a darker turn, particularly with his series "L'Exode," which documented the horrors of the German Occupation of France during World War II. After the war, Icart returned to a much-changed Paris and died in 1950, largely forgotten, but his over 500 engravings and illustrations have since earned him a place as a symbolic figure of the Art Deco epoch.

Lot: 1101 - Louis Icart (1888-1950) French, Signed Original Etching on Paper

Louis Icart (1888-1950) French, Signed Original Etching on Paper. The illustration shows a turbaned man playfully climbing onto a bed, while the bashful nude he reaches for covers his eyes. A curtain and latticed window behind them complete the scene, while below a cartoon in the same simple black-and-white shows a woman thumbing her nose at a smiling blindfolded man, continuing the theme. Signed in pencil bottom right. Small label on the bottom of the ornate gilt frame.  Overall Size: 19 x 15 3/4 in.  Sight Size: 9 x 6 in.  Louis Justin Laurent Icart (1888-1950) was a French painter, etcher, and illustrator celebrated as a leading Art Deco artist. After moving to Paris in 1907, he was encouraged by etcher Louis Legrand to create his own original work, adopting the technique of copperplate engraving. Icart's artistic style drew from 18th-century French masters like Watteau and Fragonard, while his drawings were influenced by artists such as Degas and Monet. Icart's most recognizable works are his sensual, often humorous, depictions of women, who are frequently shown frolicking with animals. His career flourished during the 1920s and 30s as he began incorporating flapper iconography into his art, chronicling the shift in fashion from the 19th century to the Art Deco era. During World War I, he served as a fighter pilot and created patriotic sketches. After the war, his prints, often produced in two versions for European and American markets, became highly successful. Although he faced mixed reviews from critics, he maintained a loyal following among collectors. Later in his life, his work took a darker turn, particularly with his series "L'Exode," which documented the horrors of the German Occupation of France during World War II. After the war, Icart returned to a much-changed Paris and died in 1950, largely forgotten, but his over 500 engravings and illustrations have since earned him a place as a symbolic figure of the Art Deco epoch.

Lot: 1102 - Louis Icart (1888-1950) French, "New Grapes" Original Colored Etching

Louis Icart (1888-1950) French, "New Grapes" Original Colored Etching. A young woman with her shirt open cavorts beneath vines. Indistinct writing vertically upper right. Signed in pencil bottom right. "No. 43" written in pencil bottom left. Park West label on back of frame.  Overall Size: 25 x 28 in.  Sight Size: 9 1/2 x 11 1/2 in.  Louis Justin Laurent Icart (1888-1950) was a French painter, etcher, and illustrator celebrated as a leading Art Deco artist. After moving to Paris in 1907, he was encouraged by etcher Louis Legrand to create his own original work, adopting the technique of copperplate engraving. Icart's artistic style drew from 18th-century French masters like Watteau and Fragonard, while his drawings were influenced by artists such as Degas and Monet. Icart's most recognizable works are his sensual, often humorous, depictions of women, who are frequently shown frolicking with animals. His career flourished during the 1920s and 30s as he began incorporating flapper iconography into his art, chronicling the shift in fashion from the 19th century to the Art Deco era. During World War I, he served as a fighter pilot and created patriotic sketches. After the war, his prints, often produced in two versions for European and American markets, became highly successful. Although he faced mixed reviews from critics, he maintained a loyal following among collectors. Later in his life, his work took a darker turn, particularly with his series "L'Exode," which documented the horrors of the German Occupation of France during World War II. After the war, Icart returned to a much-changed Paris and died in 1950, largely forgotten, but his over 500 engravings and illustrations have since earned him a place as a symbolic figure of the Art Deco epoch.

Lot: 1103 - Louis Icart (1888-1950) French, Vintage Lithograph Print "Golden Veil"

Louis Justin Laurent Icart (1888-1950) French, Vintage Lithograph Print "Golden Veil". Art Deco lithograph by Louis Icart depicts a glamorous reclining woman draped in a sheer green shawl and leaning against large, plush cushions. Signed on matte lower right. Copyright 1930 by Louis Icart, upper left. Framed. Overall Size: 24 3/4 x 27 1/4 in. Sight Size: 16 x 19 1/4 in.   Louis Justin Laurent Icart (1888-1950) was a French painter, etcher, and illustrator celebrated as a leading Art Deco artist. After moving to Paris in 1907, he was encouraged by etcher Louis Legrand to create his own original work, adopting the technique of copperplate engraving. Icart's artistic style drew from 18th-century French masters like Watteau and Fragonard, while his drawings were influenced by artists such as Degas and Monet. Icart's most recognizable works are his sensual, often humorous, depictions of women, who are frequently shown frolicking with animals. His career flourished during the 1920s and 30s as he began incorporating flapper iconography into his art, chronicling the shift in fashion from the 19th century to the Art Deco era. During World War I, he served as a fighter pilot and created patriotic sketches. After the war, his prints, often produced in two versions for European and American markets, became highly successful. Although he faced mixed reviews from critics, he maintained a loyal following among collectors. Later in his life, his work took a darker turn, particularly with his series "L'Exode," which documented the horrors of the German Occupation of France during World War II. After the war, Icart returned to a much-changed Paris and died in 1950, largely forgotten, but his over 500 engravings and illustrations have since earned him a place as a symbolic figure of the Art Deco epoch.

Lot: 1104 - Antique French Sevres Style Jewelry Casket

Antique French Sevres Style Jewelry Casket. Bronze with 5 hand painted porcelain panels of cherubs. Size: 4 1/2 x 6 x 7 in. 

Lot: 1105 - Vintage Czech Bohemian Cobalt Blue Glass Vase

Vintage Czech Bohemian Cobalt Blue Glass Vase. Bohemian cobalt blue glass vase featuring a hand-painted floral bouquet within a gilded oval medallion, further embellished with ornate gold scrollwork and a wide gilded band around the flared rim. Size: 5 x 5 x 7 in. 

Lot: 1106 - Austrian Augarten Porcelain Equestrian Figurine

Austrian Augarten Porcelain Equestrian Figurine. Classic Augarten Wien porcelain figurine depicting a Lipizzaner stallion from the Spanish Riding School performing a levade, featuring a rider in traditional uniform and the inscription "Levade – Spanische Reitschule" on the base. Size: 9 x 5 x 9 3/4 in.  Augarten Porzellanmanufaktur is a historic porcelain factory in Vienna, founded in 1718, making it one of the oldest active porcelain manufactories in Europe. It operates in the Augarten park and continues to produce porcelain using traditional, labor-intensive methods such as hand-casting, firing, and detailed hand-painting. The manufactory is known for its refined white porcelain, neoclassical shapes, and intricate decorative styles influenced by imperial Austrian design. It has maintained a strong connection to Vienna’s artistic heritage while also collaborating with modern designers, balancing continuity with innovation.  

Lot: 1107 - John Bennett (1840-1907) British, Hand Painted Botanical motif Pottery Vase

John Bennett (1840-1907) British, Hand Painted Botanical motif Pottery Vase. Arts and Crafts style pottery vase featuring a tapered, multi-sided form decorated with a hand-painted motif of dogwood blossoms outlined in dark slip against a mottled blue and green glazed ground. Marked on base. Size: 5 1/2 x 5 1/2 x 13 3/8 in.    John Bennett was a British-born ceramic artist and decorative tile painter associated with the Aesthetic and Arts and Crafts movements of the late nineteenth century. Trained in the Staffordshire potteries and later employed by Doulton in England, Bennett immigrated to the United States in 1876, where he established a studio in New York City and became known for his richly colored “Bennett Ware” pottery and hand-painted art tiles. His tiles typically featured floral and botanical motifs rendered in bold underglaze colors with strong outlines, reflecting both Japanese artistic influence and the decorative ideals of the period. Bennett’s work was sold through prestigious retailers such as Tiffany & Co., and today his ceramics and tiles are held in major museum collections, including the Metropolitan Museum of Art.

Lot: 1108 - John Bennett (1840-1907) British/American, (2) Ceramic Vases

John Bennett (1840-1907) British/American, (2) Ceramic Vases. The larger piece is handpainted with his signature use of flowers, and signed on the underside along with indicating it was made in Chicago. The smaller piece has raised geometric patterns in the Arts & Crafts style, with a deep rich blue hue throughout, and is also signed on the underside with indications it was made in New York. Both were likely made some timed between 1877 and 1886.  Condition: Large vase has a crack down the side and some minor apologies at top and bottom rim.  Largest Size: 4 x 7 1/2 in.  John Bennett (1840-1907) was a British-born ceramic artist and decorative tile painter associated with the Aesthetic and Arts and Crafts movements of the late 19th Century. Trained in the Staffordshire potteries and later employed by Doulton in England, Bennett immigrated to the United States in 1876, where he established a studio in New York City and became known for his richly colored “Bennett Ware” pottery and hand-painted art tiles. His tiles typically featured floral and botanical motifs rendered in bold underglaze colors with strong outlines, reflecting both Japanese artistic influence and the decorative ideals of the period. Bennett’s work was sold through prestigious retailers such as Tiffany & Co., and today his ceramics and tiles are held in major museum collections, including the Metropolitan Museum of Art.

Lot: 1109 - After John Bennett (1840-1907) British/American, (2) Royal Doulton Ceramic Pitchers

After John Bennett (1840-1907) British/American, (2) Royal Doulton Ceramic Pitchers. Similar in form, one large and one small, with the vibrant botanicals the artist became particularly known for while at Doulton, although these both have the "Royal Doulton" marks on the underside, meaning they are likely reproductions made after Doulton was granted that name in 1901, because Bennett left the company 25 years before then.  Largest Size: 6 x 7 1/2 in.  John Bennett (1840-1907) was a British-born ceramic artist and decorative tile painter associated with the Aesthetic and Arts and Crafts movements of the late 19th Century. Trained in the Staffordshire potteries and later employed by Doulton in England, Bennett immigrated to the United States in 1876, where he established a studio in New York City and became known for his richly colored “Bennett Ware” pottery and hand-painted art tiles. His tiles typically featured floral and botanical motifs rendered in bold underglaze colors with strong outlines, reflecting both Japanese artistic influence and the decorative ideals of the period. Bennett’s work was sold through prestigious retailers such as Tiffany & Co., and today his ceramics and tiles are held in major museum collections, including the Metropolitan Museum of Art.

Lot: 1110 - John Bennett (1940-1907) British, Four Painted Ceramic Tiles with Botanical Motifs

John Bennett (1940-1907) British, Four Painted Ceramic Tiles with Botanical Motifs. Collection of decorative ceramic pieces, including three square art pottery tiles with distinct floral and botanical designs and one small, dark circular plate adorned with painted blossoms and leaves. Size: 6 x 6 x 1/2 in.   John Bennett (1840–1907) was an English painter active in the late 19th century, working primarily in landscape and coastal subjects. His work reflects the broader Victorian-era interest in naturalistic representation and detailed observation of the outdoors, often focusing on atmospheric effects and everyday scenery rather than grand historical themes. Although not as widely documented as some of his contemporaries, Bennett contributed to the tradition of British landscape painting during a period when realism and close attention to nature remained central artistic values.

Lot: 1111 - John Bennett (1940-1907) British, Ceramic Figurine of a Bear

John Bennett (1940-1907) British, Ceramic Figurine of a Bear. Small, dark ceramic sculpture depicting a seated bear rendered in a textured, expressive style, hunched over and holding an object or leaning against a tree stump on a rounded base. Signed on base. Dated 1877. Size: 3 1/4 x 5 in.    John Bennett (1840–1907) was an English painter active in the late 19th century, working primarily in landscape and coastal subjects. His work reflects the broader Victorian-era interest in naturalistic representation and detailed observation of the outdoors, often focusing on atmospheric effects and everyday scenery rather than grand historical themes. Although not as widely documented as some of his contemporaries, Bennett contributed to the tradition of British landscape painting during a period when realism and close attention to nature remained central artistic values.

Lot: 1112 - John Bennett (1840-1907) British, Sketch Booklet with Watercolor Botanical Studies

 John Bennett (1840-1907) British, Sketch Booklet with Watercolor Botanical Studies. Small, weathered booklet with unarmarked leather cover used by artist John Bennett for botanical studies. Written on interior: Bennett / New York / US / Sep. 1879 / Tour of Western States. Size: 11 x 15 x 1/2 in.    John Bennett was a British-born ceramic artist and decorative tile painter associated with the Aesthetic and Arts and Crafts movements of the late nineteenth century. Trained in the Staffordshire potteries and later employed by Doulton in England, Bennett immigrated to the United States in 1876, where he established a studio in New York City and became known for his richly colored “Bennett Ware” pottery and hand-painted art tiles. His tiles typically featured floral and botanical motifs rendered in bold underglaze colors with strong outlines, reflecting both Japanese artistic influence and the decorative ideals of the period. Bennett’s work was sold through prestigious retailers such as Tiffany & Co., and today his ceramics and tiles are held in major museum collections, including the Metropolitan Museum of Art. 

Lot: 1113 - Thomas Moran (1837-1926) American, Watercolor on Paper Mountain Landscape with Waterfall

Thomas Moran (1837-1926) American, Watercolor on Paper Mountain Landscape with Waterfall. Landscape painting or print depicting a dramatic mountain waterfall cascading into a rocky, pine-lined stream beneath a pale blue sky. Signed lower right. Dated 903. Framed. Overall Size: 27 1/2 x 18 1/2 in. Sight Size: 18 3/4 x 10 1/2 in.   Thomas Moran was an influential American painter and printmaker best known for his dramatic landscapes of the American West around the turn of the 20th century. Born in England in 1837 and raised in Philadelphia, Moran became closely associated with the Hudson River School and the Rocky Mountain School of painting. His vivid depictions of places such as Yellowstone, the Grand Canyon, and the Rocky Mountains combined luminous color, sweeping scale, and romantic atmosphere, helping shape public appreciation of the western frontier. Moran’s paintings played a direct role in the establishment of Yellowstone as the first U.S. national park, and by circa 1900 he was widely regarded as one of America’s foremost landscape artists.

Lot: 1114 - John Bennett (1840-1907) British, Oil on Board Atmospheric Mountain Landscape

John Bennett (1840-1907) British, Oil on Board Atmospheric Mountain Landscape. Depicts a rustic alpine cabin on a grassy slope surrounded by evergreen trees, set against a dramatic backdrop of towering mountains and a misty fjord or lake. Signed  Overall Size: 27 1/2 x 41 1/2 in.  Sight Size: 21 1/2 x 35 1/4 in.    John Bennett was a British-born ceramic artist and decorative tile painter associated with the Aesthetic and Arts and Crafts movements of the late nineteenth century. Trained in the Staffordshire potteries and later employed by Doulton in England, Bennett immigrated to the United States in 1876, where he established a studio in New York City and became known for his richly colored “Bennett Ware” pottery and hand-painted art tiles. His tiles typically featured floral and botanical motifs rendered in bold underglaze colors with strong outlines, reflecting both Japanese artistic influence and the decorative ideals of the period. Bennett’s work was sold through prestigious retailers such as Tiffany & Co., and today his ceramics and tiles are held in major museum collections, including the Metropolitan Museum of Art.

Lot: 1115 - John Bennett (1840-1907) British, Oil on Canvas Rural Landscape

John Bennett (1840-1907) British, Oil on Canvas Rural Landscape. Landscape painting depicting a rustic log cabin nestled by a calm river at dusk or dawn, with a small figure walking along a path in the foreground and rolling hills under an atmospheric, hazy sky in the background. Hand-signed note verso. Dated 1886. Framed. Overall Size: 25 x 33 1/2 in.  Sight Size: 20 3/4 x 28 1/2 in.    John Bennett was a British-born ceramic artist and decorative tile painter associated with the Aesthetic and Arts and Crafts movements of the late nineteenth century. Trained in the Staffordshire potteries and later employed by Doulton in England, Bennett immigrated to the United States in 1876, where he established a studio in New York City and became known for his richly colored “Bennett Ware” pottery and hand-painted art tiles. His tiles typically featured floral and botanical motifs rendered in bold underglaze colors with strong outlines, reflecting both Japanese artistic influence and the decorative ideals of the period. Bennett’s work was sold through prestigious retailers such as Tiffany & Co., and today his ceramics and tiles are held in major museum collections, including the Metropolitan Museum of Art.

Lot: 1116 - John Bennett (1840-1907) British, Nature Painting of Dragonfly on Painted Tile

John Bennett (1840-1907) British, Nature Painting of Dragonfly on Painted Tile. Nature painting depicting a dragonfly hovering near a blooming white water lily and a closed bud amidst tall marsh grasses against a soft, pale sky. Signed lower right. Hand-written note verso. Framed. Overall Size: 11 1/2 x 11 1/2 in.  Sight Size: 8 1/2 x 8 1/2 in.    John Bennett was a British-born ceramic artist and decorative tile painter associated with the Aesthetic and Arts and Crafts movements of the late nineteenth century. Trained in the Staffordshire potteries and later employed by Doulton in England, Bennett immigrated to the United States in 1876, where he established a studio in New York City and became known for his richly colored “Bennett Ware” pottery and hand-painted art tiles. His tiles typically featured floral and botanical motifs rendered in bold underglaze colors with strong outlines, reflecting both Japanese artistic influence and the decorative ideals of the period. Bennett’s work was sold through prestigious retailers such as Tiffany & Co., and today his ceramics and tiles are held in major museum collections, including the Metropolitan Museum of Art.

Lot: 1117 - John Bennett (1840-1907) British, Pastoral Landscape on Painted Tile

John Bennett (1840-1907) British, Pastoral Landscape on Painted Tile. Oil on Canvas Pastoral Landscape. Pastoral landscape painting depicting figures resting near a makeshift tent by a riverbank, with a large tree in the foreground and a distant stone castle nestled against rolling hills under a soft, hazy sky. Signed lower right. Framed. Overall Size: 14 1/4 x 14 1/4 in.  Sight Size: 11 1/2 x 11 1/2 in.  Frame Thickness: 1 1/2 in.    John Bennett was a British-born ceramic artist and decorative tile painter associated with the Aesthetic and Arts and Crafts movements of the late nineteenth century. Trained in the Staffordshire potteries and later employed by Doulton in England, Bennett immigrated to the United States in 1876, where he established a studio in New York City and became known for his richly colored “Bennett Ware” pottery and hand-painted art tiles. His tiles typically featured floral and botanical motifs rendered in bold underglaze colors with strong outlines, reflecting both Japanese artistic influence and the decorative ideals of the period. Bennett’s work was sold through prestigious retailers such as Tiffany & Co., and today his ceramics and tiles are held in major museum collections, including the Metropolitan Museum of Art. (en.wikipedia.org)

Lot: 1118 - John Bennett (1840-1907) British, Pastoral Landscape on Painted Tile

John Bennett (1840-1907) British, Pastoral Landscape on Painted Tile Pastoral landscape painting depicting two figures resting on a riverbank in the foreground, with cattle wading in the water, a prominent tall tree on the left, and the stone ruins of an abbey set against rolling hills in the background. Signed lower right. Framed. Overall Size: 14 1/4 x 14 1/2 in.  Sight Size: 11 3/4 x 11 3/4 in.    John Bennett was a British-born ceramic artist and decorative tile painter associated with the Aesthetic and Arts and Crafts movements of the late nineteenth century. Trained in the Staffordshire potteries and later employed by Doulton in England, Bennett immigrated to the United States in 1876, where he established a studio in New York City and became known for his richly colored “Bennett Ware” pottery and hand-painted art tiles. His tiles typically featured floral and botanical motifs rendered in bold underglaze colors with strong outlines, reflecting both Japanese artistic influence and the decorative ideals of the period. Bennett’s work was sold through prestigious retailers such as Tiffany & Co., and today his ceramics and tiles are held in major museum collections, including the Metropolitan Museum of Art.

Lot: 1119 - John Bennett (1840-1907) British, Pastoral Landscape on Painted Tile

John Bennett (1840-1907) British, Pastoral Landscape on Painted Tile. Pastoral landscape painting set in a ornate gold-colored frame, depicting cattle and sheep resting on a grassy hillside beside a stream, with a prominent tree in the foreground and a distant church spire under a hazy sky. Hand-written note verso, dated 1876. Signed lower right. Framed. Overall Size: 15 1/2 x 15 1/2 in.  Sight Size: 11 1/2 x 11 1/2 in.  Frame Thickness: 1 1/2 in.    John Bennett was a British-born ceramic artist and decorative tile painter associated with the Aesthetic and Arts and Crafts movements of the late nineteenth century. Trained in the Staffordshire potteries and later employed by Doulton in England, Bennett immigrated to the United States in 1876, where he established a studio in New York City and became known for his richly colored “Bennett Ware” pottery and hand-painted art tiles. His tiles typically featured floral and botanical motifs rendered in bold underglaze colors with strong outlines, reflecting both Japanese artistic influence and the decorative ideals of the period. Bennett’s work was sold through prestigious retailers such as Tiffany & Co., and today his ceramics and tiles are held in major museum collections, including the Metropolitan Museum of Art.

Lot: 1120 - Ornate 19th Century French Rococo Louis XV Style Gilt Bronze Mantel Clock

Ornate 19th Century French Rococo Louis XV Style Gilt Bronze Mantel Clock. French-style mantel clock featuring a gilded bronze finish and white marble accents, flanked by two standing medieval knight figures and topped with a heraldic crest. Movement tested. Works. Size: 6 x 15 x 16 in.  French Rococo was an 18th-century artistic and decorative style that emerged in France after the grandeur of Baroque, embracing lightness, elegance, and playful ornamentation. Associated with the reign of Louis XV, it flourished in aristocratic interiors, featuring asymmetrical designs, pastel colors, gilded details, and motifs inspired by nature—such as shells, flowers, and scrolling vines. Artists like François Boucher and Jean-Honoré Fragonard exemplified the style in painting, often depicting romantic, mythological, or leisurely scenes with a sense of intimacy and whimsy. Rococo extended beyond painting into furniture, architecture, and decorative arts, creating cohesive, ornate environments that prioritized comfort and charm, though it eventually fell out of favor as the more restrained ideals of Neoclassicism took hold later in the century.

Lot: 1121 - Late 19th Century German Marble and Ormolu Mantel Clock - AS IS

Late 19th Century German Marble and Ormolu Mantel Clock - AS IS. Ornate, late 19th-century mantel clock featuring a variegated white and purple marble case accented by ormolu columns and three gilt-bronze cherubs playing musical instruments. Signed 'Fr. J. Kraut'. Condition: Top cherub, columns, and base loose. Includes bell, nut, and striker, but missing pendulum. Chime side winds but does not strike. Timer side does not hold tension. Size: 14 3/4 x 6 1/2 x 21 in.

Lot: 1122 - Antique French Rococo Gilt Bronze and Porcelain Mantel Clock

Antique French Rococo Gilt Bronze and Porcelain Mantel Clock.  Rococo-style mantel clock featuring a cream-colored body adorned with ornate gilded scrollwork and topped with a seated bronze-finished figure of a lute player. Movement tested. Works. Size: 6 x 9 x 18 1/2 in.  French Rococo was an 18th-century artistic and decorative style that emerged in France after the grandeur of Baroque, embracing lightness, elegance, and playful ornamentation. Associated with the reign of Louis XV, it flourished in aristocratic interiors, featuring asymmetrical designs, pastel colors, gilded details, and motifs inspired by nature—such as shells, flowers, and scrolling vines. Artists like François Boucher and Jean-Honoré Fragonard exemplified the style in painting, often depicting romantic, mythological, or leisurely scenes with a sense of intimacy and whimsy. Rococo extended beyond painting into furniture, architecture, and decorative arts, creating cohesive, ornate environments that prioritized comfort and charm, though it eventually fell out of favor as the more restrained ideals of Neoclassicism took hold later in the century.

Lot: 1123 - 19th Century French Mantel Clock with Tortoiseshell Case

19th Century French Mantel Clock with Tortoiseshell Case.  19th century French mantel clock in tortoiseshell caing with floral-swag enamel dial, delicate gilt-brass side handles, and an ornate cast-metal finial atop its architectural case. Movement tested. Works. Size: 6 x 8 1/2 x 15 in.  French mantel clocks, especially those produced in 18th- and early 19th-century France, are celebrated for combining precise timekeeping with refined decorative artistry. Many were created during the reigns of Louis XV and Louis XVI, reflecting styles such as Rococo and Neoclassicism. These clocks often featured ornate cases made of gilt bronze (ormolu), marble, or porcelain, and were adorned with sculptural figures inspired by mythology, romance, or daily life. Renowned clockmakers like Abraham-Louis Breguet elevated both the technical sophistication and aesthetic appeal of these pieces. Typically displayed on mantels in aristocratic homes, French mantel clocks symbolized wealth, taste, and the era’s dedication to craftsmanship and design.

Lot: 1124 - Ornate 19th Century Neoclassical Louis XVI-Style Gilt Bronze Mantel Clock

Ornate 19th Century Neoclassical Louis XVI-Style Gilt Bronze Mantel Clock. Highly decorative French Neoclassical Louis XVI style mantel clock featuring an openwork gilt-metal frame with floral swags, an alabaster or onyx backing, and two prominent stone columns flanking the central dial. Movement tested. Works. Size: 4 1/2 x 10 3/8 x 19 in.  The Louis XVI style developed in late 18th-century France during the reign of Louis XVI, marking a shift away from the ornate curves of Rococo toward a more restrained, classical aesthetic inspired by ancient Greece and Rome. Characterized by symmetry, straight lines, and geometric forms, the style featured motifs such as laurel wreaths, fluted columns, urns, and medallions. Furniture and decorative objects were often crafted from fine woods with delicate carvings, gilding, and sometimes inlays, reflecting both elegance and precision. This refined approach was influenced by the growing interest in archaeology and classical antiquity, particularly after discoveries like those at Pompeii, and it became closely associated with the tastes of the royal court and figures such as Marie Antoinette.

Lot: 1125 - Early 20th Century Gilbert Clock Co. Gilt Bronze Mantel Clock

Early 20th Century Gilbert Clock Co. Gilt Bronze Mantel Clock. Ornate Gilbert Clock Co. mantel clock featuring a visible escapement dial supported by two veined onyx columns and an ornate gilt-metal scrolled base. Size: 8 x 12 x 17 1/2 in.  The Gilbert Clock Company was a prominent American clockmaker founded in the early 19th century in Winsted, Connecticut, becoming especially influential under the leadership of William L. Gilbert. Known for producing a wide range of affordable yet reliable timepieces, the company helped make clocks accessible to the growing middle class in the United States. Gilbert clocks often featured wooden cases in popular styles such as steeple, ogee, and mantel designs, blending practicality with modest decorative appeal. By the late 1800s, the firm had become one of the largest clock manufacturers in the country, though it eventually declined in the early 20th century due to increased competition and changes in the industry.

Lot: 1126 - French Rococo Style German Urgos Movement Ormolu Mantel Clock

French Rococo Style German Urgos Movement Ormolu Mantel Clock. Urgos mantel clock is encased in an opulent, Rococo-style ormolu (gilt-bronze) housing characterized by intricate scrolling foliate motifs and a prominent shell-carved base. The ornate gilt dial is set with individual white enamel cartouches displaying Roman numerals and is topped by a decorative flaming urn finial. Size: 9 x 4 x 17 in.    Urgos was a respected German manufacturer of mechanical clock movements, founded in 1926 and widely known for producing reliable, mass-produced mechanisms used in grandfather, wall, and mantel clocks throughout the 20th century. Based in the Black Forest region—long associated with traditional clockmaking—Urgos supplied movements to numerous clock case makers, particularly in postwar Europe and North America, helping make quality mechanical clocks more accessible to a broader market. Their movements often featured chain- or cable-driven weights and familiar chime sequences like Westminster, valued for their durability and ease of maintenance. Although the company ceased operations in the late 1990s, Urgos movements remain common in vintage clocks and are still serviced and appreciated by horology enthusiasts today.

Lot: 1127 - Hermes Paris Travel Alarm Clock

Hermes Paris Stainless Steel Travel Alarm Clock. Stainless steel Hermès travel alarm clock featuring a nautical porthole-inspired design with a folding stand and a white dial marked by stylized black Arabic numerals. Size: 4 1/2 x 4 1/2 x 3/4 in.   Hermès timepieces reflect the maison’s commitment to craftsmanship, understated elegance, and artistic design rather than purely technical watchmaking dominance. Known for blending Swiss horological expertise with Parisian style, Hermès watches often feature refined leather straps—sourced from the brand’s renowned saddlery heritage—paired with minimalist yet distinctive dials. Collections such as the Arceau and Cape Cod emphasize clean lines, asymmetry, and subtle whimsy, appealing to those who value design as much as function. While not positioned as a traditional high-complication watchmaker, Hermès has steadily invested in in-house movements and artisanal métiers, making its timepieces a compelling choice for collectors who appreciate luxury rooted in creativity and heritage.

Lot: 1128 - 1997 Commemorative Chelsea Ship's Bell Clock with Wood and Copper from the USS Constitution

1997 Commemorative Chelsea Ship's Bell Clock with Wood and Copper from the USS Constitution. limited-edition Chelsea Ship’s Bell clock is mounted on a commemorative plaque crafted from authentic wood and bottom copper salvaged from the USS Constitution during previous restoration efforts. Produced in 1997 to celebrate the 200th anniversary of "Old Ironsides," this piece is one of only 200 created in collaboration between the Chelsea Clock Company and the USS Constitution Museum. The assembly features a brass-encased dial with nautical sub-details, set against a timber base that purposefully retains imperfections from centuries of exposure to salt water and wood decay. Inscribed on upper circumference of case:  Jody Best Wishes For A Healthy & Happy Retirement JULY, 1999 TED & MARY ELLEN Includes Certificate of Authenticity, signed by the president of the Chelsea Clock Company and the executive director of the USS Constitution museum. Box: 14 x 12 3/4 x 5 1/2 in. Clock: 13 x 8 1/2 x 5 in.

Lot: 1129 - William Trost Richards (1833-1905) American, Pencil and Watercolor Winter Landscape

William Trost Richards (1833-1905) American, Pencil and Watercolor Winter Landscape. Landscape painting depicting a serene winter scene with bare trees, fields of warm ochre and reddish-brown tones, a winding path, and small puddles under a pale sky. Signed Wm T. Richards, lower left. Framed. Overall Size: 18 1/2 x 30 1/2 in. Sight Size: 12 x 23 1/4 in.   William Trost Richards (1833-1905) was a 19th-century American painter associated with both the Hudson River School and American Pre-Raphaelitism, celebrated for his highly detailed landscapes and seascapes. Born in Philadelphia in 1833, Richards became known for his meticulous observation of nature, often depicting rocky coastlines, forests, and marine scenes with remarkable realism and atmospheric sensitivity. Influenced by the English critic John Ruskin’s belief in truthful representation of nature, he traveled extensively through New England, Europe, and the British coast, producing works that balanced scientific precision with poetic beauty. His luminous watercolors and oil paintings, especially of the Atlantic shoreline, earned widespread acclaim during his lifetime and contributed significantly to American landscape art in the late 1800s.

Lot: 1130 - Raoul Maucherat de Longpre (1843-1911) French, Watercolor and Gouache Impressionist Floral

Raoul Maucherat de Longpré (1843-1911) French, Watercolor & Gouache  Impressionist Floral. floral still life showcasing a lush arrangement of soft pink roses and delicate white lilacs resting on a stone ledge, all captured with the artist’s signature romantic detail and soft lighting. Signed lower right. Framed. Overall Size: 22 3/4 x 29 3/4 in.  Sight Size: 13 1/2 x 20 1/2 in.  Raoul Maucherat de Longpré (1843–1911) was an elite French floral painter, celebrated for his technically precise and ethereal still lifes that gained immense popularity in both Europe and the United States. Born into an aristocratic but financially modest family of artists in Lyons—the center of the French textile industry—he began painting flowers for fans and textile designs at age 12, eventually exhibiting at the Paris Salon by 1877. His work is defined by a distinct, "floating" compositional style, where highly detailed bouquets of lilacs and roses are rendered in gouache and watercolor against spare or dark backgrounds, often appearing to hover in space or rest on a simple stone plinth. While his brother, Paul de Longpré, became a famous "celebrity artist" in Hollywood, Raoul remained in France, though his paintings were widely sought after by major American collectors and are now held in prestigious institutions like the Smithsonian American Art Museum.

Lot: 1131 - 18th Century French School Oil on Canvas Genre Scene of Marie Antionette and Her Court

Antique French oil painting that features an artist at his easel painting a Marie Antoinette in a red gown and a young child, set within a grand, draped interior, surrounded by her court, with a small dog at her feet. Framed. Overall Size: 33 1/2 x 39 x 2 in. Sight Size: 26 3/4 x 31 1/2 in.

Lot: 1132 - Wilson Henry Irvine (1869-1936) American, Oil on Board Impressionist Genre Scene "The Small Market"

Wilson Henry Irvine (1869-1936) American, Oil on Board Impressionist Genre Scene. Impressionist-style oil painting housed in a weathered wooden frame, depicting a bustling street market scene with figures and flower carts gathered before the grand, sunlit stone pillars of a classical building. Signed in lower right. Titled "The Small Market".  Overall Size: 16 3/4 x 20 1/2 in.  Sight Size: 11 1/2 x 15 1/2 in.    Wilson Irvine (1869-1936) was an American Impressionist painter known for his luminous landscapes and innovative use of light and color, particularly in scenes of the Midwest and Old Lyme. Associated with the American Impressionism, Irvine experimented with techniques such as “prismatic painting,” applying broken, vibrant strokes to capture shifting atmospheric effects. He was an active member of prominent artists’ groups, including the The Ten American Painters, and gained recognition for both his technical skill and his contributions to the development of Impressionism in the United States.

Lot: 1133 - Ludwig Gschossmann (1894-1986) German, Oil on Canvas Impressionist Interior Genre Scene

Ludwig Gschossmann (1894-1986) German, Oil on Canvas Impressionist Interior Genre Scene. Impressionist oil painting depicting an elegant, formal ballroom scene filled with figures in evening wear under the glow of ornate chandeliers. Signed lower left. Framed. Overall Size: 39 x 31 1/2 in. Sight Size: 29 1/2 x 23 in. Frame Thickness: 2 1/2 in,    Ludwig Gschossmann (1894-1986) was a German painter known for his contributions to late 19th- and early 20th-century European art, working within traditions influenced by academic realism while also engaging with emerging modern styles of his time. Though not as widely recognized as some of his contemporaries, his work reflects a careful attention to detail, composition, and atmosphere, often focusing on landscapes, genre scenes, or portraiture typical of the period. Gschossmann’s paintings demonstrate a sensitivity to light and texture, aligning him with broader movements in German art that bridged classical techniques and the gradual shift toward modernism.

Lot: 1134 - Michael John Hunt (Born 1941) English, Oil on Canvas Landscape of Irvington NY Mansion

Michael John Hunt (Born 1941) English, Oil on Canvas Landscape of Irvington NY Mansion. The home was called "Laurel Hill" and located at 55 Field Terrace, Irvington, NY 10533. Located in Irvington on Hudson - Hudson River Valley. Homes of Washington Irvin (Headless Horseman, Legend of Sleepy Hollow, etc.) who was also social friends with Tiffany. The painting was done in 1986.  Artist: Michael John Hunt, who is in Kent (England) Expansive oil painting depicts a stately two-story brick estate nestled within meticulously landscaped grounds, featuring a lush sloping lawn, a private gazebo, and a diverse array of mature flowering trees and shrubbery. Unsigned. Framed. Provenance: Originally commissioned for 3,750 British Pounds.  Overall Size: 32 1/2 x 52 1/2 in. Sight Size: 27 x 47 in.

Lot: 1135 - Sean Farrell (20th/21st Century) American, Oil on Canvas Atmospheric Still Life "Golden Ginger Jar with Apples"

Sean Farrell (20th/21st Century) American, Oil on Canvas Atmospheric Still Life "Golden Ginger Jar with Apples". Oil on canvas still-life painting features a large, decorative yellow jar centered behind a dark bowl draped with a string of pearls, all surrounded by red apples and scattered dark berries, set against a dark, moody background. Signed upper right. Framed. Purchased from J. Todd Gallery (Wellesley, Mass) and Sheldon Gallery (Naples, FL). Overall Size: 32 x 44 in.  Sight Size: 23 1/2 x 35 1/2 in.  Sean Farrell is a contemporary visual artist known for his introspective and often atmospheric works that blend elements of abstraction and representation. His practice explores themes of memory, identity, and the emotional resonance of everyday spaces, frequently using layered textures and muted color palettes to evoke a sense of quiet tension. Farrell has exhibited in a range of gallery settings and has built a reputation for creating pieces that invite slow looking and personal interpretation, positioning him within a broader movement of artists focused on mood-driven, contemplative imagery.

Lot: 1136 - John Costigan (1888–1972) American, Oil on Canvas Impressionist Figural "Mother and Child"

John Costigan (1888–1972) American, Oil on Canvas Impressionist Figural "Mother and Child". Impressionist painting in bold impasto style depicting a woman in a head covering cradling a baby in her arms while standing next to a goat amidst a vibrant, densely textured backdrop of multicolored foliage. Signed lower right. Gallery label verso. Framed. Overall Size: 27 x 23 in. Sight Size: 19 1/2 x 15 1/4 in.   John Costigan (1888–1972) was an American painter, draftsman, and printmaker best known for his expressive etchings and scenes of rural New England life. Born in Providence, Rhode Island, Costigan was largely self-taught and initially worked as a jewelry engraver before turning to fine art. His work focused on everyday subjects—farmers, laborers, family groups, and landscapes—rendered with emotional warmth and strong draftsmanship influenced by social realism and American regionalism. During the 1920s and 1930s, he gained national recognition through exhibitions at major institutions, including the Whitney Museum and the Art Institute of Chicago, and was awarded numerous prizes for his prints. Costigan also taught at the Art Students League of New York, where he influenced a generation of artists through his emphasis on direct observation and technical skill.

Lot: 1137 - Robert Atkinson Fox (1860-1935) American, Lithograph Print Floral Still Life "Red Poppies and White Lillies"

Robert Atkinson Fox (1860-1935) American, Lithograph Print Floral Still Life "Red Poppies and White Lillies"". Traditional atmospheric still-life of vibrant bouquet of scarlet poppies and delicate white blossoms, arranged in a dark vessel against a soft, moody, gradient background. Unsigned. Framed. Overall Size: 20 x 29 in.  Sight Size: 16 1/2 x 25 1/2 in.    Robert Atkinson Fox (1860-1935) was a prolific American illustrator and painter best known for his romantic, idealized portraits of women that became widely popular in the early 20th century. Born in 1860 in Ontario, Canada, he studied art in New York and London before settling in the United States, where his work gained mass appeal through reproductions distributed by companies like Thomas D. Murphy Company. Fox’s paintings, often characterized by soft lighting, delicate features, and sentimental themes, were reproduced as prints and calendars that adorned countless American homes during the 1910s and 1920s. Though sometimes dismissed by critics as overly commercial, his work remains a notable example of popular art of the period, reflecting both the tastes and domestic aesthetics of early 20th-century America.

Lot: 1138 - Late 19th Century Impressionist French School Giverny Landscape Oil on Canvas

Late 19th Century Impressionist French School Giverny Landscape Oil on Canvas. Depicts a young girl seated in a tree beside a stream, her bright colors in contrast to the subdued nature around her, suggesting both mankind's importance and smallness in the world. Unsigned. Presented in a later frame.  Overall Size: 19 x 21 in.  Sight Size: 11 1/4 x 13 1/2 in. 

Lot: 1139 - Robert Hopkins (1832-1909) Scottish/American, Antique Oil on Canvas Landscape

Robert Hopkins (1832-1909) Scottish/American, Antique Oil on Canvas Landscape. Depicts a quaint waterside shack with men near their boat on the rocky Scottish coast as magic hour draws to a close. A label affixed to the back reads "This work of art is protected against fading by acrylic O.P. 2 which transmits no ultra-violet radiation below 390 millimicrons clean with soft cloth do not tape." A hole cut in the protective matting on the back reveals writing on the canvas, including the signature of the artist, the date July 6th, 1886, and the location: "Evening, Kyleakine, Isle of Skye."  Condition: Tearing at bottom left of image.  Overall Size: 36 1/2 x 42 3/4 in.  Sight Size: 31 x 37 in.  Maritime artist Robert Hopkin was born on January 3rd, 1832, in Glasgow, Scotland, and was taught to paint and draw by his father. His family emigrated to the United States in 1843 and he spent the rest of his life working in Detroit, Michigan, best known for his stunning scenes of the Great Lakes, and occasionally making return visits to his home country to gather inspiration from the Hebrides and moors. His frequent trips through the American West from 1860 to 1885 resulted in many murals and scenery curtains for theaters, some of which are still preserved by the dry climate. He was considered a pinnacle of Detroit art and taught many students over the years, which eventually led to the founding of the Hopkins Club in 1907 as a get-together for artists to share inspiration; it was renamed the Scarab Club in 1913 and still functions to this day. He died on March 21st, 1909, and his rich realist landscapes continue to be sought by collectors around the globe. 

Lot: 1140 - H. Agniles Oil on Board Figural Portrait "A Spanish Beauty"

H. Agniles Oil on Board Figural Portrait "A Spanish Beauty". Figural portrait depicting a young woman in traditional Spanish attire, wearing a white lace mantilla, a vibrant red and yellow dress, and matching red heels while holding an open fan outdoors. Signed lower right. Framed. Provenance: From the Sotheby's Old Masters to 19th Century European Art auction, January 27, 2007. Overall Size: 17 1/2 x 13 1/2 x 3 1/4 in.

Lot: 1141 - Italian Battle Scene Old Master Style Oil on Canvas

Italian Battle Scene Old Master Style Oil on Canvas. Dramatic Baroque-style oil painting depicts a chaotic cavalry battle amidst a hazy landscape, featuring rearing horses and soldiers in mid-clash under a tumultuous, smoky sky. Overall Size: 32 1/2 x 57 in. Sight Size: 23 1/4 x 47 in.

Lot: 1142 - Johann Mengels Culverhouse (1820-1895) Dutch/American, "The Village School" Oil on Canvas

Johan Mengels Culverhouse (1820-1895) Dutch/American, "The Village School" Oil on Canvas. Depicts a quaint scene of children sharing the work with the schoolmaster, with a vibrant pink dress the focal point of the shadow-heavy image. Signed bottom right and dated 1876. Ornate period giltwood frame.  Overall Size: 21 1/2 x 17 1/2 in.  Sight Size: 13 1/2 x 9 1/2 in.  Frame Thickness: 3 1/2 in.  Johann Mengels Culverhouse was a genre painter known for atmospheric candlelit and nocturnal scenes influenced by 17th Century Dutch masters. Born in Rotterdam in 1820, he worked in both the Netherlands and the United States, exhibiting at major institutions including the Paris Salons, the National Academy of Design, the Boston Athenaeum, and the Pennsylvania Academy of the Fine Arts, and passed away at his home in Philadelphia in 1895. His paintings are in the collections of the Metropolitan Museum of Art, the Brooklyn Museum, and The High Museum of Art. 

Lot: 1143 - Antique Oil on Canvas on Board Painting of a Harbor Scene with People in Small Rowing Boats

Antique Oil on Canvas on Board Painting of a Harbor Scene with People in Small Rowing Boats. Sailing ships at anchor beyond. Signed Burker or Bunker lower right. Overall Size: 19 1/4 x 24 1/4 x 1 1/4 in. Sight Size: 15 x 20 in.

Lot: 1144 - Paul Andorff (1849-1920) German, Oil on Canvas, Town Scene with Couple in an Arched Passage

Paul Andorff (1849-1920) German, Oil on Canvas, Town Scene with Couple in an Arched Passage. Signed with initials and dated 1874. Andorff is known for paintings of structures and figures. Paul Andorff was born in 1849 Weimar and passed away in 1920 in Franfurt. Paul Andorff was a painter in Berlin, Hanau and Frankfurt. He studied at the Academy of Berlin, and was a student of J. Schrader. Andorff was a teacher at the Royal Academy of Drawing Hanau. Overall Size: 17 1/4 x 16 x 1 1/4 in. Sight Size: 12 1/4 x 10 3/4 in.

Lot: 1145 - Antique Framed Romantic Seascape Oil on Canvas - AS IS

Antique Framed Romantic Seascape Oil on Canvas - AS IS. Depicts several sailboats in a bay in the distance below a yellow, cloudy sky, with crashing waves and a rocky beach in the foreground. Illegible writing bottom left, possibly signature.  Condition: Damage to frame and canvas.  Overall Size: 14 x 19 in.  Sight Size: 9 x 12 1/2 in.  Originating in Europe during the late 18th Century, Romanticism was an intellectual and artistic movement that prioritized subjectivity, imagination, and a profound appreciation for nature, at its peak from approximately 1800 to 1850. It emerged from the German movement called “Sturm und Drang,” primarily as a reaction against the rationalism of the Age of Enlightenment and the perceived soullessness of the Industrial Revolution. Romanticists championed individualism and emotion in literature, visual arts, and architecture, arguing that intuition and passion were more vital for understanding the world than cold logic or social convention. Key themes of the movement included a fascination with the supernatural, the celebration of the “sublime,” and an idealization of the Middle Ages as a nobler, more organic, era of history. “Late Romantic” and “Neoromantic” styles persisted until the mid-20th Century as a resistance to modern abstract art. Although it eventually dispersed after World War II, Romanticism left an enduring legacy that continues to influence modern philosophy, environmentalism, and the arts. 

Lot: 1146 - Attributed to Karl Kaufmann (1843-1901/05), 19th Century Austrian, Oil on Canvas Painting of a Hungarian Landscape with Haymakers

Attributed to Karl Kaufmann (1843-1901/05), 19th Century Austrian, Oil on Canvas Painting of a Hungarian Landscape with Haymakers. Signed lower left with one of the artist's many pseudonyms. Karl Kaufmann started his artistic education at the Academy of Vienna. He subsequently traveled through European countries, such as Norway, the Netherlands, Germany or Italy. Kaufmann developed a sensitive feeling for environments and atmospheres, which helped him to specialize in landscape and architectural painting. One special feature of his oeuvre is his habit to sign his works with pseudonyms. For instance, the names 'B. Lambert', 'Charles Marchand' or 'C. Charpentier' are well-known signatures by Kaufmann. The majority of his works belongs to private collections. Overall Size: 25 x 35 1/2 in.  Sight Size: 16 x 26 1/4 in.  Frame Thickness: 3 1/2 in. 

Lot: 1147 - Attributed to Karl Kaufmann (1843-1901/05), 19th Century Austrian, Oil on Canvas Painting of a Country Landscape with Horses by a River

Attributed to Karl Kaufmann (1843-1901/05), 19th Century Austrian, Oil on Canvas Painting of a Country Landscape with Horses by a River. Signed lower left with one of the artist's many pseudonyms. Karl Kaufmann started his artistic education at the Academy of Vienna. He subsequently traveled through European countries, such as Norway, the Netherlands, Germany or Italy. Kaufmann developed a sensitive feeling for environments and atmospheres, which helped him to specialize in landscape and architectural painting. One special feature of his oeuvre is his habit to sign his works with pseudonyms. For instance, the names 'B. Lambert', 'Charles Marchand' or 'C. Charpentier' are well-known signatures by Kaufmann. The majority of his works belongs to private collections. Overall Size: 25 x 35 1/2 in.  Sight Size: 16 x 26 in.  Frame Thickness: 3 1/2 in. 

Lot: 1148 - John Bernard Whittaker (1836–1926) American, Oil on Canvas Figural Portrait "Interior of the Butcher"

John Bernard Whittaker (1836–1926) American, Oil on Canvas Figural Portrait "Interior of the Butcher". Oil on canvas traditional figural portrait of a seated, somber-faced butcher wearing a white apron, cap, and plaid scarf, resting one hand near a large cut of meat on a butcher's block against a dark, muted background. Signed lower right. Attributed on tag verso. Framed. Overall Size: 27 x 19 in. Sight Size: 21 1/2 x 13 1/ 2in.   John Bernard Whittaker (1836–1926) was an Irish-born American painter, illustrator, and art educator known for his genre scenes, portraits, and depictions of domestic life during the late 19th century. After immigrating to the United States, he studied at the National Academy of Design and the Graham Art School in New York, eventually establishing himself in Brooklyn’s active art community. Whittaker’s paintings often explored themes of family, morality, etiquette, and everyday social interactions, reflecting the tastes and storytelling style popular in Victorian-era American art. In addition to exhibiting widely—including dozens of works at the Brooklyn Art Association—he taught at several institutions, including the Graham Art School, the Brooklyn Academy of Design, and Adelphi Academy, where he led the art department until his retirement in 1916. His work remains associated with the sentimental and narrative traditions of turn-of-the-century American genre painting. (barnebys.com)

Lot: 1149 - 19th Century Charcoal on Paper Portrait of Thomas Edison

19th Century Charcoal on Paper Portrait of Thomas Edison. 19th-century charcoal on paper portrait depicting Thomas Edison is housed in a period wood frame painted gold. Overall Size: 27 1/2 x 23 1/2 in. Sight Size: 21 x 17 in.   Thomas Edison was one of the most influential inventors in modern history, credited with developing practical technologies that transformed everyday life in the late nineteenth and early twentieth centuries. Born in 1847 in Ohio, Edison held more than 1,000 patents and played a major role in the creation of the phonograph, improvements to the incandescent light bulb, and early motion picture technology. Through companies that eventually became part of General Electric, he helped establish systems for electric power generation and distribution that accelerated industrial growth around the world. Known for his relentless experimentation and work ethic, Edison became a symbol of American innovation and entrepreneurship, leaving a lasting impact on science, communication, and modern technology.

Lot: 1150 - Vincent van Gogh (1853-1890) Dutch, "Man with the Sickle" Engraving Ink on Paper

Vincent van Gogh (1853-1890) Dutch, "Man with the Sickle" Engraving Ink on Paper. Copper plate engraving printed in black ink on wove paper after the original in London in 1920. Depicts a figure hunched down low with the blade in hand. Comes with certificate of authenticity and prior bill of sale.  Overall Size: 17 1/4 x 15 1/2 in.  Sight Size: 7 x 5 1/4 in.  Born in 1853 in the Netherlands, Vincent van Gogh initially pursued careers in art dealing and the ministry, though his intense religious fervor and volatile temperament led to failures in both fields. Upon the suggestion of his brother Theo, he turned to art in 1880, studying formally in Brussels and Antwerp while navigating a series of tragic, unrequited romances. His style evolved dramatically after moving to Paris in 1886, where exposure to Impressionism and Japanese prints transformed his palette into the vibrant, expressive look that defined his later masterpieces. However, his mental health declined severely in Arles, leading to the infamous incident where he severed his ear and his subsequent voluntary commitment to an asylum. Despite suffering from hallucinations and deep depression, this period was remarkably productive, resulting in iconic works such as The Starry Night. Van Gogh died from a self-inflicted gunshot wound in 1890 at age 37, leaving behind a massive body of work that eventually transformed him from a penniless, unknown painter into a global icon of the "tortured artist." 

Lot: 1151 - Kathy “Wan Povi” Sanchez (Born 1950) Pueblo, Two-Tone Blackware and Turquoise Pottery Jar

Kathy “Wan Povi” Sanchez (Born 1950) Pueblo, Two-Tone Blackware and Turquoise Pottery Jar. Incorporating multiple sophisticated techniques pioneered by her extended family and herself, the piece displays a bear claw and tree in the bottom half as well as mythological iconography in the upper half, where the black and brown tones overlap and small turquoise inlays highlight the story. Signed "Wan Povi" (meaning "Pine Flower" in the Pueblo language) on the underside.  Size: 4 3/4 x 4 3/4 x 3 1/2 in.  Kathy “Wan Povi” Sanchez (Born 1950) is a renowned Tewa potter and social activist from San Ildefonso Pueblo, recognized for her traditional blackware featuring “sgraffito” (scratching) techniques. She earned a Master’s Degree in Education from the University of New Mexico and became a key figure in Tewa Women United, focusing on environmental justice and cultural revitalization. As a fourth-generation artist, she specializes in carved, often matte-and-gloss blackware, focusing on designs like turtles, avanyu (water serpent), and bear paws which she learned first from her mother Anita Martinez and later the world-famous Maria Martinez.

Lot: 1152 - Maria (1887-1980) and Julian Martinez (1879-1943) Pueblo, Blackware Pottery Jar

Maria (1887-1980) and Julian Martinez (1879-1943) Pueblo, Blackware Pottery Jar. Traditional black-on-black designs around the main body. Signed  "Maria + Julian" on the underside.  Size: 7 x 7 x  5 in.  Maria (1887-1980) and Julian Martinez (1879-1943), were renowned artists from San Ildefonso Pueblo, New Mexico, who revolutionized and perfected Native American pottery in the early 20th Century by reviving the iconic lost black-on-black ware. Their technique combined Maria’s polished, hand-coiled matte black designs with Julian’s painted, often mythical, motifs. This collaborative style, often signed “Marie & Julian,” brought global fame to the artists and economic revival to their community, carried on by the relatives, descendants, and new generations of Native American artists ever since. Maria was awarded two honorary doctorates, and many of her works as well as her collaborations with her husband are held at the Smithsonian Institution. 

Lot: 1153 - Sharon Naranjo Garcia (Born 1951) Pueblo, Santa Clara Blackware Pottery Jar

Sharon Naranjo Garcia (Born 1951) Pueblo, Santa Clara Blackware Pottery Jar. Beautiful curving shapes in the traditional black-on-black style. Signed on the underside.  Size: 9 x 9 x 7 1/2 in.  Sharon Naranjo Garcia (Born 1951) was raised by her grandmother, the famous Santa Clara Pueblo potter Christina Naranjo, and first began making small animal figures using her clay. After marrying into the San Juan Pueblo she continued to make pottery in the Santa Clara style, introducing new techniques to her adopted home and gaining a reputation as an important teacher and innovator in the form. 

Lot: 1154 - Carmelita Dunlap (1925-1999) Pueblo, San Ildefonso Blackware Pottery Jug Jar

Carmelita Dunlap (1925-1999) Pueblo, San Ildefonso Blackware Pottery Jug Jar. One her own unique forms, using traditional techniques and forms but with an opening at one point of the mouth like an abstract spout. Signed on the underside.  Size: 16 x 16 x 12 in.  Carmelita Dunlap was born in 1925 on the San Ildefonso Pueblo, and was raised by Desideria Sanchez and Maria Martinez after her mother, Juanita Vigil, died when she was eight. She learned to make pottery from her aunts and began making her distinctive vessels in 1955, known not only for her complicated designs but the large size of her pottery and for developing a firing technique that produced the sunrise brown color that has since become her family’s speciality. She was also the matriarch of a family of potters including children Martha Appleleaf, Carlos Dunlap, Cynthia Star Flower, and grandson Erik Fender. Carmelita won numerous awards for her pottery at events such as Santa Fe Indian Market and Gallup Ceremonials before her death in 1999. Her pottery can be found in museums across the country including the National Museum of the American Indian and the Denver Art Museum. 

Lot: 1155 - Maria (1887-1980) and Julian Martinez (1879-1943) Pueblo, Blackware Pottery Jar

Maria (1887-1980) and Julian Martinez (1879-1943) Pueblo, Blackware Pottery Jar. Traditional black-on-black designs around the main body. Signed  "Maria + Julian" on the underside.  Size: 4 1/2 x 4 1/2 x 3 1/4 in.  Maria (1887-1980) and Julian Martinez (1879-1943), were renowned artists from San Ildefonso Pueblo, New Mexico, who revolutionized and perfected Native American pottery in the early 20th Century by reviving the iconic lost black-on-black ware. Their technique combined Maria’s polished, hand-coiled matte black designs with Julian’s painted, often mythical, motifs. This collaborative style, often signed “Marie & Julian,” brought global fame to the artists and economic revival to their community, carried on by the relatives, descendants, and new generations of Native American artists ever since. Maria was awarded two honorary doctorates, and many of her works as well as her collaborations with her husband are held at the Smithsonian Institution. 

Lot: 1156 - Santana (1909-2002) and Adam Martinez (1904-2000) Pueblo, Blackware Pottery Jar

Santana (1909-2002) and Adam Martinez (1904-2000) Pueblo, Blackware Pottery Jar. Traditional black-on-black designs around the main body. Signed  "Santana Adam" on the underside.  Size: 7 x 7 x 6 in.  Santana Roybal Martinez was born in 1909 and became a crucial figure in the San Ildefonso Pueblo pottery tradition, working alongside her mother-in-law, the renowned Maria Martinez. Santana, married to Maria’s son Adam (1904-2000), painted designs on Maria’s pottery and helped with the specialized, high-gloss, black-on-black firing techniques, often signing pieces “Marie + Santana” or “Santana-Adam.” Their seven children continue her techniques and traditions, distinguishing themselves in their own pottery since her passing in 2002.

Lot: 1157 - Castillo Ortiz Zapotec Black Pottery Seed Pot

Castillo Ortiz Zapotec Black Pottery Seed Pot. Globular black seed pot features a polished, metallic grid pattern across its surface and is adorned with a matte animal figure near the top opening. Base depicting a family of rabbits. signed. Size: 6 1/2 x 6 1/2 x 7 in. 

Lot: 1158 - San Ildefonso Pueblo Black on Black Pottery Dish by Santana and Adam Martinez

Pueblo Black on Black Pottery Dish by Santana and Adam Martinez.  Black-on-black pottery plate featuring matte geometric designs and animal motifs, including an Avanyu (water serpent) around the rim and small paw prints in the center. Diameter: 10 1/2 in. Adam Martinez and Santana Martinez were influential Native American artists from San Ildefonso Pueblo, celebrated for their contributions to the revival and development of Pueblo pottery in the early 20th century. Santana Martinez (1882–1942), working closely with her husband Maria Martinez, helped perfect the iconic black-on-black pottery technique that became synonymous with their community’s artistic identity. Adam Martinez, part of the same extended cultural and artistic tradition, was also a skilled potter whose work reflected the refined forms and surface treatments characteristic of San Ildefonso craftsmanship. Together, artists like Adam and Santana played a role in preserving and evolving Pueblo ceramic traditions, blending ancestral methods with innovations that brought wider recognition to their work in regional and national art circles.

Lot: 1159 - Adelphia Martinez (1935-2022) Pueblo, Blackware Pottery Jar

Adelphia Martinez (1935-2022) Pueblo, Blackware Pottery Jar. Depicts a stylized anteater and paw prints across the body. Signed on the underside.  Size: 6 x 6 x 5 1/2 in.  Adelphia Martinez (1935-2022) was a renowned potter from the San Ildefonso Pueblo. She was the daughter of painter Louis Wo-Peen Gonzales and potter Juanita Gonzales, learning pottery techniques in the 1950s from her mother and her aunt, Rose Gonzales. She was known for creating traditional handmade pottery, including black-on-blackware, redware bowls, and sgraffito designed jars,  often making more functional works rather than simply decorative and experimenting with modern forms. Her work has been widely exhibited and awarded, with pieces featured in galleries such as the Adobe Gallery in Santa Fe. 

Lot: 1160 - Acoma Pueblo Polychrome Painted Pottery Jar Signed Pancho

Acoma Pueblo Polychrome Painted Pottery Jar Signed Pottery.  Polychrome ceramic olla pot features intricate black-and-white sgraffito designs depicting a horned figure with a bow standing before a pueblo landscape, framed by elaborate geometric patterns and a terracotta-colored base.Signed on base. Size: 11 x 11 x 11 in.    Acoma Pueblo pottery is one of the oldest continuously practiced ceramic traditions in North America, created by the people of Acoma Pueblo for more than a thousand years. Known for its thin walls, hand-coiled construction, and intricate geometric designs, Acoma pottery is traditionally made from local clay, painted with mineral and natural pigments, and fired outdoors. Common motifs include fine black lines, rain patterns, parrots, and sacred symbols that reflect the culture, environment, and spiritual beliefs of the Acoma people. Contemporary Acoma artists continue to preserve these techniques while also introducing innovative forms and styles, making the pottery both a cultural treasure and a respected art form worldwide.

Lot: 1161 - Signed Painted Ceramic Surreal Figural Statue

Said Painted Ceramic Surreal Figural Statue.  Abstract ceramic sculpture depicts a textured, headless figure with a verdant green and bronze patina, featuring a tiered collar and a body adorned with intricate patterns and floral-like relief elements. Artist's initials on rim of base and bottom. Size: 13 x 4 x 3 in. 

Lot: 1162 - Dennis Poitras (Born 1951) American, 3D Mixed Media Pop Surrealist "Shrine to Mystery, Beauty, and Fun"

Dennis Poitras (Born 1951) American, 3D Mixed Media Pop Surrealist "Shrine to Mystery, Beauty, and Fun." Intricate, three-dimensional mixed media shadowbox or altar-style artwork. It features a painted desert landscape with an arched frame, teal-colored textured borders inset with blue glass gems, and a central cabinet door that opens to reveal a small seated figure against a sea background. Signed lower right. Titled middle bottom. Dated 1989.  Size: 59 x 52 x 7 1/2 in.  Dennis Poitras was born in Ashburnham, Massachusetts in 1951, and his first foray into art came when he constructed his own washtub instrument when he was 16. Coming from a low-income family, he rejected a back-breaking industrial future for a dream of making music and sculpting, becoming known throughout New England for his whimsical, surrealist assemblages and large-scale sculptural “dreamscapes.” The self-taught artist continues to make new work today, as well as playing with various bands and researching metaphysical subjects to incorporate into his art. 

Lot: 1163 - Portrait Photograph, Booklet, and Historical Ephemera on Edward T. Stotesbury

Portrait Photograph, Booklet, and Historical Ephemera on Edward T. Stotesbury. Includes the picture taken by French photographer Andre Taponier, with written attributions along the bottom; a Western Union telegram and envelope in several pieces inviting a Mr. and Mrs. Alfred M. Gray to a party at Stotesbury's manse, White Marsh Hall; a series of newspaper clippings related to Mr. Gray; and a booklet about his life and the mansion. Stotesbury was the second wealthiest man in the world until the Great Depression.  Overall Size: 13 1/2 x 16 1/2 in.  Sight Size: 8 1/2  x 6 1/4 in. 

Lot: 1164 - 19th Century German Woman's Portrait Oil on Canvas in Gilt Frame

19th Century German Woman's Portrait Oil on Canvas in Gilt Frame. Formal, somber portrait of an elderly woman dressed in a dark garment with a distinctive blue headpiece, presented in an ornate gold frame.  Condition: Some damage to frame, particularly at top and bottom of right side. Evidence of some prior touch ups and cracqueler throughout.  Overall Size: 35 x 29 1/2 in.  Sight Size: 27 x 22 in. 

Lot: 1165 - 19th Century Bedermeier Style Portrait of a Gentleman

19th Century Bedermeier Style Portrait of a Gentleman. Formal, nineteenth-century portrait of a man with mutton-chop sideburns, dressed in a dark suit with a high-collared shirt and waistcoat, encased. Unsigned. Framed. Overall Size: 35 x 30 in. 

Lot: 1166 - 19th Century Oil on Canvas Portrait of a Gentleman

19th Century Oil on Canvas Portrait of a Gentleman. Oil portrait of a 19th-century gentleman in formal attire, housed in an ornate, gilded oval frame. Framed. Overall Size: 47 x 34 in.  Sight Size: 30 1/4 x 24 in. 

Lot: 1167 - 19th Century Oil on Canvas Ovoid Portrait

19th Century Oil on Canvas Ovoid Portrait. Oval, nineteenth-century style portrait of a woman dressed in a dark, modest garment, captured in a formal pose with her hands gently folded. Unsigned. Framed. Overall Size: 48 x 34 1/2 in.  Sight Size: 30 x 24 in. 

Lot: 1168 - Victorian Portrait of a Lady, Oil on Canvas

Victorian Portrait of a Lady, Oil on Canvas. Housed in a fine 19th Century American frame. Overall Size: 34 x 29 x 4 in. Sight Size; 24 x 18 in.

Lot: 1169 - 19th Century Oil on Canvas Traditional Portrait of a Woman

19th Century Oil on Canvas Traditional Portrait of a Woman. Mineteenth-century portrait of a woman with dark, styled hair, seated in a chair and wearing a mauve dress with voluminous sleeves while holding a small, light-colored object in her lap. Unsigned. Unframed. Size: 12 x 10 in. 

Lot: 1170 - 19th Century American Oil on Canvas Portrait

19th Century American Oil on Canvas Portrait. Possibly of Eliza Symonds, the mother of Alexander Graham Bell. She was born in 1843 and, although partially deaf, she learned to play the pianoforte and harp. Overall Size: 42 1/2 x 34 3/4 x 2 1/2 in. Sight Size: 34 x 27 in.

Lot: 1171 - James Butler Brenan (1825-1889) Irish, Oil on Canvas Portrait of a Gentleman

James Butler Brenan (1825-1889) Irish, Oil on Canvas Portrait of a Gentleman. Signed and dated lower. James Butler Brenan (1825-1889) Son of the Cork landscape painter John Brenan. He lived and worked in Cork, exhibiting at the RHA from 1843 to 1886 almost annually. Source: Whyte's Auction Overall SIze: 38 x 32 in.  Sight Size: 30 x 24 in. Thickness: 3 in. 

