The Traditional Collector

Wednesday, October 29, 2025

The Traditional Collector

Wednesday, October 29, 2025 | 10am PST

Sale 323 145 East Walnut Avenue, Monrovia CA 91016

This is an interactive catalogue. Click on any item description or hyperlink for more information.

Friday, October 24th: 12-4pm

Saturday, October 25th: 12-4pm

Monday, October 27th: 12-4pm

Tuesday, October 28th: 12-4pm

Wednesday, October 29th: Doors open 9am

Meet the Team

Angela Past Senior Specialist, Furniture & Decorative Arts a.past@johnmoran.com

Sally Andrew Cataloguer, Silver Jewelry & Decorative Arts s.andrew@johnmoran.com

Madison Ari Cataloguer, Fine Art m.ari@johnmoran.com

Client Services

Mario Esquivel Office Manager m.esquivel@johnmoran.com

Grant Stevens Cataloguer, Decorative Arts g.stevens@johnmoran.com

Ella Fountain Client Services e.fountain@johnmoran.com Previews:

A group of J. D. Schleissner & Söhne salt cellars and pepper casters

Late 19th/early 20th century; Germany

Most marked .800 and with maker’s mark of J. D. Schleissner Söhne, Hanau

The salts with pierced bowls and scalloped etched glass inserts, each piece with swan-form stems and repoussé detailing 12 pieces

Each pepper: 8.5” H x 2.375” Dia.; Each salt with glass: 6” H x 3.875” Dia.

Total weight: 87.9 oz. troy approximately

$1,000-1,500

Provenance:

Property of an Estate, La Cañada, CA

Sold: John Moran Auctioneers, 2007

Three German repoussé silver table articles

Early 20th century

Each basket with .800 and Hanau marks; compote marked: Sterling / 930 / Germany

Each with pierced and repoussé decoration depicting putti and floral motifs, comprising two .800 silver handled baskets with glass liners, and a sterling silver footed compote 3 pieces

Each basket stored: 6.375” H x 8.5” W x 7.5” D; Compote: 3” H x 8.375” Dia.

Total weight: 37.5 oz. troy approximately

$800-1,200

A pair of Dutch .900 silver five-light candelabra 20th century, Seton Brothers; Schoonhoven

Marked to underside: GS [in a cartouche] / 900

Each five-light candelabrum with dolphin-form arms and supports

2 pieces

Each: 8.5” H x 12.25” Dia.

Total weight: 128.5 oz. troy approximately

$700-900

A group of Austrian sterling silver and enamel ladies’ items 19th/20th century

Each marked for sterling and: Made in Austria; lipstick XRF tested for sterling

Each mounted with painted plaques, comprising a guilloché minaudiere, three compacts, one lighter, and an associated unmarked lipstick

6 pieces

Largest compact (Blue Boy): 3.25” H x 2.625” W x 0.625” D $200-300

Provenance: Estate of Robert Baron, Huntington Beach, CA

An Italian .800 silver inkstand

Mid/late 20th century

Stand with Italian marks for .800 and Milan; each well marked in green: Limoges / France

The two porcelain wells with silver hinged lid and swan-form finial, set in a stand with pierced gallery and raised on scrolled feet

Overall: 4.25” H x 9.75” W x 7.125” D

26.9 gross oz. troy approximately

$500-700

A Georg Jensen sterling silver ‘Acorn’ flatware service Mid-20th century

Each variously marked for Jensen, most with later marks (post-1945); one further marked with Danish three tower mark [30] and assay mark for Christian F. Heise (1904-1932): CF; five marked: International Sterling / Royal Danish; one marked: Frigast / Sterling / Denmark

Designed 1915, comprising 3 tablespoons (8.125”), 1 pierced tablespoon (8.125”), 8 oval soup spoons (6.875”), 6 cream soup spoons (6.5”), 8 teaspoons (5.75”), 8 large youth teaspoons (6.125”), 4 egg spoons (5”), 10 dinner forks (7.5”), 10 salad forks (6.75”), 3 fish forks (6.5”), 8 pastry forks (5.625”), 4 oyster forks (5.75”), 10 dinner knives (9”), 4 luncheon knives (8”), 4 fruit knives (6.625), 4 butter spreaders (6”), 1 cold cut serving fork (6.625”), 1 cold meat serving fork (8”), 1 gravy ladle (7.5”), 1 cheese knife (7.75”), 1 sugar tongs (3.75”), 1 small cake server (6.375”), and 1 fish serving fork (7.875”), sold together with five International Sterling “Royal Danish” items including 3 tablespoons (8.625”), 1 cake/pie server (10.375”), and 1 lemon fork (4.75”), as well as 1 Frigast Sterling sugar tongs (5.25”) 108 pieces

Total weighable sterling: 112.6 oz. troy approximately

$5,000-7,000

Three Russian silver cups

1832-1858

Each marked for 84 zolotnik and variously dated; two marked for assay master Nikolay Dubrovin; each with undeciphered maker’s mark

Comprising one handled cup with applied dancing figures, and two with chased designs, one of a town and one of floral motifs

3 pieces

Largest: 3.25” H x 4.25” W x 2.875” D; Smallest: 1.875” H x 1.875” Dia.

Total weight: 7.3 oz. troy approximately

$1,000-1,500

Provenance: Estate of Robert Baron, Huntington Beach, CA

Pierre Bonnard (1867-1947)

“La Revue Blanche,” 1894

Lithograph in colors on tan wove paper laid to Japanese paper

From the edition of unknown size

With the printed signature and date in the stone near the center of the left edge; Edward Ancourt, Paris, prntr., and with his printed name in the stone below the borderline at lower right Image: 29.5” H x 23” W; Sheet: 31.625” H x 24.5” W

$1,500-2,500

Provenance: with Rental Gallery, Baltimore Museum of Art, Baltimore, MD Stephen Mazoh Gallery, Baltimore, MD

Literature:

Bouvet 30; Roger-Marx 38; Maitres pl. 38; DFP-II 77; Word & Image p. 26; Modern Poster p. 8; Abdy p. 93; Maindron p. 41; Meisterplakate 14; Maitres 1900 p. 47

Notes:

Commissioned for “La Revue Blanche,” a contemporary Belle Epoque arts journal, under the direction of Thadée Natanson and brothers. The fashionable lady illustrated in the poster is Misia Natanson, wife of Thadée Natanson; she was reportedly a gifted pianist and patron of the arts.

James Jacques Joseph Tissot (1836-1902)

“Entre les deux mon coeur balance,” 1877

Etching and drypoint on laid paper, watermark Van Gelder

From the edition of about 100

Signed and dated in the plate, lower right: -1877. JJ Tissot

Plate: 9.75” H x 13.875” W; Sheet: 14.75” H x 22” W

$800-1,200

Provenance:

Property from the Arthur N. Gilbert Collection

Sold: Bonhams, Los Angeles, CA, “Print & Multiples: Featuring the Arthur N. Gilbert Collection,” June 9, 2021, Lot 50

Literature: Wentworth 30

Jacques Joseph Tissot (1836-1902)

“Le Banc de Jardin,” 1883

Mezzotint in warm black ink on paper

Edition: From the total edition of approximately 500 impressions in all three states, of which this is a first state (of three), before the addition of the title

As is usual for this state, the impression is unsigned except for the artist’s signature in the plate at lower left: J.J. Tissot 15” H x 21” W

$500-700

Literature: Wentworth 75 i/iii

Notes:

According to Michael Wentworth, Tissot presumably based this mezzotint on his painting of the same name that was on view in Paris at the time, first at the Palais de I’Industrie in 1883, and then at the Galerie Sedelmeyer in 1885. That painting of circa 1882 was unlocated when Wentworth published his catalogue raisonné of the artist’s printed works in 1978. Since then, however, the painting has resurfaced. It was sold by Christie’s New York in November of 1999 for nearly $200,000.

James Jacques Joseph Tissot (1836-1902)

“La soeur aînée,” 1881

Etching and drypoint on laid paper

From the edition of about 100

Signed and dated in the plate along the upper edge, at center: JJ. Tissot / 1881

Plate: 11.375” H x 6” W; Sight: 11.875” H x 6.625” W

$400-600

Literature: Wentworth 53

After Edouard Manet (1832-1883)

“Cat and Flowers,” from the “Les Chats” series, 1869

Etching and aquatint on wove paper, watermark Rives

From the edition of unknown size

Signed in the plate, just below the image, at left: Manet Image: 6.625” H x 5” W; Plate: 7.75” H x 6” W; Sheet: 12.75” H x 9.875” W

$300-500

Literature: Guérin 53; Harris 65; Moreau-Nélaton 19

Marc Chagall (1887-1985)

“Samson renverse les colonnes,” plate 57 from “La Bible,” 1931-39

Etching with hand-coloring on wove paper

Edition: 27/100

Initialed and numbered in pencil in the lower margin: M. Ch.; Raymond Haasen, Paris, prntr.; Tériade, Paris, pub., 1956-58

Plate: 11.5” H x 9.75” W; Sheet: 17.875” H x 14” W

$2,000-3,000

Literature: see Cramer books 30

After Honoré Daumier (1808-1879)

“The Grand Staircase of the Palais de Justice,” circa 1864

Woodcut in colors on paper

From the edition of unknown size and date

Signed in the block, lower left: h. Daumier; Alfred Prunaire, prntr., and their pencil signature (“Alf Prunaire”) in the lower margin, at right; titled on a gallery label affixed to the frame’s backing paper

Image: 13.875” H x 10.25” W; Sight: 15.5” H x 11.375” W

$300-500

Provenance:

Galerie DeVean, Beverly Hills, CA

A pair of Continental glazed earthenware stacked cushion footstools 20th century

In the form of three stacked pillows with corner tassels and floral motifs 2 pieces

Each: 12.25” H x 19.5” W x 15.5” D

$600-900

A Choisy-le-Roi majolica cockatoo & beetle double vase

Late 19th century, designed by Paul Comolera (1813-1890)

Black printed factory signature, entwined HB mark for H. Boulanger & Cie above: France; impressed: 879 K11 U; incised: COMOLERA

19.5” H x 17.5” W x 13” D

$600-800

17

Three Royal Bonn earthenware ‘Delft’ covered urns

Mid/late 19th century

Each marked: Royal Bonn / “Delft”; each impressed: Franz Ant. [Anton]

Mehlem / Bonn A/Rhein; each with various impressed and painted numbers

The handled and lidded urns, each depicting sailboats to one side and floral motifs to the other

3 pieces

30.25” H x 15.5” W x 10.75” D; Shortest: 17” H x 8.5” W x 6.5” D

$500-700

Tallest:

After François Auguste-Hippolyte Peyrol (1856-1929)

“L’homme vainquant la lionne” (Man fighting a cougar)

Patinated bronze

Signed in the casting: H. PEYROL

29.75” H x 17.5” W x 9.75” D

$800-1,000

Ferdinando Vichi (1875-1945)

Torso of Venus of Capua Carved marble

Signed and inscribed: F. Vichi / Florence

Torso: 22” H x 20” W x 10” D approximately; Pedestal: 30” H x 1.25” W x 10.25” D

$700-900

A Raynaud and Co. porcelain ‘Montezuma Green’ dinner service 20th century; France

Each marked to underside: Limoges / France / Fabriqué et Décoré Dans la Cité de Limoges / Raynaud & Co. / Limoges / [swan logo] Manufactured by Limoges, comprising 12 dinner plates (10.375”), 12 salad plates (8.875”), 12 crescent side plates (8.125” x 5.5”), 10 bread and butter plates (6.5”), 12 lobed fruit bowls (6.5”), 12 flat rim soup bowls (9”), 12 footed cups (3.875”) with 12 saucers (6.5”), 1 oval serving platter (16.375” x 10.75”), 1 smaller oval serving platter (14.125” x 8.875”), 1 serving bowl (11”), 1 lobed serving bowl (9.75”), and 1 smaller lobed serving bowl (8”) 99 pieces

$3,000-5,000

A Bernardaud Limoges porcelain ‘Vieux Rouen’ dinner service

Produced 1968-1998

Each with factory marks in green and black and the pattern name in red

Comprising 11 dinner plates (10.125”), 11 salad plates (8.5”), 8 bread & butter plates (6.625”), 6 soup bowls (9.125”), and 14 teacups (4”) with 10 saucers (5.75”)

60 pieces

$300-500

A Baccarat glass ‘Lagny’ stemware service

20th century

Each with Baccarat stenciled factory marks

Comprising 12 tall water goblets (7.75”), 11 water glasses (6.5”), 12 champagne coupes (5.25”), 14 white wine goblets (6.5”), 15 sherry goblets (5.125”), and 1 port wine goblet (5.75”) 65 pieces

$700-900

A Saint-Louis glass ‘Thistle’ stemware service

Late 20th/early 21st century

Some with factory stencil mark to underside

Comprising 23 fluted champagne glasses (7.5”), 12 continental and 12 burgundy wine glasses (6.375”)

47 pieces

$3,000-5,000

24

A Continental boiserie fragment 18th/19th century

The carved wood panel depicting an urn centering fabric swags cradling fruits in high relief

10.25” H x 58” W x 2.625” D

$400-600

continental goblets (7”),

A pair of Louis XV-style brass and glass girandoles

20th century

The brass three-light girandoles set on tripartite stands, mounted with cut glass grape, apple, and other fruit-form drop pendants

2 pieces

Each: 17” H x 12” W x 10” D

$300-500

A Louis XV Provincial burl walnut commode

18th century

The chest with three drawers, raised on front curved legs, featuring burlwood veneer to drawer fronts and side panels and figural brass pulls and lock escutcheons

37” H x 60.75” W x 27” D

$1,500-2,000

A Louis XV walnut bombé commode 18th century

The chest with shaped front and three locking drawers with bronze figural pulls and lock escutcheons, above an apron with scrolled and scallop shell accents

35.75” H x 49.75” W x 24.5” D

$700-900

A Victorian Louis XV-style marquetry bureau plat 19th century

The locks marked: [crown] VR / W & H / Patent

The inset leather top with blind-stamped border, throughout decorated with profuse floral motif marquetry and gilt-bronze mounts of floral trimming, foliate pulls and locks, and masks at corners, featuring a locking drawer centering two smaller drawers to one side, the other side with matching false-fronts

29.5” H x 54.5” W x 31” D

$1,000-1,500

A Louis XVI-style giltwood mirror

19th century

The later mirror set in a rectangular frame with foliate and tassel accents, crested by an architectural element with birds, a floral wreath, and scrolled foliate motifs

48.75” H x 28.75” W x 4” D

$400-600

A Louis XV-style caned walnut Duchesse brisée

Early 20th century with later elements

The two-part chaise lounge, each with carved floral motifs to crest rail, scrolled armrests, and raised on fluted feet, featuring caning to back and seat, which have been reinforced and include later rug-upholstered cushions

2 pieces

Larger: 37.5” H x 30” W x 31.5” D; Smaller: 26” H x 26” W x 27.75” D

$300-500

A pair of Napoleon III-style bronze-mounted porcelain candelabra

Late 20th century

Each marked in blue underglaze: JM / Italian Design

Each porcelain urn with bronze garlands, opposed foliate-form handles, and architectural base, issuing bronze foliate-form branches terminating in porcelain flowers and seven lights

2 pieces

Each: 33” H x 16.5” W x 14” D

$500-700

A Louis XVI-style paint-decorated and giltwood mirror 20th century

The beveled mirror with bead and reel trim and foliate accents, surmounted by an oval beveled mirror crested by a ribbon and floral motifs, all on a whitewashed ground 39” H x 19.75” W x 1.625” D

$500-700

A René Lalique glass ‘Dahlias’ vase

1923-1937

Designed 1923

With sand-blasted stencil mark to underside: R. LALIQUE

The molded frosted glass footed vase with black enameling to flowers 5” H x 7.25” Dia.