Lot: 1172 - Horace Duesbury (1851-1904), Oil on Canvas, 1886 Portrait of a Young California Lady - Miss Jennie E. Morton

Horace Duesbury (1851-1904), Oil on Canvas, 1886 Portrait of a Young California Lady - Miss Jennie E. Morton. Signed. Overall Size: 37 x 31 in.  Sight Size: 25 x 20 in.  Thickness: 3 in. 

Lot: 1173 - 19th Century American, Oil on Canvas Portrait of Mrs James Ludlow

19th Century American, Oil on Canvas Portrait of Mrs James Ludlow. From the collection of the DeYoung Museum, San Francisco. Identified on a label on the reverse. Museum Deaccession in 1978. Overall Size: 33 3/4 x 28 1/2 in. Sight Size: 29 1/2 x 24 1/4 in.

Lot: 1174 - 18th Century, Oil on Canvas, French School Portrait of a Noble Lady

18th Century, Oil on Canvas, French School Portrait of a Noble Lady. Possibly Marguerite de Rambouillet, Marquise de Mesangere. Overall Size: 37 x 31 in. Sight Size: 27 3/4 x 22 3/4 in.

Lot: 1174A - Beatien Yazz (Little No Shirt) (1929-2012) Native American, Watercolor and Gouache on Paperboard, "Navajo Ceremony"

Beatien Yazz (Little No Shirt) (1929-2012) Native American, Watercolor and Gouache on Paperboard, "Navajo Ceremony". Indian Name: Beatien Yazz (Little No Shirt) A.K.A.: Jimmy Toddy. Born March 5, 1928 near White Ruins, AZ. Son of Desbah and Joe Toddy. Military: U.S. Marine Corps, Code Talker, World War II (South Pacific and China Theaters). Education: Santa Fe; Ft. Wingate; Mills, 1949 under Yasuo Kuniyoshi, Chicago Art Institute. Occupation: Navajo Police Department, Fort Defiance, Arizona; Carson Indian School art teacher, illustrator, and professional painter. Medium: oil, acrylic, casein, tempera, pencil, pen & ink, pastel, and prints. Several books are based on his life and career, and he has been featured in numerous publications. He has won awards at every major showing of Indian art throughout the United States. The artist was drawing and writing with crayons at eight years of age. Sallie and Bill Lippencot, operators of Wide Ruins Trading Post, influenced him most by recognizing and encouraging his talents. While still a student, he sometimes worked in oils from a model. Today Beatien prefers to paint animals and people, not landscapes, in the casein medium. (Jeanne Snodgrass, "American Indian Painters). Beatien Yazz stated that he had been "painting since age eight," a long career in art that spanned over a fifty-year period. "I established myself nationally and internationally. In addition to my three oldest sons, Irving, Marvin, and Calvin (QQ.V.), I have three other children entering the field of art; my daughter, Francis Toddiy (Q.V.), who has been painting since she was ten, Jimmiy, Jr., and Orland Toddy. They are eleven through twenty-two years of age." (Artist, Personal Correspondance 1991). In recent years the artist's eyesight has deteriorated, and he has only peripheral vision. According to his long-time friend, Sallie Lippencott Wagner, he has glaucoma, and it has progressed too far to be treatable. He continues to paint, but only in a limited way. Overall Size: 25 1/2 x 35 1/2 in. Sight Size: 15 x 26 in.

Lot: 1175 - J. Maisner, 19th/20th Century Polish, Large Oil on Canvas Painting of Three Young Girls in White Dresses

J. Maisner, 19th/20th Century Polish, Large Oil on Canvas Painting of Three Young Girls in White Dresses. The youngest is holding a butterfly net. Signed and dated lower right. Overall Size: 43 x 29 1/2 in. Sight Size: 37 1/2 x 34 1/2 in.

Lot: 1176 - Antique Old Master Oil on Canvas Genre Scene of Elderly Woman Reading

Antique Old Master Oil on Canvas Genre Scene of Elderly Woman Reading.  An elderly woman wearing a traditional head covering and spectacles, captured in a quiet moment of focus as she reads an open book against a dark, minimalist background. Unsigned. Framed. Overall Size: 14 3/4 x 11 3/4 in. Sight Size: 9 3/4 x 7 1/2 in.

Lot: 1177 - Attributed to Charles Leickert (1816-1907) Dutch, 19th Century Oil on Canvas Painting, "Ice Skaters on a Frozen Lake"

Attributed to Charles Leickert (1816-1907) Dutch, 19th Century Oil on Canvas Painting, "Ice Skaters on a Frozen Lake". Overall Size: 36 x 41 in.  Sight Size: 25 x 29 in. 

Lot: 1178 - Pair of French Sevres Porcelain Covered Urns

Pair of French Sevres Porcelain Covered Urns. Marked on base with Sevres mark and Chateau de Longpre mark. Size: 8 x 20 1/2 in.

Lot: 1179 - A Pair of Large Hand Carved Italian Giltwood and Mirrored Sconces

A Pair of Large Hand Carved Italian Giltwood and Mirrored Sconces. Circa 1940s. Condition: Bracket loose.  Size: 34 x 11 x 10 in. 

Lot: 1180 - Art Deco Gilt Composite and Mirrored Glass Wall Bracket

Art Deco Gilt Composite and Mirrored Glass Wall Bracket. Art Deco style wall sconce featuring a stepped, geometric brass frame inset with mirrored glass panels that taper to a rounded finial. Size: 15 x 8 7/8 x 5 7/8 in. 

Lot: 1181 - Antique French Carved Wood Mirror with Beveled Glass

Antique French Carved Wood Mirror with Beveled Glass. Size: 7 1/2 x 15 1/2 x 1 3/4 in. 

Lot: 1182 - Timeless Reflections Gothic Style Giltwood Beveled Trumeau Mirror

Timeless Reflections Gothic Style Giltwood Beveled Trumeau Mirror. The gilt wood is over gesso, with a protective fabric covering the entire back of the piece. Column-shaped sides with matchingpedestal top and bottoms covered and entwined with lead decorations, coupled with a Gothic church window-style top field above the mirror itself. Hanging cord on the back along with the large label for Timeless Reflections. This piece was likely made some time in the 2010s.  Size: 44 1/4 x 25 1/2 x 5 in.  Timeless Reflections is a family-owned mirror manufacturer based in Princeton, Illinois that opened in 2007. The owner, Robert Schramm, graduated from high school in 1984 and worked as a freelance contractor for many years before learning how to apply the lessons he learned making Venetian style plaster and building cabinets to making mirrors in both modern and more antique styles. His first company, The Faux Studio, was operational from 1997 until it was converted into Timeless Reflections, with his children and wife assisting him and eventually leading him to create a second business, Antique Mirror Glass Company, in 2022, to distinguish their brands. Today he continues to make both commercial and residential mirrors in a myriad of designs, although he now works mainly on a commission basis since being afflicted with COVID-19 in 2021. 

Lot: 1183 - Antique Louis XVI Style Giltwood Wall Mirror

Antique Louis XVI Style Giltwood Wall Mirror. Elegant, rectangular wall mirror featuring a gold-finished frame with a highly ornate crest showcasing a central sheaf-of-wheat motif flanked by scrolling foliage. Overall Size: 51 x 29 1/2 in.  Sight Size: 35 1/2 x 23 1/2 in. 

Lot: 1184 - Antique Louis XVI Style Giltwood Wall Mirror

Antique Louis XVI Style Giltwood Wall Mirror. Rectangular wall mirror with elegant, ornate gold-finished frame with neoclassical decorative elements at the crest and base. Overall Size: 49 1/2 x 26 in.  Sight Size: 35 x 23 1/2 in. 

Lot: 1185 - Antique Neoclassical Opulent Gilt Bronze Wall Mirror with 3 Candle Holders

Antique Neoclassical Opulent Gilt Bronze Wall Mirror with 3 Candle Holders. A majestic face at the top and intricate S-shaped swirls surround the rectangular mirror, with the three curved candle arms extending from the center bottom. A truly palatial piece.  Size: 23 1/2 x 15 x 7 1/2 in. 

Lot: 1186 - Vintage Italian Venetian Glass Heart Shaped Wall Mirror

Vintage Italian Venetian Glass Heart Shaped Wall Mirror. Ornate, heart-shaped wall mirror featuring intricate glass etchings of floral patterns and decorative, multi-piece mirrored borders. Size: 30 x 23 x 1 1/2 in. 

Lot: 1186A - Impressive Bronze Finished Sculpture of Rearing Horse

Impressive Bronze Finished Sculpture of Rearing Horse. A dynamic bronze-colored sculpture of a rearing horse with a long, elegant neck, captured in a powerful pose atop a textured, swirling base. Size: 51 1/2 x 26 x 72 1/2 Inches

Lot: 1186B - Vintage Full Size Hand Painted Metal Carousel Horse

Vintage Full Size Hand Painted Metal Carousel Horse. Vintage, weathered carousel horse sculpture featuring a distressed white finish, a decorative brown saddle, and a metal mounting pole on a circular base. Size: 56 x 21 x 56 Inches Carousel horses are ornate, hand-carved figures that have delighted riders for centuries, most commonly found on merry-go-rounds at fairs and amusement parks. Traditionally made of wood and later of fiberglass, these horses are often decorated with vibrant paint, flowing manes, and intricate details like saddles, jewels, and gilded poles. Many classic carousel horses are designed in a “galloping” pose, giving the illusion of motion as the carousel spins, while others stand more still to accommodate different riders. Originating in Europe as training devices for knights, carousels evolved into beloved attractions, and today antique carousel horses are highly valued as collectible works of art that capture a sense of nostalgia and craftsmanship.

Lot: 1187 - Chinese Bronze Reproduction of Emperor Qin Chariot No. 2

Chinese Bronze Reproduction of Emperor Qin Chariot No. 2.  Detailed scale model of the "No. 2 Bronze Chariot" from the Mausoleum of Emperor Qin Shi Huang, featuring four harnessed horses, a seated driver, and a covered carriage with intricate painted decorations. Size: 20 x 35 x 11 in. Emperor Qin's Chariot No. 2 is one of the bronze chariots discovered near the tomb of Qin Shi Huang in Xi'an. This chariot, part of the elaborate funerary complex built in the 3rd century BCE, is a finely crafted four-wheeled vehicle complete with bronze fittings, intricate axle mechanisms, and space for horses and a driver. It was designed to accompany the emperor in the afterlife, reflecting the Qin dynasty’s emphasis on military power and ceremonial grandeur. The chariot’s craftsmanship, preserved over two millennia, demonstrates advanced metallurgical and artistic skills, making it a key artifact for understanding early Chinese statecraft and funerary practices.

Lot: 1188 - 20th Century Chinese Wooden and White Jade Jewelry Box

20th Century Chinese Wooden and White Jade Jewelry Box. Antique Chinese jewelry chest crafted from dark wood featuring ornate brass hardware and decorative carved jade-colored stone insets on the doors and drawer. Without lock and key. Size: 6 x 8 x 12 1/2 in. 

Lot: 1189 - Antique Chinese Openwork Carved Gilt Wood Panel - As Is

Antique Chinese Openwork Carved Gilt Wood Panel. Ornate, circular gilded wood architectural panel featuring intricate openwork carvings of birds, flowers, and pomegranates set within a dark decorative frame. Condition: Loss to finer foliage on carving. somintantly right side, as pictured. size: 19 x 18 1/4 x 3 1/4 in.

Lot: 1190 - Vintage Chinese Enameled Metal Round Lidded Vessel

Vintage Chinese Enameled Metal Round Lidded Vessel. Images of botanicals and water animals throughout. Marked "CHINA" on the underside.  Size: 2 1/2 x 5 in. 

Lot: 1191 - Japanese Cloisonne Centerpiece

Japanese Cloisonne Centerpiece. Size: 6 x 16 1/2 in.

Lot: 1192 - Chinese Bronze Champleve Vase with Dragon Handles

Chinese Bronze Champleve Vase with Dragon Handles. Size: 7 x 12 1/4 in. 

Lot: 1193 - (2) Chinese Cloisonne Gilt Wire Vases in Fitted Box

(2) Chinese Cloisonne Gilt Wire Vases in Fitted Box. Pair of vintage Chinese cloisonné enamel vases featuring vibrant floral designs and scrolling gilt wires against a dense green "cloud-and-mist" patterned background, complete with their original presentation box and carved wooden stands. Box: 11 1/2 x 9 1/2 x 4 in. Vase:4 x 4 x 10 1/2 in.

Lot: 1194 - Chinese Ming Style Brass Censer

Chinese Ming Style Brass Censer.  Polished brass Chinese-style censer featuring a compressed globular body with flared handles, supported by a tripod base and set upon a coordinating lobed stand. Honorific Ming mark on base. Size: 8 x 6 1/2 x 5 1/4 in.

Lot: 1195 - Chinese Carved Bone "100 Faces" Snuff Bottle

Chinese Carved Bone "100 Faces" Snuff Bottle. Carved, bone-colored snuff bottle featuring a dense, relief-sculpted design of multiple figures congregating around a small architectural element. Compressed body on elevated ovoid foot. Size: 3/4 x 3 x 1 in. 

Lot: 1196 - (6) Chinese Snuff Bottles

(6) Chinese Snuff Bottles. Assembly of intricately carved snuff bottles showcases a variety of traditional relief techniques, featuring several cinnabar-style red lacquer examples with detailed landscape and figural scenes, a weathered or white-painted red lacquer bottle, a dark, foliage-textured bottle, and a final piece with a cream-colored relief against a contrasting blue ground, all topped with decorative stoppers. Largest Size: 2 3/4 x 1 3/4 x 7/8 in. 

Lot: 1197 - (7) Chinese Painted Porcelain Snuff Bottles

(7) Chinese Painted Porcelain Snuff Bottles. Diverse collection of Chinese snuff bottles features a variety of materials and artistic techniques, including an enameled bottle depicting a cherub on a wooden stand, an inside-painted glass bottle with a coastal landscape, a red overlay glass double-gourd bottle, a blue and white porcelain bottle with figures, a black-ground bottle decorated with white horses, a metal-mounted bottle showcasing a kite-flying scene, and a vibrant blue enameled double-gourd bottle portraying seated figures. Largest Size: 3 1/4 x 1 1/2 x 7/8 in. 

Lot: 1198 - (4) Chinese Painted Porcelain Snuff Bottles

(4) Chinese Painted Porcelain Snuff Bottles. Group of  Chinese snuff bottles displays a range of decorative styles and mediums, including a teardrop-shaped porcelain bottle featuring a tall ship at sea on a carved wooden base, an opaque white glass bottle illustrated with a quartet of colorful horses, a weathered ivory or bone bottle carved with traditional longevity symbols and bat motifs, and a striking red-on-white cameo glass bottle intricately detailed with a lotus arrangement and a guardian lion. Largest Size: 2 3/4 x 2 x 1 in. 

Lot: 1199 - Chinese Ruby-in-Zoisite Carved Snuff Bottle with Koi in Waves in Relief

Chinese Ruby-in-Zoisite Carved Snuff Bottle with Koi in Waves in Relief. Beautiful Chinese snuff bottle of carved ruby-in-zoisite, purple and green, with carved relief depicting koi amid waves. Natural carved base. Size: 2 x 2 3/4 x 1 in.

Lot: 1200 - Chinese Carved White Opal Snuff Bottle with Lotus and Dragonfly Relief

Chinese Carved White Opal Snuff Bottle with Lotus and Dragonfly Relief. Carved white opal snuff bottle in compressed form with gorgeous high relief carving of lotus flower and dragonfly, standing on raised ovoid foot. Size: 2 1/2 x 3 3/4 x 1/2 in.

Lot: 1201 - Chinese Carved White Opal Snuff Bottles with Rabbits in Relief

Chinese Carved White Opal Snuff Bottles with Rabbits in Relief. Carved white opal snuff bottles with group of rabbits carved in relief carved on front, carved low relief of rabbit under tree on back. Snuff bottle in compressed oval form with flat base. Size: 2 1/4 x 2 3/4 x 3/4 in.

Lot: 1202 - Rare Vintage Chinese Peking Glass Cucumber Form Snuff Bottle - AS IS

Rare Vintage Chinese Peking Glass Cucumber Form Snuff Bottle - AS IS. Incredibly cute detailed work, bringing whimsy to a dark habit.  Condition: Top of stopper missing, bottom broken off inside mouth of bottle.  Size: 3 x 1 x 1 in. 

Lot: 1203 - Rare Vintage Chinese Peking Glass Cucumber Form Snuff Bottle

Rare Vintage Chinese Peking Glass Cucumber Form Snuff Bottle. Incredibly cute detailed work, bringing whimsy to a dark habit.  Condition: Missing stopper.  Size: 3 1/2 x 1 x 1 in. 

Lot: 1204 - Chinese Molded Porcelain Elephant Form Snuff Bottle

Molded Chinese porcelain snuff bottle formed as a standing caparisoned elephant with a hair-textured brown glaze, supporting an iron-red lotus-decorated vase on its back that serves as the neck and stopper Size: 2 x 2 x 1 in.

Lot: 1205 - Chinese Painted Enamel Snuff Bottle Double Fish

Chinese Painted Enamel Snuff Bottle Double Fish.  Chinese enamel-on-copper (cloisonné or painted enamel) snuff bottle molded in the stylized shape of a twin or double fish, featuring vibrant green scales, a red-collared neck, and a matching domed red stopper. Size: 1 1/2 x 2 1/2 x 3/4 in.

Lot: 1206 - Chinese Carved Mahogony Obsidian Snuff Bottle with Koi in Low Relief

Chinese Carved Mahogony Obsidian Snuff Bottle with Koi in Low Relief.  Chinese snuff bottle crafted from mottled reddish-brown mahogany obsidian, featuring a low-relief design of two carp on the front face and a matching, smooth-polished reverse and stopper. On raised ovoid foot. Size: 2 x 2 3/4 x 1 in.

Lot: 1207 - Chinese Qing Dynasty Style Painted Porcelain Snuff Bottle

Chinese Qing Dynasty Style Painted Porcelain Snuff Bottle.  Cylindrical Chinese porcelain snuff bottle decorated with a vibrant, multicolored lotus bloom and scrolling foliage against a bright yellow ground in the famille rose style, paired with a contrasting turquoise-colored stopper. With honorific Qianlong mark on base. Size: 1 1/4 x 2 3/4 x 1 in.

Lot: 1208 - Chinese Painted Porcelain Cylindrical Snuff Bottle

Chinese Painted Porcelain Cylindrical Snuff Bottle.  Cylindrical Chinese porcelain snuff bottle featuring an iron-red painted figure—likely the demon queller Zhong Kui—against a vibrant turquoise-glazed ground, with green hardstone stopper. Marked CHINA on base. Size: 1 1/4 x 2 x 1 1/4 in.

Lot: 1209 - Chinese Hongshan Carved Hardstone Butterfly Form Snuff Bottle

Chinese Hongshan Carved Hardstone Butterfly Form Snuff Bottle.  Chinese hardstone snuff bottle carved in the stylized shape of a butterfly or moth, featuring incised geometric wing details, natural mottled brown and tan inclusions, and a contrasting white glass or jadeite dome stopper. Size: 2 3/4 x 1 3/4 x 1/2 in.

Lot: 1210 - Chinese Carved Agate Snuff Bottle with Relief Rat Decoration

Chinese Carved Agate Snuff Bottle with Relief Rat Decoration. Pear shaped body with the carved rat decoration in different colors. Stopper intact.  Size: 1 1/4 x 2 1/2 x 3/4 in.  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. 

Lot: 1211 - Chinese Carved Nephrite Jade Snuff Bottle

Chinese Carved Nephrite Jade Snuff Bottle. Carved, ribbed stone snuff bottle featuring a distinct vertical silhouette and a single opening at the top, likely intended to hold a stopper. Condition: Missing stopper. Size: 2 1/2 x 1 x 1 in. 

Lot: 1212 - Antique Chinese Green Stone Opium Pipe

Antique Chinese Green Stone Opium Pipe. A beautiful piece of history, with a smooth jade green surface coupled with metal decorative handles, accents, and stick.  Size (with Pipe): 4 1/4 x 3 3/4 x 8 1/2 in.  In the 17th Century a special pipe was developed in China that vaporized opium instead of burning it, consisting 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, and the stems of opium pipes were usually made from bamboo for easy maneuverability. Pipe-bowls were typically a type of ceramic, such as blue and white porcelain, but were sometimes carved from more valuable materials such as jade. Due to opium eradication campaigns in the 19th and early 20th Centuries, antique opium pipes from then are now extremely rare, but the practice was once so common (and spread so far out into the Western world) that the phrase “pipe dream” (meaning something unattainable or a fanciful hope or scheme) arises from it, 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: 1213 - Chinese Amber Snuff Bottle

Chinese Amber Snuff Bottle. Size: 1 1/4 x 1 x 3 in.

Lot: 1214 - Chinese Amber Snuff Bottle

Chinese Amber Snuff Bottle. Size: 1 1/2 x 1 x 2 3/4 in.

Lot: 1215 - Chinese Amber Snuff Bottle

Chinese Amber Snuff Bottle. Size: 1 3/4 x 1 x 2 3/4 in.

Lot: 1216 - Chinese Amber Snuff Bottle

Chinese Amber Snuff Bottle. Size: 1 3/4 x 1 x 2 3/4 in.

Lot: 1217 - 20th Century Chinese Carved Jade Censer

20th Century Chinese Carved Jade Censer. Ornate, hand-carved celadon jade incense burner featuring a domed lid with a dragon finial, loose-ring handles, and intricate low-relief floral and mythical motifs across its tripod-footed body. Size: 4 1/2 x 6 x 6 1/2 in.

Lot: 1218 - Chinese Carved Green Jade Pendant

Chinese Carved Green Jade Pendant. Pale, celadon-colored jade carving featuring an intricate openwork design of sinuous, dragon-like figures. Size: 1 1/4 x 2 1/2 in. 

Lot: 1219 - Loran Wilford (1892-1972) American, Large Oil on Canvas Impressionist Female Nude

Loran Wilford (1892-1972) American, Large Oil on Canvas Impressionist Female Nude. Stylized, ethereal composition of three nude figures set against a muted green and dark blue background. Unsigned. Titled "Hair", verso. Unframed. Size: 48 x 35 3/4 in.  Loran Frederick Wilford (1892–1972) was a Sarasota-based painter, illustrator, and influential art educator best known for his expressive Florida landscapes and watercolor work. Early in his career, he worked as a commercial illustrator in Kansas City and later gained national recognition through magazine illustration and gallery exhibitions across the United States. In the 1930s, he moved to Florida and became a longtime instructor at the Ringling School of Art, where he taught for decades and helped shape generations of artists. Wilford’s work often captured Florida’s light, atmosphere, and everyday life with a romantic realism that earned him a strong reputation in American art circles.

Lot: 1220 - R. R. Ripley (19th Century) British, Early 20th Century Watercolor Landscape of European Countryside

R. R. Ripley (19th Century) British, Early 20th Century Watercolor Landscape of European Countryside. Fine watercolor painting depicting a lush European landscape overlooking mountainous forest and river, with fortress nestled in the trees. Signed lower left. Framed. Overall Size: 17 1/2 x 25 1/2 in. Sight Size; 11 1/2 x 19 in.

Lot: 1221 - Rembrandt van Rijn (1606-1669) Dutch, "Abraham Caressing Isaac" Print from Copper Etching

Rembrandt van Rijn (1606-1669) Dutch, "Abraham Caressing Isaac" Print from Copper Etching. Signature bottom left. Framed.  Overall Size: 21 3/4 x 22 3/4 in.  Sight Size: 3 3/4 x 4 3/4 in.  Rembrandt Harmenszoon van Rijn (1606-1669), born in Leiden, Dutch Republic, became one of the most celebrated painters, printmakers, and draftsmen of the Dutch Golden Age. Trained under history painters like Pieter Lastman, he opened his own studio by 1625, mentoring students who often emulated his style. Moving to Amsterdam in 1631, Rembrandt gained prominence for portraits, self-portraits, biblical and mythological scenes, landscapes, and genre works, frequently using Jewish neighbors as models for Old Testament subjects. Though influenced by Italian and Flemish masters, he never traveled abroad. Early success brought wealth, but personal tragedies like losing his wife, three children, and his partner combined with financial mismanagement, lavish spending on art and rare objects, and economic downturns, left him destitute in later life. Despite these hardships, his etchings and paintings remained widely admired. Rembrandt produced an estimated 300 paintings, 300 etchings, and several hundred drawings, leaving an enduring legacy as one of the greatest Western artists, whose creative and business practices continue to influence the art world.

Lot: 1222 - Pierre-Auguste Renoir (1841-1919) French, "Study of a Seated Woman" Lithograph

Pierre-Auguste Renoir (1841-1919) French, "Study of a Seated Woman" Lithograph. Produced in 1904. Signed bottom right. Label on back of frame.  Overall Size: 23 1/4 x 24 1/4 in.  Sight Size: 9 1/2 x 10 1/2 in.  Pierre-Auguste Renoir (1841-1919) was a leading figure of Impressionism, born in Limoges and trained in Paris under Charles Gleyre after an early career as a porcelain painter ended with industrial mechanization. Though early recognition was limited by the upheaval of the Franco-Prussian War, his career flourished through decades of luminous work celebrating light, color, modern life, and feminine sensuality, sometimes courting controversy. Alongside Claude Monet, Renoir helped revolutionize painting through their shared understanding of diffuse reflection and the true colors of shadow. His style evolved in the late 1870s from pastoral landscapes to vibrant urban scenes, capturing the spirit of 19th Century Paris in masterpieces such as Dance at Le Moulin de la Galette and Luncheon of the Boating Party. Extensive travel in the 1880s, marriage to Aline Victorine Charigot in 1890, and later life in Cagnes-sur-Mer shaped his mature work. Despite severe rheumatoid arthritis that forced radical changes in his technique, Renoir continued painting until his death, leaving a lasting legacy as one of the most influential artists in Western art.

Lot: 1223 - Rembrandt van Rijn (1606-1669) Dutch, Self Portrait Etching

Rembrandt van Rijn (1606-1669) Dutch, Self Portrait Etching. Signature and date of 1636 in upper left corner. The number 20 written in pencil bottom left. Framed.  Overall Size: 23 1/4 x 25 1/2 in.  Sight Size: 4 1/2 x 5 1/2 in.  Rembrandt Harmenszoon van Rijn (1606-1669), born in Leiden, Dutch Republic, became one of the most celebrated painters, printmakers, and draftsmen of the Dutch Golden Age. Trained under history painters like Pieter Lastman, he opened his own studio by 1625, mentoring students who often emulated his style. Moving to Amsterdam in 1631, Rembrandt gained prominence for portraits, self-portraits, biblical and mythological scenes, landscapes, and genre works, frequently using Jewish neighbors as models for Old Testament subjects. Though influenced by Italian and Flemish masters, he never traveled abroad. Early success brought wealth, but personal tragedies like losing his wife, three children, and his partner combined with financial mismanagement, lavish spending on art and rare objects, and economic downturns, left him destitute in later life. Despite these hardships, his etchings and paintings remained widely admired. Rembrandt produced an estimated 300 paintings, 300 etchings, and several hundred drawings, leaving an enduring legacy as one of the greatest Western artists, whose creative and business practices continue to influence the art world.

Lot: 1224 - Russian Folk Art Painting, Gouache on Paper

Russian Folk Art Painting, Gouache on Paper. Signed Bilibin. Overall Size: 21 x 41 in.  Sight Size: 10 1/2 x 30 1/2 in. 

Lot: 1225 - Pre-Columbian Polychrome Painted Effigy Pyriform Ceramic Vase

Pre-Columbian Polychrome Painted Effigy Pyriform Ceramic Vase. Pre-Columbian polychrome ceramic vessel featuring a wide, flared rim and a globular body decorated with a stylized anthropomorphic face, geometric patterns, and small relief limbs. Size: 12 x 12 x 15 in. 

Lot: 1226 - Framed Early Nayarit Mexico Carved Stone Figures

Three artifacts found in old ruins in the state of Nayarit, Mexico. They have been roughly dated from 200 B. C. to 400 A. D. One is a female figure and was perhaps a fertility idol. three artifacts were found in old ruins in the state of Nayarit, Mexico. They have been roughly dated from 200 B. C. to 400 A. D. One is a female figure and was perhaps a fertility idol. Framed. Information verso. Size: 11 x 5 x 2 in. 

Lot: 1227 - Nicario Jiminez Quispe (Born 1957) Peruvian, Three Retablos with Vibrant Traditional Scenes

Nicario Jiminez Quispe (Born 1957) Peruvian, Three Retablos with Vibrant Traditional Scenes. Collection of three traditional Peruvian Ayacucho retablos featuring ornate hand-painted wooden boxes that open to reveal vibrant, multi-figure dioramas of a hat shop, a mask shop, and a lively festival dance.  Signed. Sizes: 9 1/2 x 4 1/2 in; 8 x 6 1/2 in; 7 x 4 in.   Nicario Jiménez Quispe (Born 1957) is a renowned Peruvian-American folk artist celebrated for his vibrant retablos—intricately crafted, three-dimensional dioramas that depict everyday life, religious scenes, and social issues. Born in Ayacucho, Peru, he comes from a long lineage of retablo makers and learned the tradition from his family, while also expanding it with contemporary themes such as immigration, urban culture, and political commentary. After moving to the United States, he gained international recognition for blending traditional Andean storytelling with modern experiences, often incorporating humor, symbolism, and vivid detail. His work has been exhibited widely and is part of major museum collections, helping to preserve and evolve this unique form of Latin American folk art.

Lot: 1228 - Seferina Ortiz (1931-2007) Pueblo, Cochiti Applique Figural Storyteller Sculpture

Seferina Ortiz (1931-2007) Pueblo, Cochiti Applique Figural Storyteller Sculpture. A large seated figure with 4 children and 1 grandchild holding onto him. Signed on the underside.  Size: 6 x 9 x 10 in.  Seferina Ortiz was born on the Cochiti Pueblo in 1931, and learned to make pottery from her mother, Laurencita Herrera, before developing an innovative applique method of her own by adding raised figures to her pots and canteens. She is one of the most revered figures in Cochiti pottery-making, creating both storyteller figures and traditional vessels and becoming the matriarch of a family of innovative potters including Virgil Ortiz, Janice Ortiz, and Lisa Holt. Seferina won numerous awards for her pottery at events such as Santa Fe Indian Market, and her pieces are now held at numerous public and private collections, including in the Denver Art Museum and Peabody Museum of Harvard University. A key figure in the 1970s revival of figurative pottery and animal figurines, she passed away in 2007, with her pieces now considered highly collectible. 

Lot: 1229 - Seferina Ortiz (1931-2007) Pueblo, Cochiti Applique Figural Storyteller Sculpture

Seferina Ortiz (1931-2007) Pueblo, Cochiti Applique Figural Storyteller Sculpture. A large matronly seated figure with 8 children holding onto her. Signed on the underside.  Condition: Girl second from the right is broken.  Size: 6 1/2 x 8 x 10 in.  Seferina Ortiz was born on the Cochiti Pueblo in 1931, and learned to make pottery from her mother, Laurencita Herrera, before developing an innovative applique method of her own by adding raised figures to her pots and canteens. She is one of the most revered figures in Cochiti pottery-making, creating both storyteller figures and traditional vessels and becoming the matriarch of a family of innovative potters including Virgil Ortiz, Janice Ortiz, and Lisa Holt. Seferina won numerous awards for her pottery at events such as Santa Fe Indian Market, and her pieces are now held at numerous public and private collections, including in the Denver Art Museum and Peabody Museum of Harvard University. A key figure in the 1970s revival of figurative pottery and animal figurines, she passed away in 2007, with her pieces now considered highly collectible. 

Lot: 1230 - Virgil Ortiz (Born 1969) Pueblo, Modernist Cochiti Monos Figural Sculptural Pottery

Virgil Ortiz (Born 1969) Pueblo, Modernist Cochiti Monos Figural Sculptural Pottery. Depicts a figure with a surprised expression, their body an abstract mass with iridescence and white drizzle complementing the orange clay base. Signed and dated on the underside.  Size: 5 x 5 x 1 in.  Virgil Ortiz (Born 1969) is a celebrated artist from Cochiti Pueblo, New Mexico, renowned for blending traditional pottery with high fashion and futuristic storytelling. Born into a distinguished family of potters, he learned the craft from his mother, Seferina Ortiz, and won his first Santa Fe Indian Market award at just 14 years old. He is best known for his “revivalist” take on 19th Century Cochiti figurative pottery (monos), often drawing parallels between ancestral body art and modern social scenes. A major focus of his work is educating the public on the 1680 Pueblo Revolt, which he reinterprets as a “sci-fi” saga influenced by Star Wars. By combining ancient techniques with ultramodern imagery, Ortiz creates a unique aesthetic that he uses to engage younger generations with Indigenous history, and his multifaceted career has earned him prestigious honors, including the 2022 Living Treasure Award from the Museum of Indian Arts and Culture. His work is in numerous permanent collections, including the National Museum of the American Indian, Albuquerque Museum, Virginia Museum of Fine Arts, and more. 

Lot: 1231 - Grace "Medicine Flower" Tafoya (Born 1938) Pueblo, Santa Clara Diminutive Redware Jar with Stopper

Grace "Medicine Flower" Tafoya (Born 1938) Pueblo, Santa Clara Diminutive Redware Jar with Stopper. Sgraffito design all around the top half of the piece with floral and insect forms. Stopper molded from the same clay. Signed on the underside, along with her hallmark and the numbers "88995."  Condition: Repaired crack in stopper.  Size: 2 x 2 x 3 1/4 in.  Grace Tafoya, known by her Tewa name “Medicine Flower,” was born December 13th, 1938 on the Santa Clara Pueblo, part of the famed Tafoya pottery family, and learned her craft under her aunt Margaret Tafoya. Her earliest works were done in the late 1960s in collaboration with her father, Camilio, and were signed with both their names before she became famous for her own intricately carved miniature redware and blackware featuring birds, wildlife, and flowers. Her work has won multiple awards at the Gallup Inter-Tribal Ceremonials, and found its way into countless public and private collections around the world, including at the White House and the Heard Museum. 

Lot: 1232 - Mary Saxon (20th Century) Navajo, Signed Hand Made Pottery Bowl

Mary Saxon (20th Century) Navajo, Signed Hand Made Pottery Bowl. Handmade Navajo pottery vessel features a terracotta base and a white-slipped upper body decorated with traditional geometric patterns and a stylized, avian-like figure in black and red. Size: 9 1/2 x 9 1/2 x 6 in. Mary Saxon was a Diné (Navajo) textile artist celebrated for her innovative revival of traditional Navajo weaving practices in the early 20th century. Working during a period when many Indigenous art forms were being reshaped by outside markets, Saxon became known for her “revival blankets,” which reintroduced vegetal dyes, handspun wool, and patterns inspired by earlier Navajo designs. Her work balanced cultural preservation with subtle innovation, helping to reestablish the aesthetic and technical integrity of Navajo textiles while also adapting to contemporary audiences. Saxon’s weavings are now regarded as important contributions to the continuation and evolution of Navajo artistic heritage.

Lot: 1233 - Miniature Red Clay Kiln Tried Terracotta Fireplace

Miniature Red Clay Kiln Tried Terracotta Fireplace. Red clay miniature fireplace with hand-sculpted, arched opening and pointed, horn-like decorative elements extending from its top. Provenance: Made 20 years ago in Asheville, NC. Size: 7 x 6 1/2 x 5 1/2 in.

Lot: 1234 - Victor Anderson (1882-1937) American, 1906 Original Print

Victor Anderson (1882-1937) American, 1906 Original Print. In the original frame. Overall Size: 11 x 9 1/2 in.  Sight Size: 9 1/2 x 7 1/2 in. 

Lot: 1235 - Roy Richards, Vintage 20th Century American Lithograph on Paper, "Moonlight Serenade"

Roy Richards, Vintage 20th Century American Lithograph on Paper, "Moonlight Serenade". Circa 1925. Richards, like Macfield Parrish, specialized in Romantic, idealized themes. Overall Size: 15 1/4 x 23 1/2 in. Sight Size: 13 1/2 x 21 1/2 in.

Lot: 1236 - Maxfield Parrish (1870-1966) American, Vintage Lithograph Print Figural Landscape "Hilltop"

Maxfield Parrish (1870-1966) American, Vintage Lithograph Print Figural Landscape "Hilltop".  Vintage lithograph by Maxfield Parrish, titled "Morning", featuring two classically draped figures reclining on a grassy knoll beneath a towering, sun-drenched tree overlooking a distant mountainous landscape. Framed. Overall Size: 14 1/2 x 22 1/2 in. Sight Size: 11 1/2 x 19 1/4 in.   Maxfield Parrish (1870 –1966) was an American painter and illustrator celebrated for his luminous, idealized scenes and distinctive use of saturated color—often called “Parrish blue.” Trained at the Pennsylvania Academy of the Fine Arts, he gained wide popularity in the early 20th century through magazine illustrations, advertising work, and book art, creating iconic images that blended classical themes, fantastical landscapes, and precise craftsmanship. His paintings, such as Daybreak, became some of the most reproduced images of their era, reflecting both his technical mastery and his influence on American visual culture.

Lot: 1237 - Maxfield Parrish (1870–1966) American, Vintage Lithograph Print Figural Landscape "Evening"

Maxfield Parrish (1870-1966) American, Vintage Lithograph Print Landscape "Evening".  Vintage lithograph by Maxfield Parrish, depicting figure crouching on a rock above a perfectly still, reflective lake surrounded by silhouetted mountains and trees. Framed. Overall Size: 13 1/4 x 16 1/4 in. Sight Size: 11 1/2 x 14 1/2 in.   Maxfield Parrish (1870 –1966) was an American painter and illustrator celebrated for his luminous, idealized scenes and distinctive use of saturated color—often called “Parrish blue.” Trained at the Pennsylvania Academy of the Fine Arts, he gained wide popularity in the early 20th century through magazine illustrations, advertising work, and book art, creating iconic images that blended classical themes, fantastical landscapes, and precise craftsmanship. His paintings, such as Daybreak, became some of the most reproduced images of their era, reflecting both his technical mastery and his influence on American visual culture.

Lot: 1238 - Maxfield Parrish (1870-1966) American, Vintage Whimsical Lithograph Print "The Dinky Bird"

Maxfield Parrish (1870-1966) American, Vintage Whimsical Lithograph Print "The Dinky Bird". Vintage lithograph by Maxfield Parrish featuring a youthful figure on a swing soaring against a luminous sky with a fantastical, cloud-shrouded castle in the background. Framed. Overall Size: 14 3/4 x 18 1/4 in. Sight Size: 7 3/4 x 10 in.   Maxfield Parrish (1870 –1966) was an American painter and illustrator celebrated for his luminous, idealized scenes and distinctive use of saturated color—often called “Parrish blue.” Trained at the Pennsylvania Academy of the Fine Arts, he gained wide popularity in the early 20th century through magazine illustrations, advertising work, and book art, creating iconic images that blended classical themes, fantastical landscapes, and precise craftsmanship. His paintings, such as Daybreak, became some of the most reproduced images of their era, reflecting both his technical mastery and his influence on American visual culture.

Lot: 1239 - Maxfield Parrish (1870-1966) American, Framed Calendar Page "A Perfect Day"

Maxfield Parrish (1870-1966) American, Framed Calendar Page "A Perfect Day".  1943 advertising calendar for the Fleming Foundry Company featuring an inset Maxfield Parrish lithograph titled "A Perfect Day", depicting a serene, sun-drenched landscape with a reflective pond and distant mountains. Framed. Overall Size: 13 1/2 x 16 1/2 in. Sight Size: 10 1/2 x 13 1/2 in.   Maxfield Parrish (1870 –1966) was an American painter and illustrator celebrated for his luminous, idealized scenes and distinctive use of saturated color—often called “Parrish blue.” Trained at the Pennsylvania Academy of the Fine Arts, he gained wide popularity in the early 20th century through magazine illustrations, advertising work, and book art, creating iconic images that blended classical themes, fantastical landscapes, and precise craftsmanship. His paintings, such as Daybreak, became some of the most reproduced images of their era, reflecting both his technical mastery and his influence on American visual culture.

Lot: 1240 - Maxfield Parrish (1870-1966) American, Vintage Figural Lithograph Print "Ecstasy"

Maxfield Parrish (1870-1966) American, Vintage Figural Lithograph Print "Ecstasy". Vintage lithograph by Maxfield Parrish depicting a woman with billowing drapery standing on a rocky precipice against a vibrant blue sky and sunlit mountain peaks. Framed. Overall Size: 8 1/2 x 11 1/2 in. Sight Size: 7 x 9 3/4 in.   Maxfield Parrish (1870 –1966) was an American painter and illustrator celebrated for his luminous, idealized scenes and distinctive use of saturated color—often called “Parrish blue.” Trained at the Pennsylvania Academy of the Fine Arts, he gained wide popularity in the early 20th century through magazine illustrations, advertising work, and book art, creating iconic images that blended classical themes, fantastical landscapes, and precise craftsmanship. His paintings, such as Daybreak, became some of the most reproduced images of their era, reflecting both his technical mastery and his influence on American visual culture.

Lot: 1241 - Maxfield Parrish (1870-1966) American, Vintage Lithograph Print Landscape "Early Autumn"

Maxfield Parrish (1870-1966) American, Vintage Lithograph Print Landscape "Early Autumn".  Vintage lithograph by Maxfield Parrish, titled "Village of Cornish", depicting a quaint New England town with a prominent white church steeple and a covered bridge seen through autumnal trees. Framed. Overall Size: 13 1/2 x 16 1/2 in. Sight Size: 11 1/2 x 14 1/2 in.   Maxfield Parrish (1870 –1966) was an American painter and illustrator celebrated for his luminous, idealized scenes and distinctive use of saturated color—often called “Parrish blue.” Trained at the Pennsylvania Academy of the Fine Arts, he gained wide popularity in the early 20th century through magazine illustrations, advertising work, and book art, creating iconic images that blended classical themes, fantastical landscapes, and precise craftsmanship. His paintings, such as Daybreak, became some of the most reproduced images of their era, reflecting both his technical mastery and his influence on American visual culture.

Lot: 1242 - Maxfield Parrish (1870-1966) American, Vintage Lithograph Print Landscape "The Royal Gorge of the Colorado"

Maxfield Parrish (1870-1966) American, Vintage Landscape Lithograph Print "The Royal Gorge of the Colorado".  Vintage lithograph by Maxfield Parrish, titled "The Waterfall", which depicts a dramatic, mountainous river gorge with a small vehicle traversing a high cliffside road. Overall Size: 19 1/4 x 24 1/2 in. Sight Size: 16 1/2 x 20 in.   Maxfield Parrish (1870 –1966) was an American painter and illustrator celebrated for his luminous, idealized scenes and distinctive use of saturated color—often called “Parrish blue.” Trained at the Pennsylvania Academy of the Fine Arts, he gained wide popularity in the early 20th century through magazine illustrations, advertising work, and book art, creating iconic images that blended classical themes, fantastical landscapes, and precise craftsmanship. His paintings, such as Daybreak, became some of the most reproduced images of their era, reflecting both his technical mastery and his influence on American visual culture.

Lot: 1243 - Maxfield Parrish (1870-1966) American, Vintage Lithograph Print "The Garden of Allah"

Maxfield Parrish (1870-1966) American, Vintage Lithograph Print "The Garden of Allah". Art Deco-era print by Maxfield Parrish, titled "Garden of Allah", depicting three women in classical attire lounging by a reflective pool flanked by oversized urns. Framed. Overall Size: 33 1/2 x 18 1/2 in. Sight Size: 29 1/2 x 14 1/2 in.   Maxfield Parrish (1870 –1966) was an American painter and illustrator celebrated for his luminous, idealized scenes and distinctive use of saturated color—often called “Parrish blue.” Trained at the Pennsylvania Academy of the Fine Arts, he gained wide popularity in the early 20th century through magazine illustrations, advertising work, and book art, creating iconic images that blended classical themes, fantastical landscapes, and precise craftsmanship. His paintings, such as Daybreak, became some of the most reproduced images of their era, reflecting both his technical mastery and his influence on American visual culture.

Lot: 1244 - Maxfield Parrish (1870 -1966) American, Pier Wall Mirror with Lithograph Print Figural Landscape "Reveries"

Maxfield Parrish (1870-1966) American, Pier Wall Mirror with Lithograph Print Figural Landscape "Reveries". Vintage pier mirror featuring an inset Maxfield Parrish lithograph, which depicts two figures seated by a classical fountain within a lush, luminous garden. Overall Size: 9 1/2 x 32 in.   Maxfield Parrish (1870 –1966) was an American painter and illustrator celebrated for his luminous, idealized scenes and distinctive use of saturated color—often called “Parrish blue.” Trained at the Pennsylvania Academy of the Fine Arts, he gained wide popularity in the early 20th century through magazine illustrations, advertising work, and book art, creating iconic images that blended classical themes, fantastical landscapes, and precise craftsmanship. His paintings, such as Daybreak, became some of the most reproduced images of their era, reflecting both his technical mastery and his influence on American visual culture.

Lot: 1245 - Dated 1839 American Salt Glaze Stoneware Handled Crock

Dated 1839 American Salt Glaze Stoneware Handled Crock. A remarkable piece of history, these simple stoneware works with modest folk illustrations were made frequently by early settlers. The number 2 is etched into the surface just above the date.  Size: 10 x 11 in.  Salt glaze pottery is stoneware with a ceramic glaze of glossy, translucent and slightly orange-peel-like texture which was formed by throwing common salt into the kiln during the higher temperature part of the firing process, where sodium from the salt reacts with silica in the clay body to form a glassy coating of sodium silicate. The earliest known production of salt glazed earthenware was in the Rhineland of Germany around 1400, and by the end of the 15th Century small pottery towns of the Westerwald including Höhr-Grenzhausen, Siegburg, Köln, and Raeren in Flanders were producing a salt-glazed stoneware, with the Bartmann jug a typical product. In the 17th Century salt glaze gained popularity in England as well as in Colonial America and Canada. During the 20th Century, the technique was promoted for studio pottery use by Bernard Leach, and in the 1950s it was introduced into Japanese craft pottery through Leach’s association with Shōji Hamada. Don Reitz introduced salt glazing into the curriculum at Alfred University in New York in 1959, and it subsequently spread to other American universities with ceramic art programs, but beyond the studio movement the process is now effectively obsolete except for a handful of stalwart makers along the Canadian-American border as well as in India, due to concerns of significant amounts of air pollution and toxic health effects resulting from the process. 

Lot: 1246 - 19th Century American, Decorated Stoneware Jug

19th Century American, Decorated Stoneware Jug. New York Stoneware Co., Fort Edward, NY.

Lot: 1247 - Charles Counts (1934-2000) American, 1988 Speckled Glaze Incised Ceramic Vase

Charles Counts (1934-2000) American, 1988 Speckled Glaze Incised Ceramic Vase. Light blue shade throughout, with vertical incised lines around the top half. On the bottom half the sculptor's mark is etched, along with the date 1988. Signed on the underside.  Size: 3 x 3 1/2 in.  Charles Counts (1934-2000) was an American potter and educator known for his contributions to the Appalachian arts and crafts community and his efforts to preserve traditional techniques. Born in Lynch, Kentucky, he studied pottery and weaving at Southern Illinois University, Carbondale, and with Bauhaus-trained master potter Marguerite Wildenhain. His love of Japanese and Medieval German craftsmanship led him to become an exponent of hands-on practical learning and "discipleships." After serving in the Army, he returned to the Oak Ridge area and opened a pottery studio with his wife, Rubynelle. In 1963, he moved his operation to Lookout Mountain, Georgia, where his contributions to the local artist community created an economic boom. He successfully applied for federal funding to create an apprentice ceramics program for local people at his studio, The Pottery Shop. A key member of the Southern Highland Craft Guild, he promoted the economic benefits of producing crafts in depressed areas and contributed to art and craft magazines. He also worked with the Smithsonian Institution on a 1971 report on American folk art. In the 1980s, he developed an interest in Nigerian craft traditions and began teaching at Ahmadu Bello University and Maiduguri University, eventually living in Nigeria full-time. He died there from malaria in 2000, and his ashes were returned to Oak Ridge, Tennessee. 

Lot: 1248 - Charles Counts (1934-2000) American, Rare Multi-Face Ceramic Pot

Charles Counts (1934-2000) American, Rare Multi-Face Ceramic Pot. A very unusual form for the artist, with a relatively basic curved pot shape with a speckled glaze interior, but a set of three faces painted on the outside, one broadly smiling, one somewhat smiling, and one looking rather unimpressed. Depending on the direction you turn the pot, it appears as if someone is either getting more or less enthusiastic as you do so. Despite not being a common motif of Counts, its whimsical use of the form is definitely his style. Signed on the underside.  Size: 5 1/2 x 6 in.  Charles Counts (1934-2000) was an American potter and educator known for his contributions to the Appalachian arts and crafts community and his efforts to preserve traditional techniques. Born in Lynch, Kentucky, he studied pottery and weaving at Southern Illinois University, Carbondale, and with Bauhaus-trained master potter Marguerite Wildenhain. His love of Japanese and Medieval German craftsmanship led him to become an exponent of hands-on practical learning and "discipleships." After serving in the Army, he returned to the Oak Ridge area and opened a pottery studio with his wife, Rubynelle. In 1963, he moved his operation to Lookout Mountain, Georgia, where his contributions to the local artist community created an economic boom. He successfully applied for federal funding to create an apprentice ceramics program for local people at his studio, The Pottery Shop. A key member of the Southern Highland Craft Guild, he promoted the economic benefits of producing crafts in depressed areas and contributed to art and craft magazines. He also worked with the Smithsonian Institution on a 1971 report on American folk art. In the 1980s, he developed an interest in Nigerian craft traditions and began teaching at Ahmadu Bello University and Maiduguri University, eventually living in Nigeria full-time. He died there from malaria in 2000, and his ashes were returned to Oak Ridge, Tennessee. 

Lot: 1249 - Charles Counts (1934-2000) American, Incised Spiral Ceramic Vase

Charles Counts (1934-2000) American, Incised Spiral Ceramic Vase. Beige tone throughout, with a flared mouth on a thin neck and deep gouged lines running in asymmetrical curves that form a spiral design when viewed from above, down the sides to a point near the bottom where they stop at three horizontal grooves. Signed on the underside.  Size: 5 x 9 1/2 in.  Charles Counts (1934-2000) was an American potter and educator known for his contributions to the Appalachian arts and crafts community and his efforts to preserve traditional techniques. Born in Lynch, Kentucky, he studied pottery and weaving at Southern Illinois University, Carbondale, and with Bauhaus-trained master potter Marguerite Wildenhain. His love of Japanese and Medieval German craftsmanship led him to become an exponent of hands-on practical learning and "discipleships." After serving in the Army, he returned to the Oak Ridge area and opened a pottery studio with his wife, Rubynelle. In 1963, he moved his operation to Lookout Mountain, Georgia, where his contributions to the local artist community created an economic boom. He successfully applied for federal funding to create an apprentice ceramics program for local people at his studio, The Pottery Shop. A key member of the Southern Highland Craft Guild, he promoted the economic benefits of producing crafts in depressed areas and contributed to art and craft magazines. He also worked with the Smithsonian Institution on a 1971 report on American folk art. In the 1980s, he developed an interest in Nigerian craft traditions and began teaching at Ahmadu Bello University and Maiduguri University, eventually living in Nigeria full-time. He died there from malaria in 2000, and his ashes were returned to Oak Ridge, Tennessee. 

Lot: 1250 - Charles Counts (1934-2000) American, 1992 Signed Ceramic Two Faces Jug

Charles Counts (1934-2000) American, 1992 Signed Ceramic Two Faces Jug. Streaked brown mainly the bottom and white mainly on the top, the faces show heavy Cubist influence, with one seeming to smile and the other more aghast. Dated 1992 with a spiral on the side opposite the handle. Signed on the underside.  Size: 4 x 6 x 8 1/2 in.  Charles Counts (1934-2000) was an American potter and educator known for his contributions to the Appalachian arts and crafts community and his efforts to preserve traditional techniques. Born in Lynch, Kentucky, he studied pottery and weaving at Southern Illinois University, Carbondale, and with Bauhaus-trained master potter Marguerite Wildenhain. His love of Japanese and Medieval German craftsmanship led him to become an exponent of hands-on practical learning and "discipleships." After serving in the Army, he returned to the Oak Ridge area and opened a pottery studio with his wife, Rubynelle. In 1963, he moved his operation to Lookout Mountain, Georgia, where his contributions to the local artist community created an economic boom. He successfully applied for federal funding to create an apprentice ceramics program for local people at his studio, The Pottery Shop. A key member of the Southern Highland Craft Guild, he promoted the economic benefits of producing crafts in depressed areas and contributed to art and craft magazines. He also worked with the Smithsonian Institution on a 1971 report on American folk art. In the 1980s, he developed an interest in Nigerian craft traditions and began teaching at Ahmadu Bello University and Maiduguri University, eventually living in Nigeria full-time. He died there from malaria in 2000, and his ashes were returned to Oak Ridge, Tennessee. 

Lot: 1251 - Charles Counts (1934-2000) American, 1988 Signed Incised Ceramic Lidless Footed Jar

Charles Counts (1934-2000) American, 1988 Signed Incised Ceramic Lidless Footed Jar. The two-toned brown hued piece has a series of deep horizontal grooves on either side, with a handful of diagonally vertical incisions to accentuate the color separation. Signed on one side, dated 1988 on the other. The four stubby feet on the bottom are just slightly uneven.  Size: 4 1/2 x 8 in.  Charles Counts (1934-2000) was an American potter and educator known for his contributions to the Appalachian arts and crafts community and his efforts to preserve traditional techniques. Born in Lynch, Kentucky, he studied pottery and weaving at Southern Illinois University, Carbondale, and with Bauhaus-trained master potter Marguerite Wildenhain. His love of Japanese and Medieval German craftsmanship led him to become an exponent of hands-on practical learning and "discipleships." After serving in the Army, he returned to the Oak Ridge area and opened a pottery studio with his wife, Rubynelle. In 1963, he moved his operation to Lookout Mountain, Georgia, where his contributions to the local artist community created an economic boom. He successfully applied for federal funding to create an apprentice ceramics program for local people at his studio, The Pottery Shop. A key member of the Southern Highland Craft Guild, he promoted the economic benefits of producing crafts in depressed areas and contributed to art and craft magazines. He also worked with the Smithsonian Institution on a 1971 report on American folk art. In the 1980s, he developed an interest in Nigerian craft traditions and began teaching at Ahmadu Bello University and Maiduguri University, eventually living in Nigeria full-time. He died there from malaria in 2000, and his ashes were returned to Oak Ridge, Tennessee. 

Lot: 1252 - Charles Counts (1934-2000) American, Brown and Orange Drip Glaze Lidded Pot

Charles Counts (1934-2000) American, Brown and Orange Drip Glaze Lidded Pot. Beautiful hues and simple lines, one of the artist's more functional works. Incised signature on underside.  Size: 4 1/2 x 4 3/4 in.  Charles Counts (1934-2000) was an American potter and educator known for his contributions to the Appalachian arts and crafts community and his efforts to preserve traditional techniques. Born in Lynch, Kentucky, he studied pottery and weaving at Southern Illinois University, Carbondale, and with Bauhaus-trained master potter Marguerite Wildenhain. His love of Japanese and Medieval German craftsmanship led him to become an exponent of hands-on practical learning and "discipleships." After serving in the Army, he returned to the Oak Ridge area and opened a pottery studio with his wife, Rubynelle. In 1963, he moved his operation to Lookout Mountain, Georgia, where his contributions to the local artist community created an economic boom. He successfully applied for federal funding to create an apprentice ceramics program for local people at his studio, The Pottery Shop. A key member of the Southern Highland Craft Guild, he promoted the economic benefits of producing crafts in depressed areas and contributed to art and craft magazines. He also worked with the Smithsonian Institution on a 1971 report on American folk art. In the 1980s, he developed an interest in Nigerian craft traditions and began teaching at Ahmadu Bello University and Maiduguri University, eventually living in Nigeria full-time. He died there from malaria in 2000, and his ashes were returned to Oak Ridge, Tennessee. 

Lot: 1253 - Charles Counts (1934-2000) American, Orange and White Controlled Glaze Ceramic Jar

Charles Counts (1934-2000) American, Orange and White Controlled Glaze Ceramic Jar. Classic shape, with a precise lined white top that continues into the interior under the similarly glazed lid, and an orange lower half that exposes the chaotic roughness of the salt glaze. Incised signature on the underside.  Size: 4 x 5 1/2 in.  Charles Counts (1934-2000) was an American potter and educator known for his contributions to the Appalachian arts and crafts community and his efforts to preserve traditional techniques. Born in Lynch, Kentucky, he studied pottery and weaving at Southern Illinois University, Carbondale, and with Bauhaus-trained master potter Marguerite Wildenhain. His love of Japanese and Medieval German craftsmanship led him to become an exponent of hands-on practical learning and "discipleships." After serving in the Army, he returned to the Oak Ridge area and opened a pottery studio with his wife, Rubynelle. In 1963, he moved his operation to Lookout Mountain, Georgia, where his contributions to the local artist community created an economic boom. He successfully applied for federal funding to create an apprentice ceramics program for local people at his studio, The Pottery Shop. A key member of the Southern Highland Craft Guild, he promoted the economic benefits of producing crafts in depressed areas and contributed to art and craft magazines. He also worked with the Smithsonian Institution on a 1971 report on American folk art. In the 1980s, he developed an interest in Nigerian craft traditions and began teaching at Ahmadu Bello University and Maiduguri University, eventually living in Nigeria full-time. He died there from malaria in 2000, and his ashes were returned to Oak Ridge, Tennessee. 

Lot: 1254 - Charles Counts (1934-2000) American, Signed Speckled Craquelure Glaze Ceramic Jar

Charles Counts (1934-2000) American, Signed Speckled Craquelure Glaze Ceramic Jar. A clever mix of white and brown tones that appear to overlap on the sides, with a removable lid that has a similar multi-color pattern. Incised signature on underside.  Size: 4 x 5 1/2 in.  Charles Counts (1934-2000) was an American potter and educator known for his contributions to the Appalachian arts and crafts community and his efforts to preserve traditional techniques. Born in Lynch, Kentucky, he studied pottery and weaving at Southern Illinois University, Carbondale, and with Bauhaus-trained master potter Marguerite Wildenhain. His love of Japanese and Medieval German craftsmanship led him to become an exponent of hands-on practical learning and "discipleships." After serving in the Army, he returned to the Oak Ridge area and opened a pottery studio with his wife, Rubynelle. In 1963, he moved his operation to Lookout Mountain, Georgia, where his contributions to the local artist community created an economic boom. He successfully applied for federal funding to create an apprentice ceramics program for local people at his studio, The Pottery Shop. A key member of the Southern Highland Craft Guild, he promoted the economic benefits of producing crafts in depressed areas and contributed to art and craft magazines. He also worked with the Smithsonian Institution on a 1971 report on American folk art. In the 1980s, he developed an interest in Nigerian craft traditions and began teaching at Ahmadu Bello University and Maiduguri University, eventually living in Nigeria full-time. He died there from malaria in 2000, and his ashes were returned to Oak Ridge, Tennessee. 

Lot: 1255 - Karl Christiansen (1931-2007) American, Studio Art Pottery Stoneware Bowl with Lid

Karl Christiansen (1931-2007) American, Studio Art Pottery Stoneware Bowl with Lid. Contemporary hand-thrown stoneware lidded bowl featuring a speckled cream body accented with horizontal bands of blue and ochre and an earth-toned, patterned glaze on the lid. Size: 7 x 8 1/2 in.   Karl Christiansen studio pottery is associated with the mid-century American studio ceramics tradition, emphasizing restrained form, functional integrity, and nuanced surface treatment. His work typically favors wheel-thrown vessels—bowls, vases, and tableware—defined by balanced proportions and a quiet confidence in shape rather than overt decoration. Glazes are often subtle and atmospheric, allowing variations in firing to contribute character and depth, aligning his practice with the postwar ideal of ceramics as both utilitarian and contemplative. Christiansen’s pottery reflects the influence of modernist design and the handmade ethic, valuing consistency of vision and material honesty over novelty, and his pieces are sought after today for their timeless, understated presence.

Lot: 1256 - (3) Handmade Signed Pottery Tea Serving Set - Mug, Sugar Bowl, Serving Tray

(3) Handmade Signed Pottery Tea Serving Set - Mug, Sugar Bowl, Serving Tray. Contemporary ceramic tea set featuring a lidded sugar bowl, a mug with a textured handle, and a matching rectangular tray, all decorated with intricate geometric and abstract patterns in a muted palette with purple accents. Incise signatures by Ed Harris and Jason Schiedel. Tray Size: 11 3/4 x 11 3/4 in.

Lot: 1257 - Model 1852 United States Naval Officer's Ceremonial Dress Sword

Model 1852 United States Naval Officer's Ceremonial Dress Sword. Features a distinctive brass half-basket guard with openwork foliage patterns, a white ray skin or shagreen grip, and a braided wire wrap, all with minimal age signs. An attached gold-colored portopee tassel knotted around the handle and again a few inches down the fabric is included to display rank. Decorations throughout the blade indicate its ceremonial rather than functional purpose, with markings on the both sides indicating the material and its production in Solingen, Germany for Hilborn-Hamburger in New York, making it likely vintage due to their founding in 1926. The scabbard is intact and has two loops for attaching to a belt.  Size: 5 x 36 x 3 in. 

Lot: 1258 - Unique English Lee Enfield Ishapore Model 1917 Mark III Short Magazine Bolt Action Sniper Rifle

Unique English Lee Enfield Ishapore Model 1917 Mark III Short Magazine Bolt Action Sniper Rifle. Marked on the metal connector above the trigger between the receiver and the stock: "G.R.I. Ishapore 1917 SHT LE III*." Further marks throughout, including later English import marks, and an anti-aircraft sight affixed to the top. This piece was likely modified at some point during the First World War, as all pieces made at the Indian factory were of the original covered-barrel design, with only a few thousand modified by the Australians and a handful of other British subjects for use during conflict, making this potentially a very rare piece. Due to their ease of use, high quality, and outstanding durability, these are highly sought collectibles now.  Condition: Rust throughout, signs of use and wear and tear commensurate with antique status.  Size: 44 x 5 1/4 x 2 in.  In 1904 an Indian rifle factory was established by the British at Ichapore (anglicized as Ishapore), West Bengal, and began production of the Lee-Enfield rifle. The factory also manufactured the Vickers-Berthier (VB) light machine gun, which was adopted in 1932 by the Indian Army and remains in reserve use to this day. Military rifles manufactured at Ishapore before 1949 are stamped “GRI” on the buttsocket, referring to George Rex, Imperator (i.e. King George VI, last Emperor of India), whilst military rifles manufactured from then on are stamped “RFI,” which stands for Rifle Factory, Ishapore. The factory was administered by the Ordnance Factory Board of India till 2021 when it was corporatized under the ownership of Advanced Weapons and Equipment India Limited.

Lot: 1259 - World War II Japanese Type 99 Arisaka Rifle with Anti-Aircraft Sights - AS IS

World War II Japanese Type 99 Arisaka Rifle with Anti-Aircraft Sights - AS IS. Smooth wood stock with blued receiver and barrel and front fixed blade sight. Two wire hoops around the barrel and grip were likely added to hang it from a wall or other object at some point for display.  Condition: Significant rusting. Chrysanthemum emblem missing.  Size: 44 x 4 x 2 1/2 in.  The Type 99 rifle or Type 99 short rifle was a bolt-action rifle of the Arisaka design used by the Imperial Japanese Army during World War II. During the Second Sino-Japanese War in the 1930s, the Japanese Army found that the 7.7mm cartridge being fired by the Type 92 heavy machine gun in China was superior to the 6.5×50mm cartridge of the Type 38 rifle. This necessitated the development of a new weapon to replace the outclassed Type 38, and finally standardize on a single rifle cartridge when the IJA developed the Type 99, eventually produced at nine different arsenals. The IJA had intended to completely replace the Type 38 with the Type 99 by the end of the war, but the outbreak of the Pacific War never allowed the army to completely do so, and as the war progressed more and more cost saving steps were introduced in order to speed up production, meaning late war rifles are often called “last ditch” or “substitute standard” due to their crudeness of finish. The Type 99 came with a wire monopod and an anti-aircraft sighting device, and was produced in four versions: the regular issue Type 99 short rifle, the Type 99 long rifle (a limited production variant), the take-down Type 2 paratroop rifle, and the Type 99 sniper rifle. The Type 99 was the first mass-produced infantry rifle to have a chrome lined bore to ease cleaning, but almost all unique features were abandoned by mid-war, making earlier rifles (mostly taken as souvenirs by American troops during the conflict) extremely valued collector’s items based on their cleanliness, completeness, and minimal usage. 

Lot: 1260 - Reproduction World War II Japanese Naval Officers Shin-Gunto Katana and Scabbard

Reproduction World War II Japanese Naval Officers Shin-Gunto Katana and Scabbard.  Size: 3 1/2 x 41 1/2 x 3 in.  The kyÅ« guntō, or “old military sword,” served as the first standard-issue blade for the Japanese military from 1875 to 1934. Often called Murata-tō, these weapons were the first mass-produced substitutes for traditional samurai swords and saw action in the Sino-Japanese and Russo-Japanese Wars. Their design drew heavily from Western influences, featuring European-style D-guards and chrome-plated steel scabbards. In 1934 rising nationalism led to the introduction of the shin guntō, which abandoned Western aesthetics in favor of the traditional Kamakura Period tachi style. These “new” (or “true”) swords utilized colored tassels to denote officer ranks, with specific color combinations assigned to generals, field officers, and NCOs. While some contained ancestral blades dating back centuries to show familial pride, as the government began to require repurposing of old blades due to resource shortages later wartime models often featured machine-made aluminum hilts and serial numbers for rapid mass production to distinguish older and newer pieces. 

Lot: 1261 - 1970 Remington Wingmaster Model 870 Pump-Action 12 Gauge Shotgun

1970 Remington Wingmaster Model 870 Pump-Action 12 Gauge Shotgun. Serial number and other information clearly visible on receiver and barrel. An eagle shaped cap on the bottom of the grip can be removed in order to attach a pistol grip extension, turning it into a tactical weapon, indicating the shift in versatility between this piece and earlier models.  Condition: Some rust and elemental wear and tear. Decorations in butt plate, stock, comb, grip, and forend all in great shape.  Size: 50 1/4 x 4 x 1 1/4 in.  The Remington Model 870 is a legendary pump-action shotgun that has become one of the most popular and successful firearms ever produced. Introduced in 1950, it was designed to be a more modern, reliable, and affordable successor to the expensive-to-manufacture Model 31. Its robust construction and ease of maintenance quickly made it a favorite for sports shooting, hunting, and self-defense among the general public. Beyond civilian use, the 870 is widely utilized by law enforcement and military organizations across the globe. The shotgun reached massive commercial milestones, selling two million units by 1973 and surpassing three million by 1983 to become the best-selling shotgun in history. In 2009 Remington produced its ten millionth unit, spurred in part by the introduction of the budget-friendly Express model.

Lot: 1262 - Reproduction World War II Japanese Naval Officers Shin-Gunto Wakizashi and Scabbard

Reproduction World War II Japanese Naval Officers Shin-Gunto Wakizashi and Scabbard. The wakizashi, the smaller version of the katana, is more often used for close combat, with short stabbing thrusts, rather than the sweeping slices of the larger but similarly shaped samurai sword. The metal sheath is decorated throughout with symbols and figures.  Size: 3 1/2 x 32 1/2 x 3 in.  The kyÅ« guntō, or “old military sword,” served as the first standard-issue blade for the Japanese military from 1875 to 1934. Often called Murata-tō, these weapons were the first mass-produced substitutes for traditional samurai swords and saw action in the Sino-Japanese and Russo-Japanese Wars. Their design drew heavily from Western influences, featuring European-style D-guards and chrome-plated steel scabbards. In 1934 rising nationalism led to the introduction of the shin guntō, which abandoned Western aesthetics in favor of the traditional Kamakura Period tachi style. These “new” (or “true”) swords utilized colored tassels to denote officer ranks, with specific color combinations assigned to generals, field officers, and NCOs. While some contained ancestral blades dating back centuries to show familial pride, as the government began to require repurposing of old blades due to resource shortages later wartime models often featured machine-made aluminum hilts and serial numbers for rapid mass production to distinguish older and newer pieces.

Lot: 1263 - Vintage Wooden Walking Stick with Metal Pommel

Vintage Wooden Walking Stick with Metal Pommel. Vintage 1999s wooden walking stick featuring a dark, polished shaft topped with a rounded metal pommel and finished with a protective metal ferrule at the base. Metal pommel with Great Seal of the United STates. Size: 36 x 1 x 1 in. 

Lot: 1264 - French Napoleonic Era Sword Circa 1800

French Napoleonic Era Sword Circa 1800. The hilt is one piece of brass with a D shaped guard and ribbed handle. Size: 30 x 5 in. 

Lot: 1265 - Ames Model 1833 "United States Dragoons" Sword with Scabbard

Ames Model 1833 "United States Dragoons" Sword with Scabbard., 1839. Inspector WS (William Smith). Many of these swords were used in the Civil War. Size: 39 1/2 x 4 1/2 in. 

Lot: 1266 - Japanese Wakizashi Samurai Sword with Scabbard

Japanese Wakizashi Samurai Sword with Scabbard. Size: 25 x 3 in. 

Lot: 1267 - Reproduction World War II Japanese Naval Officers Shin-Gunto Katana and Scabbard

Reproduction World War II Japanese Naval Officers Shin-Gunto Katana and Scabbard. The tsuka and handle guard are disconnected from the curved blade, which is signed "Ichiro Oda" in kanji just below the habaki. The leather scabbard has two hoops for connecting to a belt.  Condition: Scuffs and wearing throughout.  Size: 3 1/2 x 42 x 3 in.  The kyÅ« guntō, or “old military sword,” served as the first standard-issue blade for the Japanese military from 1875 to 1934. Often called Murata-tō, these weapons were the first mass-produced substitutes for traditional samurai swords and saw action in the Sino-Japanese and Russo-Japanese Wars. Their design drew heavily from Western influences, featuring European-style D-guards and chrome-plated steel scabbards. In 1934 rising nationalism led to the introduction of the shin guntō, which abandoned Western aesthetics in favor of the traditional Kamakura Period tachi style. These “new” (or “true”) swords utilized colored tassels to denote officer ranks, with specific color combinations assigned to generals, field officers, and NCOs. While some contained ancestral blades dating back centuries to show familial pride, as the government began to require repurposing of old blades due to resource shortages later wartime models often featured machine-made aluminum hilts and serial numbers for rapid mass production to distinguish older and newer pieces. 

Lot: 1268 - Carved and Engraved Arctic Region Sami Knife

Carved and Engraved Arctic Region Sami Knife. Reindeer horn sheath and handle. Size: 1 x 8 1/2 in.

Lot: 1269 - South African Decorative Carved Wood Sword and Himalayan Carved Wood Deity Panel

South African Decorative Carved Wood Sword and Himalayan Carved Wood Deity Panel. The panel likely depicts Mahakala, one of the wrathful protective gods in Tibetan and Himalayan Buddhist mythology that appears in many rituals throughout the mountain ranges. The sword has many holes along the fuller, with a human face in place of the handle with a hole in it for hanging on a wall. A torn label on the back reads "Product of South Africa Bushcraft Trading."  Size: 3 1/2 x 27 1/4 in. 

Lot: 1270 - Vintage W. R. Case XX P62 - 4 1/2 SS Boot Hunter Knife in Original Leather Sheath - AS IS

Vintage W. R. Case XX P62 - 4 1/2 SS Boot Hunter Knife in Original Leather Sheath - AS IS. Classic 1800s style dagger aesthetic, with nickel plating and ebonized wood over the stainless steel blade. Marked on both sides of the blade directly under the quillon.  Condition: Wear and tear to both the knife and the sheath.  Size: 9 1/2 x 2 x 1 in.  W. R. Case & Sons Cutlery Company is a storied American manufacturer of traditional pocket knives and collectibles, originally founded in Little Valley, New York, before moving to Bradford, Pennsylvania, in 1905. The company’s roots trace back to 1889, when the Case brothers began selling cutlery from a wagon, eventually leading John Russell Case to form the current firm named after his father. Case has a long history of military service, having produced the V-42 stiletto for the Devil’s Brigade and even providing specialized knives for NASA space missions. In 1949 the company co-founded the Cutco brand, though it eventually sold its stake and is now currently owned by the Zippo Manufacturing Company. Their knives are crafted using proprietary heat-treated steel and handles made from diverse materials ranging from Brazilian cattle bone to exotic mammoth ivory. Due to a unique tang stamp dating system, Case knives have become highly prized by collectors, with an official club boasting over 18,000 members worldwide.

Lot: 1271 - Antique Walking Stick with Bronze Alligator Handle

Vintage Walking Stick with Bronze Alligator Handle. Wooden walking cane featuring a dark wood shaft and a unique, cast metal handle depicting a juvenile alligator. Size: 36 1/2 x 4 x 1 in. 

Lot: 1272 - Antique European Walking Cane with Hand Painted Porcelain Ball Handle

Antique European Walking Cane with Hand Painted Porcelain Ball Handle. The wood is black lacquered with a metal brace at the bottom. The porcelain has a portrait of a lady painted on it surrounded by gold and ruby red decoration, and is connected to the cane by a marked sterling silver brace.  Size: 34 1/4 x 1 in. 

Lot: 1273 - Signed Mid-Century Southern Italian Market Scene

Signed Mid-Century Southern Italian Market Scene. Impressionistic oil painting depicting a bustling European street market filled with figures and vendors, set against a backdrop of sun-drenched stone buildings and an arched bridge in the distance. Signed illegibly lower right. Framed. Overall Size: 32 x 55 1/2 in. Sight Size: 23 1/2 x 47 1/2 in.

Lot: 1274 - After Diego Velasquez (1599-1660) Spanish, Print on Canvas Fragment Spanish Baroque Genre Scene "Les Fileuses"

After Diego Velasquez (1599-1660) Spanish, Print on Canvas Fragment Spanish Baroque Genre Scene "Les Fileuses". Scene of women spinning and weaving that appears to be a copy or study of Diego Velázquez's famous work, The Spinner. Information verso. Unframed.  Overall Size: 11 1/2 x 14 in. Sight Size: 9 x 12 in.

Lot: 1275 - Framed Hand Colored Woodcut Extract from 1852 German Folio Kreuterbuch

Framed Hand Colored Woodcut Extract from 1852 German Folio Kreuterbuch. A title above indicates it is a brief description of man (mensch/homo), with a colorful illustration below of Adam and Eve in the Garden surrounded by animals, and a series of writings below about man and in particular the purpose of saliva (humors). Label on back giving the date, the origin of Lonicerus, Frankfort, the materials, and the description "Rare Item 93, Chroniques Catalog, 78 Sowers."  Overall Size: 12 1/2 x 9 3/4 in.  Sight Size: 6 3/4 x 4 1/2 in. 

Lot: 1276 - Albrecht Durer (1471-1528) German, "Four Angels Staying the Winds" Woodcut on Paper

Albrecht Durer (1471-1528) German, "Four Angels Staying the Winds" Woodcut on Paper. Signature bottom middle in print. Printed in the late 19th Century, a woodcut in black ink on cream wove paper after the original. Framed. Comes with certificate of authenticity and prior bill of sale.  Overall Size: 24 3/4 x 20 3/4 in.  Sight Size: 15 1/2 x 11 in.  Albrecht Dürer (1471-1528) was a German painter, printmaker, and theorist of the Northern Renaissance, renowned for his highly detailed engravings, woodcuts, and paintings. Based in Nuremberg, he revolutionized printmaking as an independent art form, with works like Melencolia I, Knight, Death, and the Devil, and The Four Horsemen of the Apocalypse showcasing his mastery of composition and symbolism. Dürer was deeply influenced by Italian Renaissance ideals, integrating perspective and anatomical precision into his work. His self-portraits, particularly his 1500 depiction resembling Christ, highlight his emphasis on the artist’s intellectual status. His writings on geometry, proportion, and human anatomy further cemented his legacy as one of the most influential figures in Western art history during the period. 

Lot: 1277 - Jean Millet (1814-1875) French, "Lecon de Tricot" Framed First Printing Etching on Paper

Jean Millet (1814-1875) French, "Lecon de Tricot" Framed First Printing Etching on Paper. Etching in black ink on fine watermarked laid paper, hand pulled from the copper plate executed in Paris in 1873. Depicts two figures huddled together in a dark room, the elder showing the younger how to knit. Signed bottom left and titled bottom right in the plate. Comes with certificate of authenticity and prior bill of sale. Overall Size: 13 x 12 in.  Sight Size: 5 x 4 1/2 in.  Jean-François Millet was born on October 4th, 1814 in Normandy, France and spent his youth working on his father’s farm before being sent to study with the portrait painter Bon Du Mouchel in Cherbourg in 1833. His innate talent led him to receive a scholarship to the École des Beaux-Arts in Paris in 1837, but his scholarship was terminated when his first submission to the Salon was rejected in 1839, and his wife Pauline died of consumption in 1844, leading him to return to Cherbourg. Undeterred, he remarried and moved first to Le Havre and then back to Paris, where he became friends with Constant Troyon, Narcisse Diaz, Charles Jacque, and Théodore Rousseau, founding the Barbizon school with them and finally achieving success at the Salon in the late 1840s. Often simultaneously scorned and adored by critics, his oil paintings of peasant farmers and landscapes were considered a fundamental part of the Realism art movement, and his pastels, Conté crayon drawings, and etchings brought him government patronage and financial stability in the 1860s. Sadly, the Franco-Prussian War uprooted his family and led to declining health, and he died on January 20th, 1875, unaware of the massive influence he would have on future artists like Georges Seurat, Salvador Dalí, Claude Monet, and Vincent van Gogh.

Lot: 1278 - Jean Millet (1814-1875) French, "Bergere Pres d'un Bois" Framed First Printing Etching on Paper

Jean Millet (1814-1875) French, "Bergere Pres d'un Bois" Framed First Printing Etching on Paper. Etching in black ink on fine watermarked laid paper, hand pulled from the copper plate executed in Paris in 1873. Depicts a woman keeping watch over a flock of sheep with a black dog at her side. Signed bottom left and titled bottom right in the plate. Comes with certificate of authenticity and prior bill of sale.  Overall Size: 15 x 14 in.  Sight Size: 5 x 4 in.   

Lot: 1279 - Russell Taber Hyde (1886-1966) American, Oil on Board Fishermen Pulling the Nets

Russell Taber Hyde (1886-1966) American, Oil on Board Fiserhman Pulling the Nets. Oil painting in a dark wooden frame depicting a dramatic, impressionistic scene of a boat struggling through choppy, stormy seas with figures on deck. Signed lower left. Framed. Overall Size: 21 x 25 in.  Sight Size: 11 1/2 x 15 in.  Russell Taber Hyde is an American painter and sculptor known for his expressive, often abstract works that blend elements of realism with symbolic and spiritual themes. Emerging in the late 20th century, Hyde developed a distinctive visual language characterized by bold textures, layered compositions, and a nuanced exploration of human emotion and identity. His work frequently draws on personal introspection as well as broader cultural and philosophical influences, resulting in pieces that feel both intimate and universal. Over the course of his career, Hyde has exhibited in various galleries and earned recognition for his ability to merge traditional techniques with contemporary sensibilities, positioning him as a thoughtful and evolving voice in modern American art.

Lot: 1280 - Thornton Utz (1914-1999) American, Oil on Canvas Impressionist Female Nude

Thornton Utz (1914-1999) American, Oil on Canvas Impressionist Female Nude. Impressionistic, soft-toned painting framed in gold that depicts a reclining nude figure holding a dark cat above her. Signed lower right. Framed. Overall Size: 23 1/2 x 29 1/4 in.  Sight Size: 17 1/4 x 23 in.  Thornton Utz (1914-1999) was born in Memphis, Tennessee and studied at the American Academy of Art in Chicago and gained prominence in the 1940s and 50s, renowned for his illustrations and portrait paintings and developing close working friendships with Coby Whitmore and Ben Stahl, forming the Chicago Gang of Illustrators with them. He contributed over 50 covers to the Saturday Evening Post and created advertisements for major companies like Coca-Cola and General Electric. His portrait work includes notable figures such as President Jimmy Carter and Princess Grace of Monaco. He moved to Sarasota, Florida in the mid 60s when his wife fell ill, and founded a cartography business. He also made stained-glass windows for the Catholic Church of the Incarnation in Sarasota, Florida, reflecting his diverse artistic talents, and passed away at his home in 1999.

Lot: 1281 - Jean Cocteau (1889-1963) French, Mid-Century Modern Minimalist Lineart Lithograph Print "Une Affiche Tauromachie"

Jean Cocteau (1889-1963) French, Mid-Century Modern Minimalist Lineart Lithograph Print  "Une Affiche Tauromachie". Lithograph print by Jean Cocktaeu in his signature minimalist lineart style, depicting a matador and bull. Signed lower right. Dated 1963. Framed. Overall Size: 21 x 17 in.  Sight Size: 14 1/2 x 10 1/2 in.   Jean Cocteau (1889–1963) was a multifaceted French artist whose work shaped 20th-century avant-garde culture across literature, theater, film, visual art, and design. Closely associated with the Parisian artistic circles that included figures such as Erik Satie and Pablo Picasso, Cocteau became known for blending surreal imagery, mythology, and poetic symbolism into works that explored dreams, identity, and transformation. His most celebrated films include Beauty and the Beast and Orpheus, both considered landmarks of poetic cinema. Beyond filmmaking, he produced influential novels, drawings, stage productions, and librettos, earning a reputation as one of France’s most inventive and interdisciplinary creative figures.  

Lot: 1282 - 19th Century Continental Oil on Board Genre Scene of Two Women on Beach

19th Century Continental Oil on Board Genre Scene of Two Women on Beach. Oil on board depicting two young women in traditional attire standing on a sandy beach, with one waving toward the ocean near a small boat. Unsigned. Framed. Overall Size: 23 1/2 x 27 1/2 in. Sight Size: 17 1/4 x 21 1/4 in.

Lot: 1283 - K. Hillman (20th Century) American, Oil on Canvas Atmospheric Florida Wetlands Landscape

K. Hillman (20th Century) American, Oil on Canvas Atmospheric Florida Wetlands Landscape. Oil on canvas landscape depicting a misty evening in the Florida wetlands, a  lone cabbage palm standing as the focal point amid a field of sawgrass and placid water. Signed lower right. Framed. Overall Size: 45 1/2 x 33 1/4 in. Sight Size: 34 1/2 x 23 1/2 in.   K. Hillman is a well-known 20th century Florida painter, especially noteworthy for his 'Florida wetlands' style, inspired by the works of the Florida Highwaymen.

Lot: 1284 - Julie Ross (1956-2021) American, Abstract Mixed Media on Canvas

Julie Ross (1956-2021) American, Abstract Mixed Media on Canvas. Ink, pastel, and other materials create strikingly whimsical shapes and psychedelic figures, with some of the materials extending onto the sides of the unframed canvas, designed to be displayed that way. Signed bottom left.  Size: 66 x 30 in.  Julie Ross (1956-2021) was an American artist and Ringling School of Art and Design (now Ringling College of Art and Design) alumna from Sarasota, Florida, whose creative life was deeply shaped by early exposure to art and extensive world travel. Born in Tampa and raised in Sarasota, she showed artistic promise through specialized arts education and scholarships that led her to study at Ringling and then complete a Bachelor of Fine Arts at The School of Visual Arts in New York City in 1987. Ross worked in a diverse range of media, including painting in acrylic and oil, mixed media with plaster and resin, and found objects, often exploring subconscious imagery and expressive form, and her art has been exhibited and sold at auction in the U.S. and internationally; her legacy continues to be celebrated through projects and publications that support youth arts programs in Sarasota.

Lot: 1285 - Vintage West African Mali Bozo Hand-Carved Wooden Ram Mask

Vintage West African Mali Bozo Hand-Carved Wooden Ram Mask. Crafted from wood, painted red, black, and white. Label attached to the left horn that gives store where it was acquired and prior price.  Provenance: Bought by consignor at Current Furniture Art Design in Sarasota, Florida.  Size: 10 x 18 1/2 x 8 1/4 in.  The Bozo masks are typically used in puppet theater festivities, often referred to as "Sogo bo." These zoomorphic figures often represent local myths and tales rather than agrarian rites, which have their own masks.

Lot: 1286 - West African Burkina Faso Bobo Hand-Carved Wooden Elephant Head Mask on Stand

West African Burkina Faso Bobo Hand-Carved Wooden Elephant Head Mask on Stand. The metal stand is specifically designed in a Y-shape to support this mask, with a tag attached to it that gives the store where it was acquired and prior price.  Provenance: Bought by consignor at Current Furniture Art Design in Sarasota, Florida.  Size: 15 x 15 x 25 1/4 in.  The Bobo are a Mande ethnic group living primarily in Burkina Faso, with some living north in Mali. Their artwork and masks are prized by collectors, although their name is sometimes confused with another ethnic group known as the Bobo-Oule, more regularly referred to as the Bwa, and there are overlaps in their art and languages caused by massive migrations thousands of years ago throughout West Africa. 

Lot: 1287 - Gilt East African Adult Wildebeest Skull

Gilt East African Adult Wildebeest Skull.  Size: 9 1/2 x 12 x 16 in. 

Lot: 1288 - Mako Shark Jaw

Mako Shark Jaw. Set of preserved shark jaws, likely from a mako or sand tiger shark, featuring multiple rows of sharp, slender, needle-like teeth set within a pale, dried cartilaginous frame. Size: 12 x 16 1/2 x 5 in.

Lot: 1289 - Wild Boar Skull

Wild Boar Skull. Natural bleached warthog skull, characterized by its massive, upward-curving tusks and distinctively broad, flat facial structure. Size: 6 x 13 1/2 x 9 in.

Lot: 1290 - Wild Boar Skull with Silver Relief

Wild Boar Skull with Silver Relief. Wild boar skull with lacquered silver relif with visible red and gold accents, highlighting its elongated snout and prominent tusks. Size: 8 x 15 x 5 1/2 in.

Lot: 1291 - Nilgal Antelope Skull with Horn Caps

Nilgal Antelope Skull with Horn Caps. Antique Nilgai antelope skull featuring a natural sun-bleached finish, intact herbivore dentition, and short, dark, upward-curving horns. Size: 13 1/2 x 16 x 1/2 in.

Lot: 1292 - (2) African Kudu Antelope Horns

(2) African Kudu Antelope Horns. Pair of natural, dark brown animal horns characterized by their long, elegant spiral shape and hollow bases. Length: 33 1/2 in.

Lot: 1293 - Silver Tone Reindeer Skull with Antlers

Reindeer Skull with Antlers.  Decorative reindeer skull and antler set featuring a polished, metallic silver-toned finish. Size: 19 x 33 x 9 1/2 in.

Lot: 1294 - Decorative Gold-Toned Half-Antelope Skull with Detachable Horns

Decorative Gold-Toned Half-Antelope Skull with Detachable Horns. No teeth or bottom half, richly covered in gold-colored metal topped with stunning curling horns with dark, ridged texture.  Size: 38 x 12 1/4 x 32 in. 

Lot: 1295 - Decorative African Springbok Skull with Detachable Horns

Decorative African Springbok Skull with Detachable Horns. Forms the classic heart-shaped crest with the ridged, black horns.  Size: 14 x 7 1/4 x 8 1/2 in. 

Lot: 1296 - Silvered Oryx Antelope Skull

Silvered Oryx Antelope Skull. Decorative oryx skull featuring a metallic, champagne-gold finish on the bone and long, straight, ridged black horns. Size; 43 1/2 x 10 x 9 in.

Lot: 1297 - Decorative Gold-Toned African Oryx Skull with Detachable Horns

Decorative Gold-Toned African Oryx Skull with Detachable Horns. Featuring a metallic gold-toned finish and long, slender, ridged black horns.  Size: 19 1/4 x 6 1/2 x 7 in.  Horns: 37 in. 

Lot: 1298 - Sterling & Camille Inspiriters Folk Art Armadillo

Sterling & Camille Inspiriters Folk Art Armadillo. Adorable folk art style armadillo with vibrantly colored geometric pattern on shell. The armadillo represents living in peace with others by setting boundaries and respecting and appreciating the time and impact others have in our lives, however fleeting it may be. Box Size: 9 x 10 x 9 in.  Sterling & Camille LLC is an Arizona-based art company focused on the production and distribution of folk art–inspired works that draw on regional traditions, handcrafted aesthetics, and accessible, decorative appeal. Their offerings often emphasize bold color, stylized forms, and rustic or vintage influences, bridging the gap between fine art and artisan craft. By channeling the spirit of traditional American and Southwestern folk art, the company provides pieces suited for both collectors and casual buyers seeking character-driven, visually engaging artwork for homes and commercial spaces.

Lot: 1299 - Thai Hand-Carved Wooden Guiro Frog Percussion Instrument

Thai Hand-Carved Wooden Guiro Frog Percussion Instrument. Hand-carved wooden percussion instrument, known as a guiro frog, which produces a croaking sound when the included wooden stick is rubbed along its ridged spine. Size: 5 1/2 xx 9 x 5 in. Guiro frogs are small percussion instruments carved in the shape of frogs, most commonly from wood, and designed to produce a distinctive croaking sound when played. Originating in Southeast Asia—especially Thailand—they function as a type of guiro, where a stick is rubbed along ridges carved into the frog’s back to create rhythmic rasping tones. Many versions also include a hollowed body that resonates when struck, adding a percussive “pop” alongside the scrape. Often used in folk music, sound effects, and educational settings, guiro frogs are valued both for their playful design and their ability to mimic natural frog calls, making them popular with musicians and collectors alike.

Lot: 1300 - Exceptionally Large African Toma Landai Headdress

Exceptionally Large African Toma Landai Headdress. Tall, hand-carved and decorated, with enormous horns, eyeholes, and a barred mouth. The Landai mask is a central ritual object of the Toma (or Loma) people, who live in the rainforest regions across Guinea, Liberia, and Sierra Leone. It represents a powerful forest spirit and is deeply tied to the Poro Society, a male secret society that governs the political and religious life of the community. They are characterized by a flat, horizontal snout, human-like features, and often incorporate raffia or feathers, exactly as this piece does.  Size: 17 1/2 x 16 x 61 In.  The Loma people (also referred to variously by outsiders and factions within the people themselves as Loghoma, Looma, Lorma, Buzi, Buzzi, Toale, Toali, Toa, Tooma, or Toma) are a West African ethnic group living primarily in mountainous, sparsely populated regions near the border between Guinea and Liberia. Their population was estimated at 330,000 in the two countries in 2010, and they are closely related to the Mende people through their language, belonging to the Mende division of the Niger-Congo family of languages. The language, only preserved in oral form until the 20th Century, faced the possibility of extinction in the 1930s, and a Loma elder named Wido Zobo teamed up with a weaver named Moriba to develop a written script, which contains at least 185 characters. For many centuries prior to the colonial period the primary enemies of the Loma were the Mandinka people, who had converted to Islam and sought to convert them as well, and their ongoing conflict even during their subjugation by the French led to a syncretic religion that merged animal and human motifs into their masks, rituals, and even eating habits. They are exogamous people, with patrilineal social organization in matters related to inheritance, succession and lineage affiliations with one-marriage rule, and joint families or virilocal communities are common, wherein families of brothers settle close to each other, which began in an effort to preserve and solidify their traditions in the face of invasions on many fronts. Today, they make up a majority population of Liberia, with a small population in the Republic of Guinea, and they remain somewhat isolationist, although they have begun to depend on tourism to survive in the modern economy and political climate of the greater North and West African region. 

Lot: 1300A - Hand Carved Tower of Elephants Sculpture

Hand Carved Tower of Elephants Sculpture. Vertical, hand-carved wooden totem featuring a stacked column of ten elephants standing on top of one another, resting on a decorative, painted geometric base. Size: 7 x 8 x 73 1/2 in. 

Lot: 1301 - African Congo Carved Tribal Wood Mask with Fiber Beard

African Congo Carved Tribal Wood Mask with Fiber Beard. Similar to several different styles in the vast region, the elongated face has small eyeholes and a headdress, with woven fibers around the large chin to indicate the beard.  Size: 17 x 9 1/2 x 4 1/2 in.   

Lot: 1302 - Tall African Bambara Hand Carved Wooden Figure

Tall African Bambara Hand Carved Wooden Figure. A highly stylized female form with a slender neck, prominent breasts, and squared shoulders standing on a circular integral base. Size: 10 x 9 x 43 in. 

Lot: 1303 - African Baule Bolo Bian Carved Wooden Ritual Figure

African Baule Bolo Bian Carved Wooden Ritual Figure. From the Ivory Coast, it depicts a seated male with elaborate coiffure and scarification marks holding a long, ribbed object to his chin. These figures are crafted to represent a "spiritual significant other" to the head of the household that sits in the home and helps to ward off disruptive spirits.  Size: 8 x 9 x 41 in.  The Baule are an Akan people and one of the largest ethnic groups on the Ivory Coast of Africa, traditionally living as farmers in the central region between the Bandama and N’Zi Rivers. The Baule Kingdom was established around 1730 by Queen Abla Pokou following a migration from the Mande Kingdom in Ghana, lasting until the French colonization in 1893. The tribe became dominant in the region during the mid-20th century due to their control of the profitable cocoa, rubber, and coffee industries. The Baule people are widely known for their refined artistic talent, producing diverse sculptures, face masks, human figurines, and works in gold, bronze, and ivory. Their art often intersects with that of the neighboring Yaoure tribe and is imbued with spiritual significance, representing protective or ancestral beings. These sacred works, particularly the ram-headed Bonu Amuen figures, are highly collectible due to traditional restrictions on who can view them.

Lot: 1304 - African Mossi Carved Wood Plank Mask

African Mossi Carved Wood Plank Mask. Half-moon and triangle shapes make up the decorations of the main body, with a rounded foot and headpiece that has two small holes for the eyes.  Size: 10 x 4 1/2 x 65 In.  The Mossi (or Mosi) are the largest ethnic group in Burkina Faso, constituting over 50% of the population (roughly 11 and a half million people) and primarily residing on the central plateau. Known for their historic, highly organized warrior kingdoms that dominated the area from the 15th through the 19th Centuries, they speak the Moore language and maintain a hierarchical social structure led by the Moro Naba (emperor) in Ouagadougou. Conquered by the French, they played a significant role in their African military presence during World War II, and their artwork, particularly their carved masks used in rituals and religious observances, are sought by collectors around the world. 

Lot: 1305 - African Dogon Carved Wood Seated Couple Figure

African Dogon Carved Wood Couple. Carved wooden Dogon primordial couple from Mali, depicting a seated male and female figure with stylized features, elongated necks, and geometric scarification on their abdomens, mounted on a modern rectangular bas Size: 11 x 12 x 28 1/2 in. 

Lot: 1306 - African Bassa Hand Carved Wooden Female Figure

African Bassa Hand Carved Wooden Female Figure. Hand-carved wooden female figure featuring a stylized head with a textured coiffure, an elongated neck, and hands resting on a protruding abdomen. Size: 6 1/2 x 6 x 27 in. 

Lot: 1307 - African Tribal Carved Wood Zoomorphic Fetish Statue

African Tribal Carved Wood Zoomorphic Fetish Statue. The head of a horse-like creature with elongated snout sits atop a gravely distended belly, with bent legs supporting the awkward form on a wooden base. Signed indistinctly on the back of the base. Many African tribes, including the Zulu, Makonde, and Yaka, all carve various figures that are a combination of animal and humanoid forms, usually with enlarged limbs, heads, or torsos, that are made for ritualistic purposes or to ward off evil.  Size: 3 x 4 3/4 x 4 in. 

Lot: 1308 - (6) Carved Wooden Tribal Masks as Wall Art from Africa and Central America

(6) Carved Wooden Tribal Masks as Wall Art from Africa and Central America. Each is a different style, including one from the Kuba tribe, one from the Makonde people, and one clearly marked "Belize" along the chin. A stunning collection that would be a conversation starter in any room.  Size: 10 3/4 x 5 x 2 in.

Lot: 1309 - Tanzania Handcarved Ebony Wood Crocodile

Tanzania Handcarved Ebony Wood Crocodile. Detailed hand-carved wooden crocodile sculpture featuring a smaller animal perched on its back and a tail that curves forward to touch its hindquarters. Size: 7 1/4 x 31 1/2 x 5 in.

Lot: 1310 - African Mali Bambara Tribal Mask

African Mali Bambara Tribal Mask. Carved wooden Bambara mask from Mali, featuring a long, slender face with geometric forehead incising surmounted by a prominent, stylized hornbill figure with a ribbed neck and crest. Size: 27 x 10 x 8 in. 

Lot: 1311 - Pair of Indian Cheriyal Masks

Pair of Indian Cheriyal Masks. Wood backing, papier mache top, painted over with pigments utilizing tamarind and other indigenous spices, and small openings for the mouth, nose, and eyes. One is male, one is female, designed as stock characters utilized in traditional traveling storytelling. Both have strings attached to them inside for wall-hanging as art.  Largest Size: 7 1/2 x 9 1/2 x 4 in.  Cheriyal masks are traditional masks originating from Telangana, India roughly 400 years ago, deeply tied to the Nakashi artform and the village of Cheriyal. Historically used by wandering storytellers for theater and folklore performances, these masks evolved from religious storytelling aids into decorative handicrafts. They are crafted using natural ingredients like tamarind paste and sawdust, with a carved wood backing then decorated with vibrant colors on a layer of dried mud, papier mache, or other slick surface.

Lot: 1312 - (3) African Tribal Carved Wood Figures

(3) African Tribal Carved Wood Figures. Two are sitting, while one seems to "surf" on a board-like base. All carved from a single piece of wood. Frequently marketed as Tiki or Polynesian, these stick-like figures are fertility statues that are adorned with grass, rope, or fiber to form hair and skirts, and have become increasingly stylized to suit the tourist market rather than for their original intent as protective and assistive totems.  Size: 8 1/2 x 7 1/2 x 7 in. 

Lot: 1313 - (2) African Carved Wood and Rafia Initiation Masks

(2) African Carved Wood and Rafia Initiation Masks. Pair of African initiation masks, likely of Salampasu or Yaka origin, featuring molded faces with contrasting dark and light pigments and long, dense raffia fiber fringes. Size: 20 x 8 x 2 1/2 in. 

Lot: 1314 - Oceanic Carved Wood Tribal Mask

Oceanic Carved Wood Tribal Mask. Carved wooden African mask, likely of Dan or Grebo origin, featuring a dark-stained surface with geometric forehead ridges and decorative cowrie shell inlays around the eyes, cheeks, and mouth, accented by a singular curved tusk or tooth near the nose. Size: 31 x 15 x 8 in. 

Lot: 1315 - (2) Signed Decorated Barbed Wire Gourd Art Pieces

(2) Signed Decorated Barbed Wire Gourd Art Pieces. One is more pear shaped, with a stem at top, a rainbow brick-pattern design below, with nails and twisted metal forming a heart at top. The other is more traditional gourd form, with lines of gold paint over the orange surface and more of the nails and twisted metal pieces creating irregular decorations throughout. Both signed "Bock A" on the undersides.  Largest Size: 13 x 13 x 13 3/4 in.  Gourd art utilizes dried, hard-shell Lagenaria gourds as a versatile creative medium that can be carved, painted, burned, and dyed. This practice roots back to ancient pyrography traditions across Africa, Asia, and among the indigenous nations of the Americas. While the art form historically relied on manual carving, modern creators utilize electric wood burners and high-speed rotary tools to achieve fine-art results. The craft boasts dedicated global support through organizations like the American Gourd Society, established in 1937, which hosts competitive festivals and educational outreach, and in Croatia a rich tradition of pumpkin painting has been meticulously preserved in Slavonian villages since the 18th Century. Today, gourd art has successfully transitioned from traditional folk craft to fine art gallery exhibitions.

Lot: 1316 - Ancient Mesoamerican Stone Metate

Ancient Mesoamerican Stone Metate. This three legged diagonally slanted object is a traditional grinding stone used by ancient civilizations in Central and South America to process grains, seeds, maize. An accompanying tool called a mano would be held with both hands and raked up and down to break apart the objects upon it, and both were usually made from volcanic rocks like basalt or lava stone. Today this form is still in use in some remote parts of the region by descendants of the Mayan, Aztec, Zapotec and other civilizations, primarily in creating tortilla dough.  Provenance: Purchased from the California Academy of Sciences. Damaged in the 1906 Earthquake.   Size: 20 1/2 x 13 1/4 x 11 in. 

Lot: 1317 - Antique Asian Storage Barrel

Antique Asian Storage Barrel.  Antique cylindrical wooden barrel features a rich, aged patina, secured with several horizontal wood bands and distinctive vertical stitching. Size: 20 x 22 in. 

Lot: 1318 - Antique Chinese Wood and Iron Rice Barrel

Antique Chines Wood and Iron Rice Barrel.  Rustic, tapered wooden vessel features a weathered stave construction with metal hoops at the top and bottom and a small metal handle on its side. Size: 22 x 21 x 11 in. 

Lot: 1319 - After Raphael, Italian, Oil on Canvas Painting of Jesus During His Martyrdom

After Raphael, Italian, Oil on Canvas Painting of Jesus During His Martyrdom. This has been restretched.  Size: 37 x 26 in.

Lot: 1320 - Traditional Folk Art Oil on Cloth Religious Painting of the Blessed Mother and Christ Child

Traditional Folk Art Oil on Cloth Religious Painting of the Blessed Mother and Christ Child. Traditional-style religious painting depicting a crowned Madonna and Child, both holding small banners, against a dark, ornate background with draped red curtains. Unsigned. Framed. Overall Size: 17 x 14 in. Sight Size: 8 x 10 in.

Lot: 1321 - 19th Century Continental School Oil on Canvas Ecclesiastical Painting of Two Cardinals Playing Musical Instruments

19th Century Continental School Oil on Canvas Ecclesiastical Painting of Two Cardinals Playing Musical Instruments. Vibrant oiil painting depicting two clerics in vibrant red robes engaged in a musical duet, with one figure playing the violin and the other seated at a harpsichord. Unsigned. Framed. Overall Size: 14 1/4 x 12 in.  Sight Size: 8 3/4 x 6 1/2 in. 

Lot: 1322 - Rare Renaissance Bone Plaque, "The Virgin and Child with Angels, St. Francis, and God the Father Above"

Rare Renaissance Bone Plaque, "The Virgin and Child with Angels, St. Francis, and God the Father Above". Size: 3 3/4 x 6 1/4 x 1/4 in.

Lot: 1323 - Antique Mexican San Miguel de Allende Folk Art Crucifix

Mexican San Miguel de Allende Folk Art Crucifix. Inspired by the antique opulent milagro crosses made of gold and silver, this piece has naive decorations all over it, including hand-painted and drawn figural shapes and motifs, with a protruding face of Jesus and a curved snake figure at the end of the top three points.  Size: 14 1/2 x 22 1/2 in.  San Miguel de Allende crucifix folk art features vibrant, handcrafted devotional pieces often made from punched tin, wood, and ceramic, frequently adorned with milagros (small miracle charms), floral motifs, and Sacred Heart imagery. These unique, often one-of-a-kind, artistic expressions of faith are a staple of the region's rich artisan tradition.

Lot: 1324 - Antique Mexican San Miguel de Allende Folk Art Crucifix

Mexican San Miguel de Allende Folk Art Crucifix. Inspired by the antique opulent milagro crosses made of gold and silver, this piece has naive decorations all over it, including hand-painted and drawn figural shapes and motifs, with a protruding face of Jesus and four cloudburst shapes on the horizontal bar.  Size: 13 x 21 3/4 in.  San Miguel de Allende crucifix folk art features vibrant, handcrafted devotional pieces often made from punched tin, wood, and ceramic, frequently adorned with milagros (small miracle charms), floral motifs, and Sacred Heart imagery. These unique, often one-of-a-kind, artistic expressions of faith are a staple of the region's rich artisan tradition.

Lot: 1325 - 19th Century Russian Icon of the Twelve Great Feasts and Resurrection on Wood

19th Century Russian Icon of the Twelve Great Feasts and Resurrection on Wood. Housed in metal oklad. Size: 12 3/8 x 10 5/8 x 1 1/2 in. 

Lot: 1326 - Antique Painting on Wood of Christ on the Cross with Saint Francis of Assisi Kneeling

Antique Painting on Wood of Christ on the Cross with Saint Francis of Assisi Kneeling Size: 13 x 8 1/2 in. 

Lot: 1327 - 19th Century Russian Icon of St. Nicholas of Myra

19th Century Russian Icon of St. Nicholas of Myra Size: 12 1/4 x 10 1/4 x 7/8 in. 

Lot: 1328 - Large 19th Century Russian Icon, "Three Saints"

Large 19th Century Russian Icon, "Three Saints" Size: 14 3/4 x 13 1/2 x 1 3/4 in. 

Lot: 1329 - 19th Century Icon of the Mother of God, "Of the Three Hands"

19th Century Icon of the Mother of God, "Of the Three Hands" Size: 13 x 10 3/8 x 1 1/4 in. 

Lot: 1330 - 19th Century Russian Icon on Wood

19th Century Russian Icon on Wood Size: 16 1/2 x 13 1/8 x 1 1/8 in. 

Lot: 1331 - 19th Century Russian Icon of St. Nicholas

19th Century Russian Icon of St. Nicholas. Painted on an incised gilt ground. Size: 12 7/8 x 12 x 1 in. 

Lot: 1332 - 19th Century Russian Icon, The Virgin of Bogolyubskaya

19th Century Russian Icon, The Virgin of Bogolyubskaya. Size: 15 3/4 x 12 3/4 x 1 5/8 in. 

Lot: 1333 - 19th Century Russian Icon of St. John the Theologian

19th Century Russian Icon of St. John the Theologian. Size: 8 3/4 x 6 x 3/4 in. 

Lot: 1334 - 19th Century Russian Icon, The Mother of God of Kazam

19th Century Russian Icon, The Mother of God of Kazam Size: 7 1/4 x 5 1/2 x 3/4 in. 

Lot: 1335 - 19th Century Russian Icon of St. Cyril Holding a Scroll

19th Century Russian Icon of St. Cyril Holding a Scroll. The scroll depicts the Cyrillic alphabet which he developed. Size: 5 1/4 x 4 1/8 x 1/2 in. 

Lot: 1336 - 19th Century Russian Icon, Our Mother of God, Joy of All Who Sorrow

19th Century Russian Icon, Our Mother of God, Joy of All Who Sorrow Size: 20 3/4 x 17 x 2 in. 

Lot: 1337 - 19th Century Russian Icon

19th Century Russian Icon. Inscribed on the back, upper center. Size: 12 1/4 x 10 1/2 x 7/8 in. 

Lot: 1338 - 19th Century Russian Icon of St. Tikhon of Sadonsk

19th Century Russian Icon of St. Tikhon of Sadonsk. Oil on wood panel. Overall Size: 13 1/2 x 10 3/4 x 2 in. Sight Size: 10 1/4 x 7 1/4 in.

Lot: 1338A - Russian Imperial Style Jade Letter Opener with Diamonds and Gilt Metal Mounts

Russian Imperial Style Jade Letter Opener with Diamonds and Gilt Metal Mounts. Features a polished jadeite blade paired with an ornate silver-gilt handle embellished with vibrant guiloche enamel.  Size: 10 1/2 x 1 1/2 x 1 in.

Lot: 1339 - (5) Piece Brown Matryoshka Dolls

(5) Piece Brown Matryoshka Dolls. Flower and leaf designs with the woman's face at top, all using the natural tone of the wood with decoration on top rather than being completely painted.  Size: 2 x 2 x 2 1/2 in.  Matryoshka dolls, also known as nesting or stacking dolls, are traditional sets of wooden figures of decreasing sizes placed one inside another. The first Russian set was crafted in 1890 by Vasily Zvyozdochkin from a design by folk painter Sergey Malyutin at the Children’s Education Workshop. While the outer layer traditionally depicts a woman in a Russian sarafan dress, modern sets feature diverse themes ranging from Soviet leaders to pop culture characters. The dolls gained international fame after winning a bronze medal at the 1900 Paris Exposition Universelle, sparking global demand and widespread production. Though the Soviet industry standard was a five-piece set standing six inches tall, independent artists today create various regional styles, shapes, and sizes. Beyond their physical form, these dolls serve as a design paradigm known as the “matryoshka principle,” a nesting metaphor used in everything from apparel layering to describing complex corporate shell companies.

Lot: 1340 - (5) Piece Pink Matryoshka Dolls

(5) Piece Pink Matryoshka Dolls. Fruit and flower designs with the woman's face at top, and the smallest wooden piece being pink with just the face at top.  Size: 2 1/4 x 2 1/4 x 2 3/4 in.  Matryoshka dolls, also known as nesting or stacking dolls, are traditional sets of wooden figures of decreasing sizes placed one inside another. The first Russian set was crafted in 1890 by Vasily Zvyozdochkin from a design by folk painter Sergey Malyutin at the Children’s Education Workshop. While the outer layer traditionally depicts a woman in a Russian sarafan dress, modern sets feature diverse themes ranging from Soviet leaders to pop culture characters. The dolls gained international fame after winning a bronze medal at the 1900 Paris Exposition Universelle, sparking global demand and widespread production. Though the Soviet industry standard was a five-piece set standing six inches tall, independent artists today create various regional styles, shapes, and sizes. Beyond their physical form, these dolls serve as a design paradigm known as the “matryoshka principle,” a nesting metaphor used in everything from apparel layering to describing complex corporate shell companies.

Lot: 1341 - (5) Piece Red Matryoshka Dolls

(5) Piece Red Matryoshka Dolls. Flower, leaf, and dot designs with the woman's face at top, and the smallest wooden piece being red with just the tiny face and a few dots.  Size: 2 x 2 x 3 1/2 in.  Matryoshka dolls, also known as nesting or stacking dolls, are traditional sets of wooden figures of decreasing sizes placed one inside another. The first Russian set was crafted in 1890 by Vasily Zvyozdochkin from a design by folk painter Sergey Malyutin at the Children’s Education Workshop. While the outer layer traditionally depicts a woman in a Russian sarafan dress, modern sets feature diverse themes ranging from Soviet leaders to pop culture characters. The dolls gained international fame after winning a bronze medal at the 1900 Paris Exposition Universelle, sparking global demand and widespread production. Though the Soviet industry standard was a five-piece set standing six inches tall, independent artists today create various regional styles, shapes, and sizes. Beyond their physical form, these dolls serve as a design paradigm known as the “matryoshka principle,” a nesting metaphor used in everything from apparel layering to describing complex corporate shell companies.

Lot: 1342 - (5) Piece Green Matryoshka Dolls

(5) Piece Green Matryoshka Dolls. Flower, leaf, and dot designs with the woman's face at top, and the smallest wooden piece being green with just the tiny face.  Size: 2 x 2 x 3 1/2 in.  Matryoshka dolls, also known as nesting or stacking dolls, are traditional sets of wooden figures of decreasing sizes placed one inside another. The first Russian set was crafted in 1890 by Vasily Zvyozdochkin from a design by folk painter Sergey Malyutin at the Children’s Education Workshop. While the outer layer traditionally depicts a woman in a Russian sarafan dress, modern sets feature diverse themes ranging from Soviet leaders to pop culture characters. The dolls gained international fame after winning a bronze medal at the 1900 Paris Exposition Universelle, sparking global demand and widespread production. Though the Soviet industry standard was a five-piece set standing six inches tall, independent artists today create various regional styles, shapes, and sizes. Beyond their physical form, these dolls serve as a design paradigm known as the “matryoshka principle,” a nesting metaphor used in everything from apparel layering to describing complex corporate shell companies.

Lot: 1343 - (5) Piece Blue Matryoshka Dolls

(5) Piece Blue Matryoshka Dolls. Birds, fruit, and flower designs on each with the woman's face at top, and the smallest wooden piece being solid blue.  Size: 2 1/4 x 2 1/4 x 4 in.  Matryoshka dolls, also known as nesting or stacking dolls, are traditional sets of wooden figures of decreasing sizes placed one inside another. The first Russian set was crafted in 1890 by Vasily Zvyozdochkin from a design by folk painter Sergey Malyutin at the Children’s Education Workshop. While the outer layer traditionally depicts a woman in a Russian sarafan dress, modern sets feature diverse themes ranging from Soviet leaders to pop culture characters. The dolls gained international fame after winning a bronze medal at the 1900 Paris Exposition Universelle, sparking global demand and widespread production. Though the Soviet industry standard was a five-piece set standing six inches tall, independent artists today create various regional styles, shapes, and sizes. Beyond their physical form, these dolls serve as a design paradigm known as the “matryoshka principle,” a nesting metaphor used in everything from apparel layering to describing complex corporate shell companies.

Lot: 1344 - Vintage Russian Brass Samovar

Vintage Russian Brass Samovar. Vintage brass samovar with an intricately engraved, bulbous body featuring a prominent pouring spigot and a tall, decorative chimney extension. Size: 8 x 6 1/4 x 12 in.

Lot: 1345 - Vintage Russian Brass Samovar

Vintage Russian Brass Samovar. Vintage brass samovar, a traditional heated metal container used to boil water for tea, featuring an ornate urn-shaped body with an integrated tap and a matching teapot resting on its base. Size: 6 1/2 x 7 x 9 in.   A Russian samovar is a traditional metal urn used to heat and serve water for tea, deeply embedded in Russian culture as a symbol of hospitality and social gathering. Originating in the 18th century, especially associated with the city of Tula, samovars were historically crafted from brass, copper, or silver and featured a central tube where charcoal was burned to keep the water hot. Families would gather around the samovar to share tea, often brewed strong in a small teapot and diluted with hot water from the urn, creating a communal ritual that emphasized conversation and connection. Over time, electric samovars have replaced charcoal-fired versions, but the object remains an enduring cultural icon, frequently depicted in Russian art and literature as a symbol of warmth, tradition, and domestic life.

Lot: 1346 - Antique Russian Copper and Brass Samovar As Table Lamp

Antique Russian Copper and Brass Samovar As Table Lamp. This eye-catching piece shows Regency Period, Egyptian Revival, and even Muslim influences, and has been repurposed into a lamp with two bulbs and shade above, with the twist switch on the bottom brace between the legs.  Condition: Working.  Size: 19 x 19 x 30 in.

Lot: 1347 - (2) Matching French Limoges Style Floral Porcelain Vases as Lamps

(2) Matching French Limoges Style Floral Porcelain Vases as Lamps. Identical decorations on each with many floral shapes throughout and gilt accents. Matching brass bases, harps, and finials as well.  Condition: We cannot guarantee the working condition of any lighting devices.  Overall Size: 6 1/4 x 6 1/4 x 32 3/4 in. 

Lot: 1348 - Pair of 1940s Frederick Cooper Polychromed Chinoiserie Guan Yin Figural Table Lamps

Pair of 1940s Frederick Cooper Polychromed Chinoiserie Guan Yin Figural Table Lamps. The speckled and intentionally distressed mirrored deity figures stand on identical wood bases, with matching harps and finials.  Condition: Working.  Size: 7 1/4 x 6 1/2 x 48 in.  Frederick Cooper Lamp Company was founded in Chicago, Illinois in 1923 by Frederick Cooper, a metalwork artist who began creating lamps and lighting fixtures as part of his art practice. They rapidly became a popular lighting manufacturer known for their high-quality and innovative sculptural designs mixing brass, porcelain, crystal, and other materials, regarded as “illuminated art” due to their Hollywood Regency, Chinoiserie, and Art Deco aesthetics. Today, the company continues to produce new works as a member of Wildwood Brands, and their older works are highly sought by collectors around the globe. 

Lot: 1349 - (2) Vintage Ornate Brass Candlesticks with Hurricane Glass Shades

(2) Vintage Ornate Brass Candlesticks with Hurricane Glass Shades. Pair of ornate, antique-style brass candlesticks featuring intricately embossed pedestals with classical faces and tall, tiered stems topped by clear glass hurricane shades. Size: 9 x 33 3/4 in.

Lot: 1350 - Mid-Century Modern Gerald Thurston Accordion Wall Lamp

Mid-Century Modern Gerald Thurston Accordion Wall Lamp. Mid-century modern scissor-arm wall lamp featuring a white conical shade with a handle and an adjustable, extendable brass accordion mechanism. Size: 17 x 15 x 10 in.    Gerald Thurston was a mid-20th-century American industrial designer best known for his sleek, modern lighting designs that helped define the look of postwar interiors. Working primarily for Lightolier from the 1950s through the 1960s, he created elegant lamps and fixtures characterized by clean lines, sculptural forms, and a strong influence from the emerging Mid-Century Modern movement. His designs often combined materials like brass, walnut, and enameled metal, balancing functionality with refined aesthetics. Today, Thurston’s work is highly sought after by collectors and design enthusiasts for its timeless appeal and its role in shaping modern American home décor.

Lot: 1351 - Antique Milk Glass Bowl and Brass Chains Hanging Light

Antique Milk Glass Bowl and Brass Chains Hanging Light.  Condition: We cannot guarantee the working condition of any lighting piece.  Size: 11 1/4 x 21 1/2 in. 

Lot: 1352 - Whimsical Creative Assemblage 6-Light Aluminum Chandelier With Decorative Shades

Whimsical Creative Assemblage 6-Light Aluminum Chandelier With Decorative Shades. Whimsical, eclectic chandelier featuring a wire-wrapped cage frame adorned with colorful beaded swags, jewel-accented lampshades, and a variety of suspended "found objects" like glass jars and silverware. Size: 27 x 27 x 31 Inches

Lot: 1353 - Antique Art Nouvea Table Lamp with Slag Glass Shade

Antique Art Nouvea Table Lamp with Slag Glass Shade. Antique slag glass table lamp featuring a domed, cream-colored marbled glass shade secured by an ornate bronze-finished filigree frame with floral motifs, all supported by a matching fluted pedestal base. Size: 20 x 20 x 24 1/2 in. 

Lot: 1355 - Pair of Italian Capodimonte Style Porcelain Amazons Sculptural Lamp Bases

Pair of Italian Capodimonte Style Porcelain Amazons Sculptural Lamp Bases. Mirrored female figures holding bows ready to attack, with a hole in the back of the base where the lamp column would ascend from. Marked on the undersides.  Condition: Signs of repair and some loss of paint.  Size: 8 1/2 x 8 1/2 x 18 1/2 in. 

Lot: 1356 - Antique Bronze Dante Alighieri Bust on Marble Base

Antique Bronze Dante Alighieri Bust on Marble Base. The name is split into two parts across the upper chest.  Condition: Gaping hole in head and small holes below, a common feature in reproductions of the original death mask cast made in the 19th Century. Size: 12 x 6 1/2 x 10 in.  Dante Alighieri (1265-1321) was an Italian poet, writer, and philosopher from Florence, widely regarded as the father of the Italian language. Best known for his Divine Comedy (1320), Dante wrote in the vernacular at a time when Latin dominated literature, helping standardize Italian and influence European literature, theater, and art. His works, inspired in part by his unrequited love for Beatrice, introduced the terza rima rhyme scheme and explored themes of Hell, Purgatory, and Heaven. Condemned to exile by the Pope, he spent his final years in Ravenna, where he preserved his literary legacy, later championed by Petrarch and Boccaccio as part of the tre corone of Italian literature.

Lot: 1357 - Michael Garman (1938-2021) American, Bronze Figural sculpture "Another Mission"

  Size: 13 1/2 x 6 x 5 1/2 in.   Michael Garman (1938–2021) was an American sculptor celebrated for his expressive bronze figures and public monuments that combined classical craftsmanship with emotional realism. Born in Philadelphia, Garman studied at the Pennsylvania Academy of the Fine Arts and later developed a distinguished career creating portrait busts, commemorative sculptures, and figurative works installed in public and private collections across the United States. His subjects ranged from historical figures and civic leaders to intimate studies of the human form, often marked by strong modeling, dynamic movement, and attention to character. In addition to his studio practice, Garman was an influential teacher and mentor, helping shape generations of sculptors through his commitment to traditional techniques and observational drawing. His work remains recognized for bridging academic sculpture traditions with contemporary public art.

Lot: 1358 - Ron Tunison (1946-2013) American, Bronze Sculpture of Legendary Golfer Bobby Jones

Ron Tunison (1946-2013) American, Bronze Sculpture of Legendary Golfer Bobby Jones. As if pre-destined to spend his life in the field of art and the study of American Military history, Ron Tunison set out in pursuit of these interests as early as fifth grade with drawings of Davy Crockett at the Alamo and Pickett’s Charge at the Battle of Gettysburg, both of which are proudly displayed today in his working studio. In every aspect of his life he has not wavered from his historical interests. He has established himself as an expert in his field of art with four bronze monuments on the Gettysburg, PA battlefield, one on the Antietam, MD battlefield and one at the entrance to the Museum of the Civil War Soldier at Pamplin Park near Petersburg, VA. Size: 5 1/2 x 9 1/2 in.

Lot: 1359 - Brutalist Sculpture of Dancers in the Style of Giacometti

Brutalist Sculpture of Dancers in the Style of Giacometti. Signed and dated. Size: 5 1/2 x 9 x 30 3/4 in. 

Lot: 1360 - (3) Vintage Italian Simoncini Studio Bronze Sculptural Figures

(3) Vintage Italian Simoncini Studio Bronze Sculptural Figures. Includes one Greek figure with a trident and two horse-drawn chariot figures with spears and a working wheel on the back half, one smaller than the other with a greener patina. Smallest piece has a Simoncini label on the underside.  Size: 9 1/2 x 4 x 6 1/2 in.  In 1966 the Simoncini Studio was established in Volterra, Italy by Nello Simoncini, a direct descendant of the famous Renaissance sculptor Franceso Simoncini. Specializing in bronze and brass casting, as well as for using the lost-wax technique, they first produced reproductions of ancient works, expanding into original abstract pieces and even sculptural furniture under Marcello Simoncini, who took over in the 1980s. Together with his own son, Paolo, they developed an international market by contributing to major trade fairs and art shows, and continue to be represented by numerous companies and galleries throughout the United States and Europe. 

Lot: 1361 - (48) Silk Neck Ties by Various Manufacturers

(48) Silk Neck Ties by Various Manufacturers. Lot comprised of two boxes toxether contianing forty-eight silk neck ties from various outlets and producted by various manufacturers, in a variety of colors and patterns. Average Tie Length: 4 x 57 in.

Lot: 1362 - Persian Isfahan Asymmetrical Field Silk Rug

Persian Isfahan Asymmetrical Field Wool Rug. A rarer variant of the beloved Isfahans, where the striking floral patterns and curvilinear interlaced lines are not mirrored on both sides but instead form a garden theme with an off-center medallion and expanding bulb forms beneath.  Size: 42 x 66 in.  The Iranian city of Isfahan has been a major center for Persian rug production, creating finely knotted rugs on silk or cotton foundations with high knot counts and premium kork wool piles, usually clipped low. Early designs drew on the city’s architectural motifs and tilework, but over time rug patterns were inspired by Persian poets like Rumi, Hafez, and Attar, as well as nature and spiritual themes. Traditional designs such as Shah Abbas, Vase, Tree of Life, and Pictorial schemes remain popular, often featuring a central medallion surrounded by intricate vine, palmette, and floral motifs. Antique Isfahan rugs are highly prized, especially since production halted for nearly 200 years after the Afghan invasion of 1722. Some rugs became known in Europe as “Polish” or “Polonaise” rugs due to trade routes through Poland, where nobles commissioned pieces with their coats of arms. Production revived in the 20th Century, and Isfahani rugs are now distinguished by their diverse patterns compared to the more uniform works of specific tribal groups.

Lot: 1362A - Persian Wool Isfahan Tree of Life Figural Rug

Size: 41 x 65 Inches. This is a highly refined wool Persian pictorial city rug—likely from the world-renowned workshops of Isfahan—featuring an intricate, curvilinear Tree of Life design filled with delicately rendered birds and stylized forest animals. Woven with an exceptionally high knot density using premium fine wool with detailed highlights, its fluid drawing, rich cream field, and detailed dark navy borders elevate it from a standard floor covering into a collectible work of woven art.

Lot: 1362B - Persian Blue Tribal Bokhara Medallion Area Rug.

Size: 72 x 48 Inches Persian Blue Tribal Bokhara Medallion Area Rug. The geometric Bokhara design is deeply rooted in the artistic traditions of nomadic Turkmen tribes who historically lived and wove along the northeastern borders of Iran. Within the carpet world, these pieces are highly prized by Persian collectors as Persian Turkomans, offering a striking tribal contrast to the traditional, floral city designs of the region.

Lot: 1362C - 20th-Century Persian Wool Qom Rug

Size: 3 1/2 x 23 1/2 Inches Woven in the holy city of Qom (Qum) in central Iran, these rugs represent a relatively young but immensely prestigious chapter in Persian weaving history, with production beginning only around the 1930s. Despite their lack of an ancient lineage, Qom rugs achieved rapid global significance by shifting the focus of Persian weaving from traditional tribal motifs to unparalleled technical precision and artistic luxury. Geographically positioned as a major spiritual and cultural hub, the region’s master weavers drew inspiration from classical Safavid designs across Iran, refining them into a distinct signature characterized by extraordinarily high knot densities, the lavish use of premium Kork wool and pure silk, and sharp, vibrant color palettes.

Lot: 1362D - Nain Persian Silk Double Medallion Rug

Size: 29 1/2 x 21 Inches This Nain Persian rug features a classic cream and navy blue colorway. The design showcases twin circular medallions surrounded by intricate, scrolling floral motifs. While it resembles a Qum rug due to its high detail, the specific palette and use of silk strictly as an accent outline around the wool flowers confirm its Nain origin rather than a pure silk Qum composition. It represents a highly sought-after, collectible piece from the Isfahan province of Iran.

Lot: 1362E - Persian Wool Hebatlu Design of an Abadeh Rug

Size: 41 x 24 1/2 Inches Persian Wool Hebatlu Design of an Abadeh Rug. This hand-knotted Persian wool rug showcases the distinct visual markers of an Abadeh workshop weaving, rather than a Hamadan origin. It features the iconic "Hebatlu" design, a highly structured arrangement characterized by a central hexagonal rosette medallion that opens into an expansive ivory field packed with hundreds of tiny, stylized geometric tribal motifs, small trees, and multi-colored rosettes. Framed by striking terracotta-red corner arches and crisp, multi-layered guard borders showcasing a serrated leaf-and-ribbon path, the piece beautifully balances a vibrant color palette of deep navy, madder red, and cream. The tight, dense knotting over a strong cotton foundation lends this piece the firm, flat surface and robust structural durability for which the market town of Abadeh is highly celebrated.

Lot: 1363 - Persian Wool on Cotton Rug

Persian Wool on Cotton Rug. An all-over floral pattern in center in black and tan, with a much lighter border.  Size: 108 x 71 1/2 In. 

Lot: 1364 - Large Afghan Kazak Oriental Wool Rug from Rugs As Art

Large Afghan Kazak Oriental Wool Rug from Rugs As Art. Triple diamond medallions in the center field, with multiple geometric patterns around them in the red field as well as in the cream-backed border. Label on back from Rugs As Art in Sarasota and Port Charlotte, Florida.  Size: 98 x 70 In.  Kazak rugs are not from Kazakhstan but rather come from the Caucasus region overall, particularly among tribes that modern day Afghans, 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. Kazak rugs are often given additional names like Karachopf, Fachralo, Bordjalou, Erevan, or Echmiadzin, each named for the district or city they are most associated with and each with their own distinctive motifs. 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 around the region. 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: 1365 - Afghan Oriental Akcha Hand Knotted Wool Rug

Afghan Oriental Akcha Hand Knotted Wool Rug. Black, white, and red fill out the rug, with crosshatch patterns in the border and floral and repeating circle motifs in the center field.  Condition: Some signs of sun damage on one side.  Size: 29 x 46 in.  Akcha rugs are so named for a particular type of wool found in the mountainous northwestern part of Afghanistan. Tribes who live within the shadows of the Himalayan Mountain Range gather natural dyes from the high plateaus and hand-spin the rugs with intricate geometric designs, often including six or more small diamonds in the center field. Their dominant colors include red and cream, which come both from the wool and from particular plants that survive at high elevations, although in the 20th Century the rugs gained international fame for their luxuriousness and rarity, and many mountain weavers have begun to incorporate greens, blues, and other hues from local tribes further in the interior of the landlocked country to meet these new tastes.

Lot: 1366 - Afghan Kazak Oriental Wool Rug from Rugs As Art

Afghan Kazak Oriental Wool Rug from Rugs As Art. Large central diamond medallion with two smaller flower medallions on either side in the center field, with multiple geometric patterns around them in the red field as well as in the cream and blue-backed border. Label on back from Rugs As Art in Sarasota and Port Charlotte, Florida.  Size: 47 1/2 x 32 In.  Kazak rugs are not from Kazakhstan but rather come from the Caucasus region overall, particularly among tribes that modern day Afghans, 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. Kazak rugs are often given additional names like Karachopf, Fachralo, Bordjalou, Erevan, or Echmiadzin, each named for the district or city they are most associated with and each with their own distinctive motifs. 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 around the region. 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: 1367 - Antique Turkish Ghiordes Wool Prayer Rug

Antique Turkish Ghiordes Wool Prayer Rug. Classic form, with tan and rust tones in the floral borders and a rich deep blue tone dominating the field beneath the mihrab. The large size of this rug makes it ideal both for prayer and for decoration, and would likely remain in one place in a home for daily devotions rather than being carried.  Condition: Apparent wear within the blue field.  Size: 72 x 48 in.  Anatolian rugs, also known as Turkish carpets, are knotted, pile-woven textiles produced in Asia Minor (generally the area once considered the Ottoman Empire) for everything from home use to religious purposes. These rugs are distinguished by the use of symmetrical "Ghiordes" knots and traditional materials like hand-spun wool, cotton, and natural dyes. The diverse designs reflect a complex history of Central Asian migration, Byzantine influence, and the arrival of Islamic art, creating patterns unique to the region's cultural pluralism. Historically prized in Europe, these carpets were frequently featured in Renaissance paintings as symbols of prestige and luxury during the height of Ottoman trade. While the earliest surviving examples date to the 13th century, the craft continues to be celebrated today through both ornate silk-piled rugs and flat-woven styles like kilims.