$800-1,200

A set of nine Lalique glass ‘Femmes Antique’ tumblers

Late 20th century

Each etched: Lalique ® France [post-1978]

10 pieces

Each: 4” H x 3.5” Dia.

$500-800

A set of twelve Lalique glass ‘Ange’ champagne flutes

Late 20th century

Each etched: Lalique ® France [post-1978]

12 pieces

Each: 8.125” H

$600-900

A pair of Lalique glass ‘Kazak’ horse bookends

Early 21st century

Designed 1996 by Marie-Claude Lalique (1935-2003)

Each etched: Lalique ® France [post-1978]; with applied Lalique factory sticker

Molded frosted glass

2 pieces

Each: 8.5” H x 6.75” W x 2.375” D

$700-900

A Lalique black enameled glass ‘Tourbillons’ vase

Early 21st century

Designed 1926 by René Lalique (1860-1945)

Edition: 874/999

Etched edition and marked: Lalique ® France [post-1978]; with applied Lalique factory sticker; with Neiman Marcus retailer’s sticker With deep swirling motifs inspired by fern blossoms, housed in original box with foam forms

Vase: 8.25” H x 8” Dia.; Box: 10.75” H x 10.25” W x 10.25” D

$1,000-2,000

A Lalique glass ‘Martinets Swallow’ vase

Late 20th century

Etched: Lalique ® France [post-1978]

The molded frosted glass vase depicting swallows in high relief

9.625” H x 7” Dia.

$500-700

A Lalique black glass ‘Zeila Panther’ figure

Late 20th century

Designed 1989 by Marie-Claude Lalique (1935-2003)

With etched script mark: Lalique ® / France; with applied Lalique factory stickers: Lalique / Made in France / 11671

The frosted molded glass panther figure depicted in a stalking position

4.375” H x 14.75” W x 2.875” D

$600-800

A Lalique glass ‘Zeila Panther’ figure Late 20th century

Designed 1989 by Marie-Claude Lalique (1935-2003)

With etched script mark: Lalique ® / France; with applied Lalique factory stickers: Lalique / Made in France / 11652

The frosted molded glass panther figure depicted in a stalking position 4.375” H x 14.75” W x 2.875” D

$600-800

A group of French copper cookware 20th century

Each unmarked

Comprising five pans in graduated sizes, three sauce pans, a bain-marie, a colander, and other various pots and pans 22 pieces

Largest: 5” H x 22.25” W x 14” D

$1,000-1,500

A Charles Schneider blow-out glass and wrought iron center bowl

Second Quarter 20th century

Glass acid-stamped: SCHNEIDER

6.5” H x 13.5” W x 8” D

$800-1,200

A French patinated metal figural table lamp

Mid-20th century

With pastille applied to base: Fabrication [illegible] / Paris / Made in France

The single-light lamp with faux candle standard, centering two boy figures mounted on an architectural footed base, surmounted by a fabric-lined paper shade and a pinecone finial, electrified

Overall: 21.25” H x 14.25” W x 8.5” D

$400-600

A collection of Christofle silver-plated ‘Gallia’ knife rests Circa 1930

The Art Deco rests each in the form of an animal or insect

12 pieces

Each: 1” H x 4” W x 1” D approximately

$400-600

Émile Gallé (1846-1904)

A fire-polished cameo glass vase parlant, circa 1900 Signed Gallé and inscribed in cameo: Béni soit / le coin sombre / où s’isolent / nos coeurs / Marceline Valmore / Gallé

The vase internally decorated, with cameo inscription translating to “Blessed be the dark corners where our hearts isolate,” a quote from French Romantic poet and novelist Marceline Valmore (1786-1859) 12.125” H x 4.25” Dia.

$3,000-5,000

Provenance: Private collection, Glendora, CA

A group of Tiffany Studios Favrile glass table articles

Early 20th century

Underplates and bowls each variously numbered and etched: L. C. T.; footed vessels etched: L. C. Tiffany / Favrile; one unmarked

Comprising four handkerchief bowls, three scallop-rimmed underplates, and four footed compotes with grapevine motifs to rim, together with an associated Favrile-style footed bowl 12 pieces

Each bowl: 2” H x 4.625” Dia.; Each compote: 3.5” H x 4.875” Dia.; Associated: 3.25” H x 6.375” Dia.

$800-1,200

Provenance:

From the Estate of Dorothy Adler Routh Acquired by descent

A Handel ‘Teroca’ pine needle table lamp

Early 20th century; Meriden, Connecticut

Shade aperture ring marked: Handel pat. no. 924457; base marked: HANDEL

Likely model 2489, the three-light lamp with acorn pulls, featuring a slag glass paneled shade with patinated metal overlay depicting pine needles around the border, raised on a bamboo-form patinated bronze base, electrified

Overall: 24.25” H x 19.5” Dia.

$1,000-1,500

Provenance:

Toulouse Antique Gallery, West Hollywood, CA

Private collection, Pasadena, CA, acquired from the above, 1990s

A Teco pottery Etruscan-style pitcher

Early 20th century

Twice impressed: Teco; further impressed: 314 The handled pitcher with a matte green glaze 12.25” H x 3.5” Dia.

$800-1,200

Provenance: Private collection, Glendora, CA

A Van Briggle pottery vase

Circa 1904; Colorado Springs, CO

Faintly marked for Van Briggle to underside Model 239, with gradient blue matte glaze and a band of spade leaves in relief 9.25” H x 10.5” Dia.

$800-1,200

Provenance:

Sold: California Historical Design, Alameda, CA, “ACStickley Arts & Crafts Auction,” June 30, 2023, Lot 857

Private collection, Glendora, CA

A Van Briggle pottery vase

Circa 1905; Colorado Springs, CO

With incised mark for Van Briggle, double ‘AA’ mark, date, and: I; impressed: 231

With a green gradient matte glaze and stylized peacock feathers in low relief 5.625” H x 6.75” Dia.

$800-1,200

Provenance:

Sold: Rago Auctions, Lambertville, NJ, “Early 20th Century,” October 1, 2010, Lot 315

Private collection

Sold: Toomey & Co. Auctioneers, Chicago, IL, “Keramics & Rookwood: American & European Art Pottery,” June 15, 2023, Lot 108

Private collection, Glendora, CA

Two Van Briggle pottery vases

1906

Each with incised ‘AA’ cipher, date, and: Van Briggle / 8; the taller further incised: Colo. Springs; and impressed: 461; the shorter impressed indecipherably

Each with a matte green glaze, comprising a vase decorated with thistles in low relief, and one undecorated

2 pieces

Taller: 9” H x 7.375” Dia.; Shorter: 5” H x 5.25” Dia.

$800-1,200

Provenance: Private collection, Glendora, CA

Bartholomeus Johannes van Hove

(1790-1880)

Two Dutch architectural views, 1832

Each: Oil on panel

Each: Signed and dated along the lower left or lower right corner: B.J. van Hove / 1832

Each: 11” H x 9” W

$2,000-3,000

Otto von Ruppert (1841-1923)

München scene, possibly Wilhelmsbogen Oil on cradled panel

Signed lower right: O.v. Ruppert

11.5” H x 8.75” W

$400-600

Holger Hvitfeldt Jerichau (1861-1900)

European farm scene, likely Denmark Oil on panel

Signed lower left: Holger H Jerichau; variously numbered in pencil, presumably in another hand, verso 7” H x 15.375” W

$500-700

Jules Dupré (1811-1889)

Shepherd with flock of sheep Oil on cradled board

Signed lower right: Jules Dupre 8” H x 12.5” W

$1,000-1,500

Jules Dupré (1811-1889)

Cattle in a vast landscape Oil on canvas laid to board

Signed lower right: Jules Dupre Sight: 10.5” H x 14.75” W

$700-900

Provenance: Delphine Gallery, Santa Barbara, CA

19th Century European School

Figure and farmhouse in a pastoral landscape

Oil on canvas

Unsigned

18” H x 26” W

$600-800

John Bonny (1874-1948)

Flock of sheep in a pastoral landscape Oil on canvas

Signed lower left: J Bonny 14” H x 21” W

$1,000-1,500

Provenance: Marshall Field & Company, Chicago, IL

Notes:

This lot is accompanied by a copy of a sales invoice / packer’s voucher dated August 17,1965 from Marshall Field & Company, Chicago, IL.

59

James Hardy II (1832-1889)

“Waiting for Lunch”

Watercolor on paper laid to board

Signed lower left: James Hardy Jun’r; titled on the frame plaque Sheet/Board: 13.25” H x 18.25” W

$600-800

Provenance: Henry Whitley, Scarborough, England

Sold: Bonhams, Chester, England, “Chester Sale,” March 6-8, 2012, Lot 262

Sold: Mealy’s Fine Art, Castlecomer, Ireland, “Summer Fine & Decorative Art Sale,” May 29-30, 2012, Lot 720

19th Century French School

Cavalier and barmaid in an interior

Oil on panel

Initialed lower left: HF

10.625” H x 8.125” W

$400-600

Three Chinese white ceramic bowls

Song/Yuan Dynasty (960-1368) or later

Footed bowl bearing a blue underglaze mark

One with molded designs to exterior

3 pieces

Footed: 1.5” H x 2.75” Dia.; Shortest: 1.625” H x 2.625” Dia.

$500-700

Three Chinese white ceramic bowls

Song/Yuan Dynasty (960-1368) or later

Footed bowl bearing a blue underglaze mark

Comprising Qingbai or other white wares including a footed bowl, a smaller bowl, and a lidded bowl with molded foliate motifs

3 pieces

Footed: 2.75” H x 6” Dia.; Smallest:1.25” H x 4” Dia.

$500-800

A Chinese Qingbai white porcelain bowl Song/Yuan Dynasty (960-1368) or later

The footed bowl with incised motifs to interior, set on a hardwood base, housed in a custom formed fabric-clad and velvet-lined box Bowl: 2.75” H x 7.625” Dia. (irregular); Box: 4.75” H x 10” W x 10” D $600-900

A Chinese polychrome porcelain figure of a boy 17th century or later

Possibly Transitional, the figure decorated with floral motifs throughout, depicted holding a vase with flowers

11.25” H x 3.375” W x 3.125” D

$500-700

A Chinese yellow ground porcelain dragon bowl

Late Qing Dynasty (1644-1912) or later

Bearing a reign mark for Guangxu Period (1875-1908)

The footed bowl with green enameled dragon and flaming pearl motifs to exterior and a crane to interior 2.625” H x 5.125” Dia.

$1,000-1,500

A Chinese yellow ground porcelain dragon cup

Late Qing Dynasty (1644-1912) or later

Bearing a reign mar for Guangxu Period (1875-1908)

The stemmed cup with green enameled dragon and flaming pearl motifs to exterior and a crane to interior

3.375” H x 4.625” Dia.

$1,000-1,500

A Chinese yellow glazed globular vessel

Qing Dynasty (1644-1912) or later

Bearing apocryphal underglaze reign mark for Chenghua Period (14651487)

With incised dragon and flaming pearl motifs 3.75” H x 4.875” Dia.

$800-1,200

A pair of Chinese green glazed pottery ginger jars

Kangxi Period (1662-1722) or later

Each with later pierced wood lid mounted with a stone 2 pieces

Each overall: 9.75” H x 8.125” Dia.

$4,000-6,000

An East Asian polychrome enameled porcelain water dropper

19th century or later

In the form of a double gourd, set on a wood stand

Porcelain: 2.375” H x 4.75” W x 2.75” D; Stand: 1” H x 4.625” W x 2.625” D

$800-1,200

A Chinese celadon porcelain bowl

Qing Dynasty (1644-1912) or later

The footed bowl with pale green glaze

2.25” H x 6” Dia.

$700-900

Two Chinese Longquan celadon bowls

Ming Dynasty (1368-1644) or later

Each with molded fish decoration to well, set on a carved wood stand

2 pieces

Each bowl: 1.875” H x 5.75” Dia.; Each stand: 1.25” H x 3.875” Dia.

$800-1,200

A Chinese Longquan celadon bowl Ming Dynasty (1368-1644) or later

The tripod bowl with molded floral motifs to body and meandering motif to rim, set in a hardwood stand Bowl: 5.25” H x 10” Dia.; Base: 2” H x 8.125” Dia.

$700-900

A Chinese Longquan celadon lidded jar Song/Yuan/Ming Dynasty (960-1644) or later With incised floral motifs

3.875” H x 5.125” Dia.

$1,500-2,000

Three Chinese Export blue 19th/20th century

Two bearing blue underglaze

3 pieces Tallest: 3.25” H x 6.75” Dia.;

$500-700

blue and white porcelain footed bowls

indistinct inscriptions

Shortest: 2.25” H x 5.875” Dia.

A Chinese Export-style blue and white porcelain bowl

Likely Late Ming Dynasty (1368-1644) or later

With blue underglaze mark

The footed bowl with dragon motifs 2.375” H x 5.125” Dia.

$600-800

77

A Chinese Export blue and white porcelain bowl

Late Qing Dynasty (1644-1912) or later

The footed bowl with rabbit head handles and later gilt-metal rim

6.625” H x 13” W x 11” D

$800-1,200

A Chinese Export blue and white porcelain tureen

Late Qing Dynasty (1644-1912)

The covered tureen with pomegranate finial and rabbit head handles, decorated with floral motifs

7.5” H x 13.75” W x 9” D

$300-500

A group of Chinese blue and white porcelain vessels

20th century

Each stick-neck vase bearing apocryphal reign mark for Yongzheng Period (1723-1735)

Comprising two stick-neck vases, a large covered ginger jar with guardian lion finial, and a small round vase, each with blue floral decoration

4 pieces

Each vase: 15.25” H x 7.875” Dia.; Jar: 20” H x 11” Dia.; Small vase: 3.875” H x 4.25” Dia.

$700-900

A pair of Chinese blue and white porcelain vases

Late Qing Dynasty (1644-1912)

Each bearing a blue underglaze reign mark for Daoguang Period (1821-1850)

Depicting dragons and floral motifs

2 pieces

Each: 23.75” H x 9.75” Dia.

$500-700

A group of East Asian blue and white porcelain tea wares

Late Qing Dynasty (1644-1912)

The assembled group comprising predominantly East Asian porcelains including three teapots, two cups mounted on gilt-metal stands, and three bowls/saucers

8 pieces

Largest teapot: 6.875” H x 7.125” W x 7” D; Each cup: 2.75” H x 2.75” Dia.

$500-700

A pair of Chinese blue and white porcelain jardiniéres

20th century

Each decorated in friezes depicting children, with floral motif ground, set on a wood stand 2 pieces

Each porcelain: 13.375” H x 15.875” Dia.; Each stand: 8.25” H x 13.75” Dia.

$400-600

A Chinese Yixing ‘Qu’ pottery teapot and cover Late 20th/early 21st century

Bearing impressed seals and paper labels

6.5” H x 8.5” W x 5.75” D

$500-700

A Chinese Wucai glazed porcelain ginger jar

Transitional Period (circa 1650) or style

Depicting child figures in friezes and floral motifs, with pierced wood lid

Overall: 8.875” H x 8.125” Dia.

$600-900

A group of East Asian polychrome enameled porcelain tea wares 19th/20th century

Some with various red underglaze marks; saucers with sticker: Made in Japan The assembled group comprising three Chinese teapots on wood stands, four Japanese saucers, and an associated footed cup painted with figural scenes (not pictured) 8 pieces

Tallest teapot: 6.375” H x 5.5” W x 3.375” D; Each saucer: 3.875” Dia. $800-1,200

A pair of Chinese polychrome enamel porcelain bowls

Late Qing Dynasty (1644-1912)

Each bearing an unknown mark in blue underglaze

With turquoise exterior glaze and bamboo leaves in friezes

2 pieces

Each: 3.125” H x 6.875” Dia.

$500-700

A pair of Chinese Famille Rose porcelain lotus bowls

Possibly Qing Dynasty (1644-1912) or later

Bearing red underglaze reign mark for Jiaqing Period (1796-1820)

Each footed bowl with red glazed lotus leaf pattern to exterior and pale blue/green glaze interior, set on a carved wood stand

2 pieces

Each bowl: 1.75” H x 2.875” Dia.; Each stand: 1.125” H x 2.125” Dia.

$1,000-1,500

A

Chinese Famille Rose porcelain vase

Late 19th/early 20th century

Bearing an apocryphal reign mark for Kangxi Period (1662-1722)

The vase depicting a battle scene, with dragon figures in relief to shoulder and neck, set on a carved wood stand

Porcelain: 17.5” H x 8.25” Dia.; Stand: 2.875” H x 7” W x 7” D

$600-800

A pair of Chinese blue and white porcelain dragon dishes

Daoguang Period (1820-1850)

Each bearing a period reign mark in blue underglaze

The footed dishes each depicting dragons and flaming pearls

2 pieces

Each: 1.375” H x 6.625” Dia.

$5,000-7,000

A Chinese blue and white porcelain tripod censer Republic Era (1912-1949) or earlier

Unmarked

The three-part footed censer with reticulated lid and midsection, decorated with meandering and figural motifs 11.75” H x 9.75” Dia.

$5,000-7,000

A Chinese blue and white and copper red porcelain brush pot Qing Dynasty (1644-1912) With Ralph M. Chait Galleries sticker to underside The copper red and celadon porcelain with carved relief landscape decoration

6.625” H x 7.25” Dia.

$4,000-6,000

A Chinese blue and white and iron red porcelain bowl

Late Qing Dynasty (1644-1912) or later

Bearing a Qinghua Zhenpin mark in blue underglaze

The footed bowl depicting bats in iron red amongst wind/cloud motifs in blue

2.375” H x 7.75” Dia.

$2,000-4,000

92

A pair of Chinese Doucai porcelain bowls Republic Period (1912-1949) or later Bearing an apocryphal reign mark for Chenghua Period (1465-1487) Each with ‘One Hundred Boy’ design, set on a carved wood stand 2 pieces Each bowl: 3.375” H x 6.75” Dia.; Each stand: 2.5” H x 5.625” Dia.

$1,200-1,800

A Chinese polychrome porcelain vase as a lamp

Early 20th century with later elements

The baluster-form vase decorated with Manchurian cranes, now mounted as a singlelight lamp with fabric shade, electrified Lamp without harp: 24” H x 7.75” Dia.; Shade: 13.5” H x 20.25” Dia.

$700-1,000

A Chinese Famille Rose porcelain ‘Wu Shuang Pu’ vase Late Qing Dynasty (1644-1912) or later With ‘One Hundred Heroes’ design and a gilt rim 12.875” H x 7.25” Dia.

$700-900

Three Persian polychrome wood and papier-mâché figural pen boxes

Late Qajar Dynasty (1789-1925)

Each decorated with various figures and with lacquered finish

3 pieces

Longest: 9.5” L

$1,000-1,500

A Persian polychrome wood and papier-mâché erotic pen box

Late Qajar Dynasty (1789-1925)

Bearing inscriptions to top and sides

Depicting an erotic figural scene and with lacquered finish

8.875” L

$800-1,200

Three Persian polychrome wood and papier-mâché pen boxes

Late Qajar Dynasty (1789-1925)

Comprising two decorated with floral motifs and one with script and figures, each with a lacquered finish

3 pieces

Longest: 9.25” L

$1,000-1,500

97

A group of Persian polychrome wood and papier-mâché pen boxes

20th century

Each bearing inscriptions

Comprising two depicting male figures, one depicting birds in a tree, another with shell inlaid birds, and another with only script, each with a lacquered finish

5 pieces

Longest: 9.25” L

$600-800

99 A Heriz rug

Early/mid-20th century Wool on cotton foundation 14’ L x 9’ 7.5” W

$1,000-1,500

100

A Heriz rug

Mid-20th century

With tag verso: [script] / Made in Iran

Wool on cotton foundation

10’ 4” L x 8’ W

$800-1,000

101

A Heriz rug

Early/mid-20th century

Wool on cotton foundation

11’ 2.5” L x 5’ 3” W

$1,000-2,000

Provenance:

Estate, Glendora, CA

Private collection, Glendora, CA

102

Three Persian polychrome wood and papier-mâché figural pen boxes

Late Qajar Dynasty (1789-1925)

Each depicting a central figure and floral motifs, with a lacquered finish

3 pieces

Longest: 8.875” L

$1,000-1,500

103

A group of Persian polychrome wood and papier-mâché floral pen boxes

Late Qajar Dynasty (1789-1925)

Each decorated with floral motifs and with lacquered finish

5 pieces

Longest: 9.875” L

$1,000-1,500

104

A group of Persian polychrome wood and papier-mâché pen boxes

Late Qajar Dynasty (1789-1925)

Each decorated with floral motifs and with lacquered finish

5 pieces

Longest: 9” L

$1,000-2,000

105

Three Persian polychrome wood and papier-mâché pen boxes

Late Qajar Dynasty (1789-1925)

Each decorated with floral motifs and with lacquered finish

3 pieces

Longest: 8.75” L

$1,000-1,500

Two Persian polychrome wood and papier-mâché pictorial pen boxes

Late Qajar Dynasty (1789-1925)

Each depicting a battlefield scene, one with a lacquered finish

2 pieces

Longer: 9.625” L

$1,000-1,500

107

A 14k gold Kiddush cup and saucer

20th century Cup marked: 14K

Each with repoussé grape motifs

2 pieces

Cup: 5” H x 2.75” Dia.; Dish: 4” Dia. 126 grams

$5,000-7,000

108

Four 14k gold and glass candlesticks

21st century

Each marked to nozzle: 14K

Each fitted with three cut glass spheres

4 pieces

700 grams gross

Each: 10” H x 2.75” Dia.

$30,000-50,000

109

A group of sterling silver Kiddush cups

20th century

Two marked for sterling, the rest XRF tested for sterling; large cup marked: Executive

Comprising a large footed cup and two smaller cups with underplates

5 pieces

Largest: 12.125” H x 5.25” Dia.; Shortest: 4.75” H x 2.375” Dia.

Total weight: 32.7 oz. troy approximately

$500-800

A repoussé sterling silver center bowl 20th century

Marked to underside: Nisan / 925 / FIRST CLASS

The footed oblong bowl with opposed foliate-form handles, featuring pierced filigree border above repoussé shell and foliate motifs

9.625” H x 21.875” W x 10” D 85.9 oz. troy approximately

$2,000-3,000

111

A near-pair of Hazorfim sterling silver five-light candelabra

Mid/late 20th century; Israel

Each marked: Hazorfim / 925 S

Each with Baroque-style footed base issuing four foliate-form arms

2 pieces

Each: 21.75” H x 15.5” W x 15.5” D

Total weight: 144.3 oz. troy approximately

$700-900

Johann Georg Dathan (1701-1749)

Johann Georg Dathan was a German-born painter between 1730 and 1736, and Mannheim, Germany - in nearby Speyer, Germany.

The art dealer Siegfried Lämmle was a noted paper. Founded in 1894, his gallery was relocated honorary member of the “Münchner Altertumsverein”

Freunde der Staatlichen Graphischen Sammlung son Walter worked with him at the family gallery.

As a Jewish dealer, Lämmle was targeted during “Reichskammer der bildenden Künste” (Reich objections, the gallery inventory was subject joined Lämmle’s brother Carl, a successful film with Walter, opened “Laemmle Gallery” in Los The present work was in the personal inventory as part of the settlement of his estate.

In the mid-1970s, Clifton Hart, who had purchased artist or the artistic period. In a letter dated February be a self-portrait of the artist. Emmerling had scholarly quarterly journal founded in 1949. portrait, according to now-lost correspondence. 1749) Aus Speyer” possibly in the publication reproduced the painting there. In a letter dated and curator and current honorary president and quality” when he viewed it in person during Hart considered donating the painting to the

painter of portraits and historical subjects. Dathan was active in Amsterdam Germany between 1737 and 1740 and also spent time - and may have been born noted dealer of sculptures and other decorative arts, and paintings and works on relocated to Almeida Palais at 51, Brienner Strasse in 1922. Lämmle was an Altertumsverein” (Munich Antiquities Society) and was a member of “Vereinigung der Sammlung München e. V.” (Friends of the Prints Collection). Beginning in 1928, his gallery.

during the rise of Nazi power. In August 1935, he was barred from the (Reich Chamber of Fine Arts) and by the following year, despite their strong subject to a forced liquidation sale. The family fled to Los Angeles in 1938 where they film producer who had founded Universal Studios in 1912. The brothers, together Los Angeles where they continued to deal in antiques and fine art for decades. inventory of Siegfried Lämmle in Los Angeles and was sold by Walter after his death purchased the painting from the Lämmle estate in 1957, contacted scholars on the February 22, 1975, Dr. Ernst Emmerling wrote that he considered the painting to had written articles on the artist that were published in “Pfälzer Heimat,” a Christianne Weber, a scholar on Dathan, also considered the painting a selfcorrespondence. In around 1985, she published “Der Maler Johann Georg Dathan (1701publication “Mitteilungen Des Historischen Vereins Der Pfalz” and may have also dated September 6, 1977, Dr. Pierre Rosenberg, French art historian, professor and director of the Musée du Louvre, noted that the painting was of “highest a visit to the home of Clifton Hart in 1970. Rosenberg when on to say that if the Louvre, he would have it permanently on view in the Baroque gallery.

112

Johann Georg Dathan (1701-1749)

“Wild Huntsman, in ragged clothes” (likely a self-portrait of the artist) Oil on canvas

Unsigned; titled on a label affixed to the frame’s verso 34” H x 26.5” W

$4,000-6,000

Provenance:

Siegfried Lämmle, art and antiques dealer, Brienner Straße, Munich, Germany and Los Angeles, CA

Estate of Siegfried Lämmle, Los Angeles, CA, circa late 1950s

Clifton Hart, San Francisco, CA, acquired from the estate through Walter Lämmle, son of the above, 1957

Private collection, San Marcos, CA

Private collection, acquired from the above by descent

113

18th/19th Century Continental School

The Archangel Gabriel Oil on canvas laid to canvas Appears unsigned 58” H x 39.25” W

$500-700

114

Late 17th/Early 18th Century British School

Two works:

Portrait of Lady Helen Lindsay Oil on canvas

Unsigned; titled lower left: “[Lady] Helen Lindsay / Wife of / [Si]r. Robert. 3d Bt;” inscribed in ink in another hand on a label affixed to the stretcher bar: “Helen daughter of John, Earl of Crawford, Lindsay / married 1663 to / Sir Robert Sinclair. Bart / of Stevenson. Co. Haddington”

30” H x 24” W

Portrait of Sir Robert Sinclair Oil on canvas

Unsigned; titled lower left: [Si]r. Robert. 3[d] Bt.;” inscribed in ink in another hand on a label affixed to the stretcher bar: “Sir Robert Sinclair. Bart / of Stevenson. Co. Haddington / Born __ died 1713” 30” H x 24” W

$1,000-2,000

Notes:

“Bt” and “Bart” are the traditional abbreviations in British nobility for individuals who have been awarded the hereditary title of baronet. Baronets rank below barons, but above all other knights. Like all British knights, baronets are addressed as “Sir.”