Lot: 1368 - A Vintage Two Grey Hills Navajo Rug

A Vintage Two Grey Hills Navajo Rug. Size: 42 1/2 x 74 in.

Lot: 1369 - Large Natural Spotted Bicolor Cowhide Rug

Large Natural Spotted Bicolor Cowhide Rugl. Lrge black and white spotted cowhide rug measuring 103 inches in length. Size: 103 1/4 x 82 Inches

Lot: 1370 - Beige Natural Cowhide Area Rug

Beige Natural Cowhide Area Rug. Large, light beige cowhide rug measuring 96 inches in length. Size: 96 x 87 Inches

Lot: 1371 - 19th Century Swiss Cylinder Music Box with Eight Songs "Bells in Vue"

19th Century Swiss Cylinder Music Box with Eight Songs "Bells in Vue". Antique cylinder music box housed in a wooden case with an open lid that displays a handwritten list of available songs titled "Bells in sight." The internal mechanism features a metal cylinder and comb alongside three decorative bells struck by small, insect-shaped hammers to provide accompaniment. Levers to enable and disable bells, play single song or repeat, and enable or disable cylinder shift. Condition: Some scratches bo wooden casing, commensurate with age. Cylinder pins restored by original manufacturer, aprox. 1970s. All mechanisms in working order. Size: 18 x 12 x 9 in.

Lot: 1372 - Antique Victor Talking Machine Company Oak Victrola VV-210 Console Phonograph

Antique Victor Talking Machine Company Oak Victrola VV-210 Console Phonograph. The VV-210 was a popular "low boy" console model produced between 1921 and 1925 to revive sales, featuring a mechanical, non-electronic design powered by a wind-up motor that is intended for playing 78 RPM records. The cabinet includes a record storage compartment on the left with several records inside, and a speaker chamber on the right. Labels throughout.  Size: 27 x 20 x 34 1/4 In.  The Victor Talking Machine Company, founded in 1901 by Eldridge R. Johnson and Emile Berliner (inventor of the flat-disc gramaphone), was an American pioneer in sound recording and phonograph manufacturing. Famous for its “His Master’s Voice” trademark featuring the dog Nipper, it revolutionized home entertainment with its iconic, cabinet-housed “Victrola” record players, first introduced in 1906 and designed to look like a piece of fine furniture when closed, rather than a piece of machinery. The company operated until 1929 when they were bought out by the Radio Corporation of America, subsequently becoming known as the RCA Victor division, with their immense catalog of recordings ultimately acquired by Sony Music Entertainment. 

Lot: 1373 - Vintage Metal Gramophone Horn

Vintage Metal Gramophone Horn. Vintage, weathered metal gramophone horn featuring a fluted, conical design with a distressed reddish-brown patina and a scalloped edge. Size: 22 x 22 x 21 1/2 in. The gramophone was one of the first machines capable of recording and reproducing sound, developed in the late 19th century and popularized by inventors like Emile Berliner. Unlike earlier devices, it used flat discs rather than cylinders, which made duplication easier and helped launch the modern music industry. Sound was captured through vibrations etched into the disc and then played back via a needle and horn, producing audible music without electricity in early models. Gramophones became a central form of home entertainment before being gradually replaced by newer technologies like radio and digital audio.

Lot: 1374 - Johnson A-Model Mandolin MA-100

Johnson A-Model Mandolin. Johnson A-style mandolin featuring a classic sunburst finish, dual f-holes, a black pickguard, and an ornate chrome tailpiece. Size: 27 x 10 1/4 x 3 in.   Johnson A-model mandolins, produced by Johnson, are widely regarded as accessible, entry-level instruments modeled after the classic teardrop-shaped designs popularized in early American folk and bluegrass. Typically featuring a simple carved or pressed spruce top with maple back and sides, these mandolins prioritize affordability and playability over high-end tonal complexity. Their straightforward construction and warm, mellow sound make them especially suitable for beginners or casual players exploring traditional styles. While they lack the refinement and projection of premium instruments, Johnson A-models offer solid value and a reliable introduction to mandolin playing without a significant financial commitment.

Lot: 1375 - Albert Helm (1901-1979) German, Oil on Panel Painting of an Elegant Couple with a Red Umbrella

Albert Helm (1901-1979) German, Oil on Panel Painting of an Elegant Couple with a Red Umbrella. Signed and dated 1944 upper left. Up until the beginning of World War II, Helm was a professor of Arts and Crafts Masterschool at Breslaw/Schlesien. Overall SIze: 28 1/2 x 23 in. Sight Size: 21 1/2 x 16 in.

Lot: 1376 - Ferdynand Bryll (1863-1922) Polish, Oil Painting of a Nude Resting

Ferdynand Bryll (1863-1922) Polish, Oil Painting of a Nude Resting. Signed. Ferdynand Bryll, painter, portraitist, conservator and illustrator, was born in 1863 in Kraków. During the period 1876–1884 he studied at the Kraków School of Fine Arts. In the course of his studies, in 1882, at the request of Jan Matejko, he assisted Henryk Rodakowski during his work on the frieze in the parliamentary chamber in Lviv. Even before his studies, he learned towards portrait painting at the studio of Andrzej Grabowski, which opened in Kraków in 1855. The period of education at Grabowski’s studio strongly influenced the creative work of Bryll, who mainly painted portraits as a mature artist. During the period 1884–1903, he regularly showcased his portraits at exhibitions at the Kraków Society of Friends of Fine Arts. Portraits by Bryll can also be found at the National Museum in Kraków in Czapski’s collection, in the Historical Museum of the City of Kraków and the Museum of Art in Łódź. Overall Size: 16 1/2 x 12 1/2 x 2 1/2 in. Sight Size: 8 1/2 x 7 in.

Lot: 1377 - Tadeusz Waskowski (1883-1960) Polish, Oil of Nude

Tadeusz Waskowski (1883-1960) Polish, Oil of Nude. Signed on a label verso. A painter and draftsman from Kraków. He grew up in a family devoted to the arts—one that cultivated friendships with the most prominent artists of Kraków at the time, particularly StanisÅ‚aw WyspiaÅ„ski, who personally oversaw young Tadeusz’s artistic education. His association with WyspiaÅ„ski provided him with access to Kraków’s theatrical milieu—an experience later reflected in his portrait drawings of the most distinguished figures of the local stage. In 1905, WaÅ›kowski enrolled at the Academy of Fine Arts in Kraków, studying under Józef Mehoffer. During this period, he received numerous awards and distinctions for his work. Concurrently, he began working with young people as a drawing instructor. Pedagogy became the artist’s second passion—one to which he remained dedicated for the rest of his life. WaÅ›kowski’s artistic output was dominated by portraits executed in a realist style, rendered with an economy of means through simple lines or brushstrokes. In 1925, at the "Masks" exhibition, he presented a series of caricatural portrait studies—characterized by their profound psychological insight—which met with critical acclaim. Both before and after World War II, WaÅ›kowski participated in numerous exhibitions held in cities such as Kraków, Warsaw, PoznaÅ„, Lviv, Łódź, Pittsburgh, and Prague. Overall Size: 18 1/2 x 14 1/2 x 2 1/4 Inches Sight Size: 12 x 7 1/2 Inches

Lot: 1378 - A. H. Newhall (20th Century) American, Oil on Canvas Impressionist Landscape

A. H. Newhall (20th Century) American, Oil on Canvas Impressionist Landscape. Landscape painting a rocky, tree-lined foreground looking out toward a distant white cottage and rolling autumn hills, rendered with soft, rhythmic brushwork and a muted seasonal palette. Signed lower left. Framed. Overall Size: 20 1/2 x 25 in. Sight Size: 17 1/2 x 21 1/2 in.

Lot: 1379 - Vintage Ethiopian School Colored African Narrative Folk Art

Vintage Ethiopian School Colored African Folk Art. Traditional Ethiopian narrative painting featuring sixteen framed panels with Ge'ez script that depict a sequential story through stylized figures and bold, primary colors. Overall Size: 16 1/4 x 20 in. Sight Size: 14 3/4 x 19 in.

Lot: 1380 - Signed Oil on Canvas Expressionist Crashing Wave Seascape

Signed Oil on Canvas Expressionist Crashing Wave Seascape. Expressive oil painting captures a powerful white wave crashing against dark, jagged rocks under a moody, overcast sky, presented in a multi-layered gold and cream frame. Signed lower right. Titled "Waves at Point", lower left. Framed. Overall Size: 11 x 14 1/2 in.  Sight Size: 5 x 8 3/4 in. 

Lot: 1381 - Signed Italian Mixed Media Impressionist Scene "Feast of St. Anthony"

Italian Mixed Media Impressionist Scene "Feast of St. Anthony". Impressionistic mixed media painting depicting a vibrant religious procession or festival scene in a sun-drenched coastal town, characterized by a central ornate float and a dense crowd rendered in soft blues, whites, and yellows. Signed lower left. Framed. Overall Size: 22 1/2 x 28 1/2 in.  Sight Size: 17 1/4 x 23 1/4 in. 

Lot: 1382 - J. D. Clark (19th Century) British, Important Orientalist Oil on Canvas Atmospheric Nocturnal Desert Landscape

J. D. Clark (19th Century) British, Important Orientalist Oil on Canvas Atmospheric Nocturnal Desert Landscape. An atmospheric nocturnal desert landscape depicting a camel caravan arriving at a domed citadel under a crescent moon. Signed lower right. Label verso. Framed. Original frame and lining. Label verso. Overall Size: 25 x 33 in.  Sight Size: 19 1/4 x 27 1/4 in. 

Lot: 1383 - Peter Tyutrin (20th Century) Russian, Oil on Canvas Impressionist Genre Scene

Peter Tyutrin (20th Century) Russian, Oil on Canvas Impressionist Genre Scene. A nostalgic, impressionistic scene of three children playing with paper boats in a muddy road beneath a prominent rainbow and a dark, atmospheric sky. Initialed lower left. Information in Cyrillic verso. Framed. Overall Size: 24 x 24 1/2 in.  Sight Size: 13 1/4 x 14 1/2 in.    Peter Tyutrin (born 20th century; exact dates not widely documented) is a Russian painter recognized for his atmospheric landscapes and genre scenes that draw on the traditions of classical Russian realism. His work often features serene rural settings, seasonal changes, and quiet moments of everyday life, rendered with careful attention to light, texture, and mood. Influenced by the legacy of 19th- and early 20th-century Russian masters, Tyutrin’s paintings emphasize harmony between people and nature, combining technical precision with a lyrical, contemplative quality. Though not extensively chronicled in mainstream art historical literature, his works have circulated through galleries and private collections, contributing to the continued appreciation of traditional Russian painting styles.

Lot: 1384 - Louis Orr (1879-1961) American, Etching Print Landscape "Le Pont Neuf, Vu de L'Ecluse de la Monnaie (The Pont Neuf, View of the Monnaie Lock)"

Louis Orr (1879-1961) American, Etching Print Landscape "Le Pont Neuf, Vu de L'Ecluse de la Monnaie (The Pont Neuf, View of the Monnaie. Etching titled "Le Pont Neuf" capturing a dramatic, atmospheric view of the historic Parisian bridge and the Seine river with intricate architectural detail and deep tonal contrast. Matted and framed. Overall Size: 28 x 32 in.  Sight Size: 20 x 24 in.    Louis Orr (1879–1961) was an American artist best known for his finely detailed etchings that document historic architecture, particularly in the American South and Europe. Born in Hartford, Connecticut, Orr studied at the Art Students League of New York before settling for a time in Asheville, North Carolina, where he produced a celebrated series of etchings depicting landmarks of Western North Carolina, including the Biltmore Estate. His work is characterized by precise draftsmanship, rich tonal variation, and a deep appreciation for architectural form and heritage. Orr later traveled extensively in Europe, especially France, creating etchings of cathedrals and historic buildings that further established his reputation as a master of architectural printmaking.

Lot: 1385 - After William-Adolphe Bouguereau (1825-1905) French, Oil on Canvas Genre Scene "Harvest of Hazelnuts"

After William-Adolphe Bouguereau (1825-1905) French, Oil on Canvas Genre Scene "Harvest of Hazelnuts". Traditional genre painting depicting two young barefoot girls' fruit in a wooded setting, featuring a 19th-century Academic or Romantic style similar to the works of William-Adolphe Bouguereau. Overall Size: 45 x 34 in.  Sight Size: 39 x 27 1/2 in.    William-Adolphe Bouguereau (1825-1905) was a leading French painter of the Academic tradition, renowned for his highly polished, realistic technique and idealized depictions of the human figure. Trained at the École des Beaux-Arts in Paris and a winner of the prestigious Prix de Rome, Bouguereau became one of the most celebrated artists of his time, producing mythological, religious, and genre scenes characterized by smooth brushwork, luminous skin tones, and meticulous attention to detail. His works often portrayed classical subjects, peasant life, and sentimental themes with technical precision and refined composition. Although his reputation declined in the early 20th century with the rise of modernism, Bouguereau has since been reappraised and is now admired for his craftsmanship and influence on academic painting.

Lot: 1386 - Judith Daner (20th Century) American, Enamel on Copper Folk Art Plaque

Judith Daner (20th Century) American, Enamel on Copper Folk Art Plaque. Folk art enamel-on-copper or ceramic tile painting depicting a stylized, faceless couple in traditional 18th-century style attire holding hands, framed by a decorative arch and an intricate border of red and orange tulips. Signed JD lower right. Framed. Overall Size: 13 3/8 x 17 3/8 in.  Sight Size: 11 1/8 x 15 1/8 in. 

Lot: 1387 - Rene Robles (1950-2010) Filipino, Watercolor on Paper Coastal Scene

Rene Robles (1950-2010) Filipino, Watercolor on Paper Coastal Scene. A serene, atmospheric coastal landscape featuring a lone, dark sailboat anchored in a calm inlet under a soft, clouded sky. Signed lower right. Dated 1987. Framed. Overall Size: 9 1/2 x 11 3/4 in. Sight Size: 4 1/2 x 6 1/2 in.   Rene Robles (1950=2010) was a prominent Filipino modernist artist, born Lucena City, Philippines) known for his prolific career spanning portraiture, still lifes, landscapes, and abstraction, and for founding the art movement “Assertionism,” which emphasizes art as a force that asserts meaning, freedom, and human dignity. Trained at the University of Santo Tomas and later in New York at institutions like the Art Students League, he developed a distinctive style marked by bold color, dynamic composition, and the transformation of everyday objects into thought-provoking images. Over several decades, Robles exhibited internationally across Asia, Europe, and the United States, earning recognition as one of the few Filipino artists to achieve global success, and his work often explored philosophical questions about the role of the artist and the power of art to transform perception.

Lot: 1387A - Andrew Melrose (1836-1901) American, "Castle Garden, New York" Chromolithograph

Andrew Melrose (1836-1901) American, "Castle Garden, New York" Chromolithograph. This early 20th Century print, based on the original image made in 1887, depicts a Romantic, Realist, panoramic landscape illustrating a bustling scene at New York City's Castle Garden in the Battery, featuring figures strolling along a verdant harbor front as various sailing vessels and steamships navigate the water toward the distant Statue of Liberty. Signature lower left. Title lower right. Framed and under glass.  Condition: Small foxing across the sky, tears in the paper along edges throughout.  Overall Size: 30 1/2 x 44 in.  Sight Size: 21 1/2 x 35 1/2 in.  Andrew W. Melrose (1836-1901) was a 19th Century landscape painter known for his romantic and panoramic depictions of the American countryside. Born in Scotland in 1836, he immigrated to the United States around 1856 and eventually settled in New Jersey, where he developed a successful career painting scenes of the Hudson River Valley, New York Harbor, the Appalachian Mountains, and other natural landscapes. Melrose exhibited regularly at the National Academy of Design and became admired for his luminous skies, atmospheric perspective, and detailed portrayals of nature influenced by the Hudson River School tradition. His work often combined realism with dramatic scenic effects, reflecting both technical skill and a deep appreciation for the American landscape. He died in 1901, leaving works that remain in museum and private collections across the United States.

Lot: 1388 - 19th Century Oil on Canvas Traditional Portraiture of a Woman

19th Century Oil on Canvas Traditional Portraiture of a Woman. Antique oil portrait of an older woman with dark hair and a lace collar, set within a dark wooden frame with a gold inner border. Framed. Overall Size: 23 1/4 x 18 1/2 in. Sight Size: 19 1/4 x 14 in.

Lot: 1389 - Judaica Wedding Art and Verse in English and Hebrew

Judaica Wedding Art and Verse in English and Hebrew. Judaica artwork featuring a central woodcut-style illustration above a Hebrew and English rendition of the verse "I am my beloved's and my beloved is mine," followed by a spiritual quote attributed to the Baal Shem Tov. Overall Size: 20 x 15 in. Sight Size: 13 x 8 in.

Lot: 1390 - Vintage Czech Folk Art Wizard Marionette Puppet

Vintage Czech Folk Art Wizard Marionette Puppet. This particular piece, often called a "Traveler" or the traditional folklore character "Krakonoš,"  features a wooden body and legs with the head and arms made from sculpting paste or cast plaster. Hand-painted details on the expressive face and rugged burlap-style robes and felt hat bring the fairytale being to life. It is operated from above using a specialized cruciform rocker, wires, and strings to control movement.  Size: 45 x 7 in. 

Lot: 1391 - (2) Vintage Hand Made Dolls - Traditional Female Figure in Rustic Dress, Dentist

(2) Vintage Hand Made Dolls - Traditional Female Figure in Rustic Dress, Dentist. Two vintage cloth dolls, one depicting a woman in traditional Middle Eastern or Bedouin attire with a red dress and patterned vest, and the other a man in a tan coat and checkered trousers holding a cup. Largest Size: 4 1/2 x 3 x 10 in.   

Lot: 1392 - Italian Ceramiche Il Quadrifoglio Ceramic Wall Art Mask of Bacchus

Italian Ceramiche Il Quadrifoglio Ceramic Wall Art Mask of Bacchus Mask of Bacchus. Decorative ceramic wall plaque from Caltagirone, Sicily, featuring a hand-painted, high-relief face of a woman crowned with lush clusters of yellow and purple grapes and green vine leaves. Sticker from Ceramiche Il Quadrifoglio on back. Size: 13 1/2 x 13 x 2 in.    Ceramiche Il Quadrifoglio is an Italian ceramics producer known for its handcrafted decorative pottery and tableware that reflect traditional Mediterranean design sensibilities. Based in Italy, the company emphasizes artisanal techniques, vibrant glazes, and rustic motifs such as florals, fruits, and geometric patterns, often inspired by regional folk art. Its pieces—ranging from serving dishes to ornamental tiles—are appreciated for their blend of functionality and decorative charm, embodying the warmth and craftsmanship associated with Italian ceramic traditions.

Lot: 1393 - Italian Apolito Ceramiche Ceramic Mask Wall Art of Aeolus

Italian Ceramic Mask Wall Art of Aeolus. Ceramic wall sculpture of the wind god Aeolus, featuring a cherubic face with puffed cheeks surrounded by an elaborate explosion of flowing, cream and ochre-ribboned hair accented with colorful autumn leaves. Marked Apolito, Italy. Size: 11 1/2 x 9 1/2 x 4 in.    Apolito Ceramiche is an Italian ceramics manufacturer known for producing decorative and functional pottery that reflects traditional southern Italian craftsmanship. Likely based in the Campania region—an area with a long history of ceramic production—the company creates hand-finished pieces such as tableware, vases, and ornamental items characterized by vibrant glazes, classical motifs, and Mediterranean influences. Apolito Ceramiche’s work often blends rustic charm with refined detailing, making it popular among collectors and buyers seeking authentic Italian artisanal ceramics.

Lot: 1394 - Italian Apolito Ceramiche Ceramic Wall Art Mask of Medusa

Italian Ceramic Wall Art Mask of Medusa. Ceramic wall mask depicting Medusa, featuring a pale, expressive face with wide, bloodshot eyes and an open mouth, all framed by a mass of swirling brown hair entwined with several vivid green and yellow serpents. Marked Apolito, Italy on reverse. Size: 10 x 11 x  5 in.    Apolito Ceramiche is an Italian ceramics manufacturer known for producing decorative and functional pottery that reflects traditional southern Italian craftsmanship. Likely based in the Campania region—an area with a long history of ceramic production—the company creates hand-finished pieces such as tableware, vases, and ornamental items characterized by vibrant glazes, classical motifs, and Mediterranean influences. Apolito Ceramiche’s work often blends rustic charm with refined detailing, making it popular among collectors and buyers seeking authentic Italian artisanal ceramics.

Lot: 1395 - Italian Apolito Ceramiche Ceramic Wall Art Mask of Jester

Playful ceramic wall mask depicting a jester with a tongue-out expression, framed by tight brown curls and a vibrant, multi-pointed cap adorned with colorful bells and baubles. Marked Apolito Italy on reverse. Size: 13 3/4 x 12 x 5 in.    Apolito Ceramiche is an Italian ceramics manufacturer known for producing decorative and functional pottery that reflects traditional southern Italian craftsmanship. Likely based in the Campania region—an area with a long history of ceramic production—the company creates hand-finished pieces such as tableware, vases, and ornamental items characterized by vibrant glazes, classical motifs, and Mediterranean influences. Apolito Ceramiche’s work often blends rustic charm with refined detailing, making it popular among collectors and buyers seeking authentic Italian artisanal ceramics.

Lot: 1396 - Italian Handcrafted Ceramic Wall Art Mask of Bacchus

Italian Handcrafted Ceramic Wall Art Mask of Bacchus. Sicilian ceramic wall plaque from Caltagirone featuring a serene, white-glazed face crowned with a vibrant arrangement of hand-sculpted green leaves, yellow lemons, and delicate white citrus blossoms. Written Lav a Mano on reverse. Size: 10 x 9 x 2 in. 

Lot: 1397 - Italian Apolito Ceramiche Ceramic wall Art Mask of Jester

Italian Apolito Ceramiche Ceramic wall Art Mask of Jester. Vibrant ceramic wall mask depicting a jester with a serene white-glazed face, framed by corkscrew curls and a multi-colored cap featuring luxurious gold-toned bells and intricate gilded accents. Marked Apolito Italy on reverse. Size: 11 x 10 x 5 1/4 in.    Apolito Ceramiche is an Italian ceramics manufacturer known for producing decorative and functional pottery that reflects traditional southern Italian craftsmanship. Likely based in the Campania region—an area with a long history of ceramic production—the company creates hand-finished pieces such as tableware, vases, and ornamental items characterized by vibrant glazes, classical motifs, and Mediterranean influences. Apolito Ceramiche’s work often blends rustic charm with refined detailing, making it popular among collectors and buyers seeking authentic Italian artisanal ceramics.

Lot: 1398 - (3) Piece Capodimonte Style Porcelain Floral Centerpiece Sculpture

(3) Piece Capodimonte Style Porcelain Floral Centerpiece Sculpture. Comprised of a basket full of green leaves and white tulips and two moon-shaped green leaf accompaniments that are covered with the same white tulip forms. Marked "Hand-Painted Made Italy" on the underside of all three.  Condition: Minor breaks and loss to color.  Size: 11 x 8 x 8 1/2 in.  Capodimonte porcelain (also known as Capo di Monte) is porcelain created by the Capodimonte porcelain manufactory (Real Fabbrica di Capodimonte), which operated in Naples, Italy beginning in 1743 when the newly arrived Bourbon King Charles VII of Naples and his wife Queen Maria Amalia of Saxony founded the factory in the grounds of the Palace of Capodimonte. The queen’s grandfather, Augustus II the Strong, had founded the Meissen porcelain factory which led European porcelain, and they recruited the Flemish chemist Livio Ottavio Schepers and the painter Giovanni Caselli to start producing soft-paste, with the Florentine sculptor Giuseppe Gricci joining as chief modeller. In 1759 the entire factory was moved to Madrid, becoming the Real Fábrica del Buen Retiro after Charles inherited the Spanish throne from his brother, but despite its short-lived period in Naples the reputation was so great that the name is often claimed and used for porcelain made in other factories in or around Naples to this day. A new royal factory was established by Charles’ son Ferdinand I of the Two Sicilies, which manufactured from 1771 until 1806 and was known for Neoclassical subjects and styles with their figures in unglazed biscuit porcelain, officially called the Naples Royal Porcelain Manufactory. Their work was discontinued when Napoleon invaded the Kingdom of Naples, but these names and imitations of the original figures and forms have also been in continuous use since the early 19th Century, with local factories piggybacking off their success for a wide variety of wares in a great range of quality. 

Lot: 1399 - Vintage Italian Capodimonte Porcelain Flower Basket

Vintage Italian Capodimonte Porcelain Flower Basket. Vintage Italian Capodimonte porcelain sculpture featuring an intricately detailed woven basket bursting with vibrant yellow and orange flowers, possibly forsythia. Marked on bottom, Made in Italy. Size: 11 1/2 x 6 x 9 in.    Capodimonte porcelain is a renowned style of Italian porcelain first developed in Naples during the 18th century under the patronage of King Charles VII of Bourbon. Produced at the Royal Factory of Capodimonte, the porcelain became famous for its delicate craftsmanship, intricate floral decorations, and finely modeled figurines inspired by Rococo art. Authentic early Capodimonte pieces were marked with a fleur-de-lis symbol and are now highly valued by collectors and museums. In the 19th and 20th centuries, many workshops revived the Capodimonte style, creating ornate lamps, vases, and sculptural pieces that continued the tradition of elaborate hand-painted detail and lifelike design.

Lot: 1400 - (11) Vintage Persian Minakari Enameled Metal and Porcelain Pieces

(11) Vintage Persian Minakari Enameled Metal Pieces. All pieces elaborately hand-decorated in geometric and floral patterns. Includes 1 oval metal serving tray, 1 metal vase, 6 small metal coffee cups, and 3 porcelain pipes of varying sizes.  Tray Size: 4 1/4 x 9 3/4 in.  Minakari or Meenakari is the process of painting and coloring the surfaces of metals and ceramic tiles through enameling, originating in the Safavid Iran Dynasty. Minakari art usually involves intricate designs (mainly using geometric shapes and designs), and is applied as a decorative feature to serving dishes, containers, vases, frames, display ornaments, and jewelry. The art form has remained virtually unchanged for hundreds of years and is now commercially produced mainly in Iran, India, Afghanistan, and Pakistan. 

Lot: 1401 - Antique Chinoiserie Cast Iron Tortoise Tea Light or Incense Burner

Antique Chinoiserie Cast Iron Tortoise Tea Light or Incense Burner. A form developed in the Victorian period, with a flat bottom bearing geometric decorations at the base of the large shell, which is full of hexagonal holes to allow light or the incense smoke to escape through. They were also sometimes repurposed as string dispensers, as indicated by the aged piece found inside this one. A round opening on the bottom unscrews to allow the light, string, or incense to be inserted and removed.  Size: 6 x 4 x 3 in. 

Lot: 1402 - Vintage Cast Iron Frog Tea Light or Incense Burner - AS IS

Vintage Cast Iron Frog Tea Light or Incense Burner - AS IS. An intricately perforated body would allow the incense smoke or light to escape, with a hanger affixed to the back of the amphibian to allow it to be hung up high.  Condition: Bottom is missing.  Size: 5 x 8 1/2 x 7 in. 

Lot: 1403 - Vintage Achaemenid Persian Lion Rhyton Cup Replica in Heavily Gilt Bronze

Vintage Achaemenid Persian Lion Rhyton Cup Replica in Heavily Gilt Bronze.  Condition: Some signs of repair, staining, and original patina.  Size: 5 x 2 3/4 x 4 1/2 in.  The Achaemenid Persian Lion Rhyton is a gold rhyton from the Achaemenid Empire, dated to about 500 BC. It is 6.7 inches high and made in solid gold, with the different parts joined together by soldering, done so skilfully as to leave no obvious marks. It was excavated in diggings sponsored by the Fletcher Fund in 1954 in southwest Persia and is now in the Metropolitan Museum of Art in New York City, United States. A rhyton is a roughly conical vessel for drinking or pouring out fluids in a ceremony which normally terminates in the shape of an animal’s head or horns, a form common in the Near East and Ancient Greece, and this particular piece has become symbolic of the skill, craftsmanship, and rapid advancements made by mankind during the Bronze Age, both in artistry and in their tools.

Lot: 1404 - French Louis XVI Style Pineapple Form Gilt Bronze Newel Post Staircase Finial

French Louis XVI Style Pineapple Form Gilt Bronze Newel Post Staircase Finial. Screw inside for attaching to a post as a decorative cap.  Size: 6 x 3 x 3 in. 

Lot: 1405 - Art Nouveau Brass Candleholder

Art Nouveau Brass Candleholder. A set of open leaf petals in the center of the column are the highlight of this simple, short holder, best suited for a smaller candle due to its size.  Size: 3 x 3 x 4 in. 

Lot: 1406 - Antique Art Nouveau Brass Lady Letter Holder

Antique Art Nouveau Brass Lady Letter Holder. A beautiful female form with arms outstretched forms the main body of both sides of this piece, with a taller central piece to create two separate storage spaces. Stunning craftsmanship from the early 20th Century.  Size: 7 1/2 x 5 1/2 x 7 1/4 in. 

Lot: 1407 - Antique Arts & Crafts Oak and Copper Letter Holder

Antique Arts & Crafts Oak and Copper Letter Holder. The large domed shape has a central thin metal piece which can be removed to make a larger space in the main area instead of two separate ones.  Size: 10 x 4 3/4 x 7 1/2 in. 

Lot: 1408 - Antique Art Nouveau Copper Inkwell with Iron Pot

Antique Art Nouveau Copper Inkwell with Iron Pot.  Size: 9 1/2 x 6 x 2 in. 

Lot: 1409 - (2) Vintage Parker 75 Sterling Silver Vermeil Fountain Pens With 14k Gold Nibs

(2) Vintage Parker 75 Sterling Silver Vermeil Fountain Pens With 14k Gold Nibs. Pair of vintage Parker 75 sterling silver ciselé pens featuring the classic crosshatch grid pattern and gold-toned pocket clips. Length: 5 in. Parker Pen Company is a long-established name in fine writing instruments, founded in 1888 and known for combining classic design with reliable performance. Parker pens are often recognized for their sleek silhouettes, durable construction, and smooth ink flow, with popular lines ranging from everyday ballpoints to more premium fountain pens finished in lacquer, stainless steel, or gold accents. The brand emphasizes precision engineering and timeless style, making its pens a popular choice for both professional use and gifting. If you’re considering one, a Parker pen typically offers a balanced writing feel and a sense of understated refinement without being overly flashy.

Lot: 1410 - Vintage French Longwy Jugendstil Ceramic Tile and Wood Square Trivet

Vintage French Longwy Jugendstil Ceramic Tile and Wood Square Trivet. A repeating geometric pattern crosses diagonally over the blue background, with a lovingly rendered vine and flower component weaving under and over it on the opposite diagonal. Numbered "29" by hand in red ink and stamped "128" in black ink on the underside. Jugendstil (Youth Style) was the German and Austrian Art Nouveau movement (roughly 1895-1910) that revolutionized design by rejecting historicism for organic, flowing lines, natural forms, and "whiplash" curves. It was popularized by Die Jugend magazine, uniting fine arts with functional handicrafts (Gesamtkunstwerk) in architecture, design, and graphic arts.  Size: 10 1/2 x 10 1/2 x 2 1/4 in.  The French town of Longwy, in the region of Lorraine near the Belgian border, is home to a unique tradition of laying enameled colors on top of ceramic vessels in the style of Asian porcelain that began in the mid 1700s. In 1798 Charles Régnier of the Boch family founded a faïencerie in an abandoned convent, initially producing tablewares that quickly gained national fame thanks to a visit from Emperor Napoleon I, who ordered sets for the Imperial Houses of the Legion of Honour. The beautiful saturated enamels became internationally beloved for their blue shades, from royal to turquoise with a now-characteristic color known specifically as “bleu de Longwy,” and after being acquired by the d’Huart family in 1835 they began to experiment with an enamel technique of applying a white, opaque glaze that allowed them to carve designs in relief on the surface of a vessel, imitating cloisonné compartments separated by metal. Their Orientalist works in the 1870s and the bold, innovative Art Deco works in the 1910s and 20s brought them even greater fame, but war and civil unrest led the factory to fall into disuse from the 40s until the late 1990s, when a handful of descendants of the original artisans revived the business and continue to help it thrive today under the umbrella of the Emblem Group.

Lot: 1411 - Vintage Catalan Hand-Made Ceramic Mortar and Pestle

Vintage Catalan Hand-Made Ceramic Mortar and Pestle. Produced in the 1940s with a classic heraldic fleur-de-lis shield motif.  Size: 6 x 6 x 4 in.  A mortar and pestle is an ancient, two-part kitchen or apothecary tool used for grinding, crushing, and pulverizing herbs, spices, and ingredients into fine powders or pastes. The mortar is a durable bowl, while the pestle is a heavy club-shaped tool. It excels over electric grinders by releasing essential oils through grinding rather than chopping, enhancing flavor in recipes like pesto, guacamole, and curry pastes, and is still used today in kitchens and laboratories when the process gives better results if done by humans rather than machines.

Lot: 1412 - Black Marble Mortar and Pestle

Black Marble Mortar and Pestle.  Size: 4 x 4 x 4 in. 

Lot: 1413 - Brass Mortar and Pestle - AS IS

Brass Mortar and Pestle - AS IS.  Condition: Many dents and nicks particularly on the pestle from use.  Size: (together) 5 1/2 x 5 1/2 x 10 1/2 in. 

Lot: 1414 - Vintage Schering Pharmaceutical Commemorative Brass Mortar and Pestle

Vintage Schering Pharmaceutical Commemorative Brass Mortar and Pestle. This special mortar form was developed to celebrate the earliest American pharmacy, known as the Andrew Craigle Apothecary established in 1752 (the date on one side below measuring scales). On the other size is the Rx symbol, with the words "First American Pharmacy" above and "Secundum Artem" below on both sides. The word "Coricidin," an over-the-counter drug, is etched into the pestle. The word "Schering" with their company logo on the underside.  Size: 4 1/2 x 4 1/2 x 4 in.  A mortar and pestle is an ancient, two-part kitchen or apothecary tool used for grinding, crushing, and pulverizing herbs, spices, and ingredients into fine powders or pastes. The mortar is a durable bowl, while the pestle is a heavy club-shaped tool. It excels over electric grinders by releasing essential oils through grinding rather than chopping, enhancing flavor in recipes like pesto, guacamole, and curry pastes, and is still used today in kitchens and laboratories when the process gives better results if done by humans rather than machines.

Lot: 1415 - Vintage Large Copper Pot with Iron Handle - AS IS

Vintage Large Copper Pot with Iron Handle - AS IS. Deep and wide with a round mouth and rounded bottom, this hand-hammered piece has a classic look and style.  Condition: Large dent and thin hole in bottom of pot, with patina on exterior and scratches throughout.  Size: 16 x 14 1/2 x 11 1/2 in. 

Lot: 1416 - Vintage Stainless Steel Ice Bucket from the SS United States Navy Vessel

Vintage Stainless Steel Ice Bucket from the SS United States Navy Vessel. Vintage brushed stainless steel or silver-tone ice bucket featuring dual ring handles and a centered United States Navy crest. Marked on base, Hanson, Japan. Size: 9 1/2 x 8 x 8 3/4 in. 

Lot: 1417 - (7) Vintage Copper Serveware Items

(7) Vintage Copper Serveware Items. Includes 2 tea kettles of different sizes, 1 tall coffee pot, 1 four-tiered food storage unit, 1 tankard jug, and 2 handled serving dishes, one of which is monogrammed "K.N. II." Most of the pieces have some decoration or a mark on the underside, with signs of use.  Size: 7 x 4 1/2 x 12 1/4 in. 

Lot: 1418 - Micro Matic D System Model Party Pump Keg Tap

Micro Matic D System Model Party Pump Keg Tap. To tap a keg (after keeping it in ice for 2 to 4 hours for optimal temperature, which is crucial for the tap to work in the first place), ensure the coupler handle is up (off), align it with the keg valve, twist clockwise 90 degrees to lock, and push the handle down until it clicks. Only pump 4 to 5 times initially, then only when the beer flow slows to avoid excess foam. It it vitally important to close the CO2 gas line before removing the tap, to prevent a rapid pressure shift and possible injury or mess, and if coupler is stuck use only a dead blow hammer to tap gently against it to loosen, nothing harder.  Size: 11 1/2 x 31 x 2 in.  Micro Matic was founded in 1953 in Sanderumvej, Denmark as a small blacksmith shop, but a chance encounter with a brewmaster a few years later led to an abrupt shift in focus, and by the 1970s they were a worldwide supplier of beverage dispensing solutions, known for keg couplers, extractor tubes, and other innovative designs. Their acquisition by C.C. and Svend-Aage Nielsen in 1974 expanded their market significantly, and in the 1980s their purchase of Draft Systems Inc. led them to become the top distributor in the United States. Since becoming a private entity in 2000 they have produced over 100 million extractor tubes, and continue to take over more and more of the market share thanks to a shift into using new materials instead of simple metals.

Lot: 1419 - (4) Antique American Metal Milk Jugs - AS IS

(4) Antique American Metal Milk Jugs - AS IS. Likely made of steel, aluminum, or tin, with a protective layer of white paint on three of them that are all showing signs of age. The last one has a rusty dark green patina but identical shape.  Size: 13 x 13 x 27 1/2 in. 

Lot: 1420 - 19th Century British School Oil on Canvas Rural Landscape

19th Century British School Oil on Canvas Rural Landscape.  Pastoral scene featuring a thatched-roof cottage with prominent brick chimneys nestled beside a winding dirt path, with a distant windmill visible against a soft, expansive sky. Unsigned. Framed. Overall Size: 15 1/2 x 9 3/4 in. Sight Size: 12 1/4 x 6 3/4 in.

Lot: 1421 - Antique Continental Oil on Canvas Genre Scene of Scholar Reading

Antique Continental Oil on Canvas Genere Scene of Scholar Reading.  Character study depicting an elderly gentleman in a skullcap peering over his spectacles while holding an open newspaper, seated beside a leaded glass window in a dimly lit interior. Unsigned. Framed. Overall Size: 14 3/4 x 11 3/4 in. Sight Size: 9 3/4 x 7 1/2 in.

Lot: 1422 - Signed Chitty (20th Century) European, Oil on Canvas Rustic European Landscape

Signed Chitty (20th Century) European, Oil on Canvas Rustine European Landscape.  Rustic European countryside scene featuring a weathered wooden and stone farm building with an external staircase overlooking a tranquil body of water. Signed "Chitty, Paris" lower right. Framed. Overall Size: 14 1/2 x 12 1/2 in. Sight Size: 11 x 9 in.

Lot: 1423 - Sleetia Kelsey (1947-2023) American, Oil on Canvas Urban Landscape

Sleetia Kelsey (1947-2024) American, Oil on Canvas Urban Landscape.  A moody, narrow urban alleyway at twilight, characterized by deep, shadowed tones and a reflective puddle mirroring the pale blue sky. Signed verso. Framed. Overall Size: 16 x 22 in. Sight Size: 12 3/4 x 18 in.   Sleetia Kelsey (1943-2023) was a Jacksonville-based artist whose creative life spanned multiple mediums, including painting, spinning, and knitting, reflecting both technical skill and a deep appreciation for craft traditions. Born in 1947, she developed her artistic voice through nature-inspired landscapes and wildlife imagery before transitioning into portrait work and eventually operating her own studio. Her art was closely tied to her personal values—she frequently created handmade garments for family and charitable causes and remained active in her local arts community as both a volunteer and mentor. Beyond her artistic practice, she was deeply involved in community and church life, using her creative talents in service-oriented ways.

Lot: 1424 - Eugen Osswald (1879-1960) German, "Hirsch" Horse Portrait Oil on Canvas

Eugen Osswald (1879-1960) German, "Hirsch" Horse Portrait Oil on Canvas. Image of a beautiful white Arabian horse's head, wearing a brown bridle. Signed and dated bottom left, partially obscured by the ornate frame. Signature and somewhat decipherable writing in pencil on the back of the protective board cover, along with the title.  Overall Size: 24 1/2 x 19 1/2 in.  Sight Size: 18 1/4 x 13 3/4 in.  Eugen Osswald was born on January 22nd, 1879 in Stuttgart, Germany into a family of builders, and his original goal was to become a stonemason before taking an apprenticeship at 18 to be a draftsman under Heinrich Deichsel. However, after completing his military service in the Kaiser Friedrich Infantry Regiment No. 125, he enrolled at the Munich Academy of Fine Arts, and began a distinguished career as an animal painter and illustrator, working primarily in oils and especially known for his images of horses. After a period in Bern and Basel, during which he studied with Angelo Jank and Heinrich von Zügel, he moved to Paris in 1906 before embarking on a journey through the Middle East and Eastern Europe traveling with large circuses, using their animals for his most famous studies. His work rapidly developed an Impressionist style while in France, with his broad brushstrokes and focus on emotive faces were captured on hundreds of paintings of foxes, capercaillies, roebucks, deer in their natural habitat, horse races in Riem, sheep, washerwomen in Cairo, and Russian children. After returning to serve in the Regiment in World War I he settled in Munich, frequently exhibiting his works at the Glass Palace and fulfilling countless commissions, but he produced little during the Nazi years and the 1950s, dying in relative obscurity on February 17th, 1960. 

Lot: 1425 - Eugen Osswald (1879-1960) German, 1928 Horse Portrait Oil on Canvas

Eugen Osswald (1879-1960) German, Horse Portrait Oil on Canvas. Image of a chocolate brown horse's head in profile, wearing a brown bridle. Signed and dated 1928 bottom left, partially obscured by the ornate frame. Signature in pencil on the back of the protective board cover.  Overall Size: 24 1/2 x 19 1/2 in.  Sight Size: 18 1/4 x 13 1/4 in.  Eugen Osswald was born on January 22nd, 1879 in Stuttgart, Germany into a family of builders, and his original goal was to become a stonemason before taking an apprenticeship at 18 to be a draftsman under Heinrich Deichsel. However, after completing his military service in the Kaiser Friedrich Infantry Regiment No. 125, he enrolled at the Munich Academy of Fine Arts, and began a distinguished career as an animal painter and illustrator, working primarily in oils and especially known for his images of horses. After a period in Bern and Basel, during which he studied with Angelo Jank and Heinrich von Zügel, he moved to Paris in 1906 before embarking on a journey through the Middle East and Eastern Europe traveling with large circuses, using their animals for his most famous studies. His work rapidly developed an Impressionist style while in France, with his broad brushstrokes and focus on emotive faces were captured on hundreds of paintings of foxes, capercaillies, roebucks, deer in their natural habitat, horse races in Riem, sheep, washerwomen in Cairo, and Russian children. After returning to serve in the Regiment in World War I he settled in Munich, frequently exhibiting his works at the Glass Palace and fulfilling countless commissions, but he produced little during the Nazi years and the 1950s, dying in relative obscurity on February 17th, 1960. 

Lot: 1426 - Framed Signed "Dachshund" Etching Lithograph by Michael Gnatek Jr. (1932-2006)

Framed Signed "Dachshund" Etching Lithograph by Michael Gnatek Jr. (1932-2006). Black and white with stark lines brings the long hair puppy to life. Signed lower right in pencil bottom right. Titled in pencil bottom middle. Numbered 33/250 in pencil bottom left. Known for his historical portraits of military figures, Native Americans, and Western Icons, he also produced a series of fine art etchings of various dog breeds earlier in his career.   Overall Size: 13 3/4 x 11 1/2 in.  Sight Size: 6 1/2 x 4 1/2 in. 

Lot: 1427 - Signed Williams Oil on Canvas Portrait of a Woman

Signed Williams Oil on Canvas Portrait of a Woman. Portrait of a woman in profile wearing a colorful orange headpiece with a green ribbon and a patterned yellow and red garment. Signed lower left. Framed. Overall Size: 24 1/2 x 20 in.  Sight Size: 19 1/4 x 15 1/4 in. 

Lot: 1428 - Peter Paul Rubens (1577-1640) Flemish, Print Reproduction "Portrait of a Child"

Peter Paul Rubens (1577-1640) Flemish, Print Reproduction "Portrait of a Child". Print of a pencil sketch of a young child, possibly Rubens' son Nicolaas. Signed lower right. Framed.  Overall Size: 18 x 16 1/4 in.  Sight Size: 15 x 13 in.  Frame Thickness: 1 1/4 in.    Peter Paul Rubens (1577-1640) was a Flemish Baroque painter renowned for his exuberant, dynamic compositions, vibrant color palette, and masterful depiction of the human form. Born in Siegen, in what is now Germany, Rubens spent much of his career in Antwerp, where he ran a large workshop producing altarpieces, mythological scenes, portraits, and historical paintings for European courts and churches. Influenced by Italian Renaissance masters such as Michelangelo and Titian, he combined dramatic movement with rich sensuality, creating works that epitomize the grandeur and theatricality of the Baroque era. Beyond painting, Rubens was also a diplomat and scholar, whose influence extended across Europe, leaving a lasting legacy on generations of artists and the development of Western art.

Lot: 1429 - Signed Oil on Canvas Reclining Nude

Signed Oil on Canvas Reclining Nude. expressive, gestural oil painting of a reclining nude figure resting on a bed of vibrant red and yellow fabrics against a muted blue and grey background. Signed verso. Framed. Overall Size: 9 1/2 x 25 1/2 in. Sight Size: 19 1/2 x 23 1/ 2in.

Lot: 1430 - (2) Signed Brown Oil on Canvas Impressionist Seascapes

(2) Signed Brown Oil on Canvas Impressionist Seascapes. Two framed impressionistic oil paintings depicting turbulent ocean waves crashing against dark coastal rocks under a soft, hazy sky. Overall Size: 11 3/4 x 13 3/4 in. Sight Size: 7 1/2 x 9 1/2 in.

Lot: 1431 - Mixed Media Whimsical Abstract of Jungle Animals

Mixed Media Whimsical Abstract of Jungle Animals. Abstract, mixed-media artwork featuring whimsical black ink sketches of animals and figures layered over a warm, textured background of orange and yellow watercolor washes. Unsigned. Framed. Overall Size: 27 x 20 in. Sight Size: 19 1/2 x 14 1/2 in.

Lot: 1432 - R. S Riddick (20th Century) American, Etching Print Floral "Nighttime"

R. S Riddick (20th Century) American, Lithograph Print Floral "Nighttime". Limited edition etching depicting a delicate floral arrangement of white daisies and small orange buds in vases, presented in a distinctive burl wood frame with gold-toned corner accents. Signed lower right. Numbered 34/250 bottom middle. Titled lower left. Framed. Overall Size: 31 1/4 x 24 1/4 in. Sight Size: 24 3/4 x 17 3/4 in.

Lot: 1433 - C. G. Kunze (19th Century) German, Antique Engraving Print Map of Rheingau Region

C. G. Kunze (19th Century) German, Antique Engraving Print Map of Rheingau Region.  Mid-19th-century map providing a detailed bilingual overview of Germany's Rheingau region and its borders, specifically highlighting the route and stations of the Taunus Railway. Framed. Overall Size: 14 1/2 x 30 1/4 in. Sight Size: 9 1/2 x 13 31/4 in.

Lot: 1434 - Signed Oil on Canvas Impressionist Harbor Scene

Signed Oil on Canvas Impressionist Harbor Scene.  Impressionistic oil painting captures a vibrant harbor scene with several boats docked in deep blue water, presented in an ornate silver-toned frame. Signed illegibly lower left. CoA verso. Framed. Overall Size: 17 3/4 x 15 3/4 in. Sight Size: 9 1/4 x 7 1/4 in.

Lot: 1435 - Matthaeus Marian (1593-1659) German, 18th Century Engraving Print Map of Mainz

Matthaeus Marian (1593-1659) German, 18th Century Engraving Print Map of Mainz.  Monochrome antique map illustrating the fortified city of Mainz and its surrounding defensive structures along the Rhine River. Artist's information and care instructions verso, in German. Framed. Overall Size: 15 1/2 x 19 in. Sight Size: 11 x 14 in. Copper engraver; in 1624, he took over the art business of his father-in-law, de Bry, in Frankfurt am Main. He drew and engraved many of the 2,234 city views and maps for Zeiller's Topographien (1642–1688), the Theatrum Europaeum, and Gottfried's Chronicle—a masterpiece achieved during the Thirty Years' War. His son, Matthaeus Jr., was a collaborator and successor; his brother Caspar was also active in the firm.  

Lot: 1436 - 18th Century Miniature Hand-Colored Portrait Engraving of a Gentleman in Military Attire

18th Century Miniature Hand-Colored Portrait Engraving of a Gentleman in Military Attire. Miniature oval portrait of a gentleman in 18th-century military attire, set within a decorative golden mat and mounted on a velvet backing inside a dark wooden frame. Framed. Overall Size: 8 x 7 1/4 in. Sight Size: 2 1/2 x 2 in.

Lot: 1437 - Libby Hobson (20th Century) American, South Carolina Landscape Oil on Canvas

Libby Hobson (20th Century) American, South Carolina Landscape Oil on Canvas. Showcases the regional artist's self-taught style similar to the Florida Highwaymen, capturing the dream-like deep swamps and streams of a Southern forest, with moss dripping from a tree in the foreground and ferns sitting side-by-side with conifers. Signed bottom right. Two square holes in the back of the cardboard covering the canvas with gauze behind them indicate where the painting has likely been repaired at some point.  Overall Size: 26 x 30 in.  Sight Size: 19 1/2 x 23 1/2 in. 

Lot: 1438 - M. H. Betts (20th Century) American, Woodcut Print Architectural Landscape "San Carlos Mission, Calif"

M. H. Betts (20th Century) American, Woodcut Print Architectural Landscape "San Carlos Mission, Calif". Black-and-white print depicts the historic San Carlos Mission in California, featuring bold, expressive linework signed by the artist, M.H. Betts. Signed lower right. Titled lower left. Framed. Overall Size: 8 3/4 x 9 1/4 in. Sight Size: 4 1/4 x 5 1/4 in.

Lot: 1439 - Circa 1870s Bird's Eye View Photo From the United States Capital Dome in Washington, D.C.

Circa 1870s Bird's Eye View Photo From the United States Capital Dome in Washington, D.C. Under plastic inside an opening folder with a square display window. Writing inside reads "This is commercial matboard, we suggest rematting with archival ragboard before reframing." A stamp on the back indicates it came from the Krainik Gallery in Falls Church, Virginia. A large label affixed to the back gives the date, subject, and that it is an "albumen photograph, half-frame stereograph," as well as listing the address of Cliff and Michele Krainik at Graphic Antiquity Vintage Photographs.   Overall Size: 10 x 8 in.  Sight Size: 3 x 2 3/4 in. 

Lot: 1440 - After Francois Boucher (1703-1770) French, Neoclassical Mezzotint Engraving Print "The Rising of the Sun"

After Francois Boucher (1703-1770) French, Neoclassical Mezzotint Engraving Print "The Rising of the Sun". Limited-edition mezzotint by Ernest Stamp, titled "The Rising of the Sun," is an exquisite color-printed reproduction of François Boucher’s iconic mythological painting, published by The Museum Galleries in London. Engraved by Ernest Stamp. Museum label on back. Framed. Overall Size: 25 x 22 in. Sight Size: 17 x 13 1/2 in.   Francois Boucher (1703-1770)r was an influential 18th-century French painter and decorative artist, closely associated with the Rococo style, known for its playful elegance, soft colors, and sensual themes. Born in Paris in 1703, he became a favorite of the royal court, particularly under Louis XV, and worked extensively for Madame de Pompadour, producing portraits, mythological scenes, and pastoral landscapes. Boucher’s work often depicted idealized visions of love and leisure, drawing on classical mythology and everyday rural life, with paintings such as Diana Leaving the Bath and The Toilet of Venus exemplifying his ornate, decorative approach. Beyond painting, he also contributed to tapestry design, book illustration, and theater set design, making him one of the most versatile and commercially successful artists of his time.

Lot: 1441 - Original Framed Pencil Drawing of Cathedral Interior

Original Framed Pencil Drawing of Cathedral Interior. Showcases the Gothic stone architecture in exquisite detail. Unsigned, although a small set of monogrammed initials and the date 1902 can be seen at the bottom middle on a pew.  Overall Size: 21 1/2 x 26 1/4 in.  Sight Size: 9 1/2 x 13 1/2 in. 

Lot: 1442 - Ben Stahl (1910-1987) American, Signed 1970 Nude Figure Oil on Canvas Panel

Ben Stahl (1910-1987) American, Signed 1970 Nude Figure Oil on Canvas Panel. Depicts a dark-haired woman getting out of (or into) a skirt, her breasts exposed, surrounded by a dark background. Signed and dated lightly bottom left. Unframed.  Size: 30 1/2 x 16 in.  Benjamin Albert Stahl, born in Chicago on September 7th, 1910, was an artistic prodigy who began his career as an illustrator and later served as an official U.S. Air Force artist during World War II. After moving to Sarasota, Florida in 1953 he became a prominent figure in the local art colony and taught at various institutions, including the Art Institute of Chicago, New College of Florida, and the Art Students League of New York. Stahl gained widespread recognition for his elaborate illustrations in publications like The Saturday Evening Post and for his contributions to advertising and movie posters, including Ben-Hur. He was a founding faculty member of the Famous Artists School and appeared on Bob Ross’ television series The Joy of Painting, where Ross referred to him as “one of the best painters in the country.” Beyond his painting and teaching, Stahl authored two novels, “Blackbeard’s Ghost” (later a Disney film) and its sequel, “The Secret of Red Skull.” However, his legacy is tragically linked to the unsolved 1969 theft of fifteen enormous religious paintings from his self-funded Museum of the Cross, a financial blow from which he never recovered, and Stahl died on October 19th, 1987 having never learned what became of his magnum opus.

Lot: 1443 - Signed Italian Madonna "Mother of Sorrows" Oil on Hardboard Panel

Signed Italian Madonna "Mother of Sorrows" Oil on Hardboard Panel. The painting depicts the Mater Dolorosa (Mother of Sorrows), a common subject in religious art of the Virgin Mary expressing her grief during the Passion of Christ, indicated by the darker clothing, the downward sad expression, and the dimmed background. Signed indistinctly bottom right. On the back it is signed again, clearly, with further information: "Rebuscini Umberto, Milano, via Imbriani #31, via PIAVE #13 MELZO." This indicates it was either painted or sold in the Northern city in Italy, and the artist was likely a student influenced by very similar works created by Florentine Baroque painter Carlo Dolci (1616-1686).  Size: 13 1/2 x 8 3/4 in.  Our Lady of Sorrows (Latin: Beata Maria Virgo Perdolens), Our Lady of Dolours, Our Lady of the Agony, the Sorrowful Mother or Mother of Sorrows (Latin: Mater Dolorosa), and Our Lady of Piety, Our Lady of the Seven Sorrows or Our Lady of the Seven Dolours are names by which Mary, mother of Jesus, is referred to in relation to sorrows in life. As Mater Dolorosa, it is also a key subject for Marian art in the Catholic Church. The Seven Sorrows of Mary are a popular religious theme and a Catholic devotion, and in common imagery the Virgin Mary is portrayed in tears, with one or seven swords piercing her heart, iconography based on the prophecy of Simeon in Luke 2:34-35. Pious practices in reference to this title include the Rosary of the Seven Sorrows, the Seven Principal Dolors of the Blessed Virgin, the Novena in Honor of the Seven Sorrows of Mary, and the Via Matris. The feast of Our Lady of Sorrows is liturgically celebrated every September 15th, while a feast, the Friday of Sorrows, is observed in some Catholic countries.

Lot: 1444 - Antique Signed Oil on Canvas Impressionist Floral Still Life

Antique Signed Oil on Canvas Impressionist Floral Still Life. Moody, impressionistic oil painting featuring a cluster of red, pink, and cream roses rendered with thick, visible brushstrokes against a dark, tonal background and housed in an ornate, scalloped gold frame. Signed lower left. Framed. Overall Size: 17 1/4 x 20 1/4 in. Sight Size: 14 x 17 in.

Lot: 1445 - Madame Terliez-Loukianoff (20th Century) French, Black and White Etching Print "Sirene"

Madame Terliez-Loukianoff (20th Century) French, Black and White Etching Print "Sirene". Stylized, black-and-white etching of a mermaid, or "sirène," rendered with whimsical, fluid linework and dense cross-hatching to create a sense of texture and depth. Overall Size: 12 1/4 x 9 1/4 in. Sight Size: 5 x 5 1/4 in.

Lot: 1446 - Signed German Etching and Aquatint, Man Cooking Fish

Signed German Etching and Aquatint, Man Cooking Fish. original aquatint etching depicting a man kneeling over a fire to cook a string of fish. Titled "Original Radierung u. Aquatinta". Signed lower right. Unframed. Overall Size: 11 3/4 x 6 in.

Lot: 1447 - Jennifer Miller Broadus (20th/21st Century) American, Limited Edition Figural Print

Jennifer Miller Broadus (20th/21st Century) American, Limited Edition Figural Print. Depicting a hooded figure with an intense gaze, captured in charcoal-style shading as they write with a quill by the light of a candle. Signed lower right. Numbered 38/200. Framed. Overall Size: 17 1/2 x 13 1/4 in.  Sight Size: 9 3/4 x 7 1/2 in. 

Lot: 1449 - Signed Oil on Canvas Impressionist Floral Still LIfe

Signed Oil on Canvas Impressionist Floral Still LIfe. Depicting vibrant bouquet of pink roses and deep purple lilacs arranged in a dark blue pitcher, captured with thick, textured brushstrokes against a neutral, impasto background. Signed illegibly lower right. Framed. Overall Size: 21 3/4 x 17 1/2 in.  Sight Size: 19 x 15 1/4 in. 

Lot: 1450 - Signed Kleinsteuber (20th Centiury) American, Pastel on Paper Portrait of Native Amcieran

Signed Kleinsteuber (20th Centiury) American, Pastel on Paper Portrait of Native Amcieran. Pastel portrati of a Native American in traditional dress. Signed lower right. Dated 1975. Framed. Overall Size: 25 1/4 x 21 1/4 in.  Sight Size: 20 x 16 in. 

Lot: 1451 - Joro Petkov (Born 1960 in Bulgaria) Canadian, Oil on Canvas Impressionist Landscape "Valley Oaks II"

Joro Petkov (Born 1960 in Bulgaria) Canadian, Oil on Canvas Impressionist Landscape "Valley Oaks II". Impressionist landscape painting titled "Valley Oaks II", featuring autumn trees reflecting in a calm body of water within a silver-toned frame. Signed lower right. Information verso. Framed. Overall Size: 38 x 51 1/2 in. Sight Size: 33 1/2 x 47 in. Joro Petkov was born in 1960 in the small Bulgarian town of Tchiprovtzi, a town renowned for its distinguished legacy of many fine artists and unique carpet designs. As an young man of 14, Joro moved to Sophia, the nation’s capital. He attended the prestigious Ilia Petrov School of Fine Art until 1981, then continued his training at the Nicolai Pavloich Academy of Arts. His focus at the Pavlovich Academy was on printmaking, however he studied various techniques until his graduation in 1986. In 1987 Joro accepted a position as an art teacher at Petar Parchevich High School in Sophia. He taught until 1991 then resigned to focus on his career as an artist. Joro’s career has flourished since he moved to Canada in 1992. He paints landscapes predominantly but also creates some exciting abstract pieces as well. Not only does Joro have exceptional painting skills, his printing expertise sees service on a variety of etching editions. "Painting has always been an essential part of my being. I am fascinated and inspired by the forms and colors of nature. I work from a conventional observation of place but my landscapes are definitely reinvented realities. Both the abstract works and the landscapes explore the drama between the light and dark of the outside world and that within. My paintings are created employing a variety of classical techniques. My works on canvas are executed using mainly oil paints while my works on paper rely on a quicker drying acrylic paint. The colors I choose are blended extensively throughout the painting. With each piece being worked through a series of semi-transparent applications, instinct dictates how many applications I apply to each piece. Although my landscapes can be related to real spaces, a marked degree of imagination is required to adapt the image to suit my vision. Color selection and tonal values often play an important part in transferring the image to the canvas. My abstract works are fun, they give me the opportunity to interpret the things I see around me as colors and patterns as opposed to strict images. Each work implies a sense of freedom. The colors blend together in a balanced harmony which echoes that found within my landscapes."

Lot: 1452 - Robert Kipniss (1931-2025) American, Artist's Proof Lithograph Print Monochrome Interior Scene "The Other Room"

Robert Kipniss (1931-2025) American, Artist's Proof Lithograph Print Monochrome Interior Scene "The Other Room", muted interior scene featuring the back of a white chair positioned in front of a leafy potted plant, with a glimpse of a small house and trees visible through a nearby window. Signed lower right.  Overall Size: 22 x 17 in. Sight Size: 14 1/2 x 10 in.   Robert Kipniss (1931–2025) was an American painter and printmaker celebrated for his quiet, atmospheric landscapes and introspective imagery. Born in Brooklyn, New York, in 1931, Kipniss developed a distinctive style marked by muted colors, sparse compositions, and contemplative scenes of trees, fields, interiors, and shadowed architecture. Working in painting, lithography, mezzotint, and etching, he became known for conveying solitude and emotional stillness through subtle tonal harmonies and carefully balanced forms. His work was exhibited widely in museums and galleries across the United States and Europe, earning recognition for its poetic minimalism and meditative quality. Over a career spanning more than six decades, Kipniss established himself as a major figure in contemporary American realism and printmaking.

Lot: 1453 - Robert Kipniss (1931-2025) American, Limited Edition Lithograph Print "Souvenirs"

Robert Kipniss (1931-2025) American, Limited Edition Lithograph Print "Souvenirs". Botanical print featuring a soft-focused, monochromatic composition of layered leaves and various floral forms, including large dahlias and spherical buds, set within a classic gold-toned frame. Signed lower right. Numbered 6/150. Framed. Overall Size: 23 x 19 in. Sight Size: 14 1/2 x 11 in.   Robert Kipniss (1931–2025) was an American painter and printmaker celebrated for his quiet, atmospheric landscapes and introspective imagery. Born in Brooklyn, New York, in 1931, Kipniss developed a distinctive style marked by muted colors, sparse compositions, and contemplative scenes of trees, fields, interiors, and shadowed architecture. Working in painting, lithography, mezzotint, and etching, he became known for conveying solitude and emotional stillness through subtle tonal harmonies and carefully balanced forms. His work was exhibited widely in museums and galleries across the United States and Europe, earning recognition for its poetic minimalism and meditative quality. Over a career spanning more than six decades, Kipniss established himself as a major figure in contemporary American realism and printmaking.

Lot: 1454 - Traditional Mexican Huichol Yarn Art

Traditional Mexican Huichol Yarn Art. Titled "Spirit Line". Vibrant piece of Huichol yarn art featuring a split green and purple background populated by stylized figures, animals, and celestial symbols outlined in colorful yarn. framed. Overall Size: 32 x 48 in.   Huichol yarn art is a vibrant folk art tradition created by the Indigenous Wixárika (Huichol) people of western Mexico. Artists press brightly colored yarn into a surface coated with beeswax and resin, forming intricate designs that often depict sacred animals, deities, plants, and spiritual visions connected to Huichol cosmology. The patterns are rich in symbolism, with images such as deer, peyote, corn, and the sun representing harmony between humans, nature, and the spiritual world. Originally inspired by ceremonial art and shamanic experiences, Huichol yarn paintings became widely known in the 20th century and are now celebrated internationally for their dazzling color, detailed craftsmanship, and deep cultural meaning.