115

James Frothingham (1786-1864)

“Deacon William Copp,” 1825 Oil on canvas

Unsigned; titled, dated 1825, and partially indistinctly inscribed “Oxford, An[**],” all in ink, verso 26” H x 22” W

$600-800

A Greek icon of a saint on horseback 19th century or earlier

Pigment and gilding on panel, with newer applied fabric edging along all but the right edge

Image: 18.125” H x 10.125” W; Overall: 19.5” H x 17.5” W x 1” D

$600-800

117

A Russian Icon of “Mother of God of the Unburnt Bush” 19th century

With paint and gold leaf on a wood panel depicting the Mother of God; with various inscriptions in Cyrillic along the outer border

8.5” H x 6.875” W

$500-700

A Russian travel icon of Holy Martyr Blasius of Sebastia and Saint Athanasius 18th/19th century

Possibly the central panel of a triptych, depicting two figures within blue and white enamel

5” H x 3.625” W x 0.375” D

$1,000-1,500

119

A Russian Icon, the Three Holy Hierarches

18th century

With paint and gold leaf on a wood panel depicting the three Holy Hierarches, St. Basil the Great, St. Gregory the Theologian, and St. John Chrysostom; with painted inscriptions in Cyrillic above each of the Saints’ heads; inscribed in ink, in another hand, on a gallery label affixed verso

11.5” H x 10” W

$1,000-2,000

Provenance: Maria Andipa Icon Gallery, London, England

120

A Russian Icon, Mother of God, Pockrov 19th century

With paint and gold leaf on a wood panel depicting the Mother of God with various saints and figures in a town scene; with a painted inscription in Cyrillic along the center of the upper edge

12.5” H x 10.5” W

$1,000-2,000

121

A group of Russian lacquer boxes

Late 20th/early 21st century

One inscribed under lid: Fedoskino Pegochuho; some variously signed

Four depicting political figures including Alexander II, Peter I, Vladimir Lenin, and Vladimir Putin, and six depicting Russian scenes and religious themes

10 pieces

Largest: 3.625” H x 6.75” W x 7.375” D; Smallest: 1.75” H x 2” W x 2” D

$700-900

122

A group of Russian lacquer portrait boxes

Late 20th/early 21st century

One inscribed under lid: Fedoskino Pegochuho; another with gilt-metal plaque; some variously signed to portrait

Depicting portraits of authors and composers, including Leo Tolstoy, Maxim Gorky, Sergei Yesenin, Alexander Ostrovsky, Pyotr Ilyich Tchaikovsky, Aleksandr Solzhenitsyn, and cosmonaut Yuri Gagarin

7 pieces

Largest: 2.625” H x 5.5” W x 7” D; Smallest: 1.125” H x 3.375” W x 3.875” D

$800-1,200

123

A pair of Italian Renaissance-style patinated bronze door knockers 19th/early 20th century

Each depicting a mythical mask above opposed male and female figures above a second mythical beast

2 pieces

Each: 20.5” H x 12” W x 3.75” D

$1,000-2,000

An Italian Renaissance walnut credenza 17th century

With architectural cornice and base with egg and dart trim, the front displaying ionic columns in relief, featuring two drawers above two hinged cabinet doors, one locking, revealing a single shelf, raised on front paw feet

41” H x 67.5” W x 22.75” D

$3,000-5,000

An Italian Renaissance-style carved wood sgabello chair

19th/20th century

Carved with masks and winged figures and a scrolled crest

39.5” H x 16” W x 17.5” D

$300-400

A pair of Spanish Colonial carved wood torchères 19th century

The parcel-gilt and red-painted wood candle holder pedestals, each with a gilt tole crown above a columnar standard with foliate motif accents, raised on a tiered triangular base

2 pieces

Each: 59.5” H x 21.75” W x 19” D

$800-1,200

A Continental carved alabaster bust of Joan of Arc Late 19th/early 20th century

Depicted in her armor

10.25” H x 12.5” W x 7.5” D

$700-900

129

An Italian patinated terracotta bust of Msgr. Pedro de Foix Montoya

After Gian Lorenzo Bernini (1598-1680), late 19th/early 20th century

Impressed verso: 86 / Manifattura di Signa

31.5” H x 22” W x 9” D

$700-900

127

A pair of bronze hippocampus fountains

20th century

2 pieces

Each: 20” H x 33” W x 15” D approximately

$600-800

A collection of framed photographs, autographs, and medals, from 20th Century dignitaries and historical The works in this lot include: A document signed by Emperor William I on 06/01/1876, and co-signed by Otto Edward Leopold “Leo Tolstoy 1903, 9 March” on a mount card, framed together; A Czechoslovak 1934 Thomas Masaryk Silver Medal; A photograph St. [sic] Francisco 29 III. 38”; A photographic reproduction of General George C. Marshall, signed, dated, and indistinctly inscribed and with the “Winston S. Churchill” ink signature on the support sheet; A photographic reproduction of the Czechoslovak statesman, the lower edge of the mount: “To Earl H. Smith / with best wishes from / Theodore Roosevelt / Oct 28th 1904,” with two copyright in the lower right corner of the mount; A Maxim Gorky photo postcard signed in black ink

Smallest medal: 1.5” Dia.; Sight of largest sheet: 13.75” H x 10.625” W

$2,000-3,000

Provenance:

Houle Rare Books, Gallery, and Autographs, Los Angeles, CA

Steven S. Raab, Ardmore, PA

The University Companies, Westport, CT

The Gallery of History, Inc., Las Vegas, NV

Notes:

The Leo Tolstoy Medal with a sales invoice from Houle Rare Books, Gallery, and Autographs. The photogravure of Winston S. autograph sentiment with a sales invoice and other related documentation from Houle Rare Books, Gallery, and Autographs. an invoice and other related documentation from The University Companies. The document signed by Emperor William I is accompanied a certificate of authenticity and a sales invoice from the Gallery of History, Inc.

figures, including Theodore Roosevelt (1858-1919), Winston S. Churchill (1874-1965), and Leo Tolstoy (1828-1910) Leopold Von Bismarck, framed together with two engravings (one being a reproduction); A Leo Tolstoy Medal with a signature and date photograph of Thomas Mann framed with an autograph sentiment in black ink on a small note leaf, “Thomas Mann / with kind regards / inscribed in ink just below the image, “3/8/44 G.C. Marshall”; A photogravure of Winston S. Churchill mounted to a support, as issued, statesman, Tomáš Garrigue Masaryk; A photogravure mounted to a support mount, as issued, signed, dated, and inscribed in ink along copyright blindstamps from C.M. Bell Photographite Co. Washington, D.C., one in the lower right corner of the photograph, and another

Churchill with an invoice and guarantee of the authenticity of the signature from Steven S. Raab. The Thomas Mann photograph and The Maxim Gorky photo postcard with a sales invoice from The University Companies. The photogravure of Theodore Roosevelt with accompanied by a certificate of authenticity from the Gallery of History, Inc. The photograph of General C. Marshall is accompanied by

131

Vincenzo Maria Coronelli (1650-1718)

“America Settentrionale Colle Nuove Scoperte Sin All Anno 1688.” Venice, 1690

An engraved map of North America with hand-coloring, on two sheets of laid paper, published in the “Atlante Veneto.” The map reflects the most current geographic knowledge of the late 17th century, drawing upon Nicolas Sanson’s influential 1669 map. Coronelli combines the latest discoveries along the northern Pacific coast with speculative cartography in the far north, while notably rendering California as an island. Scenes of Native Americans, richly ornamented cartouches, and the elaborate Venetian Baroque style of the engraving emphasize Coronelli’s artistry as both a cartographer and engraver

From the edition of unknown size and printing date

Sight of each: 24.25” H x 18.125” W

$5,000-7,000

Literature: McLaughlin 103; Tooley 57

Andre Charles Boulle (1642-1732)

“Nouveaux Deisseins [sic] de Meubles et Ouvrages de Bronze et de Marqueterie,” early 18th century

Eight engravings on various laid papers, at least five of which have watermarks

With the name of the artist and publisher engraved in the plate of the title page along with the plate number and title of the series; each of the seven other plates with the plate number engraved at lower right and the various decorative elements identified; Andre Charles Boulle, Paris, designer and engraver; Jean Mariette, Paris, publisher; all bound, together with marbleized end papers, in leathercovered boards with gilt-stamped decorative edges and “Boulle” gilt-stamped on the narrow spine

Title page image: 8” H x 11.375” W; Sheets: 9.75” H x 14” W (approx.)

$2,000-3,000

133

10 plates from “The History of the Royal Residences of Windsor Castle, St. James’s Palace, Carlton House, Kensington Palace, Hampton Court, Buckingham House, and Frogmore,” by William Henry Pyne, published 1819 Aquatints with hand-coloring on wove paper, at least one of which is watermarked J Whatman 1816

From the editions of unknown size, after drawings by C. Wild, J. Stephanoff, or R. Cattermole; engraved by R. Reeve, W. J. Bennett, D. Havell, or T. Sutherland; each plate with the title, as well as the name of the individual artist and the individual engraver printed in the plate below the image; the various plates printed 1816-1819; A. Dry, London, England, pub.

Plate of one: 10” H x 12. 375” W; Sheet of one: 10.5” H x 13.125” W

$1,000-1,500

Notes:

The 10 plates comprising this lot are titled: The Green Pavilion / Frogmore; The Green Closet / Buckingham House; The Hall of Entrance / Carlton House; Queen Mary’s State Bedchamber / Hampton Court; Queen Ann’s Bed / Windsor Castle; The Vestibule / Carlton House; Old Bed Chamber / St Jame’s / In which was born the son of James II; The Queen’s Bed Chamber / Kensington Palace; The King’s Old State Bed Chamber / Windsor Castle; and Queen’s State Bedchamber / Windsor Castle.

A patinated bronze equestrian statue of Bartolomeo Colleoni

After Andrea del Verrocchio (1435-1488), 20th century

Marked to base: Venezia - Monumento Colleoni

Set on a marble plinth

Bronze: 14.75” H x 13.25” W x 6.875” D; Plinth: 1.75” H x 12.875” W x 8.5” D

$700-900

Three sets of Grand Tour plaster intaglios

19th century

Each set comprising seven mounted intaglios depicting classical figures and scenes, mounted to velvet in a parcel-gilt and ebonized wood frame

3 pieces

Each framed: 12.25” H x 10.25” W x 3.5” D

$500-700

136

A pair of large bronze figures of lions

Late 20th/21st century

Each depicted seated with mouth menacingly agape

2 pieces

Each: 28.5” H x 36” W x 20” D

$1,200-1,800

137

A Continental partial ebonized walnut tabletop cabinet 18th century

Possibly Flemish, the cabinet with iron hardware and opposed handles and locking drop front, revealing a central locking drawer flanked by four more drawers and a long drawer below

8.25” H x 14” W x 10.5” D

$400-600

138

A Baroque-style giltwood mirror 19th century

The mirror set in a rectangular frame profusely decorated with carved acanthus leaves and an eagle within an architectural element at bottom

67” H x 37.75” W x 4” D

$600-800

139

A Flemish Baroque tapestry 18th century

Depicting a pastoral celebration scene with people dancing and feasting within a country landscape with trees and grand buildings in the distance, woven in polychrome wool and silk threads

8’ 0.5” H x 11’ 8” W

$1,200-1,500

A Flemish Baroque tapestry-mounted four-panel floor screen

The tapestry fragments 17th/18th century

Each section mounted to wood panel with brass tacking and felt backing, the middle two depicting figures in a garden scene, the outer panels depicting arboreal landscapes

Each panel: 58.75” H x 22” W x 1.5” D; Stored: 5.5” D

$1,000-1,500

141

A Berlin (KPM) porcelain plaque

After Conrad Kiesel (1846-1921)

“Mandolinater”

Depicting a woman in an interior playing the mandolin

Impressed KPM, with the incised size, and titled, all verso 8.625” H x 11.25” W

$800-1,200

142

A German Baroque inlaid walnut commode 18th century

With serpentine front and three locking drawers, featuring inlaid trim accents and a figure to the top, raised on curvilinear legs

31.5” H x 47” W x 25” D

$1,500-2,000

Provenance: Estate of Robert Baron, Huntington Beach, CA

A Herend porcelain ‘Chinese Bouquet’ dinner service

Late 20th/early 21st century

Each marked: Herend / Hungary / Handpainted; with blue printed factory marks above shape and pattern code; most with impressed marks

Comprising 11 dessert/luncheon plates (8.25”), 12 bread and butter plates (6.125”), 12 lidded soup tureens 3.875” H) with 12 saucers (6.25”), 15 trembleuse cups (2.875” Dia.) with 13 saucers (5.375” Dia.), 11 demitasse cups (3” Dia.) with 12 saucers (4.625”), 3 round platters (11”), 1 handled round platter (15” x 14”), 1 square fruit bowl (10.75”), 1 openwork small platter (9.5”), 1 oval handled platter (14.5” x 9.75”), 1 large oval tureen (10.75” H x 15” W x 10” D), 1 open weave basket (2” H x 6” Dia.), 1 coffee pot (10.25” H x 7.625” W x 5.125” D), 1 larger teapot (5.75” H x 9” W x 5.375” D), 1 smaller teapot (5.125” H x 7.75” W x 4.625” D), 3 small leaf-form dishes (4.125” x 3.25”), 1 salt dip (5.75” W), 1 footed and lidded round candy box (5” H x 4.625” Dia.), 1 handled and lidded candy box (4.5” H x 5.625” W x 3.625” D), 1 lidded egg box (2.875” H x 4.375” W x 3” D), 1 cordiform lidded box (2.75” H), 1 cream jug (3.875” H), and 1 baby shoe (2.125” H) 120 pieces

$1,500-2,000

A Royal Copenhagen porcelain ‘Blue Fluted Full Lace’ dinner service 1950s-70s

Each marked for Royal Copenhagen / Denmark, and variously numbered; each variously date marked

Comprising 14 dinner plates (10”), 13 salad plates (7.75”), 13 bread and butter plates (5.875”), 13 soup bowls (9”), 13 fruit bowls (5.875”), 8 demitasse cups (2.375”) with 8 saucers (4.75”), 13 cups (4”) with 13 saucers (6”), 13 flat cups (2.875”) with 13 saucers (5.25”), 1 crescent plate (8.5” x 6”), 1 large serving platter (16.25” x 12.625”), 1 medium oval serving platter (14.5” x 11.25”), 1 rectangular cake plate (10.375” x 8.875”), 1 three-section hors d’oeuvre (5.25” H x 13” W x 12.5” D), 1 large serving bowl (11.375”), 1 medium serving bowl (8.375”), 1 tripolite dish (3.25” H x 9” W x 9” D), 1 shell-form pickle dish (7.25” x 6.5”), 2 oval pickle dishes (9.75” x 5”), 2 two-light candelabra (10” H x 8.25” W x 5.125” D), 1 teapot (8.5” H x 5.25” W x 4.375” D), 1 sugar shaker/muffineer (6.75” H), 1 ashtray ( 3.125” Dia.), 1 small creamer (3.375” H), and an open sugar (3.125” H) with open creamer (4” H) on a tray (9.25” x 6.5”)

154 pieces

$1,200-1,800

A Royal Copenhagen porcelain ‘Blue Fluted Half Lace’ dinner service 1950s-70s

Each marked for Royal Copenhagen / Denmark, and variously numbered; each variously date marked

Comprising 10 dinner plates (10”), 10 luncheon plates (9”), 10 salad plates (7.75”), 9 bread and butter plates (6.25”), 10 soup bowls (9.375”), 10 cereal bowls (6.375”), 8 fruit bowls (5.75”), 10 large flat cups (3.75” Dia.) with 10 saucers (6.5”), 10 small flat cups (3.375” Dia.) and 10 wide cups (4” Dia.) with 20 saucers (5.875”), 6 demitasse cups (2.625” Dia.) with 10 saucers (4.5”), 3 graduated oval serving platters (largest: 14.375” x 11.375”; smallest: 10” x 7.75”), 2 square serving bowls (2.5” H x 8.375” W), 2 pickle dishes (8.75” x 6.375”), 1 oblong serving tray (14.5” x 5.5”), 1 triangular cake plate (9.125” x 8.5), 1 serving bowl (8.5”), 1 footed compote (6.875”), 1 gravy boat with attached underplate (3.5” H x 9.5” W x 6” D), 1 lidded teapot (6.25” H), 1 milk pitcher (6.5” H), 1 cream pitcher (4.75” H), and 1 lidded sugar (3.5” H)

159 pieces

$1,000-1,500

A pair of Italian Rococo giltwood open armchairs 18th/19th century

Each chair with carved scroll, acanthus, and shell accents, upholstered in an updated green fabric with brass tacking, together with two associated throw pillows

2 pieces

Each: 38.75” H x 26” W x 26” D

$600-800

A Venetian Rococo-style painted wood sedan chair 20th century

The single-person cabin with a curved roof, painted with rural landscape scenes, featuring two glass windows and glazed hinged door revealing a single seat, two small shelves, and an interior lined with a faux brocade fabric, together with carrying poles

74” H x 32” W x 41” D

$1,000-2,000

148

A pair of Baroque-style porcelain-mounted brass candlesticks

20th century

Each cast with openwork foliate motifs and mounted with blue and white porcelain accents

2 pieces

Each: 12.75” H x 6.25” Dia.

$700-900

149 A pietra dura plaque 20th century

The rectangular plaque inlaid with various stones, depicting three dancing figures

Sight: 6.75” H x 9.5” W

$400-600

Provenance: Estate of Robert Baron, Huntington Beach, CA

150

An Italian pietra dura plaque

20th century

Unmarked

Depicting a cavalier 10” H x 5.5” W

$800-1,200

151

Paul Jean Clays (1819-1900)

Sailing ships in a calm harbor, 1853 Oil on panel

Signed and dated lower right: P.J. Clays 1853 22.25” H x 36.25” W

$1,200-1,800

152

Thomas Willis (1850-1925)

Sailing ship at sea, 1907

Oil on canvas with applied silk, velvet, and needlework

Signed and dated lower right: T. Willis / 1907; signed again and indistinctly inscribed with ship’s name in pencil on the stretcher bars 18” H x 26” W

$1,000-1,500

153

Abraham Jacob Bogdanove (1888-1946)

Coastal view, 1910

Oil on panel

Signed and dated lower left: A.J. Bogdanove / 1910

9.75” H x 12” W

$1,000-1,500

154

Alfred De Breanski, Jr. (1877-1957)

“A Reach of the Thames near Wallingford” Oil on canvas

Signed lower right: A de Breanski Jnr; signed again and titled, verso 18” H x 24” W

$800-1,200

Provenance: Webberley Galleries, London, England

Notes:

The artist is also known as Alfred Fontville De Breanski Jr.

155

David Bates (1840-1921)

Cows watering in a British pastoral landscape, 1880 Oil on canvas

Signed and dated lower left: David Bates 1880; signed and dated again, and inscribed, all verso: “at Witton, near Birmingham / David Bates 1880 / Malvern” 12” H x 18” W

$500-700

Provenance:

Cooling Galleries, Toronto, Canada

Marshall Field & Company, Chicago, IL

Notes:

This lot is sold together with biographical information about the artist on Cooling Galleries letterhead paper, as well as a copy of a paid invoice from Marshall Field & Company, dated April 22, 1964.

156

Bernard Gantner (1928-2018)

French winter road Oil on canvas

Signed lower right: Gantner 20” H x 25.5” W

$500-700

157

Signed lower left: E. Gignous 23.375” H x 31.5” W

$2,000-3,000

Eugenio Gignous (1850-1906)

View of an Italian port city, likely Capri Oil on canvas

158

Nicolai Karazin (1842-1908)

“The Wounded Soldier,” 1894

Watercolor on paper laid to paperboard

Signed and dated in Cyrillic lower right: N Karazin / 94; titled by repute Support board: 14.25” H x 14.75” W

$2,000-3,000

Sumbat Der Kiureghian (1913-1999)

Rural Iranian scene with figures and farm animals, 1948

Watercolor and gouache on board

Signed and dated lower right: S. Kiureghian / 1948

16.25” H x 23.625” W

$700-1,000

160

Four Chinese porcelain snuff bottles

19th/20th century

One bearing a red underglaze reign mark for Daoguang Period (1821-50)

Comprising a Famille Rose Luohan bottle, a peach-form bottle, a Buddha’s hand citrusform bottle, and a white lobed bottle

4 pieces

Tallest: 3.75” H

$700-900

161

Five Chinese porcelain snuff bottles

19th/20th century

Three with underglaze inscriptions to underside;

One bearing script to each side in iron red, with script verso, one with orange glaze script, one red glazed, and one white

5 pieces

Tallest: 3.375” H

$600-900

162

Five Chinese porcelain snuff bottles 19th/20th century

underside; one marked: China red, another depicting two figures depicting gilt medallions with

One bearing an apocryphal reign mark for Chenghua Period (1465-1487); the other with indecipherable reign mark

Comprising two depicting guardian lions, one depicting mythical sea creatures, and two solid blue

5 pieces

Tallest: 3.625” H

$500-700

163

Four Chinese overlay glass snuff bottles

19th/20th century

Comprising one blue depicting figures riding a horse and an elephant, one red depicting figures and trees, one green depicting fish, and another green depicting flowers in a vase and set on a wood stand 4 pieces

Tallest: 3.25” H

$800-1,200

Three Chinese carved glass snuff bottles

19th/20th century

Comprising one blue depicting monkeys, one red depicting floral and butterfly motifs, and one yellow opaque with leaf-forms and set on a wood stand

3 pieces

Tallest: 3” H

$400-600

165

Four Chinese snuff bottles

19th/20th century

Comprising an interior-painted glass bottle, a red glass bottle, and two carved amber bottles

4 pieces

Tallest: 3.125” H

$400-600

166

A Chinese butterscotch agate snuff bottle

19th/20th century

Depicting a scholar figure in relief, with incised bird motifs

2.5” H

$500-700

167

A group of Chinese carved stone snuff bottles

19th/20th century

Each depicting foliate motifs or figures in relief, one incised, comprising two agate, one rose quartz, and four others of various stones

7 pieces Tallest: 3” H

$800-1,200

168

A group of Chinese snuff bottles

19th/20th century

Comprising one opal depicting a goldfish, one malachite depicting flora and fauna in relief and mounted with metal, one blue hardstone depicting a scholar figure in relief with incised script, one dark blue hardstone with incised foliate motifs and script verso, two more hardstone, and one mother of pearl-mounted hardstone with hardstone overlay depicting a maiden to each side 7 pieces

Tallest: 3” H

$700-900

169

A Chinese carved calcite snuff bottle

19th/20th century

Carved with a basketweave pattern

2.5” H x 1.875” W x 1.25” D

$300-500

171

Two Chinese cloisonné snuff bottles and a Tibetan horn snuff bottle 19th/20th century

Comprising two enameled metal depicting floral or bat motifs, and a metal-mounted carved horn bottle with inset glass accents

3 pieces

Tallest: 2.75” H

$500-700

170

Five Chinese carved stone snuff bottles

19th/20th century

Comprising one smoky quartz, one agate, and three other hardstone bottles, one set on a wood stand

5 pieces

Tallest: 3.375” H

$600-800

172

A Chinese carved jade dragon two-part belt buckle 18th century or later

Each side with openwork carving of a scrolling chilong, the undersides carved with a button, the hook carved as the head of a mythical beast Clasped: 1.5” H x 4.75” W x 1” D

$2,000-4,000

173

A Chinese nephrite jade bowl

20th century

Footed bowl

2.625” H x 5.625” Dia.

$400-600

174

A Chinese carved nephrite cylindrical box

20th century

The lidded box carved with floral motifs

3.5” H x 2.875” Dia.

$300-500

A diminutive Chinese carved lapis figure of Guanyin

Late Qing Dynasty (1644-1912) or later

Set on a carved and metal-inlaid hardwood stand

Stone: 2.25” H x 1.625” W x 1” D; Stand: 1” H x 1.875” W x 1.5” D

$800-1,200

176

A Chinese carved agate tripod vessel

Qing Dynasty (1644-1912) or later

With branch-form decorations and flower and leaf accents, raised on a carved hardwood base

Stone: 3.625” H x 5.625” W x 3.5” D; Stand: 1.75” H x 4.125” W x 2.125” D

$700-900

A Chinese jade carving of a beauty

20th century

Set on a carved hardwood stand

Figure: 7.75” H x 3.125” W x 1.5” D; Overall: 8.625” H

$800-1,200

178

A pair of Chinese carved nephrite and carnelian figures of cranes Qing Dynasty (1644-1912) or later

Each set in a carved hardwood stand

2 pieces

Each figure: 14” H x 5.5” W x 3.5” D; Each overall: 15.75” H x 6” W x 4” D

$5,000-8,000

A large Chinese carved hardstone figure of a fish 20th/21st century

Depicted with a lion figure within roiling waves, set in a carved hardwood stand

Stone: 14.75” H 10.75” W x 4” D; Stand: 2.25” H x 12” W x 5.75” D

$1,200-1,800

A Chinese carved jade figure of a duck 20th century or later

Carved in an archaistic style, set in a hardwood stand

Figure: 7.875” H x 9.5” W x 4.625” D; Stand: 2.125” H x 9.125” W x 4.875” D

$1,000-1,500

A Chinese jade carving of a Manchurian crane

20th century

Set on a carved hardwood stand

Figure: 10.25” H x 3.625” W x 2.5” D; Overall: 11” H

$700-900

A Chinese carved rose quartz covered urn converted lamp 20th century

The urn carved with peonies and guardian lions in high relief, the lid with a phoenix, mounted with brass and set in a brass openwork base, converted to a single-light lamp, electrified 16.5” H x 6.75” W x 5.5” D

$400-600

Provenance: Estate of Robert Baron, Huntington Beach, CA

183

A Chinese carved alabaster Bodhisattva figure

Late Qing Dynasty (1644-1912) or later

Depicted with hands in vitarka mudra, seated on a double lotus pedestal, set on a wood stand

Alabaster: 19.25” H x 12” W x 6.75” D; Stand: 1.625” H x 20.75” W x 8.5” D

$500-800

184

A Chinese carved jade figure of Guanyin

20th century

Set on a carved wood stand

Jade: 18.375” H x 4.375” W x 4.375” D; Stand: 1.625” H x 5.875” W x 4.25” D

$600-800

A large Chinese carved jade figure of Guanyin 20th century

Depicted with ruyi scepter, set on a carved woof tiered hardwood double-lotus base

Jade: 17.75” H x 10” W x 6” D; Stand: 4.25” H x 12.5” W x 8.25” D

$1,000-1,500

186

A large Chinese carved nephrite figure of an Arhat

Qing Dynasty (1644-1912) or later

Standing robed figure

30.5” H x 8.25” W x 4” D

$2,000-3,000

187

A Chinese carved stone figure of Guanyin

20th century

Depicted adorned with flowing robes and holding a branch with peaches, joined by a guardian lion figure

40.25” H x 20” W x 12.5” D

$500-700

188

A natural fluorite specimen

20th/21st century

Purple fluorite

9.25” H x 24.75” W x 13.25” D

$1,000-2,000

A Chinese Taihu scholar stone

20th century

The butterscotch stone mounted on a lacquered natural root-form base

Stone: 21” H x 9” W x 8.5” D; Overall: 26.75” H

$2,500-3,000

190

A Chinese Taihu scholar stone

20th century

Mounted on a carved hardwood stand

Stone: 22.5” H x 13” W x 19” D; Overall: 28” H

$1,000-1,500

191

A Chinese Ling Bi scholar stone

20th century

Mounted on a carved hardwood stand

Stone: 13.75” H x 7.5” W x 4” D; Overall: 16.75” H

$2,000-3,000

192

A 2019 Genesis G70 VIN: KMTG44LA6KU019566; Plate: 8RXG355 Red exterior with cream interior 11,9XX miles

2.0 liter, turbocharged V4 engine 8-speed automatic transmission, rear wheel drive Radio, Apple Carplay, MP3 jack, and navigation Sunroof Genesis manuals included

$15,000-20,000

Youqua (active 1840-1870) or Studio Three works:

Hong Kong harbor with boats and a pagoda-type tower Oil on canvas

A small remnant of the artist’s red ink printed paper label affixed to the stretcher, the only printed word from the original label reading “Queens.” 17.25” H x 12.75” W (oval)

“Hong Kong” Oil on canvas

Unsigned; titled in ink, in another hand, on the stretcher 17.25” H x 12.75” W (oval)

“Victoria Peak, Hong Kong” Oil on canvas

Unsigned; the artist’s red ink printed paper label affixed to the stretcher, appearing to read,”[Chinese characters] / Youqua Painter / Old Street No. 34 / Queens Road No. 107;” with the artist’s name and the title written in pencil, in another hand, on the stretcher 9.75” H x 14.5” W (oval)

$1,000-2,000

Kings of Hell torture scene, likely from the tradition of Water-Land Ritual

Paintings, China, 17th century or later

Ink and pigment on paper mounted to a paper scroll

Depicting a Kings of Hell torture scene

With various black ink inscriptions in Chinese near the center of the left edge

Image: 53.5” H x 27.875” W; Overall: 72.75” H x 31” W (approx.)