Lot: 1455 - J. Clinton Shepherd (1888-1975) American, Watercolor on Paper Tropical Landscape

J. Clinton Shepherd (1888-1975) American, Watercolor on Paper Tropical Landscape. Watercolor painting of a tropical landscape featuring palm trees and lush greenery by a body of water, housed in a wooden frame decorated with carved leaf patterns. Signed lower left. Framed. Overall Size: 28 x 29 in. Sight Size: 13 x 17 in.   J. Clinton Shepherd was an American artist best known for his Western-themed paintings, bronze sculptures, magazine illustrations, and murals. Born in Des Moines, Iowa, he studied at the Art Institute of Chicago and developed a lifelong fascination with the American West after spending time among the Crow people in his youth. During the 1920s and 1930s, Shepherd gained recognition as an illustrator for publications such as The Saturday Evening Post, Collier’s, and several Western pulp magazines. Later, he moved to Florida, where he taught art, directed the Norton Gallery School of Art in Palm Beach, and created murals inspired by the Everglades and Southern landscapes. His work combined realism, dramatic storytelling, and a deep appreciation for frontier life and Native American culture. (en.wikipedia.org)

Lot: 1456 - (3) R. E. Russel (20th Century) American, Sepia Photographs of the Chinese Foothills

(3) R. E. Russel (20th Century) American, Sepia Photographs of the Chinese Foothills. Lot comprised of three framed sepia-toned lithographs by R.C. Russell, each depicting ethereal mountain landscapes with figures and structures amidst mist and pine trees in a style reminiscent of traditional East Asian ink wash paintings. Signed lower right. Framed. Overall Size: 16 1/2 x 20 1/2 in. Sight Size: 11 3/4 x 18 1/2 in.

Lot: 1457 - Signed Inuit Folk Art Lithograph Print from Cape Dorset

Signed Inuit Folk Art Lithograph Print from Cape Dorset. Limited-edition lithograph print depicting a stylized figure in a parka seated beside a small fire, accompanied by syllabic text and an edition number in the lower margin. Signed lower left. Numbered 2/20 lower right. Framed. Overall Size: 16 x 21 in. Sight Size: 11 x 16 in.

Lot: 1458 - (3) Herb Fisher (20th Century) American, Hand Colored Architectural Lithograph Prints of Historic New Jersey Homes

(3) Herb Fisher (20th Century) American, Hand Colored Architectural Lithograph Prints of Historic New Jersey Homes. Lot comprised of three framed and matted architectural prints featuring historic New Jersey homesteads, rendered in an ink-and-watercolor sketch style. Signed in plate. Titled on matte. Framed. Overall Size: 16 x 12 1/2 in. Sight Size: 10 x 8 1/2 in.

Lot: 1459 - Chinese Rose Famille Qianjiangcai Porcelain Wooden Lidded Ginger Jar on Wood Base

Chinese Rose Famille Qianjiangcai Porcelain Wooden Lidded Ginger Jar on Wood Base. The large bulb shape is decorated on one side in the Qianjiangcai ("One Hundred Treasures") style, with various stacked objects, flowers, and fruit in delicate colors, and the other side bears five vertical inscriptions in kanji, describing the objects on the first side as well as giving philosophical bon mots.  Size: 15 x 9 x 9 in. 

Lot: 1460 - 20th Century Chinese Porcelain Flambe Urn and (2) Oxblood Vases

20th Century Chinese Porcelain Flambe Urn and (2) Oxblood Vases. Likely early 20th Century, none marked on the undersides. The vases are identical in form with a particularly restrained use of glaze, while the urn is extremely busy both inside and out.  Largest Size: 7 3/4 x 10 in.  The uncontrolled “flambe” glaze, as it’s known, has a mottled appearance which mimics flowing fire through high-temperature reduction firing, using the underlying oxblood hue to create swirling, pooling shades of crimson, purple, and lighter blues. The technique originated in ancient China (often referred to as “yao bian” or transmutation glazes) where potters manipulated the kiln’s atmosphere. Because the process required several coats of glaze to achieve the desired looks, many older pieces have survived due to their additional thickness and sturdiness, and scientists and historians continue to study the method to apply it to modern building materials and to learn about the society, economics, and environmental factors of China hundreds (even thousands) of years ago.  

Lot: 1461 - Chinese Blue and White Porcelain Ginger Jar

Chinese Blue and White Porcelain Ginger Jar. Chinese blue-and-white porcelain ginger jar featuring a classic "Prunus on Cracked Ice" pattern, depicting white plum blossoms against a vibrant, cobalt-blue ground with wash-painted lines to simulate thawing ice. Honorific Kangxi mark on base. Size: 9 x 9 x 9 in. 

Lot: 1462 - (2) Chinese Qing Dynasty "Double Happiness" Ginger Jars

(2) Chinese Qing Dynasty "Double Happiness" Ginger Jars. Pair of Chinese Qing Dynasty ginger jars features the underglaze blue "Double Happiness" calligraphy centered amidst a dense, scrolling sweet-pea vine motif, a design traditionally associated with 19th-century wedding celebrations. Size: 9 1/4 x 9 1/4 x 9 1/2 in. Chinese “double happiness” porcelain refers to decorative ceramics featuring the 囍 (shuāngxǐ) symbol, a traditional emblem of marital joy and good fortune widely used during weddings. Often produced in classic kilns such as those in Jingdezhen, these pieces typically display the character in bold red—associated with happiness and celebration—set against white or elaborately painted backgrounds with motifs like dragons and phoenixes that symbolize harmony between partners. Such porcelain items, including bowls, vases, and tea sets, are commonly given as wedding gifts or used in ceremonial settings, reflecting enduring cultural values of love, unity, and prosperity in Chinese society.

Lot: 1463 - Chinese Blue and White Hexagonal Vase

Chinese Blue and White Hexagonal Vase. Hexagonal blue and white porcelain vase decorated with traditional Asian floral and vine motifs in varying shades of cobalt. Four character mark on base. Size: 8 1/4 x 5 x 5 in.

Lot: 1464 - Antique Japanese Imari Porcelain Charger

Antique Japanese Imari Porcelain Charger.  Blue-and-white Japanese Arita porcelain dish, characteristic of the Imari style, features delicate hand-painted floral motifs and sweeping, stylized lotus-petal panels along the rim. Diameter: 8 1/4 in. Japanese Arita ware is a celebrated style of porcelain that originated in the town of Arita in the early 17th century, following the discovery of local kaolin clay essential for porcelain production. Known for its finely crafted forms and vibrant painted designs, Arita ware often features intricate motifs such as florals, landscapes, and geometric patterns, typically rendered in underglaze blue or later expanded to multicolored enamels. It played a significant role in Japan’s export economy during the Edo period, especially through trade with Europe via the Dutch East India Company, influencing Western ceramics like Delftware. Today, Arita ware remains highly valued for its blend of traditional craftsmanship and modern innovation, symbolizing both cultural heritage and artistic refinement.

Lot: 1465 - Early 20th Century Chinese Blue and White Porcelain Cricket Cage

Early 20th Century Chinese Blue and Whtie Porcelain Cricket Cage.  Blue-and-white porcelain cricket cage features a lobed, rectangular form decorated with scrolling peony vines and a pierced openwork lid designed for ventilation, topped by a small floral-form finial. Worn six-character mark on base. Size: 4 1/2 x 4 x 2 3/4 in. Chinese porcelain cricket cages are small, delicately crafted containers used to house singing crickets, a pastime that became especially popular among scholars and nobles during the Qing dynasty. Often made in renowned ceramic centers like Jingdezhen, these cages combine practicality with artistry, featuring fine glazing, painted motifs, and carefully designed Ö…Õ¤ openings to allow sound to carry while keeping the insect safe. Beyond their function, they were valued as collectible art objects, reflecting refined taste and an appreciation for nature, sound, and craftsmanship in Chinese culture.

Lot: 1466 - Chinese Qianlong Marked Metal and Enameled Porcelain Ewer - AS IS

Chinese Qianlong Marked Metal and Enameled Porcelain Ewer - AS IS. This beautiful form, elaborately adorned with pastoral European-inspired images on either side and capped with a polished cherry-red stone on the hinged lid, has been popular since the 18th Century, with many pieces produced in Canton for export and imperial use. It features intricate floral patterns and a light blue background, and the mark is prominent on the speckled underside.  Condition: Deformation of the foot, a twist to the handle, and clear signs of repair to damage on one of the scenes.  Size: 11 x 6 x 3 1/2 in.  “Ewer” is an older word for a pitcher or jug of any type, though it tended to be used specifically to refer to vase-shaped pitchers, often decorated, with a base and a flaring spout. The word is now uncommon in informal English descriptions of ordinary household vessels. However, it is still applied by some European manufacturers to differentiate when a pitcher has a much broader mouth as opposed to a smaller cleft.

Lot: 1467 - (6) Chinese Imari Edo Bowls and (1) Plate

(6) Chinese Imari Edo Bowls and (1) Plate. Six-piece set of Japanese porcelain tea bowls and a matching saucer, featuring an intricate Imari-style design with vibrant floral patterns in iron-red, blue, and gold enamels. Size: 7 3/4 x 7 3/4 in. 

Lot: 1468 - Edwin Cole, Pair of 19th Century Oil on Canvas English Landscape Paintings

Edwin Cole, Pair of 19th Century Oil on Canvas English Landscape Paintings. Circa 1900. Country scenes with cottages with thatched roofs. Both signed. Overall Size: 30 x 21 1/2 in.  Sight Size: 12 x 19 1/2 in.  Thickness: 3 in. 

Lot: 1469 - Aributed to William Shayer I (1787-1879) British, Oil on Canvas, "Fisherman's Family"

Aributed to William Shayer I (1787-1879) British, Oil on Canvas, "Fisherman's Family". William Shayer (1787–1879) was an English landscape painter and figure painter who became prominent during the Victorian era. Overall Size: 21 1/2 x 21 1/2 in. Sight Size: 15 1/2 x 15 1/2 in.

Lot: 1470 - Very Large Vintage Impressionist Oil on Canvas Painting of Sheep

Very Large Vintage Impressionist Oil on Canvas Painting of Sheep. Overall Size: 31 x 41 1/2 x 2 in. Sight Size: 29 x 39 1/2 in.

Lot: 1471 - Hendrik Johannes Knip (1819-1897), Oil on Canvas, Lake Scene with People and a Dog in a Boat

Hendrik Johannes Knip (1819-1897), Oil on Canvas, Lake Scene with People and a Dog in a Boat. Signed lower right. Hendrik Knip was a member of a family of artists who were active for three generations. He went on a study trip to Switzerland and Italy around 1833, possibly with his father Mattheus Knip. He is known for creating picturesque and detailed Swiss landscapes, which make up almost half of his oeuvre. These works were created before 1850. Overall Size: 38 x 48 in.  Sight Size: 28 1/2 x 38 1/2 in. Thickness: 3 1/2 in. 

Lot: 1472 - Vintage Oil on Wood Painting of a Lake in Springtime

Vintage Oil on Wood Painting of a Lake in Springtime. Signed with initials lower right. Overall Size: 19 3/4 x 23 3/4 in.  Sight Size: 13 3/4 x 18 in. 

Lot: 1473 - Attributed to Wilhelmine Jordan (1821-1895) German, Oil Painting of a Sailor

Attributed to Wilhelmine Jordan (1821-1895) German, Oil Painting of a Sailor. He is sitting on a Cannon holding a model ship. Sailing vessels at sea in the distance. Wilhelmine Jordan was a genre and history painter. Overall SIze: 15 1/2 x 14 x 1 1/2 in. Sight Size: 9 1/2 x 8 in.

Lot: 1474 - Vintage Oil on Canvas California Landscape, "Big Bear Lake"

Vintage Oil on Canvas California Landscape, "Big Bear Lake". Overall Size: 10 x 12 in.  Sight Size: 8 x 9 1/2 in. 

Lot: 1475 - (4) Delftware Blue and White Porcelain Decorative Objects

(4) Delftware Blue and White Porcelain Decorative Objects. Includes two matching clogs attached to each other with a blue string, a wall art clog painted with the traditional image of a windmill and the word "Holland" in the sky, and an egg cup. All marked variously.  Size: 2 3/4 x 3 1/2 x 1 1/2 in.  Delftware or Delft pottery (also known as Delft Blue or as delf) is a general term now used for Dutch tin-glazed earthenware (a form of faience) that first appeared in the 15th Century, heavily inspired by imported Chinese porcelain. Most of it is blue and white pottery, and the city of Delft in the Netherlands was the major center of production, but the term also covers wares with other colors made elsewhere. The style was so popular that English delftware also exists, made in London, Liverpool, and Dublin between the 16th and the late 18th Century. Delftware includes pottery objects of all descriptions, such as plates, vases, figurines, and other ornamental forms and tiles, with pieces still made to this day under companies like Royal Delft.

Lot: 1476 - (3) Antique Chinese Blue and White Porcelain Pillows

(3) Antique Chinese Blue and White Porcelain Pillows. Three rectangular blue and white porcelain pillows, each decorated with traditional motifs including Foo dogs, floral patterns, and geometric fretwork borders. Size: 5 3/4 x 2 3/4 x 5 1/4 in.

Lot: 1477 - German Commodoor Blue and White Porcelain Wall Clock with Dutch Decorations

German Commodoor Blue and White Porcelain Wall Clock with Dutch Decorations. Windmills and people in clogs make up the decorations around the face. The face has 12 numbers on it in an archaic style font, with the words "Commodoor," "Quartz," and "Germany" on the face in sans serif, indicating it was likely made some time after the early 1970s. The face is accessible throughout a metal rimmed glass porthole that is hinged on the left side. Movement attached on back, takes a C battery.  Size: 8 3/4 x 7 1/2 x 1 1/2 in. 

Lot: 1478 - Antique English Flow Blue Glazed Ironstone Serving Bowl

Antique English Flow Blue Glazed Ironstone Serving Bowl. Atique, flow blue ironstone serving bowl featuring a transferware design of stylized foliage, scrollwork, and grapes, complete with small molded handles and a defined octagonal foot. Size: 4 x 9 3/4 x 10 1/2 in. 

Lot: 1479 - Baroque Style Blue and White Tin Glazed Ceramic Tile Composition of Seated Woman

Baroque Style Blue and White Tin Glazed Ceramic Tile Composition of Seated Woman. Blue and white tin-glazed ceramic tile mural depicting a dramatic classical scene of an enthroned woman surrounded by clouds and flanked by two attendants, one holding a dagger and the other a chalice. Framed. Overall Size: 46 x 43 1/4 in.  Sight Size: 43 x 30 1/2 in. 

Lot: 1480 - (5) Dutch Delft Porcelain Functional Windmill Sculptures

(5) Dutch Delft Porcelain Functional Windmill Sculptures. Each piece has a connecting mechanism so that the four wings of the windmill can spin. Three of them are wind-up. All marked and designed variously, with two pieces a similar shape and painted style.  Largest Size: 4 x 3 1/2 x 10 in.  Delftware or Delft pottery (also known as Delft Blue or as delf) is a general term now used for Dutch tin-glazed earthenware (a form of faience) that first appeared in the 15th Century, heavily inspired by imported Chinese porcelain. Most of it is blue and white pottery, and the city of Delft in the Netherlands was the major center of production, but the term also covers wares with other colors made elsewhere. The style was so popular that English delftware also exists, made in London, Liverpool, and Dublin between the 16th and the late 18th Century. Delftware includes pottery objects of all descriptions, such as plates, vases, figurines, and other ornamental forms and tiles, with pieces still made to this day under companies like Royal Delft.

Lot: 1481 - (9) Dutch Delft Porcelain Figural Sculptures

(9) Dutch Delft Porcelain Figural Sculptures. Includes 3 couples sculptures with a boy and girl embracing or kissing, 3 milkmaids with buckets attached by strings in varying sizes, 1 farm girl feeding geese, 1 boy with exceptionally large pants, and 1 small ringing handbell. All blue and white and marked variously. Stands not included.  Largest Size: 5 x 3 1/2 x 8 in.  Delftware or Delft pottery (also known as Delft Blue or as delf) is a general term now used for Dutch tin-glazed earthenware (a form of faience) that first appeared in the 15th Century, heavily inspired by imported Chinese porcelain. Most of it is blue and white pottery, and the city of Delft in the Netherlands was the major center of production, but the term also covers wares with other colors made elsewhere. The style was so popular that English delftware also exists, made in London, Liverpool, and Dublin between the 16th and the late 18th Century. Delftware includes pottery objects of all descriptions, such as plates, vases, figurines, and other ornamental forms and tiles, with pieces still made to this day under companies like Royal Delft.

Lot: 1482 - (12) Dutch Delft Blue and White Porcelain Serveware Pieces

(12) Dutch Delft Blue and White Porcelain Serveware Pieces. Includes 2 steins, 2 handled cups, 2 straight-sided bowls, 3 round plates in two different sizes but with identical designs, 2 soup spoons, and 1 ladle rest. All decorated with windmills and other traditional patterns. All marked variously, with the two spoons reading "stainless steel" on the top.  Largest Size: (Bowl) 6 x 6 x 3 1/4 in.  Delftware or Delft pottery (also known as Delft Blue or as delf) is a general term now used for Dutch tin-glazed earthenware (a form of faience) that first appeared in the 15th Century, heavily inspired by imported Chinese porcelain. Most of it is blue and white pottery, and the city of Delft in the Netherlands was the major center of production, but the term also covers wares with other colors made elsewhere. The style was so popular that English delftware also exists, made in London, Liverpool, and Dublin between the 16th and the late 18th Century. Delftware includes pottery objects of all descriptions, such as plates, vases, figurines, and other ornamental forms and tiles, with pieces still made to this day under companies like Royal Delft.

Lot: 1483 - English Royal Doulton Old Salt Sculptural Ceramic Drinking Mug

English Royal Doulton Old Salt Sculptural Ceramic Drinking Mug. A delightfully quirky piece, with a bearded seaman in cap and cableknit sweater making up the body of the cup, and a beautifully posing mermaid forming the handle. The word "Old Salt" is raised on the back of the mug, which has a uniquely tilted mouth due to the form of the cap. Marked and dated 1960 on the underside.  Size: 7 1/2 x 5 1/2 x 7 in.  Royal Doulton is an English ceramics and home accessories maker founded in 1815 at Vauxhall Walk, Lambeth, London, as Jones, Watts & Doulton, producing salt-glazed stoneware for domestic and pub use before becoming Doulton & Co. in 1854. Expanding to Burslem, Stoke-on-Trent, in 1882, it began manufacturing bone china tableware and decorative wares, and in 1901 it adopted the name Royal Doulton when it received a royal warrant. Though a later entrant than firms such as Royal Crown Derby, Royal Worcester, Wedgwood, and Spode, it adapted successfully to 20th Century market changes, with related brands including Royal Albert and Mintons emerging through diversification and mergers. After later consolidation under WWRD Holdings and the demolition of its Burslem factory in 2014, the company was acquired in 2015 by Fiskars Corporation, and today produces tableware, figurines, cookware, glassware, and other home accessories.

Lot: 1484 - Chinese Blue and White Porcelain Birdhouse

Chinese Blue and White Porcelain Birdhouse.  Decorative ceramic birdhouse wall hanging designed with a cobalt blue and white color scheme, featuring raised floral accents and heart motifs reminiscent of folk art or Delftware styles. Size: 9 x 9 in.

Lot: 1485 - (2) Vintage Russian Gzhel Blue and White Porcelain Serveware Pieces

(2) Vintage Russian Gzhel Blue and White Porcelain Serveware Pieces. One is a teapot with whimsical floral decorations and a bird-shaped lid, and the other is a similarly decorated fish-shaped caviar bowl with a lid that makes up the dorsal fins. Both marked on the underside, with the fish dated 1992.  Largest Size: 12 x 6 1/2 x 8 in.  Named after a cluster of villages southeast of Moscow, Russia, Gzhel is a style of ceramics recognized for its distinctive blue-on-white designs. The region’s history with pottery dates back to the 14th Century, but it gained official prominence in 1663 when Tsar Alexis designated the area as the exclusive supplier of apothecary vessels for Moscow. While early pieces were made of earthenware and colorful Maiolica, the 19th Century saw the development of high-quality porcelain that rivaled imports from China and England. After a period of decline and nationalization following the Russian Revolution, the craft was revitalized in the mid-20th Century through the work of artists like N. I. Bessarabova. A unique “Atlas of Brushstrokes” was created during this revival to unify the style, which relies on hand-painted cobalt blue applied to a white background. Today, Gzhel remains a symbol of Russian folk art, producing both traditional functional tea sets and decorative figurines.

Lot: 1486 - Vintage Elderly Woman Portrait Oil on Canvas

Vintage Elderly Woman Portrait Oil on Canvas. Her wise eyes have seen much. Unsigned. Framed.  Overall Size: 21 x 16 1/2 in.  Sight Size: 17 3/4 x 13 1/2 in. 

Lot: 1487 - After Edgar Degas (1834-1917) French, Oil on Canvas Ballerina Genre Scene "The Star"

After Edgar Degas (1834-1917) French, Oil on Canvas Ballerina Genre Scene "The Star". Oil on canvas reproduction of Degas' "The Star", depicting a prima ballerina performing on a dimly lit stage with other dancers blurred in the background, heavily reminiscent of Edgar Degas's famous ballet works. Framed. Overall Size: 8 1/2 x 9 1/4 in.  Sight Size: 6 1/2 x 5 1/2 in.   Edgar Degas (1834–1917) was a French artist best known for his paintings, pastels, and sculptures depicting dancers, café scenes, and everyday life in late 19th-century Paris. Although often associated with the Impressionists, Degas preferred to call himself a realist and was especially admired for his mastery of composition, movement, and draftsmanship. Born in Paris in 1834, he studied classical art traditions before developing a distinctive modern style characterized by unusual perspectives and careful observation of human motion. His ballet scenes, in particular, became iconic for their combination of elegance and candid realism, while his experimentation with pastel and sculpture expanded the expressive possibilities of modern art. Degas remained an influential figure in French art until his death in 1917.

Lot: 1488 - (4) Herb Fisher (20th Century) American, Hand Colored Architectural Lithograph Prints of Historic New Jersey Homes

(4) Herb Fisher (20th Century) American, Hand Colored Architectural Lithograph Prints of Historic New Jersey Homes. Lost comrpised of four framed, hand-colored architectural prints depicting historic stone houses and landmarks in New Jersey, including the "Gershom Mott House" and sites along the "Morris Canal". Signed in plate, lower right. Framed. Overall Size: 19 x 24 in. Sight Size: 12 x 16 1/2 in.

Lot: 1489 - Hariet Hammond (Late 19th/Early 20th) American, Oil on Board Still Life with Fruit

Hariet Hammond (Late 19th/Early 20th) American, Oil on Board Still Life with Fruit. Still-life painting depicting a woven wicker basket filled with fruit, including a pineapple, dark and red grapes, and a plum, set against a muted greenish-yellow background and housed in a simple reddish-brown wooden frame. Signed lower left. Attributed verso. Framed. Overall Size: 19 1/4 x 25 1/4 in. Sight Size: 15 3/4 x 19 1/2 in.

Lot: 1490 - (5) Antique Painted Tiles with Fish

(5) Painted Tiles with Fish. Five square ceramic tiles featuring detailed, painted underwater scenes with various fish, aquatic plants, and shells set against a pale sage green background. Titled verso. Dated 1929. Size: 9 1/2 x 9 1/4 x 1/2 in.

Lot: 1491 - Joseph Pennell (1857-1926) American, Etching Print Architectural Study "The Swan at Leadenhall"

Joseph Pennell (1857-1926) American, Etching Print Architectural Study "The Swan at Leadenhall". Black-and-white etching or print titled "The Swan at Leadenhall," depicting a bustling street scene with figures walking beneath a large, decorative architectural archway. Titled lower right. Framed. Overall Size: 20 x 15 in. Sight Size: 13 x 9 in.   Joseph Pennell was an American etcher, illustrator, and writer renowned for his energetic depictions of cities, industry, and architecture in the late 19th and early 20th centuries. Born in Philadelphia in 1857, Pennell studied art locally before gaining international recognition for his detailed etchings and lithographs of urban landscapes, bridges, cathedrals, and modern industrial scenes. He traveled extensively through Europe and the United States, often collaborating with his wife, author Elizabeth Robins Pennell, on illustrated travel books. Pennell’s expressive line work and dramatic use of light captured both historic landmarks and the power of modern machinery, making him one of the leading graphic artists of his era and an important figure in the revival of etching as a respected art form.

Lot: 1492 - (3) Herb Fisher (20th Century) American, Hand Colored Lithograph Prints of Historic New Jersey Homes

(3) Herb Fisher (20th Century) American, Hand Colored Lithograph Prints of Historic New Jersey Homes. Lot comprised of three framed, hand-colored architectural prints depicting historic New Jersey landmarks, including "The Old Stone House of the Plains" and scenes of "The Morris Canal" in Bloomfield, matching the artistic style and framing of the previously shown New Jersey prints. Signed in plate. Titled on matte. Framed. Overall Size: 18 1/2 x 25 1/2 in. Sight Size: 11 1/2 x 18 1/2 in.

Lot: 1493 - Joseth Sharn (20th Century) American, Oil on Canvas Children Playing Croquet

Joseth Sharn (20th Century) American, Oil on Canvas Children Playing Croquet. Oil painting captures two children dressed in vintage golf attire on a putting green, with one child observing the other as they prepare to take a shot. Signed lower left. Framed. Overall Size: 33 1/2 x 45 1/2 in.  Sight Size: 36 x 23 1/2 in. 

Lot: 1494 - (2) Norton Howe (1861-1941) American, Signed Lithograph Print Landscapes

Norton Howe (1861-1941) American, Two Signed Lithograph Print Landscapes. Two framed black-and-white prints featuring landscape and architectural scenes from Shelter Island, signed by the artist Gordon Hope. The pieces are presented in matching dark mats with gold-toned frames, highlighting the classic, high-contrast woodcut style of the artwork. Overall Size: 17 1/4 x 16 in.  Sight Size: 9 1/2 x 8 1/2 in.    Norton Howe (1861–1941) was an American landscape painter associated with the Tonalist movement, known for his atmospheric depictions of rural New England scenery. Born in Lyme, Connecticut, Howe spent much of his life capturing the quiet beauty of the Connecticut River Valley, often portraying misty fields, wooded paths, and tranquil pastures with a subdued, harmonious color palette. His work reflects the Tonalist emphasis on mood and poetic light rather than fine detail, creating serene compositions that evoke contemplation and intimacy with nature. Howe was part of the Lyme Art Colony, a significant artistic community in the late 19th and early 20th centuries, and his paintings remain admired for their gentle lyricism and refined sense of place.

Lot: 1495 - Ben Stahl (1910-1987) American, Portrait Graphite on Paper

Ben Stahl (1910-1987) American, Portrait Graphite on Paper. Depicts a Spanish gentleman with a dour expression, likely Stahl's interpretation of Don Quixote. Signed and dated 1979 bottom middle. A title is written in pencil on the back of the gilt frame: "Profit."  Condition: Some loss to frame.  Overall Size: 19 x 16 in.  Sight Size: 10 x 7 in.  Benjamin Albert Stahl, born in Chicago on September 7th, 1910, was an artistic prodigy who began his career as an illustrator and later served as an official U.S. Air Force artist during World War II. After moving to Sarasota, Florida in 1953 he became a prominent figure in the local art colony and taught at various institutions, including the Art Institute of Chicago, New College of Florida, and the Art Students League of New York. Stahl gained widespread recognition for his elaborate illustrations in publications like The Saturday Evening Post and for his contributions to advertising and movie posters, including Ben-Hur. He was a founding faculty member of the Famous Artists School and appeared on Bob Ross’ television series The Joy of Painting, where Ross referred to him as “one of the best painters in the country.” Beyond his painting and teaching, Stahl authored two novels, “Blackbeard’s Ghost” (later a Disney film) and its sequel, “The Secret of Red Skull.” However, his legacy is tragically linked to the unsolved 1969 theft of fifteen enormous religious paintings from his self-funded Museum of the Cross, a financial blow from which he never recovered, and Stahl died on October 19th, 1987 having never learned what became of his magnum opus.

Lot: 1496 - Ben Stahl (1910-1987) American, Nude Female Mixed Media on Paper

Ben Stahl (1910-1987) American, Nude Female Mixed Media on Paper. Pen, ink, watercolor and more creates a female figure with a sharp hairdo, hands on her hips, and a proud face, her upper torso exposed above a vibrant blue skirt. Signed along the edge of the skirt bottom right.  Overall Size: 17 3/4 x 15 1/2 in.  Sight Size: 9 1/2 x 7 1/4 in.  Benjamin Albert Stahl, born in Chicago on September 7th, 1910, was an artistic prodigy who began his career as an illustrator and later served as an official U.S. Air Force artist during World War II. After moving to Sarasota, Florida in 1953 he became a prominent figure in the local art colony and taught at various institutions, including the Art Institute of Chicago, New College of Florida, and the Art Students League of New York. Stahl gained widespread recognition for his elaborate illustrations in publications like The Saturday Evening Post and for his contributions to advertising and movie posters, including Ben-Hur. He was a founding faculty member of the Famous Artists School and appeared on Bob Ross’ television series The Joy of Painting, where Ross referred to him as “one of the best painters in the country.” Beyond his painting and teaching, Stahl authored two novels, “Blackbeard’s Ghost” (later a Disney film) and its sequel, “The Secret of Red Skull.” However, his legacy is tragically linked to the unsolved 1969 theft of fifteen enormous religious paintings from his self-funded Museum of the Cross, a financial blow from which he never recovered, and Stahl died on October 19th, 1987 having never learned what became of his magnum opus.

Lot: 1497 - Ben Stahl (1910-1987) American, Pen/Graphite Sketch on Paper

Ben Stahl (1910-1987) American, Pen/Graphite Sketch on Paper. Likely a series of anatomical studies, including a fully realized image of a woman in a shirt and full-length skirt, the unfinished upper torso of a man, a hand grasping a ball, and two eyeballs, creating a surreal image implying the objectification of the feminine form. Signed and dated 1986 bottom left, meaning it was created the year before the artist died.  Condition: Signs of toning.  Overall Size: 19 3/4 x 22 3/4 in.  Sight Size: 11 1/4 x 14 1/2 in.  Benjamin Albert Stahl, born in Chicago on September 7th, 1910, was an artistic prodigy who began his career as an illustrator and later served as an official U.S. Air Force artist during World War II. After moving to Sarasota, Florida in 1953 he became a prominent figure in the local art colony and taught at various institutions, including the Art Institute of Chicago, New College of Florida, and the Art Students League of New York. Stahl gained widespread recognition for his elaborate illustrations in publications like The Saturday Evening Post and for his contributions to advertising and movie posters, including Ben-Hur. He was a founding faculty member of the Famous Artists School and appeared on Bob Ross’ television series The Joy of Painting, where Ross referred to him as “one of the best painters in the country.” Beyond his painting and teaching, Stahl authored two novels, “Blackbeard’s Ghost” (later a Disney film) and its sequel, “The Secret of Red Skull.” However, his legacy is tragically linked to the unsolved 1969 theft of fifteen enormous religious paintings from his self-funded Museum of the Cross, a financial blow from which he never recovered, and Stahl died on October 19th, 1987 having never learned what became of his magnum opus. 

Lot: 1498 - Ben Stahl (1910-1987) American, Profile Portrait Mixed Media on Paper

Ben Stahl (1910-1987) American, Profile Portrait Mixed Media on Paper. Depicts the right side of a brown-haired woman in a flower-covered yellow hat and green dress, her torso incomplete, with blue hues all around her. Signed and dated '78 bottom middle.  Overall Size: 16 1/4 x 14 1/4 in.  Sight Size: 8 x 6 in.  Benjamin Albert Stahl, born in Chicago on September 7th, 1910, was an artistic prodigy who began his career as an illustrator and later served as an official U.S. Air Force artist during World War II. After moving to Sarasota, Florida in 1953 he became a prominent figure in the local art colony and taught at various institutions, including the Art Institute of Chicago, New College of Florida, and the Art Students League of New York. Stahl gained widespread recognition for his elaborate illustrations in publications like The Saturday Evening Post and for his contributions to advertising and movie posters, including Ben-Hur. He was a founding faculty member of the Famous Artists School and appeared on Bob Ross’ television series The Joy of Painting, where Ross referred to him as “one of the best painters in the country.” Beyond his painting and teaching, Stahl authored two novels, “Blackbeard’s Ghost” (later a Disney film) and its sequel, “The Secret of Red Skull.” However, his legacy is tragically linked to the unsolved 1969 theft of fifteen enormous religious paintings from his self-funded Museum of the Cross, a financial blow from which he never recovered, and Stahl died on October 19th, 1987 having never learned what became of his magnum opus.

Lot: 1499 - Signed Mid-Century Modern Carved Wooden Abstract Female Figure

Signed Mid-Century Modern Carved Wooden Abstract Female Figure. Mid-Century Modern abstract wood sculpture featuring a stylized, elongated human figure with smooth, flowing lines and a polished finish, mounted on a rectangular wooden plinth. signed on back M (Star). Size: 3 3/4 x 4 1/2 x 19 1/2 in. 

Lot: 1500 - After Auguste Rodin (1840-1917) French, "The Cathedral" Resin Sculpture by Eleganza

After Auguste Rodin (1840-1917) French, "The Cathedral" Resin Sculpture by Eleganza. The classic form of two intertwined hands, originally titled "Ark of the Covenant," is formed in white "bonded marble," a proprietary resin composite casting process pioneered by Eleganza Ltd. of Seattle, Washington, producing and distributing various reproductions since the 1980s. Their label is on the underside of the base.  Size: 7 3/4 x 9 x 15 1/2 in.  Auguste Rodin (1840-1917) was a French sculptor born in Mouffetard, Paris, into a religious, hardworking family. From an early age, he focused on drawing, attending the Petite École and studying life drawing at the Gobelin Tapestry Works. By 17 he had won his first prize in clay, but his unorthodox style led to repeated rejection from the École des Beaux-Arts, so he studied at the School of Decorative Arts under Jean-Baptiste Carpeaux. Rodin spent much of the next two decades producing decorative sculpture and worked as an assistant to Albert Carrier de Belleuse. Following the death of his sister, he briefly joined a Christian order, later returning to sculpture under Antoine-Louis Barye. He began a lifelong relationship with Rose Beuret, with whom he had a son. In 1875 he traveled to Italy and was profoundly influenced by Michelangelo. Rodin became a pioneer of modern sculpture, blending Realism and Impressionism, often producing life-like works so detailed they were rumored to be cast from living models. He explored erotic and political themes, including the famously controversial The Kiss. Celebrated internationally during his lifetime, he received honors from Oxford University and the French government. Rodin died in Meudon, France, in 1917, a year after suffering a stroke, leaving a legacy that redefined 19th-century sculpture.

Lot: 1501 - Rubin Peacock (Born 1941) American, Abstract Patinated Bronze Sculpture on Granite Base

Rubin Peacock (Born 1941) American, Abstract Patinated Bronze Sculpture on Granite Base. Cubist style twisting sculpture with sharp edges. Foundry stamp on the bottom of one side, with a signature and the date 1988 incised next to it. Disconnected from base.  Size: 13 1/2 x 5 1/2 x 6 in.  Rubin Peacock was born on September 8th, 1941 in Winston-Salem, North Carolina, and was originally a musician, playing in a traveling rock and roll band to pay for college. He first became interested in art while obtaining his B.S. and B.F.A degrees from the University of Georgia. After two years in the Peace Corps, where he became proficient at welding and started researching his Catawba Native American ancestry, he continued his education at Virginia Commonwealth University, earning his M.F.A in 1969 and setting up a workshop in Richmond, Virginia, quickly becoming internationally famous for creating large-scale, biomorphic bronze sculptures that merge organic forms with geometric structure. His works are primarily cast in his own foundry, featuring in major museum, corporate, and private collections across the country, and he continues to produce new pieces there as well as in Sarasota, Florida, where he began to spend his winters in the early 2000s. 

Lot: 1502 - Rubin Peacock (Born 1941) American, Abstract Etched Bronze Sculpture

Rubin Peacock (Born 1941) American, Abstract Etched Bronze Sculpture. Open spaces in the square-shaped top piece are attached to a solid rectangular base of the same bronze and thinness. A foundry label is stamped into the piece which includes "Cire Perdue" (referring to the lost wax technique used), next to a incised artist signature and the date 1991.  Size: 13 x 3 1/2 x 11 in.  Rubin Peacock was born on September 8th, 1941 in Winston-Salem, North Carolina, and was originally a musician, playing in a traveling rock and roll band to pay for college. He first became interested in art while obtaining his B.S. and B.F.A degrees from the University of Georgia. After two years in the Peace Corps, where he became proficient at welding and started researching his Catawba Native American ancestry, he continued his education at Virginia Commonwealth University, earning his M.F.A in 1969 and setting up a workshop in Richmond, Virginia, quickly becoming internationally famous for creating large-scale, biomorphic bronze sculptures that merge organic forms with geometric structure. His works are primarily cast in his own foundry, featuring in major museum, corporate, and private collections across the country, and he continues to produce new pieces there as well as in Sarasota, Florida, where he began to spend his winters in the early 2000s. 

Lot: 1503 - Antique French Marked Wood and Metal Wallpaper Block

Antique French Marked Wood and Metal Wallpaper Block. Nineteenth-century French wallpaper printing block featuring a deeply carved foliate pattern reinforced with copper strips and brass pins to ensure crisp, detailed impressions. Numbered 2849. Size: 8 3/4 x 19 1/2 x 1 3/4 in.

Lot: 1504 - Large Haitian Acrylic on Canvas Folk Art

Large Haitian Acrylic on Canvas Folk Art. A vibrant, stylized market scene depicting five figures in white and pastel clothing gathered behind a colorful assortment of tropical fruits and baskets. Signed 'Cliffor D' center. Framed. Overall Size: 32 x 42 in.  Sight Size: 29 1/2 x 30 in. 

Lot: 1505 - Seymour Etienne Bottex (1929-2016) Haitian, Oil on Board Folk Art

Seymour Etienne Bottex (1929-2016) Haitian, Oil on Board Folk Art. Vibrant, colorful painting by Seymore Etienne Bottex depicts a lively Haitian street scene centered around a crowded "tap tap" bus bound for Cap-Haïtien, surrounded by vendors, pedestrians, and a "Fresco" cart in a classic Naïve art style. Signed lower left. Framed. Overall Size: 21 x 25 in. Sight Size: 20 x 24 in.

Lot: 1506 - Large Framed Signed Haitian Naive Folk Art Acrylic on Canvas

Large Framed Signed Haitian Naive Folk Art Acrylic on Canvas. Depicts the traditional subject matter, a crowded market scene with repetitive figures in striking colors hocking their wares. Signed "Gérard" bottom right.  Overall Size: 40 1/2 x 31 1/4 in.  Sight Size: 37 1/2 x 28 1/4 in.  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: 1507 - Steve Murphy, 20th Century Large Oil on Canvas Painting of Two African Women

Steve Murphy, 20th Century Large Oil on Canvas Painting of Two African Women. Signed and dated lower right. Overall Size: 48 1/2 x 24 1/2 in. Sight Size: 47 1/2 x 23 1/2 in.

Lot: 1508 - African Figural Batik Art "Together"

African Figural Batik Art "Together". Vibrant, stylized painting features a row of eleven elongated figures in colorful patterned garments, gracefully balanced with pots atop their heads against a minimalist, parchment-like background. Signed lower right. Framed. Overall Size: 32 1/2 x 60 in.  Sight Size: 27 1/2 x 55 3/4 in.   Batik is a traditional textile art form that uses a wax-resist dyeing technique to create intricate patterns on fabric, most famously associated with Indonesia, where it holds deep cultural and symbolic significance. Artisans apply hot wax to cloth using tools like a canting (a pen-like instrument) or stamps, then dye the fabric; the waxed areas resist the dye, forming detailed designs when the wax is removed. This process can be repeated multiple times to build complex, multicolored patterns, often featuring motifs tied to regional identity, spirituality, or social status. Recognized by UNESCO as an Intangible Cultural Heritage of Humanity, batik remains both a traditional craft and a contemporary art form practiced around the world.

Lot: 1509 - Colombian Guna Mola Textile Panel

Colombian Vibrant Guna "mola" textile panel featuring a central caduceus symbol flanked by two-winged figures and two elephant-like animals, all rendered in intricate reverse-appliqué with bold primary colors and geometric background patterns. Overall Size: 14 1/2 x 14 1/2 in. Sight Size: 12 x 17 in.   The Guna mola is a vibrant textile art form created by the Indigenous Guna people, primarily along the Caribbean coasts of Panama and Colombia. Traditionally made as panels for women’s blouses, molas are crafted using a reverse appliqué technique in which multiple layers of brightly colored cloth are cut and stitched to reveal intricate patterns beneath. Designs range from geometric motifs rooted in ancestral body painting to representations of animals, plants, and contemporary imagery, reflecting both cultural heritage and adaptation to outside influences. Beyond their function as clothing, molas are an important expression of Guna identity, storytelling, and craftsmanship, and they have become widely appreciated as collectible textile art around the world.

Lot: 1510 - Benton Scott (1907-1983) American, Oil on Canvas Portrait of Serge Perrault

Benton Scott (1907-1983) American, Oil on Canvas Portrait of Serge Perrault. Dancer in the Paris Folies-Bergere in the 1950s. Signed and inscribed upper right. Benton Scott (1907-1983) American, Oil on Canvas Portrait of Serge Perrault. Born in Los Angeles, CA on June 25, 1907. Scott studied at Otis Art Institute and with Will Foster, and continued in Paris at Académies Julian and Chaumiere. A lifelong resident of the Los Angeles area, he died in Orange, CA on March 22, 1983. Overall Size: 24 1/2 x 20 1/2 in.  Sight Size: 21 1/2 x 17 3/4 in. 

Lot: 1511 - In the Style of Jan Stanislawski (1869-1907), Polish School Oil on Canvas

In the Style of Jan Stanislawski (1869-1907), Polish School Oil on Canvas. Initialed lower right. Overall Size: 11 1/2 x 14 1/2 in.  Sight Size: 8 1/2 x 11 1/2 in. 

Lot: 1512 - Wladyscaw Kaliski, 20th Century Polish Oil on Canvas Cityscape

Wladyscaw Kaliski, 20th Century Polish Oil on Canvas Cityscape. Chickens on rooftops and laundry drying. Exhibition label on the reverse. Overall Size: 26 1/2 x 26 1/2 in.  Sight Size: 23 1/4 x 23 1/4 in. 

Lot: 1513 - William Clusmann (1859-1927) American, Oil Painting, Summer Landscape

William Clusmann (1859-1927) American, Oil Painting, Summer Landscape. Signed lower right. William Clusmann, born in North Laporte, Indiana, exhibited a grand total of 156 works at the Art Institute of Chicago between 1889 and 1925. Then he became active in the Hoosier Salon (1925-1927). Clusmann was also a member of the Chicago Water Color Club and the Chicago Society of Artists. He was trained first under James Farrington Gookins (1840-1904) and Henry Fenton Spread (1844-1890), then in Munich under the Hungarian academic painter Gyula Benczúr. Weimer (1940, p. 434) surmised that Clusmann came to Munich in July of 1880. In 1884, he won an Honorable Mention in Stuttgart, where he was studying briefly with Frederick Keller. The artist developed a lighter palette for his plein-air scenes of Chicago, such as Lincoln Park, Chicago (Private coll.). Clusmann happened to be in Germany again in 1917 when America declared war -- he was allowed to return home but had to leave his paintings behind. Back in Chicago, he painted Jackson Park, Chicago, which is admirable for its successful rendering of full sunlight and its clear depiction of space. Overall Size: 15 1/2 x 18 1/2 x 1/2 in. Sight Size: 11 1/2 x 14 1/2 in.

Lot: 1514 - LeRoy Dagobert Sauer (1894-1959) American/Ohio, Oil Painting

LeRoy Dagobert Sauer (1894-1959) American/Ohio, Oil Painting. Sauer exhibited at the National Gallery and the Ohio Printmakers and the Florida Art Association. Sauers work is in the collections of the Dayton Art Institute. Overall Size: 20 x 21 3/4 in.  Sight Size: 17 1/4 x 19 1/4 in. 

Lot: 1515 - After Cezanne, Oil on Board, Maison Bellevue, Aix en Provence

After Cezanne, Oil on Board, Maison Bellevue, Aix en Provence. Cezanne lived in Aix en Provence and painted this structure often in his work. Overall Size: 20 x 21 1/2 in.  Sight Size: 15 1/2 x 17 in. 

Lot: 1516 - Prayat Pongdam (1934-2014) Thai, Oil on Canvas, "Floating Market"

Prayat Pongdam (1934-2014) Thai, Oil on Canvas, "Floating Market". Signed lower left. Titled and dated on the back. Prayat Pongdam was born on 28 October 1934 in Sing Buri, Thailand. He attended the Poh-Chang Academy of Arts and Silpakorn University and earned a bachelor's degree in painting. Later, he went to Italy to complete a diploma from L'Accademia di Belle Art, Rome. He died in 2014 at the age of 79. Size : 17 1/4 x 21 1/4 in.

Lot: 1517 - Russian Oil on Canvas, "Swimming of Clouds"

Russian Oil on Canvas, "Swimming of Clouds". Signed and dated in Russian, lower right. Inscribed and titled on the back. Overall Size: 17 1/4 x 21 1/2 x 1 1/4 in. Sight Size: 15 1/2 x 20 1/4 in.

Lot: 1518 - Andy Skaff, 20th/21st Century American, Oil on Canvas, "Sierra Lookout"

Andy Skaff, 20th/21st Century American, Oil on Canvas, "Sierra Lookout". Titled and dated 2009 on label on reverse. Andy Skaff's love of the West provides the inspiration for his light- filled, vibrant landscapes. By painting outdoors in the Sierra Nevada Mountains and throughout the West, he has developed an appreciation for the color and beauty of the western landscape. His paintings convey the clear sense of strong color and deep contrasts, which he sees in the Sierra Nevada Mountains and high deserts of New Mexico and Arizona. Andy works in oils in the Plein Air tradition. He began college as an art major at Miami University in Oxford, Ohio. Although he enjoyed a successful law practice, Andy never lost interest in painting and collecting art. After 34 years, he decided to pursue his passion on a full-time basis. He has studied extensively with painter Kevin Macpherson. Andy also enjoys the encouragement and moral support of his wife, two daughters and son-in-law. Andy is a member of the Oil Painters of America, the California Art Club, and the North Tahoe Arts Association. He is also a volunteer fireman at Lake Tahoe's Meeks Bay Fire District. In 2005 and 2006, Andy's paintings were shown in several solo exhibitions in San Francisco and Lake Tahoe. In 2007, his paintings were selected for an exhibit at the Napa Valley Museum, the Oil Painters of America Western Regional exhibit in Santa Barbara and for the 2007 Sunset Magazine Western Idea House in Truckee. Overall Size: 21 3/4 x 25 1/2 in. Sight Size: 20 x 24 in.

Lot: 1519 - Henri Schoonbrood (1898-1972) Dutch, Oil on Canvas Painting of a Hillside Village

Henri Schoonbrood (1898-1972) Dutch, Oil on Canvas Painting of a Hillside Village. Signed and dated lower right. 1898 Maastricht, Netherlands - 1972 Maastricht, Netherlands. Known for: Abstract figure painting. Overall Size: 22 1/2 x 26 3/4 in. Sight Size: 19 1/4 x 23 1/4 in.

Lot: 1520 - Clemens Frankel (1872-1944) German, Oil on Board, Summer Landscape

Clemens Frankel (1872-1944) German, Oil on Board, Summer Landscape. Signed lower right. Inscribed with title on the reverse. 1872 Frankfurt, Germany - 1944. Known for: Landscape painting. Overall Size: 16 1/2 x 19 1/4 x 2 1/4 in. Sight Size: 9 3/4 x 12 3/4 in.

Lot: 1521 - Frans Ronda (1899-1976) Dutch, River Landscape

Frans Ronda (1899-1976) Dutch, River Landscape. Near Maastricht, Holland. Frans Huburtus Cornelius Ronda was known for landscapes and wood engravings. Overall Size: 27 1/2 x 33 1/2 in. Sight Size: 22 1/2 x 28 1/2 in.

Lot: 1522 - Albert Berne (1877-1973) American, Mixed Media Painting, Abstract Cityscape

Albert Berne (1877-1973) American, Mixed Media Painting, Abstract Cityscape. Signed lower right. Schooled in music at the Cincinnati Conservatory, Berne studied piano in Berlin, Germany with Arthur Rubinstein. Here he experienced the radical ferment in the arts in Europe during the pre- WWI years. He returned to Cincinnati and married Lucile Kroger, the daughter of the grocery fortune. When she died, he was 56 years old, and began painting in earnest. Berne received instruction in painting at the Cincinnati Art Academy with Frank Myers and Carl Zimmerman, also studying with Harold Brett on Cape Cod. His earliest works were representational, but as he grew older his paintings became more personal, more intense, and more abstract. After a serious illness, at age 96, he began a sequence of paintings where he painted one picture a day, or 147 paintings in 162 days. He died in 1973. Overall Size: 19 1/4 x 20 1/4 x 1 1/4 in. Sight Size: 14 x 15 1/4 in.

Lot: 1523 - After Lealand Gustavson Golding, Painting of 1930's Champion Bobby Danes

After Lealand Gustavson Golding, Painting of 1930's Champion Bobby Danes. Depicted mid swing with Walter Hagen, Gene Sarazen, and Tommy Armour. Overall Size: 18 3/4 x 22 3/4 in.  Sight Size: 15 1/2 x 19 1/2 in. 

Lot: 1524 - Horseracing Oil Painting, "The Home Straight"

Horseracing Oil Painting, "The Home Straight". Signed. Overall Size: 18 1/2 x 22 1/2 x 2 in. Sight Size: 15 1/2 x 19 1/2 in.

Lot: 1525 - Canadian Inuit Carved Soapstone Mother with Children in Papoose Sculpture

Canadian Inuit Carved Soapstone Mother with Children in Papoose Sculpture. The figure shows a bundled up mother with two child facing opposite directions on her back, their eyes highlighted and the base below her feet carved to resemble snow. Numbers carved into the underside, partially covered by a label that read "Canada Eskimo Art Esquimau."  Size: 2 1/2 x 3 1/2 x 7 in.  The Inuit are Indigenous peoples inhabiting the Arctic regions of Greenland, Canada, Alaska, and Russia, having descended from the Thule people who migrated from Siberia at least 4,000 years ago. Historically a nomadic and self-sufficient society, they developed advanced technologies such as the buoyant sealskin kayak and utilized animal hides, bones, and soapstone for both tools and spiritual art, creating sculptures, clothing, hunting equipment, and other items that allowed them to thrive in the inhospitable climate. Following initial friendly contact with European explorers in the 16th Century, the population suffered mass deaths from foreign diseases and later faced systematic pressure to assimilate, ultimately resulting in the Canadian government forcing many Inuit into permanent settlements, causing a collapse of their traditional lifestyle and leading to widespread poverty during the early 20th Century. This era of oppression sparked an activist movement in the 1960s that eventually secured recognition of Inuit as Aboriginal peoples in Canada’s 1982 Constitution Act, and while modern agreements have restored significant land areas and autonomy in Canada in the 21st Century, Inuit communities in Greenland and Siberia continue to navigate complex issues of sovereignty and civil rights.

Lot: 1526 - Signed and Dated Canadian Inuit Figural Soapstone Carving

Signed and Dated Canadian Inuit Figural Soapstone Carving. Depicts a squat woman bundled up and carrying a soapstone carving of her own, kneeling in the snow. On the underside it is dated 2001 and signed indistinctly along with a series of numbers and a label that reads "Canada Eskimo Art Esquimau."  Size: 3 x 5 x 7 in.  The Inuit are Indigenous peoples inhabiting the Arctic regions of Greenland, Canada, Alaska, and Russia, having descended from the Thule people who migrated from Siberia at least 4,000 years ago. Historically a nomadic and self-sufficient society, they developed advanced technologies such as the buoyant sealskin kayak and utilized animal hides, bones, and soapstone for both tools and spiritual art, creating sculptures, clothing, hunting equipment, and other items that allowed them to thrive in the inhospitable climate. Following initial friendly contact with European explorers in the 16th Century, the population suffered mass deaths from foreign diseases and later faced systematic pressure to assimilate, ultimately resulting in the Canadian government forcing many Inuit into permanent settlements, causing a collapse of their traditional lifestyle and leading to widespread poverty during the early 20th Century. This era of oppression sparked an activist movement in the 1960s that eventually secured recognition of Inuit as Aboriginal peoples in Canada’s 1982 Constitution Act, and while modern agreements have restored significant land areas and autonomy in Canada in the 21st Century, Inuit communities in Greenland and Siberia continue to navigate complex issues of sovereignty and civil rights.

Lot: 1527 - Zuni Pueblo Tribal Art Carved Serpentine Bear Fetish

Zuni Pueblo Tribal Art Carved Serpentine Bear Fetish. The mottled green soapstone of the body of the bear also features a turquoise inlay arrow at the mouth pointing toward its center, symbolizing strength and direction. A small arrow-shaped stone is fastened to its back with sinew and adorned with feathers, commonly referred to as a "fetish bundle."  Size: 2 1/2 x 5 1/2 in.  The Zuni are Native American Pueblo peoples of the Zuni Reservation, New Mexico, and most live in the Pueblo of Zuni on the Zuni River, a tributary of the Little Colorado River. The shared mythology of many Western American tribes often describe enormous flying creatures who control wind, lightning, rain, or the sun, variously, and their iconography is common on clothing, jewelry, and totemic artwork, both for fashion and religious purposes. The Zuni are particularly known for their fetish art, which consists of hand-carved, traditional animal or human figures representing spirits believed to provide protection, healing, and assistance in daily life. These carvings, made from materials like soapstone, turquoise, antler, and marble, are deeply rooted in Zuni culture, often featuring a "heartline" to signify life force, and are considered highly collectible.

Lot: 1528 - Canadian Eskimo Art Carved Serpentine Figurine

Canadian Eskimo Art Carved Serpentine Figurine. Hand-carved Inuit soapstone figurine of a figure in traditional hooded attire in natural variegated green tones. Size: 2 1/2 x 4 1/4 x 11 in. 

Lot: 1529 - Signed Native Inuit Carved Soapstone Figure

Native Inuit Carved Soapstone Figure. Multi-piece Inuit soapstone carving featuring an igloo-clad hunter pulling a sled with a harvested seal, set on a solid stone base with leather-like tethering. Signed on edge, Martha Buchin. Size: 2 7/8 x 4 7/8 x 8 1/8 in. 

Lot: 1530 - Signed Canadian First Nations Carved Soapstone Seal

Signed Canadian First Nations Carved Soapstone Seal. Hand-carved Inuit-style soapstone sculpture of a seal, characterized by its fluid form, mottled green and grey serpentine stone, and a polished finish that highlights the natural veining of the material. Incise signature on base, N. Marhik. Size: 2 1/2 x 3 3/4 x 8 1/2 in. 

Lot: 1531 - Antique Eskimo Carved Bone Cane or Walking Stick Handle with Walrus Top and Ball in Cage Beneath

Antique Eskimo Carved Bone Cane or Walking Stick Handle with Walrus Top and Ball in Cage Beneath. Size: 7 1/2 x 1 1/4 x 3/4 in.

Lot: 1532 - Scrimshaw Carved Bone Mermaid

Scrimshaw Carved Bone Mermaid. Size: 1 x 3 x 2 in.

Lot: 1533 - Eskimo Carved & Engraved Walrus Tusk Cribbage Board

Eskimo Carved & Engraved Walrus Tusk Cribbage Board. The end terminates in a walrus head. The sides are carved and engraved with seals and fishes. The top has a pierced game board. Size: 3/4 x 3/4 x 7 1/4 in.

Lot: 1534 - Framed Persian Bone Miniature Painting

Framed Persian Bone Miniature Painting. Depicts several warriors on horseback engaged in a hunt. Floral patterns make up the round border, while the frame itself has a back stand.  Overall Size: 8 1/4 x 8 1/4 x 3/8 in.  Sight Size: 7 1/4 x 7 1/4 in.  A Persian miniature is a small Persian painting (usually on paper or sometimes bone), whether a book illustration or a separate work of art intended to be kept in an album of such works called a muraqqa, using techniques broadly comparable to the Western Medieval and Byzantine traditions of miniatures in illuminated manuscripts. Miniature painting became a significant genre in Persian art by the 13th Century, receiving Chinese influence after the Mongol conquests (directly alluded to by the name Mughal), and the highest point in the tradition was reached in the 15th and 16th Centuries where they were the dominant influence on other Islamic miniature traditions, principally the Ottoman miniature in Turkey and the Mughal miniature in the Indian subcontinent. Persian art under Islam is of particular interest to scholarly studies because it never completely forbade depicting the human figure, which in the miniature tradition are central subjects (often in large numbers), partly because the miniature is considered a private art form, kept in a book or album and only shown to those the owner chooses, rather than large-scale public art which could be defaced or covered over. As well as the figurative scenes in miniatures there was a parallel style of non-figurative ornamental decoration which was found in borders and panels in miniature pages and spaces at the start or end of a work or section, and manuscripts of the Quran and other religious books often included a considerable number of these illuminated pages.

Lot: 1535 - Pudlo Pudlat (1916-1992) Canadian/Inuk/Inuit, Signed and Numbered Lithograph

Pudlo Pudlat (1916-1992) Canadian/Inuk/Inuit, Signed and Numbered Lithograph. From one of the most celebrated indigenous artists of all time, it depicts four musk ox from various perspectives. The title, "Umingmak," is written in pencil bottom left, and translates to "The Bearded One," the Inuktitut name for the musk ox. The word "Lithograph" and 3/50 are written in pencil to the right of the title. In the bottom middle is the word "Dorset" written in pencil. Signed and dated 1977 in pencil along with his symbols, and additional symbols in far right corner.  Overall Size: 32 1/4 x 28 1/2 in.  Sight Size: 23 1/2 x 19 1/2 in.  Pudlo Pudlat was born on February 4th, 1916, at Kamadjuak Camp, Baffin Island, Canada, and spent much of his life in the Kimmirut region, hunting and fishing with his family. He lived briefly around Coral Harbour before moving to Lake Harbour (now Kimmirut), and in 1950 he married fellow Inuk artist Innukjuakju Pudlat who died in 1972. In the late 1950s, while recovering from tuberculosis in Kiaktuuq near Cape Dorset, he met Inuit art pioneer James Archibald Houston and became interested in art, settling permanently in Cape Dorset in the early 1960s and switching to drawing after an arm injury made scrimshaw carving difficult. Encouraged by Terry Ryan of the West Baffin Eskimo Co-operative, he expanded into printmaking and painting, and his work was shaped by the radical transformations in Arctic life during the 20th Century, often incorporating objects and unusual sights he encountered during travel, such as trains and airplanes. In 1972 one of his prints was reproduced on a UNICEF greeting card, leading to international recognition, by the early 1980s he had developed a distinctive style using acrylic washes and colored pencils, with his work included in most Canadian museum collections. His first solo exhibition was in Mannheim, Germany, in 1989, followed by one at the National Gallery of Canada, and when he died on December 28th, 1992, leaving over 4,000 drawings and 200 prints behind, he was regarded as one of the most important Inuit artists of the 20th Century. 

Lot: 1536 - A. Stall, 20th Century Oil Painting, Still Life of Two Pears

A. Stall, 20th Century Still Life Oil Painting of Two Pears. Signed lower right. Overall Size: 9 x 11 3/4 in. 

Lot: 1537 - Gerhard Ernest Untermann (1864-1956) German/American, Oil on Canvas Mounted on Board, Portrait of a Dog

Gerhard Ernest Untermann (1864-1956) German/American, Oil on Canvas Mounted on Board, Portrait of a Dog. Signed and dated 1933. Gerhard Ernest Untermann was born in Germany on Nov. 6, 1864. Untermann went to sea as a boy and sailed in clipper ships. While at sea he began painting. In 1893 he became a U.S. citizen. He later studied at the Art Institute of Chicago, Layton Art School in Milwaukee and with William Heine. While in southern California in 1933, he painted landscapes with poppies and lupines. he died in Vernal, UT on Jan. 5, 1956. Overall Size: 24 x 19 in.  Sight Size: 17 3/4 x 12 3/4 in. 

Lot: 1538 - Myron Winder (1898-1981) American, Oil on Canvas, 1967 California Coast

Myron Winder (1898-1981) American, Oil on Canvas, 1967 California Coast. Signed and dated lower right. Born in Richmond, IN on Aug. 8, 1898. Winder was a resident of San Diego and Los Angeles in the 1930s and 1940s. He died in Akron, OH in May 1981. Overall Size: 22 1/2 x 39 in. Sight Size: 23 1/2 x 35 1/4 in.

Lot: 1539 - Karl Adam Heinisch (1879-1913) German, Oil on Board, Landscape Painting

Karl Adam Heinisch (1879-1913) German, Oil on Board, Landscape Painting. A farmhouse with cows by a river. Signed lower left. Heinisch exhibited at the Munich Annual Exhibitions from 1870-1913. Overall Size: 12 1/4 x 14 3/8 in.  Sight Size: 8 1/8  x 10 1/4 in. 

Lot: 1540 - 1978 Oil Painting of One of the Traditional Stone Houses of Saudi Arabia

1978 Oil Painting of One of the Traditional Stone Houses of Saudi Arabia. Signed. Overall Size: 17 1/4 x 21 1/4 in.  Sight Size: 15 3/4 x 19 3/4 in. 

Lot: 1541 - Vintage Russian Oil on Canvas Portrait

Vintage Russian Oil on Canvas Portrait. Signed lower left in Cyrillic and inscribed upper right by the artist in Cyrillic "to my dear friend from an old friend/comrade. Overall Size: 14 x 15 1/2 x 2 1/2 in. Sight Size: 8 x 10 in.

Lot: 1542 - Westraven Utrecht Molded Relief Art Tile of Pottery Studio

Westraven Utrecht Molded Relief Art Tile of Pottery Studio. Relief-molded polychrome ceramic tile depicting a traditional potter at his wheel within a workshop setting using a cloisonné-style glaze technique. Impressed mark on back. Size: 11 1/4 x 9 3/4 x 2 in.  Westraven Utrecht is a historic ceramics manufacturer based in Utrecht, known for producing high-quality architectural pottery, tiles, and decorative ceramic works. Founded in the late 19th century, it became especially recognized for its contributions to Dutch building design, supplying ceramic elements for facades, interiors, and public spaces. The company’s work often reflects traditional craftsmanship combined with functional design, and many of its products can still be seen on historic buildings throughout the Netherlands.

Lot: 1543 - Henri Houben (1858-1931) Belgian, Lithograph Print Genre Scene "The Fisherman's Flirt, Volendam"

Henri Houben (1858-1931) Belgian, Lithograph Print Genre Scene "The Fisherman's Flirt, Volendam". Dutch genre scene, likely a lithograph or watercolor, depicting figures in traditional Volendam dress gathered on a brick quay with village houses and a windmill in the distance, presented in a large silk-matted frame. Attributed lower left. Printer's information lower right. Framed. Overall Size: 22 x 38 1/2 in.  Sight Size: 14 x 30 1/2 in.   Henri Houben (1858–1931) was a Belgian painter associated with the Antwerp School, known for his historical scenes, genre paintings, and depictions of 17th-century Flemish life. Born in Antwerp, he studied at the Royal Academy of Fine Arts Antwerp under prominent teachers including Charles Verlat. Houben developed a reputation for lively compositions featuring soldiers, tavern scenes, and historical subjects inspired by the Flemish Baroque tradition, particularly the work of David Teniers the Younger. His paintings are characterized by rich color, detailed costumes, and narrative storytelling, reflecting both academic training and a revival of interest in Flemish Golden Age themes. During his career he exhibited widely in Belgium and abroad and also contributed illustrations and decorative work, becoming a respected figure in the late 19th- and early 20th-century Belgian art world.

Lot: 1544 - (2) Chinese Ink on Silk Landscape Panels

Pair of vertical Chinese landscape paintings on silk, each depicting serene mountain vistas with scholarly figures, traditional architecture, and pine trees, accompanied by calligraphic inscriptions upper right. Framed. Overall Size: 35 3/4 x 16 1/4 in.  Sight Size: 30 1/2 x 11 1/2 in. 

Lot: 1545 - Japanese Ink on Silk Traditional Landscape Painting

Japanese Ink on Silk Traditional Landscape Painting.  Japanese silk-mounted ink painting depicts a serene mountain landscape with a lakeside pavilion and weathered trees. In gold faux-bamboo frame. Artist's signature upper left. Size: 17 x 18 3/4 x 1 in. 

Lot: 1546 - Persian Miniature Painting Illuminated Manuscript Leaf

Persian Miniature Painting Illuminated Manuscript Leaf. Miniature painting depicts a scholarly or religious gathering with a seated figure addressing a large group of men, set within a black mat and an intricate Khatam-style marquetry frame featuring geometric floral patterns. Verses by Persian philosopher Avicenna, upper right. Overall Size: 9 1/2 x 15 3/4 in.  Sight Size: 5 x 11 1/2 in. 

Lot: 1547 - (4) Thai Painted Silk Siamese Mythological Scenes

(4) Thai Painted Silk Siamese Mythological Scenes. Set of four framed Thai silk paintings depicts various scenes from the Ramakien epic, featuring stylized figures in traditional ornate costumes and expressive poses against dark, solid backgrounds. Overall Size: 4 1/2 x 13 1/4 in. Sight Size: 15 1/2 x 18 1/4 in.