$1,500-2,000

A Chinese painted hanging scroll

Late Qing Dynasty

“Immortal and Beast,” 1845

Ink and pigment on paper mounted to a fabric and paper scroll

Depicting a Chinese mythological figure holding a chain attached to a mythical creature

With various black ink inscriptions and two red ink chopmarks in Chinese in the upper left quadrant; on the verso of the upper left corner is a paper label with a black ink inscription in Chinese; titled and dated by repute Image: 56.75” H x 29.5” W; Overall: 76.75” H x 3.875” W (approx.)

$800-1,200

A Chinese ancestral portrait, 19th Century or later

“A portrait of Mr. Qin Tai Ya, from the nobility family of Manchukuo,” circa 1830 Ink and pigment on silk mounted to a fabric scroll

Signed by the sitter, “Mr Qin Tai Ya” in black ink to the right of the figure’s right foot; titled and dated on a certificate

Image: 74” H x 39.5” W; Overall: 90” H x 50.25” W (approx.)

$3,000-5,000

Provenance:

Yamanaka & Co., Ltd., Kyoto, Japan

Notes:

This lot is accompanied by an invoice of merchandise and a certificate from the gallery mentioned above, as well as other related documentation materials.

197

Two Qing (1644-1912) style ancestral portraits, early 20th century

Two ancestral portraits of an engaged or married couple

Each: Pigment and ink, including metallic pigments, on fabric laid to fabric, with a patterned fabric border, as issued Each sheet: 43.25” H x 25.625” W; Each sight (including fabric border): 50.5” H x 31” W

$500-700

198

Ma Jiatong (1865-1937)

Birds and flowers, circa 1900

Ink and pigment on silk mounted to a fabric/paper scroll

Bearing the “Ma Jiatong” signature and inscribed in black ink, and two red ink chopmarks, all along the upper portion of the right edge

Image: 64” H x 15.75” W; Overall: 73” H x 18.25” W

$1,000-1,500

199

A Chinese ‘kesi’ silk tapestry hanging scroll Qing Dynasty (1644-1912) or earlier

Woven polychrome silk and metal thread ‘kesi’ or cut silk tapestry, with ink and pigment highlights mounted to paper with fabric borders

Depicting a ‘shan shui’ or mountain-water landscape featuring an empress flying on a phoenix or ‘fenghuang’, with attendants, and a group of figures on a balcony offering various auspicious gifts

Signed in Chinese, in ink, along the lower right edge: Zifan Image: 72.75” H x 37.75” W; Overall: 94” H x 41.75” W

$4,000-6,000

200

A Chinese Yuan-style landscape painting with horses and grooms, Qing Dynasty, Early 20th century

Ink and pigment on fabric, originally a handscroll, now mounted on a panel and with silk borders; depicting horses with their groomers set in a landscape with trees, grass, and rocks; with a black ink inscription and red ink chopmark in Chinese that transliterates as “Yu Zhiding during the Kuichou year of the Kangxi reign”

Sight (with borders): 16.75” H x 42.5” W

$2,000-4,000

201

A Chinese hardwood brush pot Qing Dynasty (1644-1912) or later Possibly Huanghuali wood

6.75” H x 6.75” Dia.

$1,200-1,800

This lot may require a CITES permit if being shipped outside California. Please contact your preferred shipping company for information.

202

A pair of Chinese carved giltwood guardian 19th century

Each depicted with one paw holding reticulated climbing on the figure, with rectangular red 2 pieces

Each: 13” H x 10.25” W x 7.25” D

$1,000-1,500

guardian lions

reticulated ball and eight cubs

red lacquer bases

203

Three Chinese cricket cages

Late Qing Dynasty (1644-1912) or later

Comprising two gourd cages, one with pierced wood lid, and another with incised peacock and figural scenes

3 pieces

Largest: 5.125” H x 2.75” Dia.; Smallest: 3.5” H x 1.5” Dia.

$600-900

An Asian carved giltwood figure of the Buddha

20th century

The polychrome and giltwood figure depicted seated with hands in karana mudra

20” H x 11.75” W x 9.5” D

$1,000-1,200

Provenance: The Grace Family Collection, St. Helena, California

205

Two Chinese polychrome carved wood figures of ancestors

Late Qing Dynasty (1644-1912)

Possibly a Hakka family in Malaysia, carved in an unusual style

2 pieces

Taller: 12.75” H x 5.5” W x 4.375” D; Shorter: 12.25” H x 5.5” W x 4.75” D

$800-1,200

Provenance:

The Grace Family Collection, St. Helena, California

206

An Asian giltwood figure of the Amitabha Buddha 17th century or later

The figure depicted with hands in varada mudra, standing atop a tiered lotus base

Overall: 20” H x 7” W x 7” D

$800-1,200

207

A Southeast Asian lacquered carved wood donor figure Likely Thailand, Rattanakosin Period (1782-1932) Decorated with gilt accents and inset glass, set on an ebonized wood plinth Figure: 40.75” H x 14.25” W x 9.75” D; Overall: 47.5” H x 14.25” W x 11.75” D

$800-1,200

Provenance: The Grace Family Collection, St. Helena, California

208

A Chinese hardstone-mounted and carved wood panel 18th/19th century elements

Mounted with carved wood, bone, and various hardstones, depicting a mountainous landscape with trees, animals, and figures within a mother of pearl-inlaid frame

Without metal brackets: 35.5” H x 30.75” W x 1.5” D

$2,000-3,000

Similar panels have been part of large furniture suites and are comparable to Imperial collections from the late Qing Dynasty.

209

A pair of Chinese guri lacquer platters

Late Qing Dynasty (1644-1912)

Each with carved and enameled apocryphal reign mark for Xuande Period (1426-1435)

Each set in a carved hardwood stand

2 pieces

Each platter: 22.5” Dia. x 3” D; Each stand: 13” H x 19” W x 6” D

$1,000-2,000

210

Two Chinese lacquered carved wood hanging couplets

Qing Dynasty (1644-1912) or later

Each red and black lacquered with gilt accents

2 pieces

Each: 71.25” H x 9.25” W x 1” D

$600-900

Provenance: The Grace Family Collection, St. Helena, California

211

A Chinese polychrome lacquered wood eight-panel coromandel screen

Late 20th century

With Chinese inscription to left panel recto

Carved and painted with various historical figures within a figural border on a black lacquered ground, verso depicting a warrior figure in a field of grass

Each panel: 84.25” H x 17” W x 0.75” D; Stored: 6.75” D

$700-900

212

A large Chinese bronze figural censer 20th century

Cast with mice, leaves, and floral motifs, the openwork top surmounted by a fish figure, raised on ruyi-form tripod feet 3 pieces

Overall: 27” H x 29.75” W x 20.5” D

$400-600

213

A Chinese silvered and gilt-bronze mirror Tang Dynasty (618-907 CE) or style

The circular mirror cast with running creatures within an outer border of animals and grape vines, set in an enameled metal stand Mirror: 8.62” Dia; Overall: 10.875” H

$2,000-3,000

214

An Asian cloisonné lidded box 20th century

Depicting dragons within a cloud pattern on blue ground and floral trimming, set in a yellow-ground floral motif stand 8.5” H x 11.25” W x 7.25” D

$400-600

215

A Dong Son-style bronze rain drum

20th century; Southeast Asia

The stepped body with opposed handles 20” H x 26.5” Dia.

$1,000-1,500

Notes:

This lot is accompanied by a signed “Certificate of antiques” from Borisoothi Art Gallery in Chiengmai, Thailand.

216

A Chinese embroidered Qing court-style garment

Late Qing Dynasty (1644-1912) and later

Comprising a black silk lady’s long vest or ‘xiapei’, composed of various applied embroidered textile elements including two silver pheasant civil rank badges, to front and back, and the vest with large dragons to each side, surrounded by bats, medallions, and other auspicious symbols as well as clouds, waves, and flowers, the designs primarily worked in couched metallic threads, and all mounted to later-added Western-style black satin sleeves, with shoulder pads, side gussets, and knotted braid toggle closures, with green silk lining and decorative tasseled fringe 39” H x 27.5” W approximately; sleeves: 23”; fringe: 9” H

$1,500-2,500

217

A pair of Chinese ‘xiezhi’ martial rank badges

Late Qing Dynasty (1644-1912) or later

The set of ‘kesi’ woven silk censor’s rank military official badges, each depicting the mythical ‘xiezhi’ atop a rock amid waves and deep water surrounded by clouds, bats, and other auspicious symbols, all in woven polychrome silk and metallic thread, each mounted within an ebonized wood glazed frame with gilt embellishments

2 pieces

Each: 12.25” H x 13” W

$1,000-1,500

A rare zimingzhong automaton pagoda-form clock

Mid/late 20th century, a reproduction of the 18th century English clock made for the Chinese Qing Imperial Court now located in the Imperial Palace Museum

The two-movement clock with three dials, each bearing Roman numeral hour markers, housed in a gilt-brass case in the form of an articulated nine-tiered pagoda, adorned with cut glass jewels and cultured pearl beaded accent; when wound, the clock plays a tune and the tiers of the pagoda expand up and then contract back down

Overall: 42.5” x 17” W x 17” D

$50,000-70,000

The case takes its shape from the legendary Pagoda of Nanjing, or Temple of Repaid Gratitude, a soaring masterpiece built in the 15th century under the Ming dynasty. Rising nine stories high with a spiraling staircase at its core, it was once among the tallest structures in China and sometimes hailed as one of the Seven Wonders of the World. Though much of it was lost in the upheaval of the 19th-century Taiping Rebellion, its grandeur and reputation endured.

219

A Chinese Famille Rose porcelain plaque-mounted rosewood cabinet

Early 20th century

Each plaque bearing the signature and seals of Wang Qi (1884-1937)

The cabinet with brass pulls and hardware, featuring two drawers above hinged cabinet doors, each mounted with an inset porcelain painted plaque depicting warriors and tigers above a carved wood figural panel, revealing a single interior shelf 40.75” H x 33.25” W x 20.75” D

$10,000-15,000

This lot may require a CITES permit if being shipped outside California. Please contact your preferred shipping company for information.

220

A Chinese red lacquered wood lunch box

Late Qing Dynasty (1644-1912) or later

The lidded box with woven panels, decorated in gilt depicting figures in a rural landscape, opening to reveal a four-compartment tray, set on a wood stand

Box: 3.75” H x 6.625” W x 6.625” D; Stand: 2” H x 9” W x 6” D

$400-600

221

A Chinese hardwood picnic box

Late Qing Dynasty (1644-1912) or later

Possibly Huanghuali wood, the three stacking compartments with brass hardware, set into a handled base with openwork embellishments

9.25” H x 14.25” W x 8” D

$2,000-3,000

This lot may require a CITES permit if being shipped outside California. Please contact your preferred shipping company for information.

222

A Burmese lacquered wood food box and two bowls

20th/21st century; Bagan, Myanmar

Each marked to underside: The Lotus Collection

Comprising a four-tiered food box with carrying handle, a footed low bowl with repeating beast motif, and another bowl depicting figures in a village

3 pieces

Box overall: 28.5” H x 16.5” W x 15.5” D; Footed: 4” H x 20.25” Dia.; Bowl: 5.75” H x 15” Dia.

$700-900

Provenance:

The Grace Family Collection, St. Helena, California

223

A Chinese hardwood lidded box

Late Qing Dynasty (1644-1912) or later

Of keyed miter construction

2.75” H x 10.875” W x 8.5” D

$1,200-1,800

224

A Chinese elmwood low cabinet

20th century

The cabinet with hinged cabinet doors centering opposed single drawers

19.75” H x 59” W x 19.5” D

$700-900

225

A Chinese hardwood seal chest

Late Qing Dynasty (1644-1912) or later

Possibly carved Huanghuali wood, the chest with brass latch lock, hinges, and opposed handles, featuring a hinged top above two cabinet doors revealing four drawers, set on a carved wood stand

Box: 12.5” H x 12.5” W x 9.25” D; Stand: 2.25” H x 19.25” W x 11.375” D

$4,000-6,000

This lot may require a CITES permit if being shipped outside California. Please contact your preferred shipping company for information.

226

A small Chinese elmwood chest

Late 19th century

The chest with brass hardware, featuring three drawers, one locking with a mothform escutcheon, above two hinged cabinet doors revealing a hollow interior

32” H x 28.25” W x 17.75” D

$400-600

Notes:

This lot is accompanied by a signed Certificate of Antiquity from Tung Cheng Peking Trading Co., dated February 1, 1985.

227

A Chinese carved wood ‘official’s hat’ armchair

20th century

The chair with yolk back crest rail above a curved splat carved with medallions, above a seat with inset caning and fabric-upholstered cushion

45” H x 25.5” W x 22.5” D

$500-700

Hiroshi Yoshida (1876-1950)

“Approach to Agra, No. 3,” 1932 Woodcut in colors on paper

From the edition of unknown size and date

Signed in pencil in the lower margin, at right: Hiroshi Yoshida; the printed ink title (misspelled as “Aproach...”) in the lower margin, at left; with the black ink signature and the artist’s red ink seal in the image at lower left; with the jizuri (“self printed”) stamp as well as other Japanese characters stamped in the left margin; numbered “173” in pencil, in another hand, at the center of the lower margin; titled again and dated in ink, in another hand, on a label affixed to the frame’s backing paper

Image: 9.75” H x 14.75” W; Sheet: 10.75” H x 15.75” W

$1,000-1,500

Literature: Abe 173

Hiroshi Yoshida (1876-1950)

“Victoria Memorial,” 1931

Woodcut in colors on paper

From the edition of unknown size and date

Signed and titled in pencil in the lower margin: Hiroshi Yoshida; with the printed black ink signature and the artist’s red ink seal in the image at lower right; with the jizuri (“self printed”) stamp as well as other Japanese characters stamped in the left margin; dated and numbered in pencil, in another hand, at the center of the lower margin; dated again and titled in ink, in another hand, on a label affixed to the frame’s backing paper

Image: 9.75” H x 14.75” W; Sight: 10.25” H x 15.5” W

$800-1,200

Literature: Abe 149; Showa 6

230

Hiroshi Yoshida (1876-1950)

“Sphinx,” 1925

Woodcut in colors on paper

From the edition of unknown size and date

Signed and titled in pencil in the lower margin: Hiroshi Yoshida; with the printed black ink signature and the artist’s red ink seal in the image at lower right; with the jizuri (“self printed”) stamp as well as other Japanese characters stamped in the left margin; titled alternatively “Sphinx - Day” and dated in ink, all in another hand, on a label affixed to the frame’s backing paper

Image: 9.875” H x 14.625” W; Sight: 10.375” H x 15.25” W

$500-700

Literature: Abe 24

Hiroshi Yoshida (1876-1950)

“Shokei Palace,” from the “Korea and Manchuria” series, 1937

Woodcut in colors on paper

From the edition of unknown size and date

Signed and titled in pencil in the lower margin: Hiroshi Yoshida; with the printed black ink signature and the artist’s red ink seal in the image at lower right; with the jizuri (“self printed”) stamp as well as other Japanese characters stamped in the left margin; titled and dated 1937 in ink on a label affixed to the frame’s backing paper

Image: 9.5” H x 14.75” W; Sight: 10.25” H x 15.5” W

$600-800

Literature: Abe 209

Hiroshi Yoshida (1876-1950)

“Suzukawa,” 1935

Woodcut in colors on paper

From the edition of unknown size and date

Signed and titled in pencil in the lower margin: Hiroshi Yoshida; with the printed black ink signature and the artist’s red ink seal in the image at lower left; with the jizuri (“self printed”) stamp as well as other Japanese characters stamped in the left margin

Image: 9.625” H x 14.875” W; Sheet: 10.625” H x 15.75” W

$1,500-2,500

Literature: Abe 111

Hiroshi Yoshida (1876-1950)

“Goshikigahara,” from the “Twelve Scenes in the Japan Alps” series, 1926 Woodcut in colors on paper

From the edition of unknown size and date

Image: 9.625” H x 14.625” W; Sight: 10.25” H x 15.375” W

$600-800

Literature: Abe 31

234

Hiroshi Yoshida (1876-1950)

“Sunrise Rite,” from the “Ten Views of Fuji” portfolio, 1928 Woodcut in colors on paper

From the edition of unknown size and date

Image: 9.75” H x 14.75” W; Sight: 10.25” H x 15.25” W

$600-800

Hiroshi Yoshida (1876-1950)

“Chikugo River,” 1927

Woodcut in colors on paper

From the edition of unknown size and date

Image: 9.75” H x 14.75” W; Sight: 10.5” H x 15.5” W

$600-800

Literature: Abe 86

236

Hiroshi Yoshida (1876-1950)

“Hirakawa Bridge,” 1929

Woodcut in colors on paper

From the edition of unknown size and date

With the artist’s name and the title both stamped in ink in the lower margin: Hiroshi Yoshida; with the printed black ink signature and the artist’s red ink chopmark in the image at lower right; Japanese characters stamped in the left margin

Image: 14.75” H x 9.625” W; Sight: 15.375” H x 10.25” W

$300-500

Literature: Abe 86

Hiroshi Yoshida (1876-1950)

“Night in the Harbor,” 1938

Woodcut in colors on paper

From the edition of unknown size and date

Signed and titled in pencil in the lower margin: Hiroshi Yoshida; with the printed black ink signature and the artist’s red ink seal in the image at lower right; with the jizuri (“self printed”) stamp as well as other Japanese characters stamped in the left margin; dated 1938 and numbered “230” in pencil, in another hand, at the center of the lower margin; titled and dated again in ink, in another hand, on a label affixed to the frame’s backing paper

Image: 9.75” H x 14.75” W; Sheet: 10.625” H x 15.875” W

$1,000-1,500

Literature: Abe 228

238

A Japanese shibayama and gilt lacquer inro Edo/Meiji Period (1603-1912) or later Signature possibly reading Masatami

The gilt lacquered wood five-piece storage container depicting mother of pearl figures within a beach landscape with a roiling sea

3.875” H x 2.625” W x 1” D

$1,000-1,500

A Japanese carved guri lacquer inro

Edo Period (1603-1868) or later

Carved with a swirling pattern and carved nut ojime and netsuke, fastened with later cord

Inro: 2.375” H x 1.625” W x 0.875” D; Overall: 6.25” L

$500-700

A Japanese porcelain rabbit figure

Edo/Meiji Period (1603-1912) or later With impressed chop mark to underside Possibly Banko ware 9.75” H x 13” W x 10.25” D

$600-800

241

A Japanese Arita ware blue and white porcelain plate

Edo Period (1603-1878) or later

Bearing apocryphal reign mark for Chenghua Seika (1465-1487); maker’s mark reading: Okanaga

Depicting bats at center of well

2.375” H x 13.25” Dia. (slightly irregular)

$200-300

242

Three Japanese Arita ware blue and white porcelain dishes

Edo Period (1603-1868)

Each bearing an apocryphal reign mark for Chenghua Seika (1465-1487)

Each with scalloped rim, decorated with tree motifs

3 pieces

Each: 1.5” H x 8.25” Dia. approximately

$300-400

A Japanese Imari porcelain dinner service

20th century

Each with blue underglaze mark to underside

Comprising 10 dinner plates (10.125”), 20 salad plates (8.75”), 19 small plates (5.5”), 20 shallow bowls (6.25”), 20 deeper bowls (6.75”), 20 rice bowls (4.875”), 20 soup bowls (4.375”), 19 footed dishes (5.25”), 20 soy sauce dishes (4”), 19 sake cups (2.5”), and 20 teacups (3.5”) with 20 saucers (3.875”)

227 pieces

$700-900

244

A Japanese Satsuma pottery vase

20th century

Bearing gilt inscription to underside

The vase with painted and gilt scenes of courtly figures and musicians

6” H x 3.375” Dia.

$600-800

245

A Japanese gilt and lacquered wood chest

19th century

The chest with brass hardware, opposed handles, and lock plate, and interior drawer pulls, the exterior decorated in gilt with rural village scenes in low relief, featuring cabinet doors revealing five interior drawers, each front conformingly decorated 21.5” H x 27” W x 18” D

$600-800

A Japanese six-panel byobu screen Late Edo/early Meiji Period (1603-1912)

The painted and gilt rice paper screen in a wood frame, each panel coming together to depict waterfowl, trees, and flowers in a seaside landscape, within a gold-toned fabric border

Each panel: 66.75” H x 25.25” W x 0.75” D; Stored: 4.25” D

$1,200-1,800

247

A Japanese two-panel byobu screen

Edo Period (1603-1867) or later, Kano School

The painted and gilt rice paper screen in a wood frame, each panel depicting Manchurian cranes and other birds within a riverside landscape, all within a gold-toned fabric border

Each panel: 61.75” H x 35” W x 0.75” D; Stored: 1.5” D

$700-900

248

A Japanese four-panel namban byobu screen Edo Period (1603-1867) or later

The painted rice paper screen in a wood frame, each panel coming together to depict foreigners and their ships, within a gold-toned fabric border

Each panel: 60.75” H x 21” W x 0.75” D; Stored: 2.75” D

$2,000-3,000

A Japanese six-panel byobu screen

Late Edo Period (1603-1867) or later, Kano School-style

The painted and gilt rice paper screen in a wood frame, each panel coming together to depict birds and flowers on a hillside overlooking the sea, within a fabric border

Each panel: 68” H x 24.75” W x 0.75” D; Stored: 4.25” D

$700-900

250

Kawase Hasui (1883-1957)

“Snow at Kiyomizu Hall, Ueno,” 1929 Woodcut in colors on Japanese laid paper Edition: 56/100

Signed “Hasui” in Japanese and with the red ink “Kawase” seal in the lower left image corner; with the printed title “Ueno Kiyomizudo no yuki” [Snow at Kiyomizu Hall in Ueno], and date “Showa yonen shichigatsu saku” [Work of July Showa 4 (1929)], all in Japanese, and in the lower margin; Sakai and Kawaguchi, pub., with the printed in blue ink, publishers’ seals “Sakai Kawaguchi gohan” and their black ink chrysanthemum seal in the lower margin, at left; with the printed in blue carver’s seal, Maeda and printer’s seal, Komatsu, along the lower portion of the left margin; the verso with a paper label limited edition seal, hand-numbered in black ink “56,” and signed and inscribed “Shohan seisen, hyaku mai no uchi, dai hyaku go, Hasui” [From 100 carefully selected prints of the first edition, no.56, Hasui], and stamped with the red ink “Kawase” seal Image: 14.375” H x 9.5” W; Sheet: 15.5” H x 10.625” W

$5,000-7,000

Provenance:

The Estate of Mario Armond Zamparelli, La Cañada, CA

Literature:

Brown 181

Notes:

The impression in this lot comes from an early edition jointly published by Sakai and Kawaguchi in Tokyo. The edition was limited to one hundred examples, each bearing a numbered label on the verso, along with the stamped Kawase seal, both of which are present on this print.

251

Komori Soseki (late 19th century)

“Leaping Carp,” 1929

Woodcut in colors on laid Japanese paper backed with thinner Japanese paper

From the edition of unknown size and date; lifetime printing

With the printed black ink signature in Japanese and red ink chopmark in the image at lower right; with other printed inscriptions in Japanese near the lower left margin corner; Kawaguchi and Sakai, pub.

Image: 13.625” H x 7.875” W; Sheet: 15.875” H x 8.75” W

$300-500

Two Japanese woodcuts

Two works

Katsushika Hokusai (1760-1849)

“Under the Wave off Kanagawa” (aka “The Great Wave”), from the “Thirty-six Views of Mount Fuji” series, circa 1830-32

Woodcut in colors on paper

From the edition of unknown size and date

With the signature and other various Japanese characters, printed in blue ink in the image at upper left

Sight: 9.75” H x 14.75” W

Japanese School

Wave with birds and Mount Fuji at sunrise, circa 1930-40s

Woodcut in colors on paper

From the edition of unknown size and date

Presumably with the printed black ink signature in Japanese, in the upper left image Image: 7.75” H x 6.625” W; Sheet: 8.625” H x 7.375” W

$800-1,200

253

Katsushika Hokusai (1760-1849)

“Ejiri in Suruga Province,” from the “Thirty-six Views of Mount Fuji” series, circa 1830s

Woodcut in colors on laid paper

From the edition of unknown size and date

With the printed blue ink signature and inscription, all in Japanese, upper left; stamped with a red ink chopmark, lower right Image/Sheet: 10” H x 14.5” W

$100-150

Provenance:

The Estate of Mario Armond Zamparelli, La Cañada, CA

254

Utagawa Yoshikazu (Active 1848-1870)

“The Great Battle at Kawanakajima,”

Each: Woodcut in colors on paper

From the edition of unknown size

Signed with the printed black ink

various other printed black ink inscriptions

Sight: 14” H x 29.125” W

$200-400

Kawanakajima,” triptych, 1853 paper size and date

“Ichijusai Yoshikazu ga” signature on each sheet; and with inscriptions and seals on each sheet; Iseya Chusake, pub.

Scenes from The Tales of Genji, Japanese, Meiji period, 19th century

Three paintings with ink, gouache, and gold leaf on paper

Each composition depicts robed figures engaged in various activities within stylized architectural settings

Appears unsigned

Sight of each: 10.625” H x 9.625” W

$500-700

256

Two Japanese Edo period Tosa School paintings

Two works:

“Utsusemi” (This mortal life)

Depicting two ladies playing “Go” and a court dandy

Gouache, gold leaf, and ink on beige paper laid to thin paperboard

Unsigned; inscribed in Japanese in pencil, in another hand, verso; titled and again inscribed in pencil, in another hand, verso: “Tosa School Painting / about 200 years old”

Image/Sheet: 8” H x 7” W

“Ukibune” (Floating boat)

Depicting courtesans in a pleasure boat

Gouache, gold leaf, and ink on beige paper laid to thin paperboard

Unsigned; inscribed in Japanese in pencil, in another hand, verso; titled and again inscribed in pencil, in another hand, verso: “Tosa School Painting / about 200 years old”

Image/Sheet: 8” H x 7” W

$300-500

257

Kobayashi Kiyochika (1847-1915)

“The Second Month: Each: Woodcut in colors With the printed signature sheet: Kobayashi Kiyochika; Each Image: 13.75”

$400-600

Notes:

This work includes a Miyanoshita. As attested

Month: Matsuchiyama in Snow at Dusk,” from the True Views of Famous Places in Tokyo” series (triptych), 1896 colors on paper signature in black ink in Japanese, a printed red ink chopmark, and other Japanese inscriptions, all on the right Kiyochika; another printed red ink inscription in Japanese along the left edge of the left sheet; Inoue Kichijiro, pub.

13.75” H x 9.625” W

a statement affixed to the frame’s backing paper: “The genuineness of this print is guaranteed by S.M. Shiba attested by his seal to that on the back lower corner of this print.”

Kiyochika

258

Tsushima Koitsu (1870-1949)

“Nagoya Castle,” 1937

Woodcut in colors on laid Japanese paper

From the edition of unknown size and date

With the printed black ink signature and the artist’s red ink seal in the image at lower right; with other printed Japanese inscriptions in the left and right margins; Doi, Harda/Yokio, pub.