Lot: 1548 - After Alfred Barye (1839-1882) French, Spelter with Bronze Finish Sculpture of Walking Lion

After Alfred Barye (1839-1882) French, Spelter with Bronze Finish Sculpture of Walking Lion. 19th-century French animalier bronze sculpture of a walking, roaring lion with a chocolate-brown patina. Incise signature on base. Size: 15 3/4 x 5 1/2 x 11 1/2 in.    Alfred Barye (1839–1882) was a French sculptor known for his finely detailed animal bronzes in the 19th-century animalier tradition, a movement devoted to realistic portrayals of wildlife. The son of the renowned animal sculptor Antoine-Louis Barye, he developed his own style while inevitably working in his father’s shadow, often signing his works “A. Barye” or “Alf. Barye,” which later caused attribution confusion. His sculptures—frequently depicting horses, dogs, and exotic animals—are admired for their lively movement, anatomical accuracy, and careful attention to texture. Although less famous than his father, Alfred Barye contributed meaningfully to the popularity of animalier sculpture in France and remains appreciated by collectors for the elegance and craftsmanship of his bronze works.

Lot: 1549 - (2) Decorative Spelter Pheasant Figurines

(2) Decorative Spelter Pheasant Figurines. Crafted as a male and female, with long tails and detailed bodies.  Condition: Original patina. Some wear on undersides.  Size: 3 x 19 x 8 1/4 in.  Spelter is a term primarily referring to a zinc-based alloy that is often used as a cheaper alternative to bronze, especially in decorative items like statues and figurines. It can also refer to the metal zinc itself. Spelter is known for its ability to be cast and then patinated (colored) to resemble bronze, although it is generally softer and has a lower melting point than bronze.

Lot: 1550 - Pair of Brass Peacock Garden Sculptures with Green Patina

Pair of Brass Peacock Garden Sculptures with Green Patina. Sturdily made for outdoor ornamentation, with matching tails and bodies but different crests.  Size: 5 1/2 x 11 x 21 1/2 in. 

Lot: 1551 - Vintage Hand Carved Wood Hen Duck Decoy

Vintage Hand Carved Wood Hen Duck Decoy. Signed Martin on the bottom. Size: 5 3/4 x 6 x 12 1/2 in.

Lot: 1552 - Very Large Antique Hand-Carved and Painted Cork and Wood Canadian Goose Decoy

Very Large Antique Hand-Carved and Painted Cork and Wood Canadian Goose Decoy. The head is carved and affixed to a flat piece of wood on the bottom with two plastic-capped screws, while the main body is carved out of corkwood. An indistinct signature appears to be on the top left edge of the body. The letter "A" is gouged largely into the underside of the wood bottom.  Size: 10 x 10 1/2 x 22 in.  Duck decoys are man-made objects used by hunters since ancient times to lure waterfowl by creating a false sense of security through the appearance of a safe flock. While early versions were made of clay or organic materials by ancient Egyptians and Native Americans, highly detailed wooden carvings emerged as a distinct North American craft in the 19th Century. Modern production transitioned from wood to papier-mâché and eventually plastic, with current technology often incorporating battery-powered motion to simulate realistic movement like spinning wings. Beyond their practical use, decoys have become recognized as a significant form of folk art, a movement sparked by collector Joel Barber in 1918 and furthered by several influential books on the subject. This appreciation has driven the collector market to record heights, with master-carved antique pieces by artists like A. Elmer Crowell selling for over one million dollars since 2007.

Lot: 1553 - Large Antique Hand-Carved and Painted Wooden Canadian Goose Decoy

Large Antique Hand-Carved and Painted Wooden Canadian Goose Decoy. Glass bead eyes. Unsigned.  Size: 7 x 9 1/2 x 20 in.  Duck decoys are man-made objects used by hunters since ancient times to lure waterfowl by creating a false sense of security through the appearance of a safe flock. While early versions were made of clay or organic materials by ancient Egyptians and Native Americans, highly detailed wooden carvings emerged as a distinct North American craft in the 19th Century. Modern production transitioned from wood to papier-mâché and eventually plastic, with current technology often incorporating battery-powered motion to simulate realistic movement like spinning wings. Beyond their practical use, decoys have become recognized as a significant form of folk art, a movement sparked by collector Joel Barber in 1918 and furthered by several influential books on the subject. This appreciation has driven the collector market to record heights, with master-carved antique pieces by artists like A. Elmer Crowell selling for over one million dollars since 2007.

Lot: 1554 - French St. Clement Majolica Ceramic Parrot

French St. Clement Majolica Ceramic Parrot. Colorful Majolica ceramic French St. Clement Majolica Ceramic Parrot pitcher designed in the shape of a cockatoo, featuring a vibrant polychrome glaze with shades of green, orange, and red, and an integrated handle styled as a branch. Marked on base. Size: 7 x 17 x 8 in.

Lot: 1555 - Pál Kepenyes (1927–2021) Hungarian/Mexican, Bronze Surrealist Owl Sculpture

Pál Kepenyes (1927–2021) Hungarian/Mexican, Bronze Surrealist Owl Sculpture.  Intricate, patinated metal sculpture of a stylized owl, featuring floral-shaped eyes with green glass centers and a small human figure standing within an open archway in its chest. Size: 5 x 2 3/4 x 7 3/4 in.   Pál Kepenyes (1927–2021) was a Hungarian-born sculptor, jeweler, and designer celebrated for his striking modernist works in bronze, silver, and gold. Trained in Budapest, he fled Hungary after World War II and eventually settled in Mexico, where pre-Columbian art and indigenous symbolism strongly influenced his style. Kepenyes became internationally known for creating sculptural jewelry and monumental abstract figures that combined organic forms with intricate craftsmanship. His works were collected by prominent figures including Hollywood celebrities and political leaders, and his pieces are held in museums and private collections around the world.

Lot: 1556 - Carved Ebony Elephants with Bone Tusks

(2) Carved Ebony Elephants with Bone Tusks. Hand-carved wooden elephant sculptures features a striking two-tone grain, likely Macassar ebony or calamander wood, accented with inset tusks, eyes, and toes. Size: 8 x 3 x 6 in. 

Lot: 1557 - (2) German Carved Wood and Resin Elephant Sculptures

(2) German Carved Wood and Resin Elephant Sculptures. The larger piece is  wood and stained in a rich jade green color with carved lines accented in white paint. It has an original paper label on the underside that reads "Gilde Handwerk." The smaller piece is resin and has gilt enameling along the back to resemble a luxurious Indian blanket.  Size: 9 1/2 x 5 x 8 1/2 in. 

Lot: 1558 - (2) Vintage Painted Marble and Composite Good Fortune Elephants

(2) Vintage Painted Marble and Composite Good Fortune Elephants. Lot comprised of  two small elephant figurines: one is a grey, classically carved stone piece on a rectangular base, and the other is a brightly colored, patterned sculpture with a green body and decorative red ears. Size: 6 1/2 x 6 x 5 in.   Elephant figures with raised trunks are widely regarded as symbols of good luck, prosperity, strength, and protection in many cultures. In traditions influenced by Asian and African symbolism, an upward-facing trunk is believed to shower positive energy, attract success, and signify triumph over obstacles. Elephant statues are also associated with wisdom, loyalty, and stability, making them popular decorative objects in homes and businesses where they are thought to encourage harmony and abundance.

Lot: 1559 - (2) New Zealand Woodmasters Ltd. Bear and Kiwi Bird Wood Carvings

(2) New Zealand Woodmasters Ltd. Bear and Kiwi Bird Wood Carvings. Unmarked, though the designs appear as theirs in online searches. Both are grooved heavily in their trademark style, and the kiwi has beaded eyes and a lighter grain color, likely using special Matai wood.  Largest Size: 5 1/4 x 3 3/4 x 6 in. 

Lot: 1560 - (3) Hand Carved Wooden Fish Sculptures

(3) Hand Carved Wooden Fish Sculptures.  Set of three stylized, hand-carved wooden fish sculptures, each displaying distinct anatomical features and individual grain patterns characteristic of artisanal woodcraft. Largest Size: 20 x 9 x 7 in. 

Lot: 1561 - Walter Bosse (1904-1979) Austrian, Vintage Modernist Brass Fish Sculpture

Walter Bosse (1904-1979) Austrian, Vintage Modernist Brass Fish Sculpture. Mid-Century Modern bronze sculpture depicts a stylized fish with smooth, aerodynamic lines and a dark, matte patina. Size: 10 x 17 3/4 x 4 in.    Walter Bosse (1904=1979) was an Austrian designer and sculptor, born in 1904 in Vienna, known for his charming and innovative metalwork, particularly his whimsical brass animal figurines. Trained at the Vienna School of Applied Arts, he became associated with the modernist design movement and gained international recognition for combining functionality with playful artistry. Bosse collaborated with the company Hertha Baller, where his designs—especially the iconic “Black Golden Line” series—became highly popular in the mid-20th century. Despite facing disruptions during World War II, his work endured and remains collectible today for its distinctive blend of craftsmanship, humor, and mid-century modern aesthetics.

Lot: 1562 - S. Zorin (20th Century) Russian, 2007 Cast Bronze Fisherman with Pike Sculpture

S. Zorin (20th Century) Russian, 2007 Cast Bronze Fisherman with Pike Sculpture. Depicts a caricature of a fisherman, rotund and gleeful, barefoot but overly prepared, with a tacklebox at his feet and a long pike in his upstretched hand. The fish can be detached from his hand. An attribution is in Cyrillic along the bottom top edge of the base, which translates to "Cast by S. Zorin." The date is stamped on the underside.  Size: 5 3/4 x 5 3/4 x 6 1/2 in. 

Lot: 1563 - (7) Oberammergau Hand-Carved Cork Bottle Stoppers

(7) Oberammergau Hand-Carved Cork Bottle Stoppers. Set of hand-carved, polychrome wooden mechanical wine stoppers and figurines from Oberammergau, Germany, featuring various whimsical characters with articulated, "nodding" heads and traditional Bavarian attire. Size: 11 1/2 x 2 3/4 x 5 3/4 in. 

Lot: 1564 - Vintage Indian Rajasthani Folk Art Carved Wooden Wheeled Horse Box

Vintage Indian Rajasthani Folk Art Carved Wooden Wheeled Horse Box. These pieces, often referred to as "Godhi ratha" or "wedding horses," are traditionally made as gifts for newlyweds in some Indian sub-cultures. They are cobbled together by hand, using local wood and metal studs and horseshoe nails for the mane and wheel fixtures. The top half spins sideways to reveal hidden compartments within, often for the bride to keep her jewelry or spices in the kitchen. It is not fully known how long ago the tradition began, nor even the origins of this exact form, but it is theorized to stretch back several thousand years and from various horse-rearing civilizations that interacted with pre-historic Deccan Plateau cultures, possibly even entwined with the Greek legend of the Trojan horse that was "gifted" by Odysseus to end the Trojan War in The Odyssey.  Size: 4 x 6 x 10 in. 

Lot: 1565 - Japanese Amber Netsuke of a Tiger

Japanese Amber Netsuke of a Tiger. Size: 1 3/4 x 1 1/2 x 1 1/4 in.

Lot: 1566 - (2) Danish Mid Century Modern Teak Bull Carvings

(2) Danish Mid Century Modern Teak Bull Carvings. A design by Arne Basse first made in the 1950s.  Size: 8 1/4 x 2 x 3 3/4 in. 

Lot: 1567 - Vintage Hubley Manufacturing Cast Iron Boston Terrier Doorstop

Vintage Hubley Manufacturing Cast Iron Boston Terrier Doorstop. The adorable pup has turned his head to the right with ears upraised in excitement. Hand-painted, with some fading and rust.  Size: 10 1/4 x 5 x 10 in.  The Hubley Manufacturing Company, founded in 1894 in Pennsylvania, began as a producer of complex cast-iron toys ranging from horse-drawn carriages to motorcycles. Over time the firm expanded its repertoire to include popular household items like doorstops and bookends, all created through a meticulous sand-casting and hand-painting process. By the late 1930s, Hubley shifted toward die-cast zinc alloy and plastic, marketing a diverse line of vehicles and cap guns under the name Kiddietoys. The company is particularly celebrated among collectors for its Classic metal car kits, which offered hobbyists detailed, heavy-scale models of vintage Fords, Chevrolets, and Duesenbergs. They diversified heavily throughout the 1960s, producing unique plastic promotional models including rare station wagon and four-door versions, but their expansion outpaced their profits leading to their purchase in 1969 by toymaker Gabriel, who cut their output by half. A series of additional acquisitions from 1980 through the 1990s further weakened their brand recognition, with no new production of their dies and molds in the 21st Century, making many Hubley pieces and remaining kits highly sought-after collectibles today.

Lot: 1568 - Vintage 1930s British Merrythought Mohair Black Tom Cat Toy - AS IS

Vintage 1930s British Merrythought Mohair Black Tom Cat Toy - AS IS. The large celluloid eye, the hand-stitched body, the arched back, and the ribbon around its neck is similar to designs by Steiff, but the label sewn into the belly clearly indicates its origins.  Condition: One missing eye. Signs of wear and tear due to age. "To be loved is to be changed."  Size: 9 x 4 x 12 in.  Merrythought is a British toy manufacturer established in 1930, specializing in high-quality, handmade traditional teddy bears. Based in the Ironbridge Gorge World Heritage Site, the company operates out of a former iron foundry where it also maintains a public museum and shop. The brand gained early fame for its “Magnet” bear and “Mr Whoppit,” the mascot of speed record breaker Donald Campbell. Despite challenges from cheap foreign imports in the 2000s, Merrythought successfully pivoted to focus on the collector market, emphasizing traditional mohair materials. The firm remains a family-owned business, currently led by the fourth generation of the Holmes family, who brought production back entirely in-house in 2010. Today, their limited-edition plushes are highly sought after globally, particularly in Japan, and the company continues to produce commemorative designs for major events like Royal weddings.

Lot: 1569 - (2) Composite High-Fiving Dog Bookends on Stone Bases

(2) Composite High-Fiving Dog Bookends on Stone Bases. The sculpted dogs are in slightly different poses, similar to Chinese foo dogs, with one paw up towards each other that would brace against the books. Rectangular black polished stone bases anchor them. "Made in China" on the underside of both.  Size: 3 1/8 x 5 1/4 x 8 1/4 in. 

Lot: 1570 - Pair of Resting Lion Bookends

Pair of Resting Lion Bookends. Identical forms with just the head, mane, and front paws extending from the L-shape, likely molded.  Size: 4 1/4 x 6 x 5 in. 

Lot: 1571 - (2) Carved Resin Elephant Bookends

(2) Carved Resin Elephant Bookends. The elephants are matching, with hollow bodies exposed by delicately carved swirls making up their back torsos. They are affixed to faux wood L-shaped stands with carved and painted swirl decorations on the sides.  Size: 7 1/4 x 3 x 6 3/4 in. 

Lot: 1572 - Bombay Company Whimsical Matched Monkey and Gorilla Bronze and Wood Bookends

Bombay Company Whimsical Matched Monkey and Gorilla Bronze and Wood Bookends. Cleverly shows two different but connected scenes rather than the traditional matching sides: a group of nine monkeys pull frantically on a rope coming out of the vertical L-side, while on the other piece the rope emerges from the same spot and is held by an enormous smug gorilla. Original series of labels dated 2005 affixed to the bottom of one side. This piece was discontinued in the late 2000s.  Size: 7 x 5 x 7 in.  Founded in 1978 as a New Orleans mail-order business, The Bombay Company grew into a major furniture chain with over 500 stores headquartered in Texas. After years of expansion under Tandy Brands, the American division filed for Chapter 11 bankruptcy in 2007, leading to the liquidation of all U.S. retail and outlet locations by early 2008. The brand’s intellectual property was subsequently sold to liquidation firms, which attempted to keep the name alive through licensing deals and third-party retailers like QVC. In Canada, the company faced a similar fate, undergoing multiple ownership changes and creditor protection filings before shuttering its remaining physical stores in 2018. Several attempts were made to relaunch the brand as an online-only store between 2012 and 2019, though these efforts faced significant operational delays. Today the brand and trademark is under the ownership of GHP Group.

Lot: 1573 - Pair of Hand-Carved Ebonized Wooden Elephant Bookends

Pair of Hand-Carved Ebonized Wooden Elephant Bookends.  Size: 6 3/4 x 6 1/2 x 10 in. 

Lot: 1574 - After Antoine-Louis Barye (1795-1875) French, Pair of Cast Iron Lion Bookends

After Antoine-Louis Barye (1795-1875) French, Pair of Cast Iron Lion Bookends. A profile of a lion is mirrored on both pieces, with faded and torn labels on both undersides that read: "BARYE: Born at Paris 1795, died there 1875. Famous French sculptor of animals." "B&H" stamp on both at the back bottom right edge.  Size: 4 3/4 x 2 x 3 3/4 in.  Antoine-Louis Barye was born September 24th, 1795 in Paris, France. He began his career as a goldsmith under his father Pierre, before working under sculptor Martin-Guillaume Biennais in 1810. He was admitted to the Ecole des Beaux-Arts in 1818, and found his calling as an animalier (sculptor of animals) studying under Emile Fauconnier. His works continued to grow in size, with a major lion exhibited at the Paris Salon in 1850, but poor business decisions led to his work and reputation suffering after that. In 1854 he was made Professor of Drawings at the Museum of Natural History, and was elected to the Academie des Beaux-Arts in 1868. He produced no new works after 1869, and passed away in June 1875.

Lot: 1575 - Mid-Century Oil on Canvas Still Life Painting

Mid-Century Oil on Canvas Still Life Painting. Red roses in a tall white vase. Signed lower right with artist's monogram. Overall Size: 14 1/4 x 11 1/2 in.  Sight Size: 10 x 7 1/2 in. 

Lot: 1576 - Wiktor Jerzy Jedrzejak (1956-2024) Polish, Oil on Canvas, Still Life

Wiktor Jerzy Jedrzejak (1956-2024) Polish, Oil on Canvas, Still Life. Signed and dated lower right. Wiktor Jerzy Jedrzejak was born in 1956 in Kalisz, Poland. He studied at the Higher School of Fine Arts in Czestochowa and went on to have a successful career as an artist. Jedrzejak participated in numerous group exhibitions in various cities including Wroclaw, Torun, Bielsko-Biala, Ostrów Wielkopolski, Syros (Greece), and New York. He also held 26 individual exhibitions on three continents. Known for his unique style and use of old objects in his artwork, Jedrzejak was the winner of twenty-one national painting competitions. He was a dedicated seeker of old objects, finding inspiration in the history and time hidden within them. Overall Size: 14 x 26 1/2 in.  Sight Size: 12 x 24 in. 

Lot: 1577 - Jan Trojan (Born 1949) Polish, Oil on Canvas

Jan Trojan (Born 1949) Polish, Oil on Canvas. Signed lower right and dated 1991. He studied at the State Higher School of Fine Arts in Lodz Faculty of Fashion and Textile Design. He graduated from the Painting Studio of Professor Roman Modzelewski and the Textile Print Design Studio of Professor Maria Zielinska in 1974. He began teaching in 1996, at the Department of Art at the Faculty of Education, Radom University of Technology. He is currently an associate professor in the Department of Design and Graphics at the Faculty of Art, Radom University of Technology. He has participated inover a dozen solo exhibitions and 80 painting exhibitions in Poland and abroad. He lives in Lodz. In 1982 he received the Jacek Malczewski Grand Prix at the 36th Salon. Overall Size: 17 x 14 x 1 1/2 in. Sight Size: 15 1/4 x 12 in.

Lot: 1578 - 1930s Oil on Canvas Still Life with Vase and Orange

1930s Oil on Canvas Still Life with Vase and Orange. Signed S.S. Peschau and dated 1932 lower left. Overall Size: 13 1/2 x 11 1/2 in.  Sight Size: 11 1/2 x 9 1/2 in. 

Lot: 1579 - Wiktor Jerzy Jedrzejak (1956-2024) Polish, Oil on Canvas, Still Life with Pots

Wiktor Jerzy Jedrzejak (1956-2024) Polish, Oil on Canvas, Still Life with Pots. Wiktor Jerzy Jedrzejak was born in 1956 in Kalisz, Poland. He studied at the Higher School of Fine Arts in Czestochowa and went on to have a successful career as an artist. Jedrzejak participated in numerous group exhibitions in various cities including Wroclaw, Torun, Bielsko-Biala, Ostrów Wielkopolski, Syros (Greece), and New York. He also held 26 individual exhibitions on three continents. Known for his unique style and use of old objects in his artwork, Jedrzejak was the winner of twenty-one national painting competitions. He was a dedicated seeker of old objects, finding inspiration in the history and time hidden within them. Overall Size: 10 x 11 in.  Sight Size: 8 1/2 x 9 in. 

Lot: 1580 - (2) Mid Century Modern Mesoamerican-Inspired Onyx and Marble Figural Bookends

(2) Mid Century Modern Mesoamerican-Inspired Onyx and Marble Figural Bookends. A small figure resembling Aztec and Mayan warriors in a dark stone sits in the crook of the L-shaped vibrant white and red bracing stone. Both stunning, hand-carved pieces with slight differentiations.  Size: 3 3/4 x 2 1/2 x 6 1/2 in. 

Lot: 1581 - Chinese Carved Stone Turtle Shell Pendant

Chinese Carved Stone Turtle Shell Pendant. Small, brown carved stone object featuring a geometric, shell-like pattern on its surface and an open interior, consistent with the construction of a snuff bottle or a similar decorative vessel component. Size: 2 x 1 1/4 x 1/2 in. 

Lot: 1582 - Chinese Carved Stone Turtle Shell Bead

Chinese Carved Stone Turtle Shell Bead. Small, carved stone with distinct, stylized shell-like geometric pattern and a single recessed opening, likely serving as a decorative component or a component of a larger vessel. Size: 3 x 2 x 1 in. 

Lot: 1583 - Antique Chinese Russet Jade Tag Pendant

Antique Chinese Russet Jade Tag Pendant. Flat, brown stone pendant or charm featuring an elongated rectangular body that flares at the base with small, hook-like protrusions and includes a single suspension hole at the top. Size: 4 x 3 x 1/4 in. 

Lot: 1584 - 20th Century Green Vertical Ceramic Vase with Fish Relief

20th Century Green Vertical Ceramic Vase with Fish Relief.  Slender ceramic vase features a mottled green glaze and is decorated with raised, relief-style carvings of fish and aquatic flora.  Artist initials on base. Size: 4 1/4 x 4 1/4 x 9 1/4 in. 

Lot: 1585 - Vintage Chinese Hand-Carved Soapstone Snake Seal Stamp

Vintage Chinese Hand-Carved Soapstone Snake Seal Stamp. The curling snake form at top is complemented by an image of a snake incised into the side as well, along with tree forms and kanji. On the bottom is the stamp accented in red, with kanji on half and the word "DOLLIE" in English below.  Size: 3 x 3/4 x 3/4 in.  The stamp seal (also called an impression seal) is a common seal die, frequently carved from stone, in forms at least since the 6th Millennium BC and probably earlier. The dies were used to impress their picture or inscription into soft, prepared clay and sometimes in sealing wax. The oldest known stamp seals originated in the Indus Valley, and were button-shaped objects with primitive ornamental forms chiseled onto them, replaced in the 4th Millennium BC by cylinder seals that had to be rolled over the soft clay to leave an imprint. Over the following centuries the form spread throughout Asia, Europe, and Africa, with Romans introducing their signaculum around the 1st Century BC in a form still in use to this day. In antiquity the stamp seals were common, largely because they served to authenticate legal documents, such as tax receipts, contracts, wills and decrees, and even with the advent of inkpens and computer technology, the physical manifestation of a sealed contract is considered preferable (or even necessary) in some cultures and social circles. 

Lot: 1586 - Chinese Carved Bone Brush Rest

Chinese Carved Bone Brush Rest. Carved gone brush rest with hand painted images of mythological beasts on either side. Size: 4 1/2 x 1 1/4 x 3/4 in. 

Lot: 1587 - Chinese Carved Russet Jade Mythical Beast

Chinese Carved Russet Jade Mythical Beast. Smooth, earth-toned jade carving depicting a stylized, mythical creature in a crouching or recumbent posture. Size: 2 x 2 x 1/2 in. 

Lot: 1588 - Chinese Hand Carved Jade Bixie Figure

Chinese Hand Carved Jade Bixie Figure. Two sets of horns or antlers protrude from the grotesque body, with the stone covered in the original rock it rested in demonstrating a more modern rough-hewn style.  Size: 1 1/2 x 2 3/4 x 1/2 in.  The pixiu is a Chinese mythical hybrid creature that resembles a winged lion, considered powerful protectors of the souls of the dead, xian, and feng shui practitioners. They are said to be influential and auspicious symbols to bring luck and wealth, as the creature would even eat gold, silver, and jewels in folk tales. There are two types of Pixiu, determined by their horns/antlers: the one with two antlers is the female and is called a Bìxié, and the other has one large antler and is the male, called a Tiānlù. Today, Pixiu are a popular design on jade pendants, frequently given to couples as a joint form of protection, since the male form is said to be the collector of riches, and the female form then guards said riches once they are brought home. 

Lot: 1589 - Chinese Carved Jade Brush Rest

Chinese Carved Jade Brush Rest.  Carved jade brush rest featuring a mottled pale green and tan surface with natural veins and carved horizontal grooves. Size: 2 x 3/4 x 3 /4 in. 

Lot: 1590 - Chinese Carved Bamboo Form Jade Brush Rest or Pendant

Chinese Carved Bamboo Form Jade Brush Rest or Pendant. Includes a leaf decoration and a series of parallel lines line on the body of bamboo. Small hole at one end for a thin brush handle to be inserted into, or to be repurposed as a pendant on a necklace.  Size: 2 1/4 x 3/4 x 1/2 in. 

Lot: 1591 - (3) Chinese Carved Soapstone Vases and (3) Chinese Carved Soapstone Toothpick Holders

(3) Chinese Carved Soapstone Vases and (3) Chinese Carved Soapstone Toothpick Holders. Each vase is a different size and form, in incredible detail. The three holders are in the same style, but each has a different monkey on it, forming the "see/hear/speak no evil" motif. The holders have the word "China" etched into the bottoms.  Size: 9 x 4 1/2 x 2 1/2 in. 

Lot: 1592 - Vintage Cuban Airborne Troops Jump Badge

Vintage Cuban Airborne Troops Jump Badge. Tear-shaped insignia featuring a stylized parachute canopy topped by a Cuban flag, with an aircraft and a descending paratrooper set against a deep blue background. Box: 3 x 1 1/4 in. Badge: 1 3/4 x 1 in.

Lot: 1593 - Cold War Era USSR Red Guard Badge

Cold War Era USSR Red Guard Badge. Red Guards Badge is an ornate Soviet military decoration featuring a prominent red banner with Cyrillic text above a white enameled center containing a red star, all encircled by a golden laurel wreath with "CCCP" inscribed at the base. Box: 2 1/4 x 1 1/2 in. Badge: 1 1/2 x 1 1/4 in.

Lot: 1594 - Cold War Era USSR Officer Class I Qualifications Badge

Cold War Era. USSR Officer Class I Qualifications Badge. Winged, multi-colored military insignia featuring a central white shield with the number "1" and various combat symbols, including a tank and a rocket. Box: 3 x 1 1/2 in. Badge: 2 3/4 x 1 in.

Lot: 1595 - Soviet Army Panama Boonie Hat

Soviet Army Panama Boonie Hat. Tan military sun hat featuring a dark chin strap and a red Soviet star insignia with a hammer and sickle emblem. size: 12 1/2 x 12 3/4 x 7 in.

Lot: 1596 - Russian Military Airborne Forces Jump Helmet

Russian Military Airborne Forces Jump Helmet. Padded military tanker helmet featuring a green digital camouflage pattern. Size: 10 x 13 in. Hat Size: 59

Lot: 1597 - Vintage Scott Aviation Corp 6380 Series Demand Respirator for Bureau of Mines

Vintage Scott Aviation Corp 6380 Series Demand Respirator for Bureau of Mines. The visibility shield bears the company name at top, with cinchable straps all around to anchor the piece securely to the head. The hose connects to the chestpiece regulator, which bears a date on the back of 1961 (with a cure date of 2061, making it still viable) and an informative label on the front including the type (C) and serial number.  NOTE: This is a vintage safety device and should not be used for actual respiratory protection without proper inspection and certification by a qualified professional.  Size: 8 1/2 x 41 x 5 in.  Founded in 1932 by Earl M. Scott as an aeronautics parts producer, Scott Safety pioneered modern firefighting with the 1945 introduction of the Air-Pak SCBA, adapting pilot oxygen systems for smoke-filled environments. Acquired by 3M in 2017, Scott has dominated the respiratory safety market for decades, developing high-pressure, NASA-partnered, and smart SCBA technology for first responders and numerous industries.

Lot: 1598 - Cold War Era USSR Soviet Army Belt and Metal Buckle

Cold War Era USSR Soviet Army Belt and Metaal Buckle. Brown leather military belt featuring a brass buckle embossed with a Soviet five-pointed star containing a hammer and sickle. Size: 2 1/4 x 42 in.

Lot: 1599 - USSR Military Officer's Visor Cap

USSR Military Officer's Visor Cap. Olive-green Soviet military officer's visor cap featuring red piping, a decorative gold cord, and a central cockade with a red star emblem. Size: 11 1/2 x 12 1/4 x 6 1/2 in.

Lot: 1600 - Vintage US Military M6 Steel Tool Chest

Vintage US Military M6 Steel Steel Tool Chest. Open, olive-drab military chest, with complex interior of divided wooden compartments and slots for organizing specialized gear or tools. Size: 38 1/2 x 23 x 10 in.

Lot: 1601 - Victorian Style Brass and Stone Plant Stand

Victorian Style Brass and Stone Plant Stand. Ornately designed with four stone orb and metallic urn-shaped finials at the top of the four legs that curve out and under at the bottom. There are two places for plants, one on top and one below, with the stones removeable for easier cleaning.  Size: 13 x 12 x 32 3/4 in. 

Lot: 1602 - Early 20th Century Chinese Bronze Jardiniere

Early 20th Century Chinese Bronze Jardiniere. Rectangular, footed bronze planter featuring a weathered patina, a studded rim, and an ornate, repeating scrollwork band along the midsection. Size: 15 x 9 x 4 1/8 in. 

Lot: 1603 - Vintage Chinese Rosewood Display Stand with Stone Insert Top

Vintage Chinese Rosewood Display Stand with Stone Insert Top. The rich red hues in the stone compliment the wood, which is carved both with leaf-and-vine and more traditional Chinese shapes and symbols throughout. An additional platform beneath the stone insert can be used for storage, while the top could hold a plant or statue. Dragon-style claw-and-ball feet.  Size: 16 1/2 x 16 1/2 x 32 1/4 in. 

Lot: 1604 - Chinese Ink on Silk Four-Panel Table Screen with Bamboo Paintings

Chinese Ink on Silk Four-Panel Table Screen with Bamboo Paintings. Four-panel Chinese table screen featuring inset porcelain plaques painted with monochrome ink-style bamboo and calligraphic verse inscriptions, all housed in a dark wood frame with decorative openwork carvings at the base. Size When Folded: 22 1/2 x 6 in.  Size When Opened: 22 1/2 x 24 in. 

Lot: 1605 - Chinese Four Panel Table Screen with Inlaid Floral Decoration

Chinese Four Panel Table Screen with Inlaid Floral Decoration. Four-panel miniature folding table screen crafted from black-lacquered wood, featuring panels decorated with inlaid precious stone floral arrangements in vases accompanied by Chinese calligraphy. Size When Open: 18 x 24 x 1 in. 

Lot: 1606 - Japanese Bamboo Fire Screen with Exquisite Bone Inlay and Embroidered on Rear

Japanese Bamboo Fire Screen with Exquisite Bone Inlay and Embroidered on Rear. Antique fire screen with painted silk panel in Oriental inspired style, with one side depicting floral brocade, reverse with black lacquered wood panel inlaid with birds on flowering branches. Size: 25 x 14 1/4 x 41 1/2 in. Tapestry: 25 x 17 1/4 in.

Lot: 1607 - (2) Japanese Carved Wood Deity Statues

(2) Japanese Carved Wood Deity Statues. Both share a similar style and wood, with a red undercolor and a rich lacquered surface. The taller figure with elaborate headdress and dragon imagery is Benten, the goddess of beauty, art, literature and music, the only female of the group of Seven Japanese Luck Gods that syncretically evolved from the Eight Chinese Immortals some time in the 15th Century. The smaller piece is Kannon, the Japanese equivalent of the Chinese Buddhist Guan Yin figure, the goddess of mercy and compassion. Together these two figures represent the feminine influence that managed to emerge over many centuries through the male-dominated Buddhist religion.  Size: 3 1/2 x 3 x 11 1/4 in. 

Lot: 1608 - Pair of Small 1980s Chinese Turquoise Glazed Ceramic Foo Dogs

Pair of 1980s Chinese Turquoise Glazed Ceramic Foo Dogs. Indistinct markings on the undersides.  Size: 2 x 1 1/2 x 4 1/2 in.  Imperial Guardian Lions are a traditional Chinese architectural ornament whose origins lie deep in much older Indian Buddhist traditions. Typically made of stone, they are also known as stone lions or shishi, and in colloquial English as lion dogs or foo dogs. Usually a pair of highly stylized lions, often one male with a ball which represents the material elements and one female with a cub which represents the element of spirit, they were thought to protect the building from harmful spiritual influences and people that might be a threat. Used originally in imperial Chinese palaces and tombs, the lions subsequently spread to other parts of Asia including Japan, Korea, Vietnam, and the Philippines, as well as guarding homes, hotels, restaurants and more in European, African and American countries with large Asian immigrant populations.

Lot: 1609 - Japanese Satsuma Porcelain Moon Vase

Japanese Satsuma Porcelain Moon Vase.  Moon-shaped Japanese Satsuma pottery vase featuring a circular cutout handle and hand-painted scenes of birds, bamboo, and chrysanthemums enriched with delicate gold gilt. Size: 7 x 7 x 3 1/2 in.  Satsuma porcelain is a type of Japanese pottery that originated in the Satsuma region of southern Kyushu during the early 17th century. It is characterized by a creamy, ivory-colored clay body with a finely crackled glaze, often decorated with elaborate hand-painted designs featuring figures, landscapes, and intricate patterns in gold and polychrome enamels. Satsuma porcelain became especially popular in the late 19th and early 20th centuries for export to Europe and America, where collectors prized its detailed, delicate artistry. The pieces reflect both Japanese cultural motifs and the influence of Western tastes, making Satsuma porcelain a significant example of cross-cultural decorative art.

Lot: 1610 - Chinese Cloisonne Enamel Vase

Chinese Cloisonne Enamel Vase. Tapered Chinese cloisonné enamel vase featuring an intricate lotus and scrolling vine pattern in red, white, and yellow against a deep cobalt blue ground, finished with gilded metal rims. Size: 4 1/4 x 4 1/4 x 10 1/4 in. 

Lot: 1611 - Miniature Chinese Gilt Wire Cloisonne Enameled Vase

Miniature Chiense Gilt Wire Cloisonne Enameled Vase.  Miniature cloisonné vase featuring a gilded brass body intricately decorated with colorful enamel floral motifs and swirling scrollwork patterns. Size: 3 1/2 x 3 1/2 x 5 in. Chinese cloisonné is a traditional decorative art form in which thin metal wires are shaped into intricate designs on a metal surface—usually copper or brass—and the enclosed spaces (cloisons) are filled with brightly colored enamel. The piece is then fired, polished, and often gilded to create a smooth, luminous finish. Originating in China during the Yuan and Ming dynasties, cloisonné became especially popular in imperial workshops, featuring motifs such as dragons, flowers, and geometric patterns. Valued for its rich colors and detailed craftsmanship, it remains an important expression of Chinese decorative arts.

Lot: 1612 - Japanese Satsuma Earthenware Bowl

Japanese Satsuma earthenware lobed bowl from the Meiji period, featuring a finely crackled cream glaze decorated with delicate pink and gilt cherry blossoms and a geometric fretwork border. Impressed Satsumaware stamp on base. Size: 5 x 5 x 2 1/2 in.  Satsuma porcelain is a type of Japanese pottery that originated in the Satsuma region of southern Kyushu during the early 17th century. It is characterized by a creamy, ivory-colored clay body with a finely crackled glaze, often decorated with elaborate hand-painted designs featuring figures, landscapes, and intricate patterns in gold and polychrome enamels. Satsuma porcelain became especially popular in the late 19th and early 20th centuries for export to Europe and America, where collectors prized its detailed, delicate artistry. The pieces reflect both Japanese cultural motifs and the influence of Western tastes, making Satsuma porcelain a significant example of cross-cultural decorative art.

Lot: 1613 - Chinese Double Gourd Cinnabar Lacquer Wall Plaque with Landscapes in Relief

Chinese Double Gourd Cinnabar Lacquer Wall Plaque with Landscapes in Relief.  Chinese cinnabar lacquer wall plaque shaped like a double gourd, featuring intricate relief carvings of floral motifs and a detailed landscape scene with figures in a boat. Size: 19 1/2 x 28 1/4 in.   Chinese cinnabar refers to a distinctive form of carved lacquerware made in China using layers of lacquer tinted with powdered cinnabar (a naturally occurring mineral of mercury sulfide) to achieve a rich red color. Artisans would apply dozens—sometimes hundreds—of thin lacquer layers onto a core (often wood or metal), then painstakingly carve intricate designs such as floral patterns, landscapes, or mythological scenes once the surface had built up sufficient thickness. This technique flourished especially during the Ming dynasty and Qing dynasty, producing highly valued decorative objects like boxes, vases, and trays. Today, genuine antique cinnabar pieces are prized for their craftsmanship and depth, though modern reproductions also exist, often using synthetic materials or simplified carving methods.

Lot: 1614 - Republic Period Chinese Hand Painted Porcelain Ginger Jar

Republic Period Chinese Hand Painted Porcelain Ginger Jar. Chinese porcelain ginger jar featuring a Famille Rose hand-painted scene of figures in a garden setting, complete with a domed lid and a dark wood display stand. Verse on reverse. Impressed seal on bottom. Includes base. Size: 10 1/2 x 10 1/2 x 11 in. 

Lot: 1615 - Antique Chinese Gold Cannetile Butterfly Peony Embroidery

Antique Chinese Gold Cannetile Butterfly Peony Embroidery. Decorative textile or paper art featuring a highly stylized, symmetrical butterfly or fan-shaped motif rendered in ornate gold, black, and white patterns with delicate blue floral accents set against a deep navy blue background. Overall Size: 16 x 22 in. Sight Size: 12 x 16 1/2 in.

Lot: 1616 - (2) Antique Calligraphy Sheets and (1) Calligraphy Writing Set

(2) Antique Calligraphy Sheets and (1) Calligraphy Writing Set. Collection features a traditional East Asian calligraphy set, including a wooden travel box with brushes and an inkstone, flanked by two sheets of aged paper displaying bold ink-brushed characters. Calligraphy samples under glass, unframed. Sizes: 14 x 11 in. 11 x 7 1/2 in. 

Lot: 1617 - Vintage Chinese Cloisonne Tray with Assorted Carved Decorative Stone Objects

Vintage Chinese Cloisonne Tray with Assorted Carved Decorative Stone Objects. Pretty flower and vine patterns adorn the green top, with a dip at each corner of the hexagonally shaped work. There are 11 carved stone shapes in total, three in a jade green and the others in various shades of brown. Perfect start to building feng shui in your home.  Size: 5 x 5 x 3/4 in. 

Lot: 1618 - Japanese Meiji Period Bronze Yatate Portable Calligraphy Set Inkwell and Pen Holder

Japanese Meiji Period Bronze Yatate Calligraphy Set Inkwell and Pen Holder. Antique 19th century bronze yatate calligraphy set, including openwork inkwell and pen holder. Size: 15 x 4 x 5 in.  Yatate is a traditional Japanese portable writing set used primarily during the Edo period, designed to carry ink and a brush for writing on the go. It typically consists of a small ink container attached to a slim, pen-like brush holder, often crafted from materials such as bamboo, wood, or lacquered metal, and sometimes decorated with intricate carvings or inlays. The yatate allowed samurai, merchants, and scholars to write letters, keep records, or compose poetry while traveling, reflecting both practicality and aesthetic refinement. Its compact, elegant design made it a distinctive object in Japanese culture, combining functionality with artistic craftsmanship.

Lot: 1619 - Vintage Chinese Brass Rat Lidded Incense Burner

Vintage Chinese Brass Rat Lidded Incense Burner. The tiny rodent is holding an object up to the sky triumphantly, possibly a nut or snail. Reticulated diamond shapes make up the bottom part of the lid so the smoke can escape, and the three legged rounded base is complemented by three tassle-like handles over them near the rim.  Size: 3 x 3 x 4 1/2 in. 

Lot: 1620 - Chinese Ming Style Bronze Spouted Vessel

Chinese Ming Style Bronze Spouted Vessel. Ornate, tripod-based bronze vessel featuring a lid topped with a mythical creature finial and a body decorated with intricate, archaic scrollwork patterns. Size: 11 x 13 x 8 1/4 in. 

Lot: 1621 - Vintage Chinese Plique-a-Jour Silver Filigree Reticulated Bowl

Vintage Chinese Plique-a-Jour Silver Filigree Reticulated Bowl. Intricate Chinese silver-gilt filigree bowl featuring vibrant floral designs in plique-à-jour enamel, a technique where the translucent enamel is suspended within the openwork metal wire to create a stained-glass effect. Size: 4 x 2 1/4 in.   Plique-à-jour enameling is a delicate glass-fusing technique in which translucent enamel is applied within open metal cells—without a solid backing—so that light can pass through, creating an effect similar to miniature stained glass. Popularized in late 19th- and early 20th-century jewelry, especially by Art Nouveau masters like René Lalique, the process involves firing finely ground enamel in a kiln so it melts and adheres to a framework of gold or silver. Because there is no backing, the enamel must be carefully built up in thin layers to avoid collapse or cracking, making it one of the most technically demanding enameling methods. The finished result is prized for its luminous, ethereal quality, with colors that appear to glow when illuminated.

Lot: 1622 - Chinese Lacquered Cinnabar Spring Box

Chinese Lacquered Cinnabar Spring Box. Circular Chinese cinnabar lacquer "Spring" box, ornately carved with a large central chun (spring) character surrounded by dragons and symbols of longevity over a detailed landscape scene. Size: 14 x 14 x 5 in.    Chinese spring box (often called “spring boxes” in the West) are traditional tiered containers from China, typically made of wood and finished with lacquer, used for storing and transporting food, sewing items, or personal belongings. The name is thought to relate to their association with renewal and celebration—especially during festivals like Chinese New Year—when they were filled with sweets, pastries, or symbolic foods and given as gifts. Their stacked, lidded design made them practical for carrying multiple items while keeping them neatly separated, and many examples feature hand-painted or carved decoration, sometimes incorporating auspicious motifs like flowers, birds, or longevity symbols. Antique examples can be quite collectible today, while later versions were produced more simply for everyday household use.

Lot: 1623 - Persian Qalam Zani Hand Engraved Hammered Metal Charger Plate

Persian Qalam Zani Hand Engraved Hammered Metal Charger Plate. Ornate, circular metal charger or plate featuring a scalloped rim and a central medallion depicting two seated figures surrounded by intricate floral and scrolling etched patterns. Provenance: Purchased in Iraq. Size: 20 1/2 x 20 1/2 in. 

Lot: 1624 - (2) Middle Eastern Hand Engraved Hammered Brass Trays

(2) Middle Eastern Hand Engraved Hammered Brass Trays. Pair of decorative brass plates features elaborate hand-etched floral and foliate patterns, with the larger tray displaying a dense overall design and the smaller plate centered by a prominent scalloped medallion. Size: 14 1/4 x 14 1/4 in. 

Lot: 1625 - Antique Persian Silver Inlaid Copper Bowl with Calligraphic Band

Antique Persian Silver Inlaid Copper Bowl with Calligraphic Band. Features an ornate silver inlay, highlighted by a prominent calligraphic band running along the upper rim. Below the calligraphy, the body is decorated with rhythmic, interlocking floral scrolls and medallions that showcase the intricate metalworking traditions of the region. Size: 18 x 18 x 11 in. 

Lot: 1626 - (2) Chinese Cinnabar Lacquer Carved Vases

(2) Chinese Cinnabar Lacquer Carved Vases. Features intricate, high-relief carvings of floral motifs, primarily peonies and foliage, set against a geometric diaper-pattern background. The elegant pear-shaped silhouette is finished with a flared rim and a decorative lotus-petal base.  Size: 6 x 6 x 13 in. 

Lot: 1627 - African Benin Style Cast Bronze Stool with Figural Supports

African Benin Style Cast Bronze Stool with Figural Supports. Cast bronze African caryatid stool or vessel stand, featuring three stylized human figures with prominent features and hands on their hips supporting a circular platform above a matching ring base. Size: 12 1/2 x 12 x 4 in. 

Lot: 1628 - (2) Circle of Wang Yeting (1884-1942) Chinese Hand Painted Porcelain Vases

(2) Chinese Hand Painted Porcelain Vases. Two white porcelain vases of different sizes and styles, both decorated with traditional Chinese-inspired motifs and set against a solid black background. Larger vase with verse on opposite side. Larger vase with six character mark on base; smaller vase with leaf. Size: 9 1/4 x 5 1/2 x 5 1/2 in.

Lot: 1629 - Vintage Chinese Shanghai Peony Satin Robe

Vintage Chinese Shanghai Peony Satin Robe. Vintage blue satin knee-length robe featuring an all-over floral pattern and traditional Chinese-inspired frog closures. Length and Chest: 47 x 29 in.

Lot: 1630 - Vintage Late Qing Dynasty Chinese Imperial Gold Embroidered Dragon Kimono

Vintage Late Qing Dynasty Chinese Imperial Gold Embroidered Dragon Kimono. Chinese gold thread embroidered Dragon ceremonial kimono robe, circa early 20th century. Wider sleeves, 5 claws (imperial) Dragon, hand embroidery, wrap-front construction with no label. Front middle length of dress is 52 ½ inches and back middle length of dress is 57 inches. Top shoulder width is 75 inches. Includes book, Splendor's of China's Forbidden City: The Glorious Reign of Emperor Qianglong (Beent Bronson, 2005) Size: 57 x 75 in.

Lot: 1631 - (2) Chinese Cloisonne Gilt Wire Vases

(2) Chinese Cloisonne Gilt Wire Vases. Vintage Chinese cloisonné enamel miniature vases featuring a bird and floral motif in vibrant shades of orange, blue, and pink against a pale yellow background, finished with gilded rims and bases. Size: 7 x 3 1/2 x 3 1/2 in.

Lot: 1632 - (2) Japanese Cloisonne Vase and Small Cylindrical Container

Pair of finely decorated Japanese cloisonné enamel objects, including a large baluster-shaped vase with a domed lid and floral motifs in vivid polychrome enamel, alongside a small matching cylindrical container, both showcasing intricate craftsmanship and ornate decorative design. Largest Size: 4 3/4 x 11 in.  

Lot: 1633 - Japanese Satsuma Earthen Lidded Box

Japanese Satsuma Earthen Lidded Box.  Round, lidded earthenware container decorated with ornate Satsuma-style illustrations of figures and gold gilt accents, topped with a small animal figurine acting as a handle. Interior with central gold filigree emblem, while the other is decorated with a detailed illustration of a bearded figure surrounded by ornate gold and multi-colored clouds. Size: 5 x 5 x 4 in. 

Lot: 1634 - Japanese Meiji Era Satsuma Porcelain Tea Cup and Saucer - AS IS

Japanese Meiji Era Satsuma Porcleain Tea Cup and Saucer - As is. Two-handled porcelain cup with a matching lid and saucer, all of which are decorated with fine hand-painted scenes of figures and landscapes accented by gold borders. Condition: Cracked saucer. Saucer: 5 1/4 in.

Lot: 1635 - Chinese Ink and Paper Folding Fan in Shadow Box

Chinese Ink and Paper Folding Fan in Shadow Box.  Folding fan featuring a delicate ink wash painting of birds in flight over reeds, accompanied by calligraphic script and a red seal. Overall Size: 13 1/2 x 20 1/2 in. Sight Size: 12 x 19 in.

Lot: 1636 - Vintage Japanese Painted Silk Figural Wall Scroll "Firefly"

Vintage Japanese Painted Silk Figural Wall Scroll "Firefly". Reproduction scroll of the famous Japanese image 'Firefly', depicting a woman in a light blue floral kimono pulling a thin red line, created in a traditional Japanese artistic style. Artist's signature lower left. Framed. Overall Size: 55 x 21 in.  Sight Size: 46 x 14 in. 

Lot: 1637 - Thai Framed Painted Silk Triptych Depicting Scenes From the Life of the Buddha

Thai Framed Painted Silk Triptych Depicting Scenes From the Life of the Buddha. Framed triptych featuring three circular Thai paintings on silk or paper, each illustrating a traditional Buddhist narrative scene within a gold-bordered medallion and set against a vertical linen-covered mat. Gallery label verso. Framed. Size: 55 1/2 x 20 inl. King Bimbisara becoming a disciple of the Lord Buddha and later dedicating the Veluwana to the Lord Buddha and his followers. This royal garden offered to the Lord Buddha can be considered to be the first monstery in the Buddhist religon.

Lot: 1638 - Japanese Arita Porcelain Blanc de Chine Intertwined Dragon-form Candle Holder - As Is

Japanese Arita Porcelain Blanc de Chine Intertwined Dragon Vessel -  As Is.  White porcelain sculpture depicting two stylized, expressive Chinese dragons with detailed scales and features flanking a central, smooth spherical or apple-shaped vessel. Condition: Crack on bottom. Size: 8 x 5 x 3 1/2 in. 

Lot: 1639 - Australian Wooden Didgeridoo

Australian Wooden Didgeridoo. The tubular musical instrument is covered with with wavy-lined decorations.  Size: 3 x 3 x 50 1/2 in.  The didgeridoo (also spelled didjeridu) is a wind instrument developed by Aboriginal peoples of northern Australia over a thousand years ago, played by vibrating the lips to create a continuous drone using circular breathing. Though now used worldwide, it remains closely associated with Indigenous Australian music. In northeast Arnhem Land it is known in YolÅ‹u languages as yiḏaki or mandapul, and in West Arnhem Land’s Bininj Kunwok language as mako (or mago). Typically cylindrical or conical and measuring 1 to 3 meters long, its pitch generally lowers with increased length, while flared instruments produce higher pitches than unflared ones of similar length. The term “didgeridoo” is not of Aboriginal origin but is thought to be onomatopoetic, first appearing in print in 1908 and possibly derived from the Irish phrase “dúdaire dubh” (“native trumpeter”). Traditionally crafted from eucalyptus hardwoods native to northern and central Australia, modern versions may also be made from materials such as fiberglass, metal, or clay, and debates about its use by non-Aboriginal people largely center on cultural taboos, particularly regarding women playing the instrument.

Lot: 1640 - Balinese Carved Wood Meditative Buddha Sculpture

Balinese Carved Wood Meditative Buddha Sculpture. The figure sits, legs crossed, with hands pressed together at the palms, resting upon a large lotus blossom. Signed indistinctly on the underside.  Size: 5 x 3 x 8 in. 

Lot: 1641 - (2) Japanese Silver Toned Komainu Guardian Spirit Statues

(2) Japanese Silver Toned Komainu Guardian Spirit Statues. Pair of silver-toned Japanese Komainu or Shi-shi guardian lion figures, each intricately detailed with gold-gilt accents and resting a front paw on an ornamental openwork ball. Size: 13 x 6 x 9 3/4 in.    Komainu are traditional Japanese guardian figures typically found in pairs at the entrances of Shinto shrines, where they serve to ward off evil spirits and protect sacred spaces. Resembling lion-dog hybrids, one statue usually has its mouth open (symbolizing the sound “a,” the beginning of all things) while the other has its mouth closed (representing “un,” the end), together embodying the cycle of existence. Originating from influences that traveled along the Silk Road from ancient China and India, komainu evolved into a distinctly Japanese form and are often carved from stone or cast in bronze. Beyond their protective role, they are valued for their expressive features and stylized forms, making them an important element of Japanese religious art and cultural symbolism.

Lot: 1642 - Tall Japanese Statuette of Guanyin

Tall Japanese Statuette of Guanyin. Figure depicts a standing Guanyin, the Bodhisattva of Compassion, rendered with an elegant, elongated form, traditional headdress, and flowing robes that exhibit a rich verdigris oxidation. Size: 8 x 5 x 29 3/4 in.  Guanyin is a revered bodhisattva in East Asian Buddhism, known as the embodiment of compassion and mercy. Originating from the Indian figure Avalokiteśvara, Guanyin is often depicted in Chinese art as a serene, robed figure—frequently holding a vase of pure water or a willow branch—symbolizing healing and the alleviation of suffering. Devotion to Guanyin is widespread across China and beyond, with many people praying to her for protection, guidance, and aid in times of hardship.

Lot: 1643 - Balinese Carved Gilt Wood Buddha Head Decoration

Balinese Carved Gilt Wood Buddha Head Decoration. The head is the face only, with a hollowed out blank lacquered backside. It is affixed to a half moon wood base with the same gilding.  Size: 11 x 5 1/2 x 1 1/2 in.

Lot: 1644 - (2) Burmese Hand Carved Parcel Gilt Wood Nats

(2) Burmese Hand Carved Parcel Gilt Wood Nats. Pair of hand-carved wooden figures depicted in traditional Southeast Asian attire, finished in a weathered gold gilt and silver-toned lacquer, with one figure holding a drum and the other a flute. Size: 6 x 7 x 15 1/2 in. In traditional belief systems of Myanmar, nats are powerful spiritual beings that exist alongside and often intermingle with Theravada Buddhism. These spirits are typically associated with natural features, historical figures, or individuals who died tragic or violent deaths, and they are thought to influence daily life by bringing either protection or misfortune. While not part of orthodox Buddhist doctrine, nat worship is deeply embedded in Burmese culture, with rituals, offerings, and festivals dedicated to appeasing them. Among the most important are the “Thirty-Seven Nats,” a canonical group recognized in royal tradition, whose stories are widely known and celebrated. Even today, many people in Myanmar maintain a dual religious practice, observing Buddhist teachings while also making offerings to nats for practical concerns such as health, prosperity, and protection.

Lot: 1645 - (2) Balinese Folk Art Hand Carved Wooden Worker Figures

(2) Balinese Folk Art Hand Carved Wooden Worker Figures. One is a lighter, more polished wood, and the other is darker with heavy grain in a more rustic style. The lighter one depicts a man in a large hat drinking from a container while holding a bowl of rice, likely a depiction of traditional Chinese laborers. It is signed and dated indistinctly on the underside, along with a taped label that reads "Bought in Bali." The darker piece shows a man in a similar hat holding up a fishing net, and is unsigned.  Size: 8 1/4 x 6 x 10 1/4 in. 

Lot: 1646 - Indian Dhokra Tribal Brass Musician Figurine

Indian Dhokra Tribal Brass Musician Figurine. The small figure is playing a drum it holds between its legs, with much of its body created in stylized loops, shapes, and coiled lines. A hole in the bottom indicates it is filled with clay or some other substance for support.  Size: 4 1/2 x 4 1/2 x 7 1/4 in.  Dhokra Damar tribes are the main traditional metalsmiths of Odisha and West Bengal, and their technique of lost wax casting is named after their tribe, hence the well-known Indian Dhokra metal casting artform. A few hundred years ago, the Dhokras of Central and Eastern India traveled south as far as Tamilnadu and north as far as Rajasthan and hence are now found all over India. However, the artform originated over 4,000 years ago in the region, and the distant ancestors of the Dhokra are believed to have brought it with them through travels throughout Europe and Africa in the Bronze Age. 

Lot: 1647 - African Mambila Carved Wooden Housepost Totem

African Mambila Carved Wooden Housepost Totem. Three similarly shaped figures form a tall structure that would adorn a doorway or focal point in a home.  Size: 13 x 7 x 94 1/2 In.  The Mambila (or Mambilla) people of Nigeria migrated to the region some 5,000 years ago, and today most of them live on the Mambilla Plateau, although a small fraction of migrants left the Plateau for the Ndòm Plain (also known as northern Tikar Plain) on the Cameroon side of the international border as well as in a couple of small villages. Combined, there are nearly 130,000 people who identify as part of the tribe, all that remain of the British occupation that decimated many of the Bantu-speaking populations in the area. They are well-known for their sculptures and wood carvings, and their art is intrinsically entwined with their rituals and cultural beliefs, like many African tribes. Although few of their artifacts from before the 20th Century survive due to infighting, pillaging, and forced migrations, their pieces adorn many museums and are indicative of numerous ancient techniques that spread from this tribe to others during their diaspora. 

Lot: 1648 - West African Nigerian Yoruba Hand-Crafted White Beaded Bird Crown with Fringe on Stand

West African Nigerian Yoruba Hand-Crafted White Beaded Bird Crown with Fringe on Stand. This piece is more decorative, made in one color with fewer iconographic symbols and shapes, but is still a beautiful example of the unique headdresses the tribe has created for millennia. The tall metal stand is specifically designed for this piece. A label attached near the top bird gives the store where it was acquired and prior price.  Provenance: Bought by consignor at Current Furniture Art Design in Sarasota, Florida.  Size: 9 1/2 x 9 1/2 x 44 in.  Yoruba crowns, formed by starched cotton placed over a basketry structure, are decorated with beaded faces, birds and geometric patterns. The faces represent local kings, past and present. The gathering of birds refers both to rituals that make the king semidivine and to the concealed forces that enable him to control and mediate the human and supernatural realms. Interlace patterns called salubata are associated with royalty or leadership. Their meaning is debatable, although the pattern may depict intertwining snakes, symbols of continuity. The veil or fringe protects the king's subjects from the supernatural powers radiating from his face.

Lot: 1649 - Central African Camerounian Hand-Carved Wooden Diamond Dancing Warrior Shield

Central African Camerounian Hand-Carved Wooden Diamond Dancing Warrior Shield. Featuring contrasting black and white geometric patterns, highlighted with pigment and carved textures. Label attached to the handle on the back gives store where it was acquired and prior price.  Provenance: Bought by consignor at Current Furniture Art Design in Sarasota, Florida.  Size: 39 x 8 1/4 x 3 in.  "Dancing Warrior" shields are typically crafted by artisans in the Chams and Fumban regions of Cameroon. While inspired by traditional battle shields, these wooden versions are created primarily for decorative purposes, as the tourism industry has developed throughout Africa since the latter half of the 20th Century. 

Lot: 1650 - Central African Camerounian Hand-Carved Wooden Round Dancing Warrior Shield

Central African Camerounian Hand-Carved Wooden Round Dancing Warrior Shield. Featuring contrasting black and white geometric patterns, highlighted with pigment and carved textures. Label attached to the handle on the back gives store where it was acquired and prior price.  Provenance: Bought by consignor at Current Furniture Art Design in Sarasota, Florida.  Size: 21 x 21 x 3 in.  “Dancing Warrior” shields are typically crafted by artisans in the Chams and Fumban regions of Cameroon. While inspired by traditional battle shields, these wooden versions are created primarily for decorative purposes, as the tourism industry has developed throughout Africa since the latter half of the 20th Century. 

Lot: 1651 - Central African Camerounian Hand-Carved Wooden Oblong Dancing Warrior Shield

Central African Camerounian Hand-Carved Wooden Oblong Dancing Warrior Shield. Featuring contrasting black and white geometric patterns, highlighted with pigment and carved textures. Label attached to the handle on the back gives store where it was acquired and prior price.  Provenance: Bought by consignor at Current Furniture Art Design in Sarasota, Florida.  Size: 33 1/4 x 12 1/2 x 3 in.  "Dancing Warrior" shields are typically crafted by artisans in the Chams and Fumban regions of Cameroon. While inspired by traditional battle shields, these wooden versions are created primarily for decorative purposes, as the tourism industry has developed throughout Africa since the latter half of the 20th Century. 

Lot: 1652 - Vintage Tramp Art Wood Wall Cabinet Display Case with Mirror Front

Vintage Tramp Art Wood Wall Cabinet Display Case with Mirror Front. Classic form with the pointed pyramid shapes throughout, a drawer at top, and three different storage spots behind the hinged mirror.  Size: 7 1/2 x 16 1/2 x 25 in.  Tramp art is a form of folk art popular from the 1870s to the 1940s, characterized by layering, notched, and chip-carved wood, typically made from repurposed cigar boxes and shipping crates. Often featuring geometric shapes, these decorative items were traditionally handmade using pocketknives. Although widespread use of wooden cigar boxes from the 1850s onward sparked the origins of tramp art, it was most prevalent during the Great Depression, and was made around the world although it first appeared in the United States. A 1959 article by Frances Lichten in Pennsylvania Folklife used the term “tramp work” to describe crafts constructed from waste materials such as discarded cigar boxes and assembled with a penknife, and contemporary scholars and art dealers have noted that while this art form may have been practiced among America’s itinerant population, it was by no means unique to them and was practiced by factory workers, farmers, and laborers in other occupations.

Lot: 1653 - Metal Side Table with Wood and Embossed Hammered Brass Top

Metal Side Table with Wood and Embossed Hammered Brass Top. Floral design with two sets of rectangular raised dots covers the top. Four curved feet on long cast iron legs.  Size: 17 x 17 x 30 1/4 in. 

Lot: 1654 - Oval Marble Top Renaissance Style Table

Oval Marble Top Renaissance Style Table.  Size: 23 1/2 x 33 1/2 x 30 1/4 in. 

Lot: 1655 - Antique French Game Table with Giltwood Tripod Base and Hand-Painted Ceramic Tiles

Antique French Game Table with Giltwood Tripod Base and Hand-Painted Ceramic Tiles. A checkerboard is comprised of solid black tiles and white tiles with individualized painted images in each one. A beautiful style of game table that developed in the 19th Century, with Regency and Chinese influences.  Condition: Some chips in wood and loss to gilt.  Size: 17 1/2 x 17 1/2 x 20 1/2 in. 

Lot: 1656 - Vintage Franklin Mint Chinese Checkers Set

Vintage Franklin Mint Chinese Checkers Set. Ornate Chinese Checkers set featuring a decorative circular board with intricate carvings, colorful stone marbles, and a dark wood base supported by gold-accented dragon-head legs. Includes booklet with history and rules. Size: 5 x 19 1/2 in. 

Lot: 1657 - Mexican Alfonso Jurado and Sons Lacquered Tropical Wood Aztec Calendar Table

Mexican Alfonso Jurado and Sons Lacquered Tropical Wood Aztec Calendar Table. The wood part was likely produced in the 1970s, constructed from many fine tropical woods including pine, mahogany, walnut, barcino, verdecillo, granadillo, and tabaxche sangualica. A ripped up paper of authenticity is on the underside of the table top, and a round protective glass cover rests on top of it. A four footed cast iron central stand is attached to the underside, but over the paper, suggesting that it was turned into a table at some point instead of initially being made that way.  Size: 32 1/4 x 32 1/4 x 29 1/2 in. 

Lot: 1658 - Chinese Carved Wood Console Table with 3 Cloisonne Inserts and Glass Top

Chinese Carved Wood Console Table with 3 Cloisonne Inserts and Glass Top. Each round cloisonne piece has a slightly different flower-and-bird design in the same color palette. Label on underside which reads "Made in China."  Size: 47 x 17 x 32 1/2 in. 

Lot: 1659 - Moroccan Style Oval Metal Tray Coffee Table with Glass Top

Moroccan Style Oval Metal Tray Coffee Table with Glass Top. The central scene with raised figures depicts a throned king surrounded by advisers and underlings, a common image often associated with Qajar Dynasty art or ancient Persian historical themes, topped by the Zoroastrian Faravahar symbol. The outer border is decorated with detailed paisley and boteh motifs, and the dark wood legs have a curving X-joint in the middle.  Size: 39 x 29 1/2 x 18 1/4 in. 

Lot: 1660 - Viennese Biedermeier Style Burled Wood Sewing Table

Viennese Biedermeier Style Burled Wood Sewing Table. Four curvaceous feet lead to the central column under the rectangular top with rounded ends. A drawer under the top opens to reveal four compartments for storage.  Condition: Minor scrape on the top and signs of wear and tear.  Size: 23 1/4 x 15 3/4 x 22 1/4 in.  Biedermeier furniture is a style that emerged in Central Europe between 1815 and 1848 specifically tailored for the growing middle class, due in part to a significant period of political stability following the Napoleonic Wars. It originated as a simplified version of the opulent French Empire style, emphasizing functional beauty, high-quality craftsmanship, and the celebration of domestic comfort, but the term has also come to encompass architecture, interior design, and the visual arts during the period. To make pieces more affordable, cabinetmakers utilized locally available fruitwoods like cherry and ash rather than expensive imported mahogany, and the pieces were characterized by clean, geometric lines and minimal ornamentation, evolving from severe neoclassical forms to more comfortable, utilitarian designs inspired by British publications. This movement not only preceded and effected the Victorian era sensibilities but also significantly influenced the later Bauhaus “truth in material” philosophy and the Art Deco aesthetic. The original period eventually concluded as political unrest shifted artistic tastes toward more elaborate historical revival styles and darker themes, but numerous revivals have happened since, both in Europe and on other continents.

Lot: 1661 - 19th Century Children's Round Wooden Piano Stool with Three Bronze Figural Feet

19th Century Children's Round Wooden Piano Stool with Three Bronze Figural Feet. A perfect size for a child to sit and practice their scales. The faces of monkeys look up from the top of each foot, and the seat is a different type of wood from the shaft, suggesting it was replaced at some point when the original broke. This was clearly loved and appreciated by the family that once gave it to their child.  Size: 14 1/2 x 14 1/2 x 16 3/4 in. 

Lot: 1662 - French Provincial Style Walnut and Leather Top Writing Desk

French Provincial Style Walnut and Leather Top Writing Desk. Three drawers on the front with simple brass accents, as well as a key that opens the multi-compartment middle drawer.  Condition: Small hole in the leather top.  Size: 29 1/2 x 43 1/4 x 21 1/2 In.  French Provincial furniture, also known as French country decor, emerged in the 17th and 18th Centuries as rural craftspeople in the French provinces adapted the elegant, ornate furnishings of the Parisian royal courts to suit a more relaxed, rustic lifestyle. Built to last and often using significantly less ornamentation than their Parisian counterparts, they were traditionally crafted from locally sourced sturdy woods like oak, walnut, cherry, and mahogany, with their most recognizable features being cabriole legs and scalloped edges over neutral paints and stains. 

Lot: 1663 - Antique 1910s Queen Anne Style Mahogany Tilt Top Table With Marquetry Inlay

Antique 1910s Queen Anne Style Mahogany Tilt Top Table With Marquetry Inlay. The circular umbrella-like shape in center is a pretty counterpoint to the rest of the smooth grained round top. "S. M. Co." written on underside, along with the date 1911.  Condition: Some scratches on the otherwise smooth surface.  Size: 24 x 24 x 9 in.  Queen Anne furniture is an influential design style characterized by being smaller, lighter, and more comfortable than its heavy 17th Century predecessors. Although named after the monarch who reigned from 1702 to 1714, the term predominantly describes decorative trends that flourished from the mid-1720s to around 1760. The cabriole leg serves as the most recognizable structural element of this style, drawing inspiration from French Rococo forms and elegant Chinese furniture lines, and unlike earlier rectilinear styles Queen Anne furniture integrated C-scrolls, S-scrolls, and ogee curves directly into the framework of the pieces rather than using them purely for applied decoration. Craftsmanship focused on form and material, making walnut the dominant wood of choice in sophisticated urban environments and sparking an era known as “the age of walnut.” The trend emphasized minimal ornamentation, though it frequently featured carved scallop shell motifs and rare, vibrant examples of japanning, and saw the birth of the tilt-top table and other space economic measures, but was eventually eclipsed by the Chippendale style. 

Lot: 1664 - Unique Large Thai Four Panel Carved Wooden Screen with Zodiac Symbols

Unique Large Thai Four Panel Carved Wooden Screen with Zodiac Symbols. The stunning central floral bloom pattern is surrounded by intricate leaf and vine shapes that surround 12 individual carved images, each one representing a sign of the zodiac, including twins, a crab, two fish, and a Singha, the mythological lion in Thai legends.  Size: 47 x 46 1/2 in. 

Lot: 1665 - Antique English Commemorative Oldham Lodge Mahogany Lap Desk and Walnut Stand

Antique English Commemorative Oldham Lodge Mahogany Lap Desk and Walnut Stand. Stunning wood box that opens to form a writing desk, with bronze accents and a sign in the center that reads "Presented to Mr. T. Boss by the Oldham Lodge of Joiners C.U. as a token of respect for his past services as their Secretary 1867." The stand is a different wood but fits the box (which has a felt underside) perfectly.  Condition: Bronze sign in center is not attached.  Size with Stand: 19 x 11 x 19 in. 

Lot: 1666 - French Modern Neoclassical Wood Console Table with Black Stone Insert Top

French Modern Neoclassical Wood Console Table with Black Stone Insert Top. The semi-demi-lune shape in the wood is mirrored in the black stone, with simple floral designs at top and bottom joints and restrained column-like lines throughout. The center is rather unique, with four curving pieces extending from each of the legs up to a round basket shape in the center, a stylistic choice that appeared briefly in the 1990s.  Size: 42 x 16 x 32 1/2 in. 

Lot: 1667 - Antique English Campaign Style Walnut and Inlay Lap Desk and Mahogany Stand

Antique English Campaign Style Walnut and Inlay Lap Desk and Mahogany Stand. These unique pieces of history take their name from the military campaigns that dominated the 19th Century when they first appeared, where a box with multiple compartments could convert into a writing desk with a stand for commanders to quickly write letters, orders, or daily records anywhere in the heat of battle. Often accompanied by matching stands, this piece has intricately inlaid images of a man in a covered hammock being carried by two other men decorating the top, along with various geometric and floral patterns throughout the rest of the piece. A highly faded inscription is on the bottom of the box, along with the date of September 1916.  Size with Stand: 18 3/4 x 10 3/4 x 17 3/4 in. 

Lot: 1668 - Antique Wooden Dome Top Trunk - AS IS

Antique Wooden Dome Top Trunk - AS IS. Antique wooden dome-top steamer trunk featuring rustic iron banding, a central lock plate, and a surprisingly vibrant yellow patterned fabric lining with a removable interior tray. Condition: Side handles broken. Size: 24 x 13 1/4 x 12 1/2 in. 

Lot: 1669 - Set of (3) Chinese Camphor Wood Carved Boxes with Brass Locks and Keys - AS IS

Set of (3) Chinese Camphor Wood Carved Boxes with Brass Locks and Keys - AS IS. Similar forms but each a different size, and the interiors are covered in red felt. Each box is constructed to fit into the next largest box in a nesting set.   Condition: Many of the locks and keys are disconnected.  Largest Size: 12  x 8 5/8 x 6 3/4 in. 

Lot: 1670 - Replogle Illuminated Heirloom Globe on Carved Wooden Stand

Replogle Illuminated Heirloom Globe on Carved Wooden Stand. Vintage Replogle floor globe featuring an illuminated, antique-style map housed within a decorative, wood-finished stand with ornate pillar supports. Condition: Does not illuminate. Size: 28 x 28 x 37 in.  Replogle Globes is a historic American manufacturer of globes, founded in 1930 in Chicago, Illinois, and long recognized as one of the world’s leading producers of both educational and decorative globes. Established by Luther Replogle, the company grew from supplying schools with affordable, accurate geographic models into a global brand known for craftsmanship and design, with production later expanding internationally. Replogle globes range from classic political and physical maps to illuminated and antique-style reproductions, often mounted on finely crafted bases that make them as much decorative objects as learning tools. Valued for their blend of cartographic accuracy and aesthetic appeal, Replogle products have remained a staple in classrooms, offices, and homes for nearly a century.

Lot: 1671 - Vintage Handmade Adirondack Style Bentwood Rocking Chair

Vintage Handmade Adirondack Style Bentwood Rocking Chair. Classic cane-like construction that is an iconic part of the Northern New York aesthetic.  Size: 28 1/2 x 34 x 43 in.  Adirondack Style, associated with the Great Camps of New York’s Adirondack Mountains that began to appear in the mid to late 19th Century, is a rustic architectural and furniture aesthetic that emphasizes harmony with natural surroundings using native materials like logs, bark, roots, burls, and granite. Built for wealthy clients seeking a primitive appearance without the cost of shipping materials, these camps feature massive stone fireplaces, chimneys, and furnishings usually crafted on site. Influenced by Swiss chalet design introduced by Andrew Jackson Downing and popularized in log construction by Calvert Vaux, the style incorporates Stick-style structural expression and interior elements such as Mission-style furniture, mounted game, Japanese screens, and Native American artifacts, blending utility with naturalistic charm.

Lot: 1672 - Antique Victorian Era Swivel Mahogany Piano Stool

Antique Victorian Era Swivel Mahogany Piano Stool. With turned wooden legs and iron topped claw feet with glass balls in their grip. A beautiful, unique piece of craftsmanship.  Condition: Iron claws are rusty.  Size: 14 x 14 x 20 in. 

Lot: 1673 - Vintage 1980s Maker's Mark Old Style Sour Mash Bourbon Barrel Head Crafted as a Lazy Susan

Vintage 1980s Maker's Mark Old Style Sour Mash Bourbon Barrel Head Crafted as a Lazy Susan. The ultimate mancave conversation piece! The barrelhead has been glued together, anchored with a cross piece for stability, and affixed to a metal plate with a circular spinning component, making it a unique piece of functional memorabilia. The top is stamped with several sets of numbers and words, reading "Maker's Mark Distillery, Old Style Sour Mash Bourbon Whiskey B.C. 52 DSP KY 44." The back side displays significant char, likely level 3, which they maintained for over fifty years to preserve consistent flavor while other distilleries tended to push for a deeper level 4. Maker's Mark "Old Style Sour Mash" refers to a vintage labeling (pre-1990s) of their signature wheated bourbon, which emphasizes the traditional, consistent fermentation process using a portion of the previous mash.  Provenance: Acquired at Kentucky estate sale in 2016.  Condition: Functional. On hot days, the sweet smell of the mash still emanates from the oak staves.  Size: 21 3/4 x 21 3/4 x 2 in.  Maker’s Mark Bourbon Distillery was established on the site of the defunct Burks’ Distillery in 1953 in Loretto, Kentucky, by Bill Samuels, Sr., who sought to create a smoother, non-bitter bourbon by replacing traditional rye with red winter wheat. Margie Samuels, his wife, played a critical role in the brand’s identity, designing the iconic bottle, name, and world-renowned hand-dipped red wax seal. The first bottles for public sale were produced in 1958, and the sweeter, gentler taste created an immediate avid following among drinkers that differentiated it from most other bourbons, comparable to the products of the legendary Van Winkle family at the Stitzle-Weller Distillery. Despite being designated a National Historic Landmark in 1980, due to the whiskey industry collapse of the late 1970s the Samuels family sold the distillery to Hiram Walker & Sons the following year, although family members continued to work at the facility for several more generations. It was eventually acquired by Japanese-based megacorporation Beam Suntory, now known as Suntory Global Spirits.

Lot: 1674 - Art Deco Onyx and Chrome Illuminated Smoking Stand

Art Deco Onyx and Chrome Illuminated Smoking Stand.  rt Deco chrome floor lamp features a tiered onyx base, an integrated gallery tray with removable ashtray inserts, and a dual-arm gooseneck top fitted with fluted white glass shades. Size: 12 x 11 x 37 1/2 in.

Lot: 1675 - (2) Antique Victorian Style Cast Iron Wall Sconces

(2) Antique Victorian Style Cast Iron Wall Sconces. Pair of ornate, Victorian-style cast iron wall sconce brackets featuring decorative scrolling, fleur-de-lis motifs, and matching pierced bell-shaped caps. Size: 8 x 4 3/4 x 8 1/2 in.

Lot: 1676 - Antique Renaissance Style Open Andirons

Antique Rennaissance Style Open Andirons. Pair of antique metal andirons featuring decorative openwork finials and curved legs designed to support logs within a fireplace. Size: 7 x 50 /2 x 37 1/2 in.

Lot: 1677 - (90) Noritake China Twelve-Person Serving Set

(90) Noritake China Twelve-Person Serving Set. Extensive fine china dinnerware set features a delicate cherry blossom motif with gold-rimmed edges, including a variety of plates, bowls, teacups, and serving pieces. Twelve person set. Largest Size: 16 x 11 1/4 in.  Noritake is a renowned Japanese manufacturer of fine porcelain and bone china, founded in 1904 in Noritake (now part of Nagoya), and internationally recognized for its elegant tableware and decorative ceramics. The company played a significant role in popularizing high-quality Japanese porcelain in Western markets during the early 20th century, combining traditional craftsmanship with modern production techniques. Noritake pieces are especially noted for their refined forms, delicate translucency, and often intricate hand-painted or gilded designs, ranging from classic floral patterns to contemporary minimalist styles, making them a staple in both formal dining and collectible ceramics.

Lot: 1678 - (66) Limoges Moss Rose Porcelain 12-Person Serving Set

(66) Limoges Moss Rose Porcelain 12-Person Serving Set. Set including plates, saucers, cups, casserole dishes, sugar bowl, serving bowl, serving plate and tray, and pitcher.. Marked Limoges France on base. Size: 11 1/2 x 8 in.   Limoges porcelain refers to fine hard-paste porcelain produced in and around Limoges, a region in France renowned since the late 18th century for its rich deposits of kaolin clay, a key ingredient in high-quality porcelain. First developed after kaolin was discovered nearby in 1768, Limoges quickly became synonymous with exceptional craftsmanship, pure white translucency, and delicate hand-painted decoration, attracting royal patronage and international acclaim. Prestigious manufacturers such as Haviland & Co. helped popularize Limoges wares globally, especially in the United States, where they were prized for elegant table services and decorative pieces. Today, authentic Limoges porcelain remains highly collectible, valued for its artistry, durability, and long-standing tradition of excellence in French decorative arts.  

Lot: 1679 - (15) Vintage Delft Porcelain Decorative Objects

(15) Vintage Delft Porcelain Decorative Objects. Includes 2 sets of shoes in matching sizes, 1 left shoe on its own, 4 framed square figural scenes (including ones marked Autumn and Winter) 3 unframed square figural scenes (including ones marked Spring and Summer), 2 round lidded boxes, and 1 sculptural centerpiece with children holding hands in a circle. All are marked on the underside or back side.  Largest Size: 2 1/2 x 5 1/2 x 2 in.  Delftware or Delft pottery (also known as Delft Blue or as delf) is a general term now used for Dutch tin-glazed earthenware (a form of faience) that first appeared in the 15th Century, heavily inspired by imported Chinese porcelain. Most of it is blue and white pottery, and the city of Delft in the Netherlands was the major center of production, but the term also covers wares with other colors made elsewhere. The style was so popular that English delftware also exists, made in London, Liverpool, and Dublin between the 16th and the late 18th Century. Delftware includes pottery objects of all descriptions, such as plates, vases, figurines, and other ornamental forms and tiles, with pieces still made to this day under companies like Royal Delft.

Lot: 1680 - (35) Piece French Theodore Haviland Limoges Porcelain Gold Rimmed Serving Set

(35) Piece French Theodore Haviland Limoges Porcelain Gold Rimmed Serving Set. Includes 6 dinner plates, 3 dessert plates, 6 salad plates, 6 small soup bowls, 1 large serving dish, 1 medium serving dish, 1 small serving dish, 5 cups, and 6 saucers. All have a restrained classical gold decoration, with the cups having a covered handle and the rest confined to the edges. The stamp on the underside of each piece generally corresponds to manufacturing between 1883 and 1919, the period when Theodore returned to France from America to work alongside his brother, Charles Edward, before they developed a bitter feud and ran competing companies until Charles' death in 1921.  Size: 8 3/4 x 11 1/4 in.  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, and 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 the porcelain in the country annually. 

Lot: 1681 - (56) Royal Doulton Porcelain Belvedere Pattern Eight-Person Serving Set

(56) Royal Doulton Porcelain Belvedere Pattern Six-Person Serving Set. 8 dinner plates, 8 salad plates, 8 double handled soup bowls with saucers, and 8 coffee cups with saucers.  Largest Size: 11 in. Royal Doulton is a historic English company known for producing high-quality ceramics, including tableware, figurines, and decorative pieces, with origins dating back to 1815 when it was founded by John Doulton. Gaining a royal warrant in 1901 from King Edward VII, the company became associated with craftsmanship and refined design, often reflecting British cultural themes. Royal Doulton pieces are especially prized by collectors for their detailed artistry and variety, ranging from elegant dinner sets to iconic character jugs, and the brand remains a respected name in fine ceramics today.

Lot: 1682 - (96) Japanese Empress China "Galaxie" Porcelain Serving Set

(96) Japanese Empress China "Galaxie" Porcelain Serving Set. Comprehensive Empress China dinnerware collection featuring a white base with a refined grey or silver patterned border, comprising various plates, bowls, teacups, saucers, serving platters, a gravy boat, a lidded sugar bowl, and salt and pepper shakers. Largest Size: 16 in. long

Lot: 1683 - (46) Gracie China "Rochelle" Pattern Porcelain Six-Person Serving Set

(46) Gracie China "Rochelle" Pattern Porcelain Six-Person Serving Set. Collection of fine china dinnerware set featuring a delicate pink floral motif, gold-trimmed edges, and various pieces including plates, bowls, teacups with saucers, a serving platter, a creamer, and a lidded sugar bowl. Marked on bottom. Largest Size: 16 1/4 x 11 1/2 in. 

Lot: 1684 - Green Glazed Ceramic Serving Platter

  Size: 17 1/2 x 14 3/4 x 4 1/4 in.

Lot: 1685 - 18th Century Meissen Hand-Painted Figural Porcelain Charger

18th Century Meissen Hand-Painted Figural Porcelain Charger. On two opposite sides are images of hand-painted flowers and leaves with a blue background, and the other two opposing sides show figural pastoral scenes. Each of these is bordered by swilring gilt patterns, which join at the middle in a circle around a smaller image of flowers. Likely from the 1780s, the Meissen mark of two crossed swords is on the back.  Size: 13 3/4 x 13 3/4 x 2 1/2 in.  Meissen porcelain was the first European hard-paste porcelain, developed in 1708 through experiments by Ehrenfried Walther von Tschirnhaus and Johann Friedrich Böttger. Financed by Augustus the Strong, the royal factory at Meissen, near Dresden, officially began production in 1710 at Albrechtsburg castle to protect the "arcanum," or secret recipe of the porcelain. To distinguish its high-quality wares from imitations, the company introduced its iconic crossed swords logo in 1720, which remains one of the world's oldest continuously used trademarks. Under the artistic direction of Johann Gregor Herold, Meissen became world-famous for its brilliant overglaze enamel colors and transition from Asian-inspired motifs to European decorative styles. The factory also pioneered the creation of detailed porcelain figurines and remained the dominant stylistic leader in Europe until the rise of the French Sèvres factory in the 1760s. Today, the company operates as the Staatliche Porzellan-Manufaktur Meissen GmbH and continues to be recognized as a premier German luxury brand.

Lot: 1686 - Chinese Qianlong Export Porcelain Hand Painted Sauce Bowl Curated by Elinor Gordon

Chinese Qianlong Export Porcelain Hand Painted Sauce Bowl Curated by Elinor Gordon. Shows a vibrant scene of bamboo and flowers with gold-tinted accents throughout and on the border below the rim. On the underside are two labels, one of which reads "4715 * circa 1770" and the other reads "Elinor Gordon - Oriental Lowestoft - Villanova, PA."  Condition: Minor hairline crack. The gold-colored stand that comes with it does not hold up the plate properly.  Size: 6 x 6 x 1 in.  Elinor Gordon was born in 1918 in Manhattan, New York and grew up to be one of the most important American antiques dealers who specialized in Chinese export porcelain for over half a century. During the Great Depression she first worked as a model for the John Robert Powers Agency before meeting and marrying a Pentagon aide named Horace Gordon during World War II, who first introduced her to Chinese export porcelain. After developing an extensive collection she opened her own business in Philadelphia in 1953, eventually settling in Villanova, Pennsylvania, and was widely revered as a “matriarch of quality dealers” who helped build some of the most significant private and public collections in the United States, including at the Peabody-Essex Museum and at Washington and Lee University. She was a tireless researcher and educator, creating influential texts on Chinese export porcelain and advising major institutions like the Winterthur Museum and the Department of State, working right up until her death in 2009. 

Lot: 1687 - Vintage Limoges Brass Hinged Cobalt Blue Porcelain Box with 22k Gold Leaf Accents

Vintage Limoges Brass Hinged Cobalt Blue Porcelain Box with 22k Gold Leaf Accents. Oval shaped, with a gilded "Scène galante" courting couple scene on the front and a floral decoration on the back, along with three small leaf motifs on each side. Repeating vine pattern in the same gilding all the way around lid, with four of the small leaf motifs on the very top. Same rich blue color inside as out. Marked on the underside suggests this piece is from the early to mid 20th Century.  Size: 3 x 4 1/2 x 2 in.  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, and 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 the porcelain in the country annually. 

Lot: 1688 - 19th Century French Porcelain Mustard Pot

19th Century French Porcelain Mustard Pot. Vintage porcelain lidded tureen with a matching underplate, featuring a vibrant pink ground, hand-painted floral sprays, and gilded accents including a decorative artichoke-shaped finial. Size: 6 x 6 1/2 x 10 in. 

Lot: 1689 - Wade Pottery Hand Painted Porcelain Lidded Jar

Wade Pottery Hand Painted Porcelain Lidded Jar.  Hand-painted ceramic lidded sugar bowl features a scalloped gold-gilt rim and a central deep red floral motif with green leaf accents against a cream-colored glaze. Marked on base. Size: 3 x 3 x 2 1/2 in.    Wade Pottery was a well-known British ceramics manufacturer founded in 1810 in Staffordshire, England, a region famous for its pottery industry. The company became especially popular in the mid-20th century for its affordable, mass-produced earthenware and whimsical figurines, including the collectible “Whimsies” and the famous Red Rose Tea animal figurines that were distributed in tea boxes. Known for combining traditional craftsmanship with industrial production methods, Wade Pottery produced a wide range of items from decorative pieces to functional tableware. Although the company faced financial challenges and changes in ownership over the years, it remains highly regarded among collectors for its distinctive designs and nostalgic appeal.

Lot: 1690 - Cardew Design "Wiener Dog" Hot Dog Teapot

Cardew Design "Wiener Dog" Hot Dog Teapot. This whimsical teapot is a classic example of the narrative ceramic style popularized by Cardew Design in England. Combining pop-art aesthetics with functional novelty, this piece serves as both a conversation starter and a unique collectible. Marked on bottom. Condition: Paint chips near handle.  Size: 7 1/4 x 4 x 5 1/2 in. 

Lot: 1691 - Limoges Hand Painted Porcelain Lidded Vessel

Limoges Hand Painted Porcelain Lidded Vessel.  Vintage-style porcelain trinket dish features a hand-painted floral design in shades of purple and pink, accented by cream-colored horizontal bands and a gold-gilt finial atop the lid. Marked on base.  Size: 4 1/4 x 4 1/4 x 4 1/4 in.    Limoges porcelain refers to fine hard-paste porcelain produced in and around Limoges, France, a center of high-quality ceramics since the late 18th century after deposits of kaolin clay were discovered nearby. Renowned for its pure white color, translucency, and delicate yet durable composition, Limoges porcelain became synonymous with luxury tableware and decorative objects, often hand-painted or richly gilded. Prestigious makers such as Haviland & Co. helped popularize it internationally, especially in the United States during the 19th century. Today, authentic Limoges pieces are still highly valued for their craftsmanship, artistry, and historical significance, with many bearing factory marks that identify their origin and maker.

Lot: 1692 - (6) German Goebel Hummel Porcelain Figurines Including Special Editions

(6) German Goebel Hummel Porcelain Figurines Including Special Editions. The largest is a set of two children huddled together under an umbrella, while all the other figures are a single child in old-fashioned garments. All marked on the undersides, and the girl holding a heart is marked as "Exclusive Special Edition No. 1 for the Members of the Goebel Collectors' Club" and dated 1972, with the boy holding a heart marked as "No. 4" and dated 1979.  Size: 4 1/2 x 3 1/2 x 6 in.  Hummel figurines originated from the drawings of German artist and nun Maria Innocentia Hummel, first produced in porcelain by Franz Goebel in 1935. American soldiers stationed in West Germany after World War II popularized the figurines in the United States, contributing to a collector's market that saw prices peak in the 1970s. Following 21st-century financial issues and ownership changes, Hummel Manufaktur was restructured after a 2017 acquisition by Bernd Foertsch, and production continues today under the oversight of the Convent of Siessen. A collection of the figurines is exhibited at the Donald E. Stephens Museum of Hummels.

Lot: 1693 - Lladro Porcelain Figure of Doctor

Lladro Porcelain Figure of Doctor. A slender, stylized porcelain figurine of a doctor or pharmacist, featuring the characteristic elongated proportions and muted pastel palette of the Lladró "Society" or professional series. Marked on base. Does NOT include original box. Size: 5 x 5 x 14 1/4 in.  Lladró is a Spanish luxury brand that makes handcrafted porcelain sculptures, lighting, and home décor. It began in 1953 in Valencia, where three brothers—Juan Lladró, José Lladró, and Vicente Lladró—built the company around traditional ceramic techniques and a distinctive glossy finish. Lladró pieces are known for delicate detailing, soft pastel colors, and themes like family, romance, and mythology, and each item is designed and produced by skilled artisans in Spain. The brand has expanded into modern and bold designs while maintaining its reputation for craftsmanship and collectible value.

Lot: 1694 - Lladro Porcelain Figurine of Girl With Lamb

Lladro Porcelain Figurine of Girl With Lamb. Charming Lladró porcelain figurine titled "Girl with Lamb," depicting a young girl with pigtails tenderly cradling a small lamb against a backdrop of the brand's signature soft grey and cream glazes. Marked on base. Size: 3 x 3 x 9 in.    Lladro Porcelain Figurine of Girl With LambLladró is a Spanish luxury brand that makes handcrafted porcelain sculptures, lighting, and home décor. It began in 1953 in Valencia, where three brothers—Juan Lladró, José Lladró, and Vicente Lladró—built the company around traditional ceramic techniques and a distinctive glossy finish. Lladró pieces are known for delicate detailing, soft pastel colors, and themes like family, romance, and mythology, and each item is designed and produced by skilled artisans in Spain. The brand has expanded into modern and bold designs while maintaining its reputation for craftsmanship and collectible value.

Lot: 1695 - Beleek Ireland Millennium 2000 Bone China Kylemore Shamrock Bowl

Beleek Ireland Millennium 2000 Bone China Kylemore Shamrock Bowl. Belleek Parian china bowl featuring a white basketweave textured body, a scalloped rim, and hand-painted green shamrock accents on a circular footed base. Size: 9 x 9 x 4 3/4 in.   Belleek Pottery is a renowned Irish maker of fine bone china founded in 1857 in County Fermanagh, Northern Ireland. Celebrated for its delicate, translucent quality and distinctive creamy hue, Belleek bone china is crafted using traditional methods that blend feldspar, kaolin, and bone ash to achieve both strength and lightness. The brand is especially known for its intricate, hand-embossed designs inspired by Irish nature—such as shamrocks, shells, and basketweave patterns—many of which are hand-painted by skilled artisans. Highly collectible, Belleek pieces are identified by evolving backstamps that help date them, making them prized by collectors and admired worldwide for their craftsmanship and heritage.

Lot: 1696A - Tall Asian Carved and Polished Marble Vase

Tall Asian Carved and Polished Marble Vase. Formed in an urn shape with an unusually long neck and flared mouth. The image of a dragon soaring among the clouds is prominently raised on the stone. Variegated darker streaks in the marble most clearly visible on the unpolished and unsigned underside.  Size: 8 x 8 x 15 in. 

Lot: 1697 - Dutch Delftware Polychrome Painted Earthenware Lidded Ginger Jar

Dutch Delftware Polychrome Painted Earthenware Lidded Ginger Jar. Polychrome Delftware ginger jar featuring traditional Dutch tin-glazed earthenware craftsmanship, decorated with ornate floral baskets, scrolled cartouches, and vibrant botanical motifs in a palette of blue, yellow, and green. Marked on base. Size: 10 x 10 x 11 in.    Delftware porcelain manufacturing is a traditional craft from the Netherlands that produces tin-glazed earthenware designed to imitate Chinese porcelain. It developed in the 17th century in Delft, where artisans used a white tin glaze to create a smooth surface, then hand-painted designs—most often in cobalt blue—before firing the pieces in a kiln. The process involves shaping the clay, applying the glaze, painting detailed scenes such as landscapes or floral patterns, and firing at high temperatures to fix the decoration. Although called “porcelain,” Delftware is technically earthenware, but its refined look and craftsmanship made it highly valued across Europe and it remains a signature Dutch decorative art today.

Lot: 1698 - Vintage Italian Ceramiche De Simone Hand-Made Ceramic Pitcher

Vintage Italian Ceramiche De Simone Hand-Made Ceramic Pitcher. The exterior has whimsical Cubist designs on it with red, white, and black tones, signed and dated 1965 on the underside, making this a rare surviving work from their earliest days.  Condition: Minor apology on mouth rim.  Size: 5 x 3 in.

Lot: 1699 - Antique Hand Painted Neoclassical Porcelain Vase

Antique Hand Painted Neoclassical Porcelain Vase. Flared, neoclassical-style porcelain vessel featuring a detailed, hand-painted portrait of a woman playing a stringed instrument beside a book and quill, accented by a wide gilded rim and supported by a square, dark plinth base. Size: 9 x 9 x 7 in. 

Lot: 1700 - Exhibition Size Doulton Lambeth Hand Painted Floor Vase

Exhibition Size Doulton Lambeth Hand Painted Floor Vase. Ovoid, hand-painted ceramic floor vase featuring a vibrant tropical motif of yellow hibiscus blossoms and green palm fronds, mounted on a turned wooden pedestal base and capped with a matching wooden rim. Signed near base, Doulton & Co / Lambeth. Base and rim are separate pieces.  Size: 33 x 14 1/2 x 14 1/2 in.

Lot: 1701 - Pair of Czechoslovakian Pirkenhammer Porcelain Covered Casserole and Soup Tureens

Pair of Czechoslovakian Pirkenhammer Porcelain Covered Casserole or Soup Tureens. Neoclassical Empire shape with sweeping, elegant upturned handles and a pointed gold-gilt finial knob, featuring a stark white translucent porcelain base decorated with a distinctive cobalt blue band and meticulously detailed etched geometric gold gilt borders. Marked on the underside of each foot.  Size: 8 3/4 x 11 x 10 in. 

Lot: 1702 - Basil Ede (1931-2016) English, Hand Painted Franklin Porcelain Vase "Meadowland Bird"

Basil Ede (1931=2016) English, Hand Painted Franklin Porcelain Vase "Meadowland Bird". Elegant white porcelain vase decorated with a hand-painted scene of a barn swallow perched amidst purple irises and small violets, finished with subtle gold trim along the rims and displayed on a fitted dark wooden base. Size: 11 1/4 x 6 x 6 in.    Basil Ede was a celebrated British wildlife artist and illustrator best known for his exquisitely detailed paintings of birds. Born in 1931 in Surrey, England, he developed a passion for ornithology at an early age and became internationally recognized for combining scientific accuracy with artistic elegance in his watercolor works. Ede illustrated numerous natural history books and contributed artwork to conservation organizations, helping to raise awareness of endangered bird species around the world. His paintings often featured rare and exotic birds rendered with remarkable precision, subtle color, and lifelike composition. Over the course of his career, he earned a reputation as one of the finest avian artists of the twentieth century, and his works continue to be admired by collectors, naturalists, and bird enthusiasts alike.

Lot: 1703 - Bombay Company Rosewood Pen Display Box

Bombay Company Rosewood Pen Display Box. Stunning piece with a raked lid with a glass window for showing off up to 16 pens in green felt grooves. Bottom drawer for additional storage. Brass lock, knob, and hinges Labels on underside, including one that reads "Made in Taiwan."  Condition: Missing key.  Size: 10 x 8 x 4 in.  Founded in 1978 as a New Orleans mail-order business, The Bombay Company grew into a major furniture chain with over 500 stores headquartered in Texas. After years of expansion under Tandy Brands, the American division filed for Chapter 11 bankruptcy in 2007, leading to the liquidation of all U.S. retail and outlet locations by early 2008. The brand’s intellectual property was subsequently sold to liquidation firms, which attempted to keep the name alive through licensing deals and third-party retailers like QVC. In Canada, the company faced a similar fate, undergoing multiple ownership changes and creditor protection filings before shuttering its remaining physical stores in 2018. Several attempts were made to relaunch the brand as an online-only store between 2012 and 2019, though these efforts faced significant operational delays. Today the brand and trademark is under the ownership of GHP Group.

Lot: 1704 - Gorgeous Pyrite Crystal Cluster

Gorgeous Pyrite Crystal Cluster.  Size: 7 x 5 x 3 in.  Pyrite, often known as “fool’s gold,” is a brassy-yellow iron sulfide mineral often found in metallic, cubic, or dodecahedral crystals. It is characterized by its high hardness, brittle nature, and greenish-black streak. Found worldwide, it acts as a valuable mineral specimen and aids prospectors in locating gold, as it commonly appears near hydrothermal veins and other ore deposits, and is even collected in its own right for its lustrous appearance. 

Lot: 1705 - (3) Antique Enamel and Brass Byzantine Style Plates

(3) Antique Enamel and Brass Byzantine Style Plates. Group of three circular metal plates or coasters featuring vibrant champlevé enamel work in intricate geometric and floral patterns with a palette of blue, red, green, and yellow. Largest Size: 8 x 8 in. 

Lot: 1706 - (2) Japanese Meiji Period Bronze Open Bottom Vases

(2) Japanese Meiji Period Bronze Open Bottom Vases. Pair of antique Japanese Meiji period bronze vases featuring a dark, weathered patina and intricate high-relief castings of birds and clouds throughout the neck and globular body. No bases, open bottom. Size: 9 1/4 x 9 1/4 x 20 1/4 in. 

Lot: 1707 - (2) Vintage Mercury Glass Curtain Rod Knobs

(2) Vintage Mercury Glass Curtain Rod Knobs.  Pair of antique-style mercury glass curtain rod knobs features a reflective silvered finish adorned with an etched floral bouquet motif and mounted on dark metallic bases. Size: 3 x 3 x 4 1/2 in.  Mercury glass, also known as silvered glass, is a decorative glassware style developed in the 19th century in Europe, especially popular in Bohemia. Despite its name, it typically contains no actual mercury; instead, it is made by inserting a liquid silvering solution between two layers of glass to create a reflective, mirror-like surface. Often used for vases, ornaments, and candleholders, mercury glass is prized for its vintage appearance, soft metallic sheen, and slightly mottled patina that develops with age.

Lot: 1708 - Vintage Nice, France Postcard Booklet

Vintage green postcard booklet for Nice features a bold, Art Deco-style title and contains twelve detachable color postcards. Postcards with handwritten notes. Size: 6 x 3 1/2 x 1/4 in. 

Lot: 1709 - Antique Kellogg Switchboard and Supply Company Wall Mounted Crank Phone

Antique Kellogg Switchboard and Supply Company Wall Mounted Crank Phone. Antique oak wall-mounted hand-crank telephone manufactured by the Kellogg Switchboard and Supply Company, featuring a prominent silver-tone transmitter, dual brass ringer bells, and a black Bakelite receiver hanging from a side hook. Size: 11 x 24 1/2 x 10 in.  The Kellogg Switchboard and Supply Company was an influential American manufacturer founded in 1897 in Chicago, known for producing telephone equipment during the rapid expansion of the telecommunications industry. Competing with giants like Western Electric, Kellogg developed switchboards, desk telephones, and components that were widely used by independent telephone companies across the United States, especially outside the Bell System network. The company became recognized for its durable designs and distinctive styling, including early candlestick telephones and later rotary models. Kellogg remained a key player in the independent telephone market until it was eventually absorbed into larger telecommunications firms in the mid-20th century, reflecting the broader consolidation of the industry.

Lot: 1710 - (8) Hawaiian and African Folk Art Carved Ebonized Wood Items

(8) Hawaiian and African Folk Art Carved Ebonized Wood Items. Stylized thin heads make up the busts, while a grinning totem with the word "Hawaii" carved at its feet, a candlestick with an elephant in the middle, and a fork and spoon with heads for handles round out the lot.  Size: 2 x 13 3/4 in. 

Lot: 1711 - (2) Large Hour Long Hourglasses

(2) Large Hour Long Hourglasses. The bigger one is filled with white sand, and is bookended by metal bases connected by three rods. The smaller one is filled with yellow sand, and has a slightly twisted lined design, with the words "60 Minutes" on a label on one end.  Size: 7 x 7 x 12 3/4 in.  An hourglass (also known as a sandglass, sand timer, or sand clock) is a device used to measure the passage of time. It comprises two glass bulbs connected vertically by a narrow neck that allows a regulated flow of a substance (historically sand) from the upper bulb to the lower one due to gravity. Typically, the upper and lower bulbs are symmetric as they are usually manufactured by pinching a tube. The specific duration of time a given hourglass measures is determined by factors including the quantity and coarseness of the particulate matter and the neck width. Depictions of an hourglass as a symbol of the passage of time are found in art, especially on tombstones or other monuments, from antiquity to the present day, and the origin of the hourglass is unclear, although its predecessor the clepsydra (or water clock) is known to have existed in Babylon and Egypt as early as the 16th Century BC. 

Lot: 1712 - Otto Brauer (1911-1984) Danish, 1960s Holmegaard Green Art Glass Gulvase

Otto Brauer (1911-1984) Danish, 1960s Holmegaard Green Art Glass Gulvase. Mid Century Modern style with a stout wide body, thin tall neck, and heavily flared rim, all in a rich green hue. Company label near bottom.  Size: 8 1/2 x 19 1/2 in.  Holmegaard Glass Factory (Holmegaards Glasværk) was founded in 1823 after Count Christian Conrad Sophus Danneskiold-Samsøe petitioned the Danish king for permission to build a glass factory at Holmegaard Mose, just outside Næstved. Although he died before permission was granted, his widow Henriette pursued the project, and the factory began by producing simple green bottles in 1825, moving on to table-glass within its first decade. Little of its early work survives, but the company was consistently active, helping to establish the town of Fensmark around it by employing most of the local populace. Between the 1930s and the 1980s it gained recognition outside of Denmark for the designs of Jacob E. Bang (1899-1965), Per Lütken (1916-98), and Bang’s son, Michael (1944-2002). Lütken’s pieces are particularly sought after, as he produced most of the factory’s “classic” glasses for over fifty years, working right up until his death. In 1995 the packaging division of the company was sold to Ardagh, and is now called Ardagh Glass Holmegaard. The art division was sold in 2004 to the development company Ibco, which added an experience center/museum called Holmegaard Entertainment. In 2008 it went bankrupt, and the Holmegaard brand was taken over by Rosendahl A/S. The old glassworks building in Holmegaard was put up for auction in 2010, and was taken over by Danish Sparekassen Faaborg. In 2020 the newly renovated facility reopened under the name Holmegaard Værk. It is a museum exhibiting 40,000 Holmegaard products in its collection, with various glass artists demonstrating how to work with glass in a small adjacent studio. 

Lot: 1713 - (7) Letter Openers

(7) Letter Openers. Includes 1 which has a tag around it with witty information about the piece and the composition, 1 with an elephant sculpture for the handle, 1 plastic with a fish sculpture at the end, and 1 that is metal with the crest of Newfoundland in the handle, among others. All different shapes, styles, and origins.  Size: 1 1/4 x 9 3/4 in.

Lot: 1714 - Coker Creek Crafts Hand-Painted Folk Art Wicker and Wood Basket

Coker Creek Crafts Hand-Painted Folk Art Wicker and Wood Basket. Loosely woven reeds are bound into an oval shape and attached to a wooden bottom. The reeds are painted purple on the top and bottom, with multi-colored decorations and lines throughout the middle in a whimsical style. Ingrained on the underside is the mark: "Coker Creek Crafts - Coker Creek, TN."  Size: 6 x 7 1/2 x 8 1/2 in. 

Lot: 1715 - Vintage Holland & Holland Cigar Ashtray

Vintage Holland & Holland Cigar Ashtray. Vintage ceramic ashtray featuring a faux burl wood rim and a central graphic for Holland & Holland, the historic London gun and rifle manufacturers. Size: 7 x 6 x 1 1/2 in.   Holland & Holland is a prestigious British firearms manufacturer founded in 1835 by Harris Holland in London, renowned for producing high-end bespoke shotguns and rifles. The company built its reputation on exceptional craftsmanship, attention to detail, and precision engineering, catering to elite sportsmen, royalty, and discerning collectors worldwide. Holland & Holland firearms are celebrated for their elegant engraving, custom fittings, and superior performance, combining traditional artisanal techniques with modern innovations. Over nearly two centuries, the brand has become synonymous with luxury and heritage in hunting and shooting, maintaining a legacy that continues to influence gunmaking standards globally.

Lot: 1716 - Mid-20th Century Japanese Chuno-Nippon Tokai Schoolhouse Regulator Wall Clock - As Is

Mid-20th Century Japanese Chuno-Nippon Tokai Schoolhouse Regulator Wall Clock - As Is. Mid-20th-century Japanese "Schoolhouse" wall clock, manufactured by Chuo-Nippon Tokei, featuring a classic octagonal wood case and a glass door prominently labeled "Regulator" in gold script. Lacks pendulum. Size: 12 1/4 x 4 1/2 in.

Lot: 1717 - Jaeger-LeCoultre Art Deco "Aquarium" Table Clock Frame

Jaeger-LeCoultre Art Deco "Aquarium" Table Clock Frame.Art Deco square desk clock frame featuring a white glass face adorned with four applied brass fish, brass stud markers, and etched wave motifs, all supported by a horizontal wooden base. Frame only, doe snot include clock mechanics. Size: 7 3/4 x 7 3/4 x 2 1/2 in.    Jaeger-LeCoultre is a prestigious Swiss watchmaker founded in 1833 in the Vallée de Joux, renowned for its technical innovation, refined craftsmanship, and in-house production of movements. Established by Antoine LeCoultre, the company gained a reputation for precision engineering early on, later merging with Edmond Jaeger’s Paris-based firm in 1937 to form the modern brand. Jaeger-LeCoultre has created over a thousand calibers and holds hundreds of patents, producing iconic timepieces such as the Reverso—originally designed for polo players—and the Master Control line. Often referred to as the “watchmaker’s watchmaker,” the brand has supplied movements to other elite houses while maintaining its own identity as a leader in haute horlogerie.

Lot: 1718 - Antique Monitor Clock Works Oak Arts & Crafts Desk Alarm Clock - AS IS

Antique Monitor Clock Works Oak Arts & Crafts Desk Alarm Clock - AS IS. The simple truncated A-frame design with a thin body makes this perfect for short mantels or small spaces. A gold leaf circle pattern in the center of the face accompanied by hour and minute hands with twelve numbers. Exposed back shows two winding mechanisms, the ringing bell, and multiple patent dates from the 1890s into the early 1900s.  Condition: We cannot guarantee the working condition of any timepiece.  Size: 9 x 3 x 7 in.  In 1878 a watchmaker, jeweler, and inventor named Daniel Azro Ashley Buck helped found the Waterbury Watch Company in Connecticut. His remarkable advancements in both watch construction and miniaturization put his company on the map and led to numerous patents for everything from kaleidoscopes to cameras to steam-powered engines, but after disagreements with his partners he left in 1885 to run the Cheshire Watch Company and started his own toymaking company called D.A.A. Buck, which he merged with the Medina Manufacturing Company in New York in 1898 when he became their president. He set plans in motion to create a massive clock factory to boost the local economy, but died in 1904 before it could come to fruition, with his manager and several other employees using his plans to develop the Monitor Clock Works in 1907. Their use of his patented designs in Arts & Crafts styles were highly sought throughout New England, but due to economic collapse in the region the company closed in 1913, only a year after the factory was finally finished, and their materials were absorbed into the Brockport Clock Works in Syracuse before that, too, fell into bankruptcy in 1918. Today many of their mantel, grandfather, desk, and table clocks are highly sought by collectors for their short-lived contribution to the American clockmaking industry, and for their unique styles and durability due to Buck’s influence.

Lot: 1719 - Antique Waterbury Clock Company 8 Day Strike Movement Mantel Clock with Reverse Painting

Antique Waterbury Clock Company 8 Day Strike Movement Mantel Clock with Reverse Painting. The arrowpoint box on top has the round face in the upper half of the window, Roman numerals for the numbers with the name written on the inner circle below the hands and exposed central gears. The pendulum below hides various other exposed gears and drawn symbols beneath, while the glass front over the entire box is beautifully hand-painted with a moon on the right side, a sun peeking out from the lower left corner, and floral decorations along the bottom. Darker colored wood makes up the bottom, and a single panel nailed together on the back protects the inner workings. Faded peeling labels from the company adorn the back with lots of information about the clock and directions for its movement.  Condition: We cannot guarantee the working condition of any timepiece.  Size: 11 x 5 x 17 in.  Founded in 1857 in Waterbury, Connecticut, the Waterbury Clock Company was a premier American clock manufacturer known for mass-producing high-quality mantel, wall, and pocket clocks. Originating from Benedict & Burnham brass manufacturing, it became a major watch producer by the 1890s and, after buying Ingersoll, famously produced the first Mickey Mouse watches in 1933. The company evolved into the United States Time Corporation in 1944 and eventually became Timex Group USA, Inc.

Lot: 1720 - A. Guanell Bristol Wheel Type Barometer with Hydrometer and Thermometer

A. Guanell Bristol Wheel Type Barometer with Hydrometer and Thermometer. Wall barometer with mahogany frame housing a hygrometer, thermometer, convex mirror, and a large central dial with weather indicators and a decorative compass rose. Condition: Compass needle is loose and sitting inside the case.  Size: 10 1/4 x 39 x 2 3/4 in.

Lot: 1721 - William Lacey (1779-1803) English, Georgian Mahogany Barometer

William Lacey (1779-1803) English, Georgian Mahogany Barometer. Size: 45 1/2 x 13 x 1 3/4 in.

Lot: 1722 - Vintage American Tangent Galvanometer

Vintage American Tangent Galvanometer. By Central Scientific Co. Chicago. Three adjustable feet. Size: 8 x 9 3/4 in.

Lot: 1723 - Folk Art Cow Horn and Bone Sailing Ship Model

Folk Art Cow Horn and Bone Sailing Ship Model. A fascinating construction of bone, metal, and string linked, glued, and screwed together.  Size: 19 x 7 x 22 3/4 in. 

Lot: 1724 - Large Tile Panel of Amsterdam Harbor in the 17th Century

Large Tile Panel of Amsterdam Harbor in the 17th Century. Comprised of 77 individual hand painted ceramic tiles. Kamenka Potterys Holland. Tile panels are a Dutch tradition that began in the 16th Century. Overall Size: 24 1/2 x 32 1/2 in.  Sight Size: 20 1/2 x 26 1/2 in. 

Lot: 1725 - A Collection of Nautical Ink Drawings From the Last Days of the Windjammers

A Collection of Nautical Ink Drawings From the Last Days of the Windjammers. 9 individual detailed drawings of sails, rigging, deck, and sailors handling the wheel in heavy seas. Signed and dated by F. William Bauch. Size: 11 3/8 x 14 3/4 in. 

Lot: 1726 - Two Early 1900s Photographs of a San Francisco Bay Wooden Gaff Rigged Sloop

Two Early 1900s Photographs of a San Francisco Bay Wooden Gaff Rigged Sloop. Of the 60 sloops built in the Bay Area in the late 1800s only one has survived. Overall Size: 14 1/4 x 21 3/4 in. Sight Size: 10 x 8 in.

Lot: 1727 - Otto Doorenbos (Born 1942) Dutch, Oil on Board Painting of a WWII Liberty Ship Off the Coast

Otto Doorenbos (Born 1942) Dutch, Oil on Board Painting of a WWII Liberty Ship Off the Coast. Overall Size: 18 1/2 x 21 in. Sight Size: 4 1/2 x 15 1/4 in.

Lot: 1728 - Frank Schneider (1881-1935) American, Oil on Board Portrait of a Classic Yacht Club Launch

Frank Schneider (1881-1935) American, Oil on Board Portrait of a Classic Yacht Club Launch. Signed lower right. Overall Size: 17 x 23 in.  Sight Size: 13 x 18 1/2 in. 

Lot: 1729 - (2) Nautical Decorative Cast Iron Wall Hanging Anchors

(2) Nautical Decorative Cast Iron Wall Hanging Anchors. The pair are matching, distressed with a rustic appearance, large enough to hang items of clothing on.  Size: 5 1/2 x 8 x 3 1/4 in. 

Lot: 1730 - Group of Decorative Shells

Group of Decorative Shells.  Shallow wicker basket is filled with a varied collection of decorative seashells and a single white starfish. Size: 11 x 11 x 2 1/2 in.

Lot: 1731 - (2) Persian Miniature Paintings on Mother-of-Pearl Abalone Shells

(2) Persian Miniatire Paintings on Mother-of-Pearl Abalone Shells.  Pair of Persian mother-of-pearl shells, each hand-painted with intricate miniature scenes of equestrian figures engaged in a hunt or polo match, with one featuring an ornate, floral-patterned border. Size: 4 x 5 1/4 in.

Lot: 1732 - Excellent Turbo Marmoratus Green Turban Conch Shell Specimen

Excellent Turbo Marmoratus Green Turban Conch Shell Specimen. The colorful twists in the sides and the spiral make this a fine example of the species, which lives among coral reefs in the Indian and Pacific Oceans.  Size: 7 1/2 x 7 1/2 x 5 1/2 in. 

Lot: 1733 - Seashell Heart Mirror

Seashell Heart Mirror. Signed and dated on the back. Size: 10 3/4 x 11 1/2 x 2 in.

Lot: 1734 - Cored Queen Conch Shell with Scrimshawed Mayan Hieroglyphic Designs

Cored Queen Conch Shell with Scrimshawed Mayan Hieroglyphic Designs. A unique piece of art emulating the works of the ancient culture, now found as folk art among their descendants in Central America. The shell is polished down with the exterior cut away to create the twisting appearance and showcase the gorgeous pink tones inside, and the image here of a carved jaguar in black ink along with three hieroglyphs above and one cartouche below in red ink is a classic example of their style, replicated with loving detail.  Size: 3 1/4 x 8 x 3 in. 

Lot: 1735 - Vintage Hand Carved Wood Advertising Figure of a Salesman

Vintage Hand Carved Wood Advertising Figure of a Salesman. Signed J.H. Brown. Size: 4 x 6 x 11 3/4 in.

Lot: 1736 - Hand Carved Wood Folk Art Sculpture of a Fisherman Holding a Fish in Each Hand

Hand Carved Wood Folk Art Sculpture of a Fisherman Holding a Fish in Each Hand. Signed J.H. Brown. Size: 6 3/4 x 9 1/2 x 15 in.

Lot: 1737 - Antique Brass Seth Thomas Ships Clock, "Bell Under"

Antique Brass Seth Thomas Ships Clock, "Bell Under". Strikes ships bells silvered dial with Roman numerals. Size: 3 1/4 x 6 1/4 x 11 1/4 in.

Lot: 1738 - (2) Vintage American Nautical Decorative Cast Iron Whale Tail Wall Hooks

(2) Vintage American Nautical Decorative Cast Iron Whale Tail Wall Hooks. Both have a very rustic vibe, and are meant to be affixed with the tail facing up, so various clothes can be hung on them.  Size: 4 x 6 x 3 in. 

Lot: 1739 - 19th Century Rare Double Frame Brass Sextant Mounted as a Lamp

19th Century Rare Double Frame Brass Sextant Mounted as a Lamp. Signed. Size: 5 1/2 x 11 x 28 1/2 in.

Lot: 1740 - Brass Perko Yacht Navigation Lamps

Brass Perko Yacht Navigation Lamps. Size: 4 1/2 x 10 in.

Lot: 1741 - Ship in a Bottle Square Rigged Sailing Ship

Ship in a Bottle Square Rigged Sailing Ship. Size: 4 x 4 1/4 x 11 1/2 in.

Lot: 1742 - Antique American Brass Surveying Instrument by W. & L.E. Gurley Co.

Antique American Brass Surveying Instrument by W. & L.E. Gurley Co.. Marked. Gurley was the most important of the American Surveying Instrument makers of the era. Size: 7 1/2 x 17 in.

Lot: 1743 - Two Brass Boat Lamps

Two Brass Boat Lamps. A gimbulled wall mounted cabin interior lamp and an anchor light (needs TLC). Size: 6 x 13 1/2 in.

Lot: 1744 - 19th Century Skylight Yacht Binnacle Attributed to John Hand & Sons

19th Century Skylight Yacht Binnacle Attributed to John Hand & Sons. Philadelphia. Solid brass. Fitted with a more modern style compass. Size: 9 1/2 x 11 1/2 in.

Lot: 1745 - Large Solid Brass Ship's Lamp

Large Solid Brass Ship's Lamp. Marked "Durkee Marine, Staten Island" (New York). Originally it was a kerosene burning lamp, now converted to electric. Original clear glass fresnel lens. Durkee was founded circa 18885. It is known as the "Tiffany" of the Trade. Size: 10 3/4 x 11 x 25 in. 

Lot: 1746 - (2) Antique Ship's Deck Prisms

(2) Antique Ship's Deck Prisms. Size: 3 1/2 x 9 1/4 in.

Lot: 1747 - Old Shipwright's Caulking Mallet

Old Shipwright's Caulking Mallet. Wood with iron banding. Size: 2 x 14 3/4 x 15 1/4 in.

Lot: 1748 - (2) Normal Rockwell Museum Commemorative Ceramic Beer Steins

(2) Normal Rockwell Museum Commemorative Ceramic Beer Steins. Two collectible ceramic steins featuring high-relief depictions of classic Norman Rockwell illustrations, each adorned with a metallic lid and themed handles shaped like a lighthouse and an anchor. Includes CoA from the Norman Rockwell Museum. Size: 6 1/2 x 4 1/2 x 9 3/4 in. 

Lot: 1749 - Vintage Gerz Germany Stoneware Beer Stein

Traditional German-style stoneware beer stein features a salt-glazed cobalt blue and grey finish with intricate relief scenes of mythical figures and forest landscapes, topped with a hinged pewter lid. Size: 7 x 4 3/4 x 10 1/4 in.    Gerz steins are traditional German beer mugs produced by the historic Simon Peter Gerz II Steinzeugfabrik, a company founded in the 19th century and known for its high-quality stoneware. These steins are especially recognized for their durable salt-glazed finish, detailed relief designs, and classic pewter lids, often featuring scenes of German folklore, military history, or regional life. Many Gerz steins were made in the Westerwald region of Germany, an area famous for its ceramics, and they are highly collectible today due to their craftsmanship, authenticity markings, and the fact that production ceased in the late 20th century, making vintage pieces increasingly valuable among collectors.

Lot: 1750 - Modern Sculptural Mayan Death Mask Made of Tessellated Stone Panels

Modern Sculptural Mayan Death Mask Made of Tessellated Stone Panels. Done in the style of the masks that ancient kings would be buried in, the shape uses a mixture of dark, colorful, and mother of pearl rectangular panels to create the image of the a face with holes for the eyes and mouth. Piece is attached to a flat smooth stone base.  Size: 6 1/4 x 4 3/4 x 7 3/4 in.  Mayan death masks were elaborate, mosaic-style funerary masks crafted from jade, obsidian, and shell, used to cover the faces of deceased rulers and nobles to signify divine, eternal life. The most famous is the Mask of Pakal, discovered in 1952 in Palenque’s Temple of the Inscriptions, which portrays the king with youthful, deity-like features. The masks act as a spiritual bridge, transforming the deceased leader into a god during his journey to the afterlife, and their often extremely elaborate details indicate the tremendous skill of the Mayan artisans who crafted them, a craft which continues to be honored in their descendants with modern interpretations using more common materials today throughout Central America. 

Lot: 1751 - Vintage Framed Novelty Decorative Signs

Vintage Framed Novelty Decorative Signs. Set in a bifurcated floating frame made out of an old windowpane, the top sign reads "Asylum for the Insane" and the bottom sign reads "Evaluation Center."  Overall Size: 28 x 32 in. 

Lot: 1752 - Vintage Folk Art Chef with Tea Swinging Kinetic Sculpture

Vintage Folk Art Chef with Tea Swinging Kinetic Sculpture. These pieces were common in American and French folk art from the early-to-mid 20th Century. The painted wood silhouette figure, often referred to as a dummy board or silent butler, often depicted a dapper gentleman in a chef, butler, or attendant outfit with an outstretched tray, with or without items on it. Below was the pendulum base, which was positioned precisely to allow the figure to swing back and forth precariously. Historically these began as functional sculptures designed to hold cigarettes, matches, or ashtrays, but larger versions could hold beverages for serving or were used purely for decoration.  Size: 4 1/2 x 5 3/4 x 25 in. 

Lot: 1753 - Vintage Prince Albert Crimp Cut Tobacco Tin

Vintage Prince Albert Crimp Cut Tobacco Can. Vintage red Prince Albert tobacco tin features the brand's iconic portrait of Prince Albert in a tuxedo, advertising "Crimp Cut long burning pipe and cigarette tobacco." At last, you too can have Prince Albert in a can! Size: 5 x 4 in. Prince Albert is a historic American pipe tobacco brand first introduced in 1907 by the R. J. Reynolds Tobacco Company and named after Prince Albert, the husband of Queen Victoria. Known for its distinctive red packaging and classic burley blend, Prince Albert became one of the most popular and widely distributed pipe tobaccos in the United States throughout the 20th century. Marketed for its smooth, mild flavor and easy-burning qualities, it developed a loyal following among pipe smokers and remains an enduring symbol of traditional American tobacco culture.

Lot: 1754 - Portuguese Folk Art Brinquinho Percussive Instrument

Portuguese Folk Art Brinquinho Percussive Instrument. A cane in the middle like an umbrella supports a collection of handmade cloth dolls and castanets made from soda bottle caps at the top, which dance and make noise when manipulated. A unique fusion of ritual, craft, and music.  Size: 8 1/2 x 8 1/2 x 18 1/2 in.  The brinquinho is a percussion instrument originating from Madeira, Portugal some time in the 19th Century, used in folklore dances, including the Bailinho da Madeira. The brinquinho consists of a pole made from the Arundo donax cane that holds circular sets of small dolls, each dressed in traditional clothes and holding a castanet. Traditionally, the instrument includes six dolls on the bottom and four on the top, with many variations including one or two additional dolls at the top of the pole. The dolls are tied to a wire that passes through the pole, making the dolls move and click the castanets when the wire is pulled from the bottom, and the instrument may also include pairs of crown corks held with nails, making sounds when the brinquinho is moved vertically. Although it is uncertain exactly when and where the device was first created, it is likely related to a similar instrument from Minho called zuca-truca, and the first recorded depiction of it was in paintings from the 1920s, although anecdotal records indicate its use during the Holy Ghost Festival in Martha’s Vineyard in the 1880s by Portuguese immigrants, who translated the name of instrument as “dancing dolls.”

Lot: 1755 - Vintage Mid Century "Thirst Extinguisher" Wind Up Music Box Decanter

Vintage Mid Century "Thirst Extinguisher" Wind Up Music Box Decanter. Produced in the 1950s and 60s in Japan for there as well as the American market, these pieces were shaped like old fire extinguishers with chrome decorations of a horse head stopper and heraldic shield on the side. The novelty barware piece would play "How Dry I Am" when picked up for pouring, a tune heavily associated with drinking from the 1910s onward when the lyrics first appeared in an Irving Berlin song. A must-have for collectors of alcohol memorabilia.  Size: 12 x 3 in.

Lot: 1756 - The Franklin Mint Thomason Medallic Bible

The Franklin Mint Thomason Medallic Bible. Franklin Mint edition of The Thomason Medallic Bible, presented in a decorative, dark-colored binder with gold-embossed lettering and ornate detailing. Size: 10 x 11 x 2 1/2 in. The Thomason Medallic Bible is a distinctive mid-20th-century illustrated Bible created by American artist John Wesley Thomason, notable for its integration of small sculptural reliefs—“medallic” images—into the printed text. Produced in the 1960s, the work features hundreds of cast plaques embedded alongside scripture, each depicting scenes from the Old and New Testaments in a style influenced by classical bas-relief and devotional art. Designed as both a spiritual and artistic object, the Thomason Medallic Bible stands apart from traditional illustrated Bibles through its tactile, dimensional approach, blending bookmaking, sculpture, and religious storytelling into a single collectible volume prized for its craftsmanship and rarity.

Lot: 1757 - Vintage Hastings & Co. 23 Karat Gold Leaf Gilding Booklets

Vintage Hastings & Co. 23 Karat Gold Leaf Gilding Set. 2 unopened envelopes, 1 opened envelope. Three vintage envelopes of Hastings 23 Karat Gold Leaf, which were produced by Hastings & Co., Inc. for specialized "gilding in the wind" applications as shown in image_1e8bb1.jpg.  Envelope Size: 2 3/4 x 4 1/2 in.   

Lot: 1758 - (3) African Shona Soapstone Hand-Carved Busts

(3) African Shona Soapstone Hand-Carved Busts. Depicts a family unit, with a balding older male, an older female, and a younger male with similar features and head positions. All signed or marked indistinctly on the undersides.  Size: 5 x 3 x 6 1/2 in.  The art of stone carving in Africa goes back many centuries, with the akwanshi (“stone of dead ancestors” in the Ekoi language) monoliths from the Cross River region in Nigeria dating back possibly as early as 300 BC. Central Zimbabwe contains the “Great Dyke,” a source of serpentine rocks of many types including a hard variety locally called springstone that became a particularly sought after material for carvers. An early precolonial culture of Shona peoples settled the high plateau around 900 AD and “Great Zimbabwe,” which dates from about 1250-1450 AD, was a stone-walled town showing evidence in its archaeology of skilled stone working, both aesthetically and functionally. African cultures venerated organic materials, and carved deities, animals, and their fellow tribesmen out of wood, stone, shell, and much more. In 1957 Frank McEwen was appointed as the first curator of the new National Gallery in Salisbury, Rhodesia (now Harare, Zimbabwe). He had previously been curator at the Musee Rodin in Paris and had links with various artists of the time, including Picasso (himself heavily influenced by African art) and Matisse. McEwen was impressed with the talent of the indigenous artists he met in Zimbabwe, and encouraged them to paint and later to sculpt. Because of his contacts in the international art world, he was able to give the movement that later became known as “Shona sculpture” (after Zimbabwe’s most numerous tribe) its first international exposure. 

Lot: 1759 - (11) Vintage Delft Porcelain Decorative Objects and (1) Wooden Shoe-Shaped Thermometer

(11) Vintage Delft Porcelain Decorative Objects and (1) Wooden Shoe-Shaped Thermometer. Includes 5 egg cups, 1 fan light pulley on a metal chain, 1 small bucket, 1 square plaque presented diamond-angled in a rounded wood frame, 1 square plaque with rounded edges presented in a handle frame with a string attached at the top, 1 small shoe-shaped child's cup, and 1 heart-shaped decorative piece. All in blue and white and most marked variously either Delft or Holland. The shoe-shaped thermometer is marked in Celsius, and has a wall-hanging triangle affixed to the back, as well as a windmill carved into the middle with a wheel that can be spun and colorful enamel decorations.  Largest Size: 5 1/4 x 5 1/4 x 5 in.  Delftware or Delft pottery (also known as Delft Blue or as delf) is a general term now used for Dutch tin-glazed earthenware (a form of faience) that first appeared in the 15th Century, heavily inspired by imported Chinese porcelain. Most of it is blue and white pottery, and the city of Delft in the Netherlands was the major center of production, but the term also covers wares with other colors made elsewhere. The style was so popular that English delftware also exists, made in London, Liverpool, and Dublin between the 16th and the late 18th Century. Delftware includes pottery objects of all descriptions, such as plates, vases, figurines, and other ornamental forms and tiles, with pieces still made to this day under companies like Royal Delft.

Lot: 1760 - Meribeth Orock (Born 1941) Inuit, Alaskan Aleutian Children's Mukluks and Toys

Meribeth Orock (Born 1941) Inuit, Alaskan Aleutian Children's Mukluks and Toys. Mukluks are a specific form of shoe made with a soft sole to allow for great ease of movement on solid ground, soft-pack snow, and tundra, and come in multiple varieties utilizing beads, bones, and other native materials for ornamentation depending upon their tribe of origin. These are both roughly Kid's Size 11. One of the toys is a small carved and fur-covered figurine of two primate-like creatures, huddled together for warmth. The other is a piece of wall-hanging art depicting an Inuit family, with mountains and a red setting sun in the background on the blue fabric base with the same kind of fur ringed around it. This piece has a red reverse side with the artist's signature and origin written on it.  Largest Size: 7 1/2 x 10 in.  Meribeth Orock was born on September 20th, 1941 in Pilot Point, Alaska. The daughter of Inuit Aleut parents who taught her traditional arts and crafts made from fur, skins, and bone, she was part of the second generation of the small village (previously called Ugashik) that experienced forced Westernization, first at the hands of Christian missionaries and then government officials when the territory became a state in 1959. Her experiences with this combined with a determination to maintain tribal traditions informed her artistic sensibilities, as she studied art forms from around the world for her bachelors at the University of Alaska Anchorage, graduating in 1963. She first began selling crafts to visitors to raise money for rebuilding after the 1964 Good Friday Earthquake. To this day she continues to sell her crafts from her hometown studio, along with shadowboxes and paintings that include oils, sand art, and other mixed medias, with some of her most sought after works being clothing, toys, and figures made for children.

Lot: 1761 - (3) Vintage American Die Cast Metal Toy Vehicles - AS IS

(3) Vintage American Die Cast Metal Toy Vehicles - AS IS. The largest is a Hubley logging truck with a tractor-trailer, likely made in the 1950s. The reddish one is a Hubley Kiddie Toy Fire Engine #468, with the extendable ladder missing. The one marked "US Army" on the side is likely a 1950s Toymaster Toys D-2359 tank transporter and lowloader, with the tank missing.  Condition: All show significant wear, or are missing components.  Size: 4 3/4 x 7 3/4 x 3 3/4 in.

Lot: 1762 - (12) Decorative Objects

(12) Decorative Objects. A fascinating assortment of odds and ends, including a duo dolphin brass sculpture, a porcelain pot, a toucan paperweight, and many pieces of glass and silvered metal. A perfect collection for the curio cabinet.  Largest Size: 4 1/2 x 1 1/2 x 5 1/2 in. 

Lot: 1763 - Signed Hopi-Tewa Polychrome Seed Pot

Signed Hopi-Tewa Polychrome Seed Pot. Hand-painted insenct and geometric designs on the upper half of the squat rounded piece. Signed indistinctly on the underside.  Size: 8 x 8 x 4 in.  The Hopi are Native Americans primarily living on the Hopi Reservation in northeastern Arizona, with a population of roughly 20,000 organized into matrilineal clans spanning all villages that share traits with neighboring Pueblo structures, including communal Great Houses and kivas. Descended from the Ancestral Pueblo people of the Four Corners region, the Hopi moved to mesa tops in the 17th Century for protection from Utes, Apaches, and Spanish colonists, resisting subjugation during events like the Pueblo Revolt of 1680 and later encounters with U.S. soldiers, Navajo, and Mormon settlers. In 1882, President Chester A. Arthur established their reservation, which is now entirely surrounded by the Navajo Reservation due to mid-20th Century land disputes. The Hopi ratified their constitution in 1936, creating a Tribal Council government while preserving traditional village authority, including Old Oraibi, one of the oldest continuously inhabited villages in the U.S. Today, they are renowned for their arts, crafts, and natural resource management, with tourism and collectors of Hopi dolls, ceramics, and rugs sustaining their economy while celebrating their resilient culture.

Lot: 1764 - Elizabeth Medina (Born 1956) Pueblo, Hand-Painted Zia Polychrome Pottery Jar

Elizabeth Medina (Born 1956) Pueblo, Hand-Painted Zia Polychrome Pottery Jar. Depicts a scene of a roadrunner surrounded by flowers and geometric symbols in oranges, tans, and black tones. Signed near bottom edge, comes with original card from Rising Star Gallery.   Size: 10 1/2 x 10 1/2 x 9 in.  Elizabeth Medina (born 1956) was born in Jemez Pueblo and married into the Zia Pueblo to Marcellus Medina (born 1954). Elizabeth was inspired by and taught to make pottery by her mother-in-law, Sophia Medina. Early in her career, she was granted permission by the Zia Pueblo Elders to make pottery in the Zia style and tradition early, and she has made Zia-style pottery most of her adult life. She continues today as one of the most accomplished living Zia potters in traditional styles, shapes, and methods, and has won numerous awards for her work at events such as Santa Fe Indian Market, with her pottery can be found in museums nationwide.

Lot: 1765 - Signed Pueblo Acoma Sky City Pottery Roadrunner Jar

Signed Pueblo Acoma Sky City Pottery Roadrunner Jar. Depicts the traditional evocative image of a bird surrounded by geometric forms in orange, cream, and black tones. The signature on the underside appears to be from a member of the Leno family of potters from the Acoma Pueblo in New Mexico, renowned for traditional, hand-coiled, thin-walled pottery. Notable potters with this surname include Joyce Leno, Juana Leno, Rose Leno-Chavez, and Phyllis Leno.  Size: 8 1/2 x 8 1/2 x 8 1/2 in. 

Lot: 1766 - Bernice Suazo Naranjo (Born 1943) Pueblo, Santa Clara Etched Pottery Vase

Bernice Suazo Naranjo (Born 1943) Pueblo, Santa Clara Etched Pottery Vase. The smooth matte surface is etched with the image of a lizard, just below the broad irregular mouth. Signed on underside along with her hallmark.  size: 9 x 9 x 11 1/2 in.  Bernice Naranjo was born Bernice Suazo at Taos Pueblo in 1943, and moved to Santa Clara Pueblo after she married Tito Naranjo. She was a self-taught potter who almost always worked with micaceous clay. At Santa Clara she adjusted her process and learned to work with their type of clay from her sisters-in-law, Jody Folwell and Nora Naranjo-Morse. She is most known for her dark brown and sienna jars decorated with intricate sgraffito nature, wildlife, and geometric designs. She is the mother of Forrest and Dusty Naranjo, grandmother of Johnathan Naranjo, all of whom have learned her technique of forming jars, firing them black, etching them, and then refiring them to sienna. Her contributions to Indigenous art forms have earned her numerous ribbons at the Santa Fe Indian Market and the Heard Museum Guild Indian Art Fair & Market, with her pieces in public and private collections around the country. She signs her works with a round hallmark with two lines through it which represents her name in Tiwa, meaning “Striped Rock.”

Lot: 1767 - Marie S. Juanico (Born 1937) Acoma Pueblo, Small Mouth Pottery Seed Pot

Marie S. Juanico (Born 1937) Acoma Pueblo, Small Mouth Pottery Seed Pot. Classic repeating black-and-white geometric patterns hand-painted throughout, with an extremely tiny mouth. Signed "M.P. Acoma, N.M." on the underside.  Size: 3 3/4 x 3 3/4 x 2 1/2 in.  Marie Sanchez Juanico (Born 1937) is a distinguished pottery artist from Acoma Pueblo and a member of the Yellow Corn Clan. She is the daughter of Toribio and the legendary Acoma potter Delores Sanchez, and began producing her own pottery in her early 20s, carrying forward the sophisticated skills taught by her mother. She has won numerous awards for her works, some of which is held in the permanent collection of the Department of the Interior in Washington, D.C.

Lot: 1768 - Yolanda Trujillo (Born 1963) Pueblo, Acoma Pottery Seed Pot

Yolanda Trujillo (Born 1963) Pueblo, Acoma Pottery Seed Pot. The extremely squat rounded form has a small hole in center, with bird and leaf patterns around the spiral star shape in center, all painted in orange, cream, and black hues. Signed "Yolanda Trujillo Acoma, N.M." on the underside.  Size: 4 x 4 x 1 in.  Yolanda Trujillo (Born 1963) was born on the Acoma Pueblo and began her pottery career by helping her mother, Becky Pasquale, when she was only 8 years old, crediting her grandmother and aunts with helping her perfect the traditional pottery-making methods. She has since begun innovating new shapes and techniques, eagerly adopting techniques from various Pueblos into her own, with her works represented by Blue Rain Galleries and held in collections across the American Southwest. 

Lot: 1769 - Mary Cain (1916-2010) Pueblo, Santa Clara Redware Wedding Jar

Mary Cain (1916-2010) Pueblo, Santa Clara Redware Wedding Jar. This beautiful form is unique double mouthed with a top handle, designed for the bride and groom to both drink from their own sides on their wedding day to honor and solidify their union. Red with a bright sheen on top, with water serpent iconography carved around the midsection with cream undertone. Signed on underside.  Size: 7 1/2 x 6 x 10 1/4 in.  Santa Clara Pueblo potter Mary Cain was born in 1916, taught by her mother, Christina Naranjo and her grandmother, Sara Fina Tafoya. She actively made redware and blackware from 1930 onward, and won numerous awards throughout the years. Her Tewa name was Blue Rain, and she was known for teaching others the art form, including her daughter Linda Cain and her world-famous granddaughter Tammy Garcia. Since her death in 2010 her pottery items continue to remain much sought after by collectors around the world.

Lot: 1770 - Hopi Polychrome Pottery Seed Pot

Hopi Polychrome Pottery Seed Pot. Traditional designs across the top and bottom of the squat rounded piece in orange, black, and tan tones. Indistinct markings on the small underside that may have been a signature before rubbing off due to wear.   Size: 10 x 10 x 4 in.  The Hopi are Native Americans primarily living on the Hopi Reservation in northeastern Arizona, with a population of roughly 20,000 organized into matrilineal clans spanning all villages that share traits with neighboring Pueblo structures, including communal Great Houses and kivas. Descended from the Ancestral Pueblo people of the Four Corners region, the Hopi moved to mesa tops in the 17th Century for protection from Utes, Apaches, and Spanish colonists, resisting subjugation during events like the Pueblo Revolt of 1680 and later encounters with U.S. soldiers, Navajo, and Mormon settlers. In 1882, President Chester A. Arthur established their reservation, which is now entirely surrounded by the Navajo Reservation due to mid-20th Century land disputes. The Hopi ratified their constitution in 1936, creating a Tribal Council government while preserving traditional village authority, including Old Oraibi, one of the oldest continuously inhabited villages in the U.S. Today, they are renowned for their arts, crafts, and natural resource management, with tourism and collectors of Hopi dolls, ceramics, and rugs sustaining their economy while celebrating their resilient culture.

Lot: 1771 - Rosemary "Apple Blossom" Lonewolf (Born 1954) Pueblo, Santa Clara Etched Decorative Piece

Rosemary "Apple Blossom" Lonewolf (Born 1954) Pueblo, Santa Clara Etched Decorative Piece. Dominated on the top and sides by images of majestic horses, carved and colored in striking light tones on the surface of the ovoid redware piece. Signed with her Tewa name on the underside, along with her hallmark and the letters "GSLGR."  Size: 2 1/2 x 2 1/2 x 2 in.  Rosemary Lonewolf was born into the Santa Clara Pueblo in 1954, the daughter of potter Joseph Lonewolf, and learned to make pottery from him as well as her aunt, Grace Medicine Flower, producing her first works when she was 18. Potting under her Tewa name of “Apple Blossom,” Rosemary produces her native clay pots using traditional geometric designs, historical trends, and the natural environment as her subject matter. Her ceramic art is included in the collections of the Smithsonian Institution, New Mexico Museum of Indian Arts and Culture, the Heard Museum, and the Rockwell Museum, and after gaining international recognition she branched out into watercolors, oil paintings, monoprints, and etchings as well. She now divides her time between producing new works and teaching, having worked as an artist in residence at numerous universities and traveled around the world giving lectures and workshops. 

Lot: 1772 - Paul "Speckled Rock" Tafoya (1952-2017) Pueblo, Santa Clara Etched Redware Decorative Piece

Paul "Speckled Rock" Tafoya (1952-2017) Pueblo, Santa Clara Etched Redware Decorative Piece. His signature pottery style is apparent with the turquoise-colored lines etched into the rich sienna surface, showing a bird surrounded by a coiling snake. Signed with his Tewa name on the underside along with a serial number and dated '88.  Size: 2 x 1 3/4 x 1 3/4 in.  Paul Joseph “Speckled Rock” Tafoya was born February 6th, 1952 on the Santa Clara Pueblo, coming from a prestigious line of potters. He initially sought work in architectural engineering while studying at the National Electronics Institute, but his marriage to noted potter Rosemary “Apple Blossom” Lonewolf led him to explore his heritage and discover a love of art as well, working as a tribal policeman on the Pueblo and selling paintings in acrylic on board to support his family in the 1970s while honing his pottery techniques. Along with bronze sculptures and bear fetishes, his diverse output began to win awards at markets at Inter-Tribal Fairs throughout the 80s and 90s, and after his divorce he opened a studio with his new wife Mercedes Rivera in 1984, along with the Merrock Galeria, a hub that featured and promoted the work of various contemporary Southwest pueblo artists. He passed away on October 24th, 2017, with his works highly sought by collectors ever since. 

Lot: 1773 - Susan "Pho-Sa-we" Romero (1955-2026) Pueblo, Santa Clara Etched Redware Decorative Piece

Susan "Pho-Sa-we" Romero (1955-2026) Pueblo, Santa Clara Etched Redware Decorative. Depicts scenes of warriors, bears, and other Pueblo iconography throughout the egg-like form. Signed on the bottom with the artist's Tewa name, along with a snowflake hallmark and dated "99-7."  Size: 2 x 2 x 1 3/4 in.  Susan Romero was born in December of 1955 on the Santa Clara Pueblo, and began to make pottery while studying under her father, Joseph Lonewolf. Known primarily for her animal images etched into redware along with traditional geometric designs and natural scenes, she potted under her Tewa name, “Pho-Sa-we.” Since her passing on February 11th, 2026, her works have become more and more sought by collectors around the world. 

Lot: 1774 - Stella Shutiva (1939-1997) Pueblo, Acoma Whiteware Vessel

Stella Shutiva (1939-1997) Pueblo, Acoma Whiteware Vessel. This remarkable piece features a textured, raised heartline bear fetish, with a small hole in the top similar to seed pots. Signed on the underside.  Size: 9 x 9 x 7 3/4 in.  Stella Shutiva (1939-1997) was a renowned Acoma Pueblo potter famous for specializing in white, corrugated “fingernail” pottery, a style from prehistoric times originally revived by her mother, Jessie Garcia (1910-1999). Often collaborating with her husband, Wilfred Garcia, her work was typically signed “Shutiva S.W. Garcia” or “Stella Shutiva,” and was exhibited and collected around the world. After her passing her daughter Jackie Shutiva inherited her tools and continued the tradition, with all their pieces featuring white slip, delicate, precise coils, and often three-dimensional animal reliefs.

Lot: 1775 - Michael Wood, 20th Century American, 1983 Large Abstract Acrylic on Canvas, "Born to Do It"

Michael Wood, 20th Century American, 1983 Large Abstract Acrylic on Canvas, "Born to Do It". Wood was a Los Angeles artist in the 1980s. He exhibited at the Bachofner Gallery. Overall Size: 48 x 36 in.

Lot: 1776 - Robert George Talbot Kelly (1861-1934) British, Orientalist Watercolor of an Arab Horseman

Robert George Talbot Kelly (1861-1934) British, Orientalist Watercolor of an Arab Horseman. Robert Talbot Kelly was best known as a painter in oil and watercolour of meticulous and atmospheric Egyptian subjects. He settled in Cairo, and absorbed himself in the landscape and culture, learning Arabic and spending time with the Bedouin. As a result, his studio became a destination for foreign visitors and he was eventually awarded an Order by the Kedive of Egypt. However, he was able to broaden his range, and worked with success as far afield as Iceland and Burma. Overall Size: 24 12 x 21 in. Sight Size: 16 x 12 1/2 in.

Lot: 1777 - Luc Raphael Ponson (1835-1904) French, Watercolor Mediterranean Coast Near Marseille

Luc Raphael Ponson (1835-1904) French, Watercolor Mediterranean Coast Near Marseille. Signed lower left. Renowned for his landscapes of the Provençal coast, Raphaël Ponson is the son of a theater designer who taught him the basics of painting. He then attended the practical drawing school in Marseille, where he was a student of Émile Loubon, who taught him to paint landscapes in keeping with the local tone. He went to Paris in 1855 and 1856, then to Italy where he completed his training. He then settled permanently in Marseille. He made his debut at the Marseille Salon in 1852 and at the Paris Salon in 1861 with La Châtaigneraie aux environs de Chevreuse and Le Château d'If dans la rade de Marseille. Works In 1863, he decorated the gallery of the private apartments of the new prefecture of Marseille. For the decoration of the rooms on the first floor of the Natural History Museum at the Palais Longchamp, Henri-Jacques Espérandieu called upon Raphaël Ponson, whose flexible and brilliant talent would be perfectly suited to the execution of this work, according to the architect's comments when presenting the letter of submission to the municipal council. In 1867, he decorated the three rooms on the first floor, where he painted spectacular natural sites: Niagara Falls, the Mer de Glace, the Amazon rainforest, and the basalt caves of Fingal in one of the Hebrides. The most famous room is the Provence room, where Ponson depicts different landscapes for each of the small regions of Provence: cork oaks, chestnut trees, and strawberry trees for the Var, olive trees and oleanders for the Bouches-du-Rhône, and mulberry trees, almond trees, and melons for the Vaucluse. He also decorated the Rigaud café and the Plauchut pastry shop at the top of the Canebière in Marseille. He specialized in depicting the beaches, coves, and seashores around Marseille. To distinguish himself from his younger brother, Étienne Aimé Ponson, a still life painter, he added his first name to his surname. Present in numerous regional exhibitions, he received several awards. Overall Size: 15 x 21 1/2 x 1/2 in. Sight Size: 10 1/2 x 14 1/2 in.

Lot: 1778 - Original Watercolor of the Ancient Fairytale Castle in Kopice, Poland

Original Watercolor of the Ancient Fairytale Castle in Kopice, Poland. Signed by the artist. Overall Size: 17 1/4 x 19 1/2 in. Sight Size: 9 1/4 x 12 1/2 in.

Lot: 1779 - Mary Davis, 20th Century American Print, "Henry Moore-African Ladies"

Mary Davis, 20th Century American Print, "Henry Moore-African Ladies". Signed and dated in pencil and numbered 21/30. Overall Size: 15 1/2 x 19 1/4 in. Sight Size: 9 x 12 1/2 in.

Lot: 1780 - Three Vintage Peruvian Watercolor Village Scenes

Three Vintage Peruvian Watercolor Village Scenes. Signed Wuayta and dated. Wuayta was a pro-life artist known for views of Peruvian life. Overall Size: 20 1/2 x 17 1/2 in.  Sight Size: 13 x 10 in. 

Lot: 1781 - Don Fay, 20th Century American Watercolor, "Gazebo by the Sea"

Don Fay, 20th Century American Watercolor, "Gazebo by the Sea". Laguna Beach, California. Signed lower right titled on the back. Fay studied at the California College of the Arts with Milford Zornes. He is a signature member of the National Watercolor Society. Overall Size: 13 x 10 in.  Sight Size: 8 1/2 x 5 1/2 in. 

Lot: 1782 - Matt Brown (Born 1958) American, Color Woodblock Print, "Stonington Geraniums"

Matt Brown (Born 1958) American, Color Woodblock Print, "Stonington Geraniums". Pencil signed, dated 98, and numbered 33 in an edition of 100. Brown studied at Harvard. He makes each print by hand using the Japanese Hanga method. Overall Size: 19 x 15 in.  Sight Size: 8 3/4 x 6 in. 

Lot: 1783 - Thomas Hayes (1910-1958) American, Watercolor Street Scene

Thomas Hayes (1910-1958) American, Watercolor Street Scene. Signed lower right. Born in Houston, TX on May 8, 1910. Hayes studied at the Pratt Institute in Brooklyn. By the 1930s he had settled in San Francisco where he had further study at the CSFA under Boynton and Stackpole. He died in Marin County, CA on July 26, 1958. Overall Size: 12 x 12 x 1/2 in. Sight Size: 6 x 5 1/2 in.

Lot: 1784 - Gene Kloss (1903-1996) Taos NM, Etching, "Young Navajo Mother"

Gene Kloss (1903-1996) Taos NM, Etching, "Young Navajo Mother". Pencil signed, titled, and numbered 19 in an edition of 50. Born in Oakland, CA on July 27, 1903. Gene Glasier was introduced to etching by Perham Nahl at UC Berkeley where she graduated in 1924. After marrying poet Phillips Kloss in 1925, she furthered her art studies at the CSFA and CCAC. She continued spending winters in Berkeley after settling in Taos, NM in 1925. Nationally known for her etchings of Southwestern subjects, she also produced many watercolors and oils. Mrs. Kloss died in Taos on June 24, 1996. Overlal Size: 22 3/4 x 18 3/4 x 1 1/4 in. Sight Size: 14 1/4 x 11 1/4 in.

Lot: 1785 - Frank C. Eckmair (1930-2012) American, Woodblock Print, "Today & Younger Years"

Frank C. Eckmair (1930-2012) American, Woodblock Print, "Today & Younger Years". Pencil signed and titled. Frank C. Eckmair's work has been exhibited at major national and international shows from England to Japan, as well as Russia, Korea, Costa Rica and Latvia. Eckmair's work is in collections at the Smithsonian, the Metropolitan, the British Museum, Whitney museum of Art, Achenbach Foundation for Graphic Art, Seoul National Museum, Butler Institute of American Art, the Museo de Arte Costarricense in Costa Rice, Pushkin Museum, Vatican Library, Glenbow Museum in Calgary, and others around the world as well as in more than 200 private, College and University collections. His work has been featured in fourteen one-man shows across the country. Buffalo Prints & Paper, created by Eckmair and colleagues at Buffalo State College, has assisted numerous other colleges establish their own hand made paper mills. Lecturing and demonstrating these techniques, he was called upon by the Organization of American States to organize a paper mill in Costa Rica teaching these skills and theories to professional artists from 14 member nations. Eckmair has been the recipient of eleven grants and fellowships. For Gallery Association of N.Y., he organized and curated two exhibits which have traveled the northeast: Options for Printmaking, and Hand Made Paper and Prints. He coordinated production of paper and printing for the SUNY Plaza Gallery's major exhibit of New York State artists and poets, The New York Landscape. Leaving Buffalo State College in 1995 to concentrate on his own work, Eckmair completed the carving and printing of wood engravings for the book, Houses of Memory, published by Caliban Press. His wood engravings have been shown in exhibits including the British Society of Wood Engravers' traveling exhibit. His woodcut Property Line was used to illustrate Robert Frost's poem Mending Wall, by St. Lawrence Un. Press. Art Director of Birch Brook Press since 1997, Eckmair's wood engravings and drawings have been used as illustrations for numerous Birch Brook Press titles. A one-man exhibit of his work is scheduled for autumn 2004 at the MURAL Gallery of the Frank Cyr Center, Stamford, NY. Overall Size: 12 1/2 x 18 x 2 1/4 in. Sight Size: 7 3/4 x 13 1/2 in.

Lot: 1786 - William Wilke (1879-1958) American, 1919 Etching of a California Landscape

William Wilke (1879-1958) American, 1919 Etching of a California Landscape. 2nd State, 4/4. Born in San Francisco, California on June 1, 1879, Wilke was raised in the Mission District and studied at the Mark Hopkins Institute under Arthur Mathews. Accompanied by Joseph Raphael, he traveled to Paris on a scholarship for further study under Laurens. Prior to his departure he took French lessons from Nettie McConnell for whom he sent and married in Paris in 1903. After returning to San Francisco in 1905, he worked at Shreve's as a gold and silver designer for 33 years and, during the 1930s, worked with famed printer John Henry Nash. Wilke died in Palo Alto, California on June 18, 1958. Overall Size: 16 3/4 x 20 3/4 x 1 in. Sight Size: 8 1/4 x 12 1/4 in.

Lot: 1787 - Antique Persian Illuminated Manuscript Leaf Depicting an Exotic Bird

Antique Persian Illuminated Manuscript Leaf Depicting an Exotic Bird. Overall Size: 15 3/4 x 11 1/2 in.  Sight Size: 8 1/2 x 5 1/2 in. 

Lot: 1788 - Louis Busiere (1880-1960) French, Mezzotint in Color, Portrait of a Young Girl

Louis Busiere (1880-1960) French, Mezzotint in Color, Portrait of a Young Girl. Overall Size: 22 1/2 x 18 1/4 in. Sight Size: 16 1/2 x 12 3/4 in.

Lot: 1789 - John James Audubon (1785-1851), Haitian/American, Lithograph in Colors, "American Flamingo"

John James Audubon (1785-1851), Haitian/American, Lithograph in Colors, "American Flamingo". John Audubon was born in 1785 in Les Cayes, Haiti. He is the foremost painter of wildlife to date. He had been a bird collector as a boy but undertook the role of shop owner until the age of 35. At this point, Audubon began systematically recording birds in watercolor across the Northeast. He collected all bird specimens and had an assistant to gather flowers and plants to be used in his pictures. Overall Size: 40 1/2 x 28 1/4 in. Sight Size: 34 1/2 x 22 1/4 in.

Lot: 1790 - Giovanni Battista Piranesi (1720-1778) Italian, A Pair of "Colonna Antonia" & "Colonna Traiana" Etchings of Classical Rome

Giovanni Battista Piranesi (1720-1778) Italian, A Pair of "Colonna Antonia" & "Colonna Traiana" Etchings of Classical Rome. Signed Piranesi. Overall Size: 25 1/2 x 20 1/4 in. Sight Size: 20 x 14 1/2 in.

Lot: 1791 - Alberto Vitali (1898-1974) Italian, Watercolor of a Young Boy with Straw Hat and a Pipe

Alberto Vitali (1898-1974) Italian, Watercolor of a Young Boy with Straw Hat and a Pipe. Signed lower right. Alberto Vitali was a painted and a printmaker. He is known for potraits and landscapes. Size: 16 x 12 in. 

Lot: 1792 - Lucien de Larue, 20th Century Paris Watercolor Street Scene with Seine River

Lucien de Larue, 20th Century Paris Watercolor Street Scene with Seine River. Signed lower right. Label on reverse. De La Rue was born in 1922, in Paris, France. He is a contemporary watercolor artist who loves Montmartre and captures the spirit and feeling of this particular segmen of Paris, its' life, spirit, and gaiety, in his drawings. De La Rue had his first exhibition in 1945. He was awarded a silver medal for his watercolors at a Paris exhibition. He now resides at the French Riviera, where he continues his work, which is well known throughout France.  Overall Size: 33 x 26 3/4 in. Sight Size: 29 1/2 x 18 in.

Lot: 1793 - Japanese Nude Watercolor on Paper Attributed to the Studio of Goseki Kojima

Japanese Nude Watercolor on Paper Attributed to the Studio of Goseki Kojima. Overall Size: 15 1/2 x 20 1/4 in. Sight Size: 10 1/4 x 15 1/2 in.

Lot: 1794 - (2) Rookwood Pottery Vellum Glazed Flower Vases

(2) Rookwood Pottery Vellum Glazed Flower Vases. Pair of Rookwood Pottery vellum-glazed cylindrical vases, each adorned with a soft, hand-painted floral dogwood motif typical of early 20th-century Arts and Crafts design. Size: 7 1/4 x 4 x 4 in.   Rookwood Pottery Company was an influential American art pottery manufacturer founded in Cincinnati, Ohio, in 1880 by Maria Longworth Nichols Storer. Renowned for its exceptional craftsmanship and innovative glazes, Rookwood became one of the leading producers of Art Pottery during the Arts and Crafts movement, blending artistic design with high-quality ceramic production. The company employed many notable decorators and ceramic artists, producing pieces that ranged from delicate floral vases to richly glazed architectural tiles. Rookwood pottery is especially prized today for its matte and iridescent glazes, hand-painted decoration, and distinctive marks that help date individual works. Its ceramics remain highly collectible and are represented in major museums and decorative arts collections throughout the United States.

Lot: 1795 - Roseville Pottery Triple Bud Vase

Roseville Pottery Triple Bud Vase.  Roseville pottery piece features a rich, earth-toned glaze and is sculpted in an elegant Art Nouveau style, highlighting a prominent, raised daffodil motif set against a textured, tree-bark-like background. Incise signature on base. Size: 6 x 4 x 5 1/2 in.  Roseville Pottery was an American ceramics company founded in 1890 in Roseville, Ohio, later operating in Zanesville, and became one of the most recognizable producers of art pottery in the early 20th century. Known for its wide range of decorative wares, the company introduced popular lines such as Pinecone and Futura, which featured rich glazes, natural motifs, and distinctive shapes that reflected the influence of the Arts and Crafts movement. Roseville pieces were mass-produced yet retained a handcrafted aesthetic, making them both accessible and artistically appealing; today, they are widely collected for their quality, variety, and iconic American design.

Lot: 1796 - Japanese Shigaraki Ceramic 'Screaming Face' Diminutive Brush Pot

Japanese Shigaraki Ceramic 'Screaming Face' Diminutive Brush Pot. Netsuke-sized, this tiny frightened figure has a cartouche on the underside with an indecipherable artist's signature.  Size: 2 1/4 x 1 3/4 x 1 3/4 in.  Shigaraki ware is a type of stoneware pottery made in the Shigaraki area of Japan. The kiln is one of the Six Ancient Kilns in Japan. Although figures representing the tanuki are a popular product included as Shigaraki ware, the kiln and local pottery tradition has a long history. 

Lot: 1797 - Abstract Hand-Painted Studio Pottery Vase

Abstract Hand-Painted Studio Pottery Vase. Globular ceramic vase featuring an expressive, abstract design of teal and cream-colored glazes applied over a matte dark charcoal or black surface. Incise mark on base. Size: 8 x 8 in.

Lot: 1798 - Signed Iridescent Glazed Ceramic Vase

Signed Iridescent Glazed Ceramic Vase. Globular ceramic vase features a vibrant purple and blue iridescent glaze decorated with a shimmering gold bamboo motif. Incise signature on base. Size: 11 x 9 in.

Lot: 1799 - Signed Hand Thrown Off White Ceramic Vase with Smokey Accents

Signed Hand Thrown Off White Ceramic Vase with Smokey Accents. Wheel-thrown ceramic vase features a wide, flared rim and a cream-colored glaze accented by a smoky, dark grey atmospheric effect concentrated around the lower body. Signed on base. Size: 6 1/2 x 5 1/2 in.

Lot: 1800 - Antique English Pottery Pitcher with Pewter Lid

Antique English Pottery Pitcher with Pewter Lid. Similar in form and design to the Victorian Jackfield Pottery, with floral patterns on the sides. A small marble piece on a metal pipe juts out above the handle, with a curving shell form raised on the lid and a patent marking embedded next to it. The date 1891 is written on the underside.  Size: 4 1/2 x 6 3/4 in. 

Lot: 1801 - Royal Doulton Ceramic "June" Lemonade Jug

Royal Doulton Ceramic "June" Lemonade Jug. Antique ceramic pitcher featuring a bulbous body decorated with delicate, hand-painted honeysuckle blossoms, a loop handle with gold accents, and a wide neck band intricate with a dense, gilded geometric or floral pattern over a dark ground. Marked on base. Size: 5 1/2 x 6 1/2 in. 

Lot: 1802 - Antique Smith Metal Arts "Silver Crest" Sterling Over Bronze and Wood Humidor

Antique Smith Metal Arts "Silver Crest" Sterling Over Bronze and Wood Humidor. With a simple but elegant Arts & Crafts decoration on the hinged lid. Marked on the underside.  Condition: Patina.  Size: 1 1/2 x 4 x 6 3/8 in.  The Smith Metal Arts Company (also known simply as Smith Metal Arts) is a Buffalo, New York-based manufacturer renowned for its high-end metal, leather, and plastic desk and office accessories. Founded in 1919 by former craftsmen of the Heintz Art Metal Shop after the sudden death of Otto Heintz, the company is famous for its patented iconic “Silver Crest” line of sterling-overlaid bronze. They frequently collaborated with Tiffany & Co. up into the 1970s and today operate as Smith McDonald after a merger with McDonald Products in the 1990s, manufacturing premium executive desk accessories. 

Lot: 1803 - (15) Pieces of Mid 20th Century Theatrical Print Memorabilia

(15) Pieces of Mid 20th Century Theatrical Print Memorabilia. Includes a wide array of Broadway playbills, a personalized signed photo of Ann Miller, ballet and opera booklets, two different "Hello, Dolly!" pieces, and more. A treasure trove of New York arts, dance, and music over the decades.  Size of Largest: 12 x 9 in. 

Lot: 1804 - Collection of Astronaut Newspaper Articles and Apollo 11 Vinyl Record

Collection of Astronaut Newspaper Articles and Apollo 11 Vinyl Record. A plethora of cut-out articles about the incredible event, many from Montclair, New Jersey. The record is "a commemorative record of the first words spoken by man on the moon" narrated by Hugh Downs.  Size: 15 x 12 x 1/4 in.  Apollo 11 (July 16th-24th, 1969) was the historic American spaceflight that successfully fulfilled President John F. Kennedy's national goal of landing humans on the Moon and returning them safely to Earth. Launched from Kennedy Space Center, the crew consisted of Commander Neil Armstrong, Command Module Pilot Michael Collins, and Lunar Module Pilot Buzz Aldrin. The words spoken by Armstrong upon stepping onto the lunar surface (“That’s one small step for [a] man, one giant leap for mankind”) are remembered as one of the most famous quotes in all of human history, but later trips to the moon and outer space faced financial and political challenges due to a perception that the Space Race against the Russians had been “won” and was over, rather than acknowledging the moment as truly the beginning of mankind’s “greatest adventure of all time.” 

Lot: 1805 - 1969 Pan American World Airways Clipper Club Commemorative Letter

This item is a 1969 Pan American World Airways "Clipper Club" commemorative set, featuring a letter signed by Senior Vice President Norman P. Blake and a corresponding first day cover envelope postmarked with the "First Man on the Moon" postage stamp. Letter Size (Unfolded): 11 x 8 1/2 in. 

Lot: 1806 - (2) Framed Antique and Stylized World Maps

(2) Framed Antique and Stylized World Maps. Lot comprised of two antique maps, including: large, ornate, double-hemisphere Blaeu Wall Map, characteristic of the 17th-century Golden Age of Dutch cartography, featuring lavish decorations, ships, and mythological scenes around the world map. The map on the right is a framed, detailed map focusing on the maritime area of Southeast Asia and the Indian Ocean, featuring intricate coastline detail typical of later historical engravings, and is mounted in a highly stylized, modern wooden frame with decorative crystal corner accents.  Largest Overall Size: 16 1/2 x 20 1/2 in.  Largest Sight Size: 15 3/4 x 19 3/4 in. 

Lot: 1807 - Medallions and Medals from the World War I Era

Medallions and Medals from the World War I Era. Largest Size: 6 x 2 1/4 x 3/4 in.  This important collection consists of the following medals and medallions, and we believe most of them belonged to Roy C Stowe, a captain in the 103rd Field Artillery Regiment out of Rhode Island during the first World War:      a.  a French Verdun Commemorative medal from 1916, this was a

Lot: 1808 - U.S. Stampless Folded Letters & Covers 1840’s

U.S. Stampless Folded Letters & Covers 1840’s. Largest Size: 3 x 5 3/4 in. (folded) This lot consists of three stampless folded letters and covers from the 1840’s,    all addressed to Nathan Ellis, a captain in the state militia from Blue Hill, Maine, a small town with less than 1500 people in the 1830’s. The three folded letters are from 1842, 1845, and 1846,

Lot: 1809 - Books about Pursuit of Pancho Villa, Pan Am Exposition of 1901

Books about Pursuit of Pancho Villa, Pan Am Exposition of 1901.  Largest Size: 10 1/4 x 12 x 1 in.  This lot consists of two books, one titled Battery A on the Mexican Border and the other titled The Grandeurs of the Exposition, about the Pan American Exposition of 1901.   Battery A on the Mexican Border was edited by Henry W. Stiness and was published in 1916 by Edward S. Jones in Providence, Rhode Island, and we believe it is a first edition, according to WorldCat. Battery A was activated in June 1916 and consisted of troops from the Rhode Island National Guard, it was active along the border with Mexico until it was mustered out of service in November 1916, and it was mobilized at the orders of President Woodrow Wilson to put an end to the raids of Pancho Villa along the Mexican border and to send a strong message to the Mexican government that America would no longer tolerate Villa’s plundering in United States territory. The book includes endpapers decorated by Edward F  Walton, rosters of personnel and numerous black and white photographs, it is in good condition and measures 12 1/4 x 10 1/4 inches wide, with wear on the crown, light soiling on the covers, and a couple of loose pages. We found only one copy listed on the rare book website we use and WorldCat lists only ten copies in Special Collections around the world (a library copy at Baylor, the University of Texas at El Paso and two other colleges in Texas, West Point Military Academy, the US Army War College in Carlisle, Pa, two copies in colleges in Rhode Island, and a copy at the University of Arizona), so the book is rare, and the book is selling for $175 on the rare book website we use.  The second book is titled The Grandeurs of the Exposition, it was written to commemorate the Pan-American Exposition held in Buffalo, New York in 1901, and the exposition was basically the World’s Fair at the time. The text is a first edition that was written by Richard H. Barry and published by Robert Allan Reid in Buffalo, New York in 1901. It is illustrated throughout with black and white photographs that show the Exposition’s major buildings, state and foreign pavilions, midway scenes, and contemporary views of Buffalo and Niagara Falls, and there are captions to go with each photo. There are several copies in Special Collections around the United States, including the Smithsonian in Washington, D.C., and this copy measures 1 foot wide by 9 1/4 inches high and is in very good condition, with light loss at the top and bottom of the spine, corner creases on the bottom of some pages, and a solid binding, and this souvenir booklet is hard to find now. 

Lot: 1810 - Florida, U.S, and Foreign Postcards 1930’s to 1950’s

Florida, U.S, and Foreign Postcards 1930’s to 1950’s.  Largest Size: 6 x 4 in.  This lot consists of postcards from Florida, the United States, and Europe from the 1930’s to the 1950’s. There are 115 postcards, several souvenir packets, including a packet from Mardi Gras in New Orleans (1943), as well as some Valentine and Christmas cards from the early 1900’s and 13 World War II photos of American soldiers on horseback and in uniform.  The Florida batch has five colored postcards with divided backs and a real photograph of Seminole Indian children taken in the Everglades in 1943, and the U.S. batch has some postcards from the Finger Lakes, Maine, the California coast (with beautiful images of Sequoia trees), a large postcard of FDR, for a total of 33 postcards in this batch, and some postcards in this batch are unused and some have writing on the back.  The European batch has 82 postcards, including a postcard featuring a German U-boat at the safety of its home base, with a German flag flying from its deck; there are beautiful postcards from Paris, London, and other cities of Europe,       7 souvenir photo packets from Paris, Nice, Luxemburg, Brussels, and Goteborg, and a few postcards in this batch are duplicates.

Lot: 1811 - World War I Enlistment Papers + Letter Signed by General Pershing

World War I Enlistment Papers + Letter Signed by General Pershing.  Largest Size: 15 x 2 1/2 x 2 1/2 in.  This lot consists of three enlistment documents for Roy Stowe, an American soldier in World War I, and a letter signed by General John J Pershing, who was commander of the American Expeditionary Forces in Europe during World War I. Pershing was commander of the AEF from 1917 to 1920 and led the Americans and Allies to victory over Germany during the World War.  Roy Stowe was from Rhode Island and enlisted in the Rhode Island National Guard, which became part of the 103rd Field Artillery Regiment that served overseas under Pershing. The earliest enlistment document shows that Roy first signed up in the Rhode Island National Guard in 1917, the next document shows that he was promoted to first lieutenant in 1921, and the last document shows he was promoted to captain in 1922. All three documents are very clean and measure 15 inches high x 19 inches wide, they all have the gold seal and red ribbons from the state of Rhode Island, and they all come in protective cardboard tubing from the office of the Adjutant General in Providence, Rhode Island.  The letter signed by General Pershing is a thank-you letter to all the service men who participated in the American Expeditionary Force against the Germans in World War I, the letterhead is marked “G.H.Q.” and “American Expeditionary Forces” and dated “France , February 28, 1919” at the top, and we cannot guarantee this is a genuine Pershing signature, but AEF letters signed by Pershing typically sell for about $200 to $400 apiece. The letter measures         10 1/8  inches high x 8 1/4 inches wide and is very good condition.

Lot: 1812 - World War I, World War II War-Related Paper Ephemera

World War I, World War II War-Related Paper Ephemera.  Largest Size: (photo) 9 x 7 in.  This lot consists of war papers for Roy Stowe, who served in World War I and World War II, as well as war-related ephemera for Andrew Raymond and two 1833 enlistment documents for Nathan Ellis, Jr. from Blue Hill, Maine; Ellis enlisted in the Second Company of Light Infantry in the First Regiment of the First Brigade and Third Division of the Militia of Maine, and the documents bear the state seal of Maine.  There are World War I photos of Roy Stowe in uniform, his discharge papers say he served at the Meuse Argonne, Chateaux Thierry, The Battle of the Marne, and Belleau Woods in France, notorious battles in World War I. There are Infantry leaflets from 1945 about the fighting in Asia and a leaflet from VE Day in Europe, which signaled the end of World War II, two letters from American soldiers fighting in France and Germany towards the end of the war, and apparently Stowe was a beloved figure by the men in his outfit.   There are four military photos of Roy Stowe, more than 40 war-related letters, two wartime postcards, three War Ration books from World War II (with stamps), four newspaper clippings, medical records from the war, and one piece of V mail.   Wear, curls and creased edges on some pieces, and overall a fascinating collection of war-related ephemera. 

Lot: 1813 - World War I Banner-Style Photos

World War I Banner-Style Photos.  Largest Size: 7 x 47 in.  This lot consists of two rollout banner-style photos from World War I. The smaller photo shows the Presentation of Decorations and Final Review of the 26th Yankee Division at Camp Devens on April 22, 1919. Camp Devens was located about 35 miles northwest of Boston and was a major military training site for U.S. troops in the first World War.  The 103rd Field Artillery Regiment was comprised primarily of Rhode Island National Guardsmen in World War I and it served with distinction in World War I as part of the 26th Yankee division. Arriving in France in 1917, they were among the first American artillery units on the Western Front, using 155mm horse-drawn howitzers to participate in major battles from early 1918 through the Armistice. They saw action in major engagements, including the Champagne-Marne defensive, the Aisne-Marne offensive, and the St. Mihiel offensive. Their service was recognized with six fleurs-de-lis on their unit insignia, representing their battles in France.  The photo was taken by Pyle Photo Company in Waltham, Mass. and measures 40 3/4 inches wide and 8 inches high, it is unframed and in very good condition, with two one-inch tears along the left edge, and that’s about it. The larger photo shows the 103rd Field Artillery unit, and it was taken by Geo.   P. McDermott from Lowell and Fitchburg, Mass. It measures 46 inches wide and     8 inches high, and it is unframed and in very good condition, with no tears or visible blemishes.

Lot: 1814 - (14) World War I and World War II Maps and Booklets

(14) World War I and World War II Maps and Booklets.  Largest Size: 11 x 8 1/2 in.  This lot consists of fourteen maps and booklets from World War I and II:  American Red Cross Map of London from World War II distributed to US soldiers, sailors, and airmen to help them navigate the city while they were on leave.  black and white fold-out map of Paris from World War II Engineering the Victory: the Story of the Corps of Engineers, a booklet published after the US invasion of France after D-Day in June 1944 to boost American morale  (2) Thanksgiving Day Menus for Headquarters Detachment of the Ninth Engineer Command in Luxembourg  La Bataille de Grande Bretagne (The Battle of Great Britain), Aout - Octobre 1940 (August  to October 1940) in French VOIR, French booklet with numerous photos highlighting the advance of French and Allied soldiers against Germany in World War II Grapevine 26th Infantry Division newsletter from June 10, 1945, highlighting post-war Europe and turning attention to the war with Japan In Allegiance and Gratitude to the Soldiers of the 26th Division, the Dead and the Living, Seekers of Peace by the Sword Who Died and Who Live for the same High Purpose that Liberty and Law May Rule the World: a booklet honoring the living and dead soldiers of the 26th Division from World War I Gulfport Field, Mississippi booklet about the soldiers and airmen who trained at this military base in World War II      10. Veteran’s Service Magazine published by James J O’Neill in the 1930’s to   keep American soldiers abreast of what was going on around the world, in particular the rise of Japan’s military in Asia in the 1930’s      11. Rhode Island Review, 1934 weekly magazine to keep Rhode Islanders up to date about their state; chips and wear around the edges      12. Rhode Island Community Shelter Plan, June 29, 1969, an instructive booklet about where to go to seek shelter in case of an atomic bomb attack on the state; very detailed, with maps to show exactly where to find shelters all around Rhode Island to protect citizens from radioactive exposure in different cities around the state  13. a Commemorative newspaper from 1926 to honor the outbreak of the American Revolutionary War in 1776 (some folds and light wear)  14. 902 in the ETO Reproduction Platoon, a magazine to honor a platoon of American soldiers whose purpose was to recreate and update European maps as quickly and as accurately as possible, to help the Allies in their fight against Germany in World War II, folds and wear along the edges

Lot: 1815 - Chevrons, Medals, and Ribbons from World War I and World War II

Chevrons, Medals, and Ribbons from World War I and World War II.  Largest Size: 5 x 3 1/4 in.  This lot consists of the following:  a) Two United States Army Air Force patches from World War II:  a blue, yellow, red, and white patch with a gold Roman numeral IX at the top, which stood for the IX Engineer Command that operated under the Ninth Air Force - this unit

Lot: 1816 - Assorted Medals and Pins from the First and Second World Wars

Assorted Medals and Pins from the First and Second World Wars.  Largest Size: 3 x 1 1/2 x 1 in.  This lot consists of over 60 pins, cufflinks, and tie clasps from the First and Second World Wars, including two Distinctive Unit pins for the 103rd Field Artillery Regiment, a unit of the Rhode Island National Guard,. The pins have scarlet and yellow colors, which are the traditional colors of the Artillery branch,  six fleurs-de-lis on each pin which represent the unit’s service in France during the six major operations in World War I, the cannon symbolize the unit’s branch as Field Artillery, “Play the Game” at the bottom of each pin was the motto of the 103rd Field Artillery during World War I, and the 103rd Field Artillery Regiment has a long history dating back to the colonial era, making it one of the oldest units in the United States Army. The lot also includes a set of V for Victory cufflinks and tie clasp, USN pins and brooches, a belt buckle with the initials “RCS” (which stood for Roy C. Stowe), an American Legion pin and a Masonic pin, a B-25 Mitchell bomber tie clasp, a vintage Anson goldtone tie clasp, and a small World War I battleship (maybe an early Monopoly or game piece).

Lot: 1817 - (4) Collection of Vintage Banknotes

(4) Collection of Vintage Banknotes. Group of diverse vintage and historical banknotes, featuring currency from Japan, the Confederate States of America, the Philippines, and Canada. Largest Size: 7 x 3 1/8 in. 

Lot: 1818 - Cold War Era USSR Stainless Steel Hip Flask

Cold War Era USSR Stainless Steel Hip Flask. Metal hip flask with a dark textured inlay featuring a Soviet star and a Soviet Red Guards badge. Impressed on bottm CCCP. Size; 3 3/4 x 1 1/2 x 5 1/4 in.

Lot: 1819 - Cold War Era USSR Steel Hip Flask with KGB Emblem

Cold War Era USSR Steel Hip Flask with KGB Emblem. Stainless steel hip flask featuring a decorative KGB emblem from the Soviet Union. Impressed on bottom, CCCP. Size: 2 3/4 x 1 x 5 1/4 in.

Lot: 1820 - The Story of Oriental Philosophy (L. Adams Beck, 1928)

The Story of Oriental Philosophy by L. Adams Beck is an accessible early-20th-century survey that introduces Western readers to major traditions of Asian thought—particularly Indian, Chinese, and Buddhist philosophies—through a narrative, interpretive lens rather than strict academic analysis. Published by Cosmopolitan Book Corporation. Size: 6 1/2 x 9 1/2 x 1 3/4 in. 

Lot: 1821 - "Dogs in Art" Postcard Book

"Dogs in Art" Postcard Book.  Size: 7 x 4 3/4 x 1/2 in. 

Lot: 1822 - (4) Books on Birds - Birdlife of Florida, Bird Neighbors, Birds of America, Audubon Bird Guide

(4) Books on Birds - Birdlife of Florida, Bird Neighbors, Birds of America, Audubon Bird Guide. Assortment of ornithological books includes The Birdlife of Florida by Stevenson and Anderson, a vintage copy of Bird Neighbors from Doubleday and McClure, a light green Audubon Bird Guide for Eastern Land Birds, and an older volume featuring a green spine and illustrations of flying ducks. Personalized note on title page of Birdlife of Florida, gifted by Bruce H. Anderson. Benefitting the Sarasota Audubon Society. Size: 11 1/4 x 8 1/2 x 2 in.

Lot: 1823 - 1915 "The Most Popular Mother Goose Songs" First Edition Hardcover Illustrated Copy

1915 "The Most Popular Mother Goose Songs" First Edition Hardcover Illustrated Copy. Antique copy of the illustrated children's book The Most Popular Mother Goose Songs, featuring color plates from original drawings by Mabel B. Hill and published by Hinds, Noble & Eldredge of New York. Condition. Battered cover,  Size: 9 3/4 x 11 1/2 x 1/2 in.

Lot: 1824 - Steve McCurry Photo Book "South Southeast"

Steve McCurry Photo Book "South Southeast". Published by Phaidon Press, Incorporated. 2000. Numerous color photographs.  Size: 11 1/4 x 15 1/4 x 1 in. 

Lot: 1825 - Salvador Dali, An Original Etching Based on Dante's Sonnet "To Ev'ry Captive Soul"

Salvador Dali, An Original Etching Based on Dante's Sonnet "To Ev'ry Captive Soul". Published by the Salvador Dali Archives 1974. Size: 22 5/8 x 15 1/2 in. 

Lot: 1825A - Napoleon by Proctor Patterson Jones "An Intimate Account of the Years of Supremacy 1800-1814"

Napoleon by Proctor Patterson Jones "An Intimate Account of the Years of Supremacy 1800-1814". A detailed historical narrative of Napoleons years of Supremacy Illustrated. Published by Random House in 1992. From the personal collection of the author.  Size: 10 3/4 x 10 7/8 x 1 3/4 in. 

Lot: 1826 - Framed Indo-Persian Mughal Miniature Painting

Framed Indo-Persian Mughal Miniature Painting. Depicts a court scene, with groups of men in turbans and robes seated and standing around a central figure.  Overall Size: 19 1/2 x 14 1/2 in.  Sight Size: 13 3/4 x 8 1/2 in.  A Persian miniature is a small Persian painting (usually on paper or sometimes bone), whether a book illustration or a separate work of art intended to be kept in an album of such works called a muraqqa, using techniques broadly comparable to the Western Medieval and Byzantine traditions of miniatures in illuminated manuscripts. Miniature painting became a significant genre in Persian art by the 13th Century, receiving Chinese influence after the Mongol conquests (directly alluded to by the name Mughal), and the highest point in the tradition was reached in the 15th and 16th Centuries where they were the dominant influence on other Islamic miniature traditions, principally the Ottoman miniature in Turkey and the Mughal miniature in the Indian subcontinent. Persian art under Islam is of particular interest to scholarly studies because it never completely forbade depicting the human figure, which in the miniature tradition are central subjects (often in large numbers), partly because the miniature is considered a private art form, kept in a book or album and only shown to those the owner chooses, rather than large-scale public art which could be defaced or covered over. As well as the figurative scenes in miniatures there was a parallel style of non-figurative ornamental decoration which was found in borders and panels in miniature pages and spaces at the start or end of a work or section, and manuscripts of the Quran and other religious books often included a considerable number of these illuminated pages.

Lot: 1827 - (3) Persian Etched Metal Plaques with Figurative Scenes

(3) Persian Etched Metal Plaques with Figurative Scenes. Group of three Persian-style etched metal plaques featuring intricate figurative scenes, including an embracing couple, a man and child with pottery, and a woman carrying a vessel, all set within ornate floral borders. Size: 10 x 7 1/2 in.

Lot: 1828 - (16) Mid 19th Century Rice Paper Etchings

(16) Mid 19th Century Rice Paper Etchings. Collection of aged, monochromatic art prints and etchings with visible wear and foxing are layered together, showcasing various classical and historical scenes. Produced circa 1860s. Overall Size: 14 x 19 1/2 in.  

Lot: 1829 - Chinese Ink on Paper Scroll Painting Depicting Bamboo

Chinese Ink on Paper Scroll Painting Depicting Bamboo. Signed lower right. Overall Size: 23 3/4 x 46 in.  Sight Size: 17 x 38 in. 

Lot: 1830 - K. Yoha, 20th Century Japanese Watercolor of Boats Sailing on a Lake

K. Yoha, 20th Century Japanese Watercolor of Boats Sailing on a Lake. Signed lower left. Overall Size: 12 x 6 1/2 x 1/2 in. Sight Size: 6 1/2 x 9 3/4 in.

Lot: 1831 - Large Antique Chinese "Hundred Birds" Silk Embroidery

Large Antique Chinese "Hundred Birds" Silk Embroidery. A large Phoenix at center surrounded by birds including peacocks, cranes, and ducks. Overall Size: 26 3/4 x 45 1/2 in.  Sight Size: 20 1/4 x 38 in. 

Lot: 1832 - Chinese Woodblock Print of a Painting by Qi Baishi

Chinese Woodblock Print of a Painting by Qi Baishi. Overall Size: 21 x 16 3/4 in. Sight Size: 11 1/4 x 9 in.

Lot: 1833 - Kiyoshi Saito (1907-1997) Japanese, 1958 Woodblock, "Coral B"

Kiyoshi Saito (1907-1997) Japanese, 1958 Woodblock, "Coral B". Signed. Kiyoshi Saito overcame significant hardship to become one of Japan’s most celebrated modern printmakers. Born in 1907 in the rural Fukushima prefecture, Saito experienced poverty, family upheaval, and the death of his mother at a young age. After working as a sign painter in Hokkaido, he moved to Tokyo in pursuit of an artistic career, where he taught himself woodblock printing while studying Western art and modern design principles. Influenced by artists such as Shiko Munakata and mentor Koshiro Onchi, Saito became associated with the Sosaku Hanga (“creative printâ€Â) movement, which emphasized the artist’s personal expression. Though initially dismissed in Japan as overly influenced by Western tastes, his reputation changed dramatically after winning international recognition at the 1951 São Paulo Biennial. Saito’s prints combine traditional Japanese woodblock techniques with bold abstraction, geometric composition, and a rustic, expressive quality inspired by northern Japan. His subjects ranged from landscapes and village scenes to portraits, animals, and still lifes, all rendered with remarkable simplicity, clarity, and modern vitality. Overall Size: 26 x 21 3/4 in.  Sight Size: 17 1/2 x 13 1/2 in. 

Lot: 1834 - Junichiro Sekino (1914-1988) Japanese, Woodblock Print, Portrait of the Artist's Son

Junichiro Sekino (1914-1988) Japanese, Woodblock Print, Portrait of the Artist's Son. Junichiro Sekino was a prominent member of Japan’s Sosaku Hanga (“creative printâ€Â) movement and became known for his remarkable versatility as a painter, graphic designer, and woodblock printmaker. Raised in Aomori alongside future master printmaker Shiko Munakata, Sekino studied both oil painting and printmaking from an early age. In 1936 he received a prestigious Bunten award for his etching work, and after moving to Tokyo in 1939 he studied under Koshiro Onchi, one of the founders of the Sosaku Hanga movement. Sekino mastered both traditional Japanese woodblock techniques and Western printmaking methods, blending the two into a highly adaptable artistic style that ranged from figurative to abstract compositions and from monochromatic to richly colored works. During World War II he worked in an ammunition factory as artistic production in Japan largely ceased, and afterward he struggled financially while creating book illustrations. His fortunes improved in the 1950s, beginning with a successful Tokyo exhibition in 1953, and his works soon entered major international collections including the Museum of Modern Art, the Bibliothèque Nationale in Paris, and the Museum of Fine Arts, Boston. Invited to the United States in 1958 by the Rockefeller Foundation and the American Japan Society, Sekino went on to travel and teach internationally, later joining Kobe University in 1965. Overall Size: 26 3/4 x 22 1/4 in.  Sight Size: 22 1/2 x 16 in. 

Lot: 1835 - Kitagawa Utamaro, Japanese Woodblock Print, "Woman Blowing a Popen"

Kitagawa Utamaro, Japanese Woodblock Print, "Woman Blowing a Popen". (Glass noise maker). From the series "Ten Classes of Women's Physiognomy". Overall Size: 20 1/2 x 16 1/2 in.  Sight Size: 13 x 9 in. 

Lot: 1836 - Shodo Kawarazaki (1880-1973) Japanese, Woodblock Print, "Spider Lily"

Shodo Kawarazaki (1880-1973) Japanese, Woodblock Print, "Spider Lily". Overall Size: 20 x 15 in.  Sight Size: 14 x 9 1/4 in. 

Lot: 1837 - Robert MacLeod (1888-1977) Canadian/American, Watercolor of a Schooner at Anchor

Robert MacLeod (1888-1977) Canadian/American, Watercolor of a Schooner at Anchor. Robert James MacLeod was born in Canada on June 19, 1888. MacLeod studied at the Boston Museum. He was a resident of New York City from 1920 into the 1960s. He died in Roxbury, CT February 1977. Overall Size: 17 x 13 x 3/4 in. Sight Size: 13 x 9 1/4 in.

Lot: 1838 - Vintage Japanese Watercolor of Kois

Vintage Japanese Watercolor of Kois. A symbol of longevity. Inscribed with calligraphy and matted with a seal. Overall Size: 19 x 25 x 1 in.

Lot: 1839 - Helen Hyde (1868-1919) American, Etching with Colors, "The Yellow Boy"

Helen Hyde (1868-1919) American, Etching with Colors, "The Yellow Boy". Sometimes titled "Chinese Girl". Signed in pencil lower right. A rectangular red seal with 2 symbols lower left.Numbered in pencil "76" bottom left. Overall Size: 12 1/2 x 9 1/2 x 1/2 in. Sight Size: 8 1/2 x 5 1/2 in.

Lot: 1840 - Raoul Dupoux (1906-1988) Haitian, Watercolor, Man Smoking a Pipe

Raoul Dupoux (1906-1988) Haitian, Watercolor, Man Smoking a Pipe. Signed lower right. Dupoux studied in Paris. He became a professor at the Academie des Beaux Arts. Overall Size: 14 3/4 x 11 3/4 x 1/2 in. Sight Size: 9 3/4 x 6 1/2 in.

Lot: 1841 - Antique Print of Children Playing with a Cat and Puppy

Antique Print of Children Playing with a Cat and Puppy. Condition: In as is condition. Water damage near bottom of artwork, see images. Overall Size: 22 1/2 x 46 1/2 in.  Sight Size: 16 3/4 x 40 1/2 in. 

Lot: 1842 - A Chinese Famille Rose Teapot

A Chinese Famille Rose Teapot. Depicting Chinese figures in a garden. Seal on base. Size: 7 x 6 x 3 3/4 in.

Lot: 1843 - Chinese Porcelain Teapot

Chinese Porcelain Teapot. Qing seal mark on base. Size: 6 x 3 1/2 in.

Lot: 1844 - Antique Chinese Porcelain Qianjiang Teapot

Antique Chinese Porcelain Qianjiang Teapot. Size: 5 1/4 x 5 in.

Lot: 1845 - Antique Chinese Porcelain Teapot

Antique Chinese Porcelain Teapot. Marked on base. Depicts a figure in a landscape by a building and a tree. Size: 5 1/2 x 5 1/2 in.

Lot: 1846 - Chinese Famille Rose Porcelain Teapot

Chinese Famille Rose Porcelain Teapot. Marked on base. Size: 5 1/2 x 5 1/4 in.

Lot: 1847 - Chinese Porcelain Famille Rose Teapot

Chinese Porcelain Famille Rose Teapot. Siez: 5 1/2 x 5 in.

Lot: 1848 - Chinese Porcelain Teapot

Chinese Porcelain Teapot. Depicts a scholar in a landscape. Marked on base. Size: 6 1/2 x 6 1/2 in.

Lot: 1849 - Chinese Red Amber Teapot

Chinese Red Amber Teapot. Size: 3 1/2 x 4 1/4 x 7 in.

Lot: 1850 - Japanese Amber Netsuke of a Hotei

Japanese Amber Netsuke of a Hotei. One of the "seven lucky gods". He is associated with good fortune. Size: 1 1/2 x 1 1/4 x 1 1/2 in.

Lot: 1851 - Chinese Amber Dual Opening Snuff Bottle

Chinese Amber Dual Opening Snuff Bottle. Size: 1 1/2 x 1 1/4 x 2 1/2 in.

Lot: 1852 - Chinese Carved Bonded Amber Zodiac Ball

Chinese Carved Bonded Amber Zodiac Ball. Size: 3 1/2 dx 3 1/2 x 3 1/2 in.

Lot: 1853 - Ostrich Egg with World Map Decoration

Ostrich Egg with World Map Decoration. Mounted on a carved wood stand. size: 5 x 8 1/2 in.

Lot: 1854 - Jules Jacquemart (1837-1880) French, A Pair of Handcolored Etchings of Classic Vases

Jules Jacquemart (1837-1880) French, A Pair of Handcolored Etchings of Classic Vases. Undoubtedly the greatest nineteenth century master of the 'object d'art' etching, Jules-Ferdinand Jacquemart first gained international notice for his amazing etchings of Renaissance objects and antique porcelains. These masterpieces alone would have been enough to secure for him an important place in the history of French art, but during the 1860's he created equally important etched sets. 1862 marked the appearance of his famous, Histoire de la Porcelaine, which contained twenty-six large plates. 1865 saw the publication of, Armes du XVI Siecle, and in 1868, he created the etchings for Armes du XVe Siecle. As well, during this period, Jules-Ferdinand Jacquemart worked closely with Cadart and his newly created Societe des Aqua-Fortistes. Overall Size: 24 3/4 x 17 3/4 in.  Sight Size: 18 1/2 x 11 1/2 in. 

Lot: 1855 - Haku Maki, Japanese Woodblock, "Persimmon"

Haku Maki, Japanese Woodblock, "Persimmon". Pencil signed and numbered lower margin. Overall Size: 18 3/4x 14 3/4 in.  Sight Size: 11 x 7 1/2 in. 

Lot: 1856 - Haku Maki, Japanese Woodblock Print, "Poem 70-45 (Zero)"

Haku Maki, Japanese Woodblock Print, "Poem 70-45 (Zero)". Chop mark lower left. Overall Size: 15 1/8 x 11 5/8 in.  Sight Size: 10 1/4 x 6 3/4 in. 

Lot: 1857 - Utagawa Hiroshige, Woodblock Print, "Kuwana-Juku"

Utagawa Hiroshige, Woodblock Print, "Kuwana-Juku". Station #43 in the series Fifty Three Stations of the Tokaido. Overall Size: 13 1/8 x 18 in.  Sight Size: 8 x 13 1/4 in. 

Lot: 1858 - Ando Hiroshige, Japanese Woodblock Print, "Yui"

Ando Hiroshige, Japanese Woodblock Print, "Yui". From the series Fifty Three Statinons of the Tokaido Road. Overall Size: 13 1/4 x 18 in.  Sight Size: 8 x 13 1/4 in. 

Lot: 1859 - Utagawa Hiroshige, Japanese Woodblock Print, "Hamamatsu: Winter Field"

Utagawa Hiroshige, Japanese Woodblock Print, "Hamamatsu: Winter Field". #30 in the series: The Fifty Three Stations of the Tokaido Overall Size: 13 1/4 x 18 in.  Sight Size: 8 x 13 1/4 in. 

Lot: 1860 - Utagawa Hiroshige, Japanese Woodblock Print, "Driving Rain at Shono"

Utagawa Hiroshige, Japanese Woodblock Print, "Driving Rain at Shono". From the series: 53 Stations of the Tokaido Roads. Overall Size: 14 3/4 x 18 1/2 in.  Sight Size: 8 1/4 x 13 in. 

Lot: 1861 - Japanese Woodblock Print, Ukiyo-E Figures in the Garden

Japanese Woodblock Print, Ukiyo-E Figures in the Garden. Overall Size: 14 3/4 x 18 1/2 in.  Sight Size: 8 1/4 x 13 in. 

Lot: 1862 - Utagawa Hiroshige, Japanese Woodblock Print, "Nigonbashi Bridge"

Utagawa Hiroshige, Japanese Woodblock Print, "Nigonbashi Bridge". Overall Size: 14 3/4 x 18 1/2 in.  Sight Size: 8 1/4 x 13 in. 

Lot: 1863 - Utagawa Hiroshige, Japanese Woodblock Print, "Mariko: Famous Tea Shop"

Utagawa Hiroshige, Japanese Woodblock Print, "Mariko: Famous Tea Shop". Road Series, Station #21. Overall Size: 13 1/4 x 18 in.  Sight Size: 8 x 13 1/4 in. 

Lot: 1864 - Ando Hiroshige, Japanese Woodblock Print, "Snow at Benzaiten Shrine st Inokashira Road"

Ando Hiroshige, Japanese Woodblock Print, "Snow at Benzaiten Shrine st Inokashira Road". Overall Size: 14 3/4 x 18 1/2 in.  Sight Size: 8 1/4 x 13 in. 

Lot: 1865 - Vintage Spanish Colonial Mirror

Vintage Spanish Colonial Mirror. Overall Size: 24 1/2 x 20 1/4 in.  Sight Size: 16 x 11 1/2 in. 

Lot: 1868 - (3) Matching Indian Bone Inlaid Rectangular Mosaic Picture Frames

(3) Matching Indian Bone Inlaid Rectangular Mosaic Picture Frames. The bone squares and rectangles are arranged in repeating patterns around the entire exterior front of each frame. Wooden backs.  Overall Size: 8 x 6 in.  Sight Size: 6 x 4 in.  Frame Thickness: 1/2 in.