Image: 15.5” H x 10.25” W; Sheet: 16.5” H x 11” W

$600-800

Utagawa Hiroshige (1797-1858)

“Goten-yama, Shinagawa,” from the “One Hundred Famous Views of Edo” series, 1856 Woodcut in colors on laid Japanese paper backed to tissue-thin paper

From the edition of unknown size and date

With the printed black ink signature in Japanese, lower left, and other various Japanese inscriptions, upper right; two printed black ink seals in the upper margin, at right Image: 13.25” H x 8.875” W; Sheet: 14” H x 9.25” W

$800-1,200

Provenance: The Estate of Mario Armond Zamparelli, La Cañada, CA

Literature: Sakai 220-21; Smith & Poster 28

260

Utagawa Hiroshige (1797-1858)

Six works:

“View to the North from Asukayama,” from the “One Hundred Famous Views of Edo” series, circa 1856

Woodcut in colors on paper

From the edition of unknown size and date

With the printed black ink signature and various other inscriptions in Japanese characters

Sight: 13” H x 8.625” W

“The Armor-Hanging Pine,” from the “One Hundred Famous Views of Edo” series, circa 1856

Woodcut in colors on paper

From the edition of unknown size and date

With the printed black ink signature and various other inscriptions in Japanese characters

Sight: 13” H x 8.625” W

“The Inume Pass in Kai Province,” from the “Thirty-six Views of Mount Fuji” series, circa 1858

Woodcut in colors on paper

From the edition of unknown size and date

With the printed black ink signature and various other inscriptions in

Japanese characters

Sight: 13” H x 8.625” W

“Clear Weather After Snow at Masaki,” from the “Famous Places in the Eastern Capital” series, circa 1832-35

Woodcut in colors on paper

From the edition of unknown size and date

With the printed black ink signature and a red ink chopmark upper right

Sight: 8” H x 12.75” W

“Plum Garden at Kamata,” from the “One Hundred Famous Views of Edo” series, circa 1856

Woodcut in colors on paper

From the edition of unknown size and date

With the printed black ink signature and various other inscriptions in Japanese characters

Sight: 13” H x 8.625” W

“View of Konodai and the Tone River,” from the “One Hundred Famous Views of Edo” series, circa 1856

Woodcut in colors on paper

From the edition of unknown size and date

With the printed black ink signature and various other inscriptions in Japanese characters

Sight: 13” H x 8.625” W

$500-800

261

Utagawa Hiroshige (1797-1858)

Female figure walking through the snow

Woodcut in colors on laid Japanese paper backed with tissue-thin paper

From the edition of unknown size and date

With the printed black ink signature, inscriptions, and chopmarks in Japanese, near the center of the right edge

Image/Sheet: 13.5” H x 8.875” W

$200-400

Provenance: The Estate of Mario Armond Zamparelli, La Cañada, CA

262

A Japanese bronze figure of Kannon Late Edo/Meiji Period (1603-1912) or later Depicted standing with a staff, on a double lotus base

29” H x 7.75” W x 7.75” D

$400-600

A Japanese ikekomi-doro stone garden lantern 20th century

The carved granite garden ornament lantern of six components, comprising a four-window hollow hexagonal fire cavity, above a columnar base and surmounted by an umbrella with scrolled accents

6 pieces

Overall without base: 57” H x 25” W x 22” D

$1,000-1,500

A pair of Korean persimmon wood stacking chests

Late Joseon Period (1392-1897)

Each with brass hardware, pulls, and one fish-form lock, comprising three drawers and two hinged cabinet doors revealing a central cavity with two staggered shelves 2 pieces

Each: 23.5” H x 33.25” W x 15.75” D

$1,400-1,600

An Asian colonial carved wood altar table 18th/19th century

Of notched construction, the tabletop with molding at each end, an openwork cloud-motif apron, and pedestal supports with openwork paneling depicting elaborate ruyi motifs

39.5” H x 91” W x 18.5” D

$700-900

A Dutch Colonial iron-mounted hardwood storage chest

19th century

The chest with hinged lid and wrought-iron accents, lock, and opposed handles

18.25” H x 31.75” W x 17.25” D

$400-600

Eight East Tibetan thangkas depicting various Mahasiddhas, 20th century

The eight thangkas with ink and pigment on thin fabric, each with a multi-colored brocade fabric border and three thread loops; Each composition portrays a Mahasiddha, seated in a meditative or active posture within a stylized landscape, with each of the Mahasiddhas surrounded by mythical creatures and/or ritual implements

Smallest: 21” H x 15.75” W; Largest: 22” H x 15.25” W

$8,000-12,000

An East Asian painted hanging scroll 19th century

Ink and pigment on paper mounted to a fabric and paper scroll

Depicting two birds in a floral and grassy landscape

With various black ink inscriptions and one red ink chopmark in Chinese at the center of the left edge

Image: 31.25” H x 13.125” W; Overall: 60.5” H x 16.5” W (approx.)

$500-700

A Thai illustrated folding manuscript 19th/20th century

The accordion-fold paper manuscript with eight pigmented and gilt illustrations and inked script

Stored: 3.5” H x 26.5” W x 5.75” D

$1,000-1,500

A Thai illustrated folding manuscript 19th/20th century

The accordion-fold paper manuscript with 10 pigmented and gilt illustrations and inked script

Stored: 3.5” H x 26.5” W x 5.75” D

$1,000-1,500

271

Hiroshi Yoshida (1876-1950)

“Glittering Sea,” from the “Inland Sea” series, 1926

Woodcut in colors on paper

From the edition of unknown size and date

Signed in pencil and with the title stamped in ink, both in the lower margin: Hiroshi Yoshida; with the black ink signature and the artist’s red ink seal in the image at lower right; with the jizuri (“self printed”) stamp as well as other Japanese characters stamped in the left margin

Image: 14.5” H x 9.625” W; Sight: 15.5” H x 10.25” W

$1,500-2,500

Literature: Abe 38

272

Hiroshi Yoshida (1876-1950)

“Fusei,” 1937

Woodcut in colors on paper

From the edition of unknown size and date

Image: 12” H x 9” W; Sheet: 15.75” H x 10.75” W

$1,500-2,500

Literature: Abe 215

Hiroshi Yoshida (1876-1950)

“Sanko Island,” 1941

Woodcut in colors on paper

From the edition of unknown size and date

Image: 6.5” H x 8.75” W; Sight: 7.25” H x 9.5” W

$400-600

Literature: Abe 242

Hiroshi Yoshida (1876-1950)

“Park in Canton,” 1941

Woodcut in colors on paper

From the edition of unknown size and date

Signed in pencil and with the title stamped in ink, both in the lower margin: Hiroshi Yoshida; with the printed black ink signature and the artist’s red ink seal in the image at lower right; with the jizuri (“self printed”) stamp as well as other Japanese characters stamped in the left margin; titled and dated in ink, in another hand, on a label affixed to the frame’s backing paper

Image: 6.5” H x 8.75” W; Sight: 7.25” H x 9.5” W

$500-700

Literature: Abe 243

275

Hiroshi Yoshida (1876-1950)

“Hayase,” from the “Kansai District” series, 1933 Woodcut in colors on paper

From the edition of unknown size and date

Image: 9.5” H x 14.75” W; Sight: 10.25” H x 15.25” W

$400-600

Literature: Abe 188

Hiroshi Yoshida (1876-1950)

“Sankei-en,” from the “Eight Scenes of Cherry Blossoms” series, 1935

Woodcut in colors on paper

From the edition of unknown size and date

Signed and titled in pencil in the lower margin: Hiroshi Yoshida; with the printed black ink signature and the artist’s red ink seal in the image at lower right; with the jizuri (“self printed”) stamp as well as other Japanese characters stamped in the left margin; dated 1935 and numbered “191” in pencil, in another hand, at the center of the lower margin; titled and dated again in ink, in another hand, on a label affixed to the frame’s backing paper

Image: 14.75” H x 9.625” W; Sight: 15.5” H x 10.25” W

$400-600

Literature: Abe 191

277

Hiroshi Yoshida (1876-1950)

“Arashiyama,” from the “Eight Scenes of Cherry Blossoms” series, 1925

Woodcut in colors on paper

From the edition of unknown size and date

Signed and titled in pencil in the lower margin: Hiroshi Yoshida; with the printed black ink signature and the artist’s red ink seal in the image at lower right; with the jizuri (“self printed”) stamp as well as other Japanese characters stamped in the left margin; numbered “195” in pencil, in another hand, at the center of the lower margin; titled again and dated in ink, in another hand, on a label affixed to the frame’s backing paper

Image: 14.75” H x 9.75” W; Sight: 15.375” H x 10.25” W

$400-600

Literature: Abe 195

278

Hiroshi Yoshida (1876-1950)

“The Cherry Tree in Kawagoe,” from the “Eight Scenes of Cherry Blossoms” series, 1935 Woodcut in colors on paper

From the edition of unknown size and date; posthumously printed Stamped with the artist’s name and the title of the work in the lower margin: Hiroshi Yoshida; with the printed black ink signature and the artist’s red ink seal in the image at lower right; Japanese characters stamped in the left margin

Image: 14.75” H x 9.75” W; Sight: 15.375” H x 10.25” W

$400-600

Literature: Abe 196

280

A pair of framed Japanese embroidered silk pictures

The diptych forming a view of a large temple complex in a wooded landscape with multiple structures and rock wall, all worked in various embroidery stitches in monochrome greys, cream, brown and red on a fabric ground

2 pieces

Each sight: 51” H x 22.25” W

$400-600

279

Hiroshi Yoshida (1876-1950)

“Wisteria Garden,” 1935

Woodcut in colors on paper

From the edition of unknown size and date

Signed and titled in pencil in the lower margin: Hiroshi Yoshida; with the printed black signature and the artist’s red ink seal in the image at lower left; with the jizuri (“self printed”) stamp as well as other Japanese characters stamped in the left margin

Image: 9.625” H x 14.625” W; Sight: 10.125” H x 15.25” W

$300-500

Literature: Abe 199

281

A Japanese six-panel byobu screen

Edo Period (1603-1867) or later

Signed to right panel at bottom right corner

The painted and gilt rice paper screen in a wood frame, each panel coming together to depict birds and a tree in a flowery seaside landscape, within a gold-toned fabric border, featuring small paintings of trees verso

Each panel: 33.25” H x 14.75” W x 0.5” D; Stored: 3.25” D

$600-800

A Japanese six-panel byobu screen

Edo Period (1603-1867) or later

Signed to left panel at bottom left corner

The painted and gilt rice paper screen in a wood frame, each panel coming together to depict herons and other birds within a flowery Winter landscape, within a gold-toned fabric border, featuring small paintings of trees verso

Each panel: 33.25” H x 14.75” W x 0.5” D; Stored: 3.25” D

$800-1,200

283

A Japanese six-panel byobu screen Edo Period (1603-1867) or later

The painted and gilt rice paper screen in a wood frame, each panel coming together to depict ducks and waterfowl in a winter seaside landscape, within a gold-toned fabric border

Each panel: 41.75” H x 18.75” W x 0.75” D; Stored: 4” D

$700-900

284

Two single screen panels with birds of prey, Japan, Kano school, Edo period or later

Each: Ink, ink wash, and gouache on paper, with a silver-gilt paper border, all mounted to artist’s board within a narrow wood frame

Each section with a red ink chopmark in the lower portion of one of the vertical edges of the composition

Image/Sheet of each: 47” H x 20.25” W; Sight of each: 56” H x 23.75” W

$600-800

285

A Japanese two-panel byobu screen

Edo Period (1603-1867) or later

The painted and gilt rice paper screen in a wood frame, each panel coming together to depict waterfowl and a tree in a flowery winter landscape, within a painted fabric border

Each panel: 69.25” H x 37.75” W x 0.75” D; Stored: 1.5” D

$800-1,200

A Japanese six-panel byobu screen

Edo Period (1603-1867) or later

The painted and gilt rice paper screen in a wood frame, each panel coming together to depict Manchurian cranes and trees in a seaside landscape, within a gold-toned fabric border

Each panel: 72” H x 25.5” W x 0.75” D; Stored: 4.5” D

$1,200-1,800

287

A Japanese four-panel byobu screen

Edo Period (1603-1867) or later, Kano School

The painted and gilt rice paper screen in a wood frame, each panel coming together to depict fowls and a cherry blossom tree in a riparian landscape, within a gold-toned fabric border

Each panel: 66.5” H x 25” W x 0.75” D; Stored: 3.125” D

$1,200-1,800

A Japanese six-panel byobu screen

Edo Period (1603-1868) or earlier

The painted gilt rice paper screen in a wood frame, each panel coming together to depict possibly the sage Zhuge Liang (Shokatsu Komei) in his thatched hut, all within a fabric border

Each panel: 68.75” H x 24.75” W x 0.75” D; Stored: 4.5” D

$1,000-1,200

289

Utagawa Kunisada (1786-1865)

Untitled, from the “Kadoya Ebita Uchi, Minako Ni Sakura” series

Woodcut in colors on laid Japanese paper

From the edition of unknown size and date

With the printed black ink signature, inscriptions, and chopmarks in Japanese, all lower right; with a printed black ink inscription, upper right

Image/Sheet: 14.625” H x 9.875” W

$600-800

Provenance: The Estate of Mario Armond Zamparelli, La Cañada, CA

290

Utagawa Kunisada (1786-1865)

Courtesan Matsufune from the Sanomatsu house, circa 1830

Woodcut in colors on laid Japanese paper

From the edition of unknown size and date

With the printed black ink signature, inscriptions, and chopmarks in Japanese, all lower left; other printed Japanese inscriptions, upper right; inscribed “KUNISADA / no 64 / 210” in red pencil, in another hand, lower left, verso

Image/Sheet: 14.625” H x 10” W

$300-500

Provenance: The Estate of Mario Armond Zamparelli, La Cañada, CA

291

Utagawa Kunisada (1786-1865)

“A Good Day to Trim One’s Nails,” from the “A Floral Calendar: Women on Lucky Days” series, circa 1843-47

Woodcut in colors on laid Japanese paper backed with tissue-thin paper

From the edition of unknown size and date

With the printed black ink “Toyokuni ga” signature and variously inscribed in Japanese in the image; Wakasaya Yoichi, pub.

Sheet: 14.625” H x 10.125” W

$200-400

Provenance: The Estate of Mario Armond Zamparelli, La Cañada, CA

292

Utagawa Kunisada (1786-1865)

“Kikugetsu” (central panel of a triptych), circa 1847

Woodcut in colors on Japanese paper

From the edition of unknown size and date

With the printed black ink signature, inscriptions, and chopmarks in Japanese, all lower right Image: 14.25” H x 9.625” W; Sheet: 14.5” H x 9.75” W

$100-150

Provenance: The Estate of Mario Armond Zamparelli, La Cañada, CA

293

Utagawa Kuniyoshi (1798-1861)

One plate from “Three Beauties beside the Tama River,” circa 1849-50 Woodcut in colors on paper partially backed with sections of newsprint-like paper From the edition of unknown size and date

With the printed black ink signature, inscriptions, and chopmarks in Japanese, all lower left Sheet: 14.125” H x 10” W

$600-800

Provenance: The Estate of Mario Armond Zamparelli, La Cañada, CA

294

Utagawa Kuniyoshi (1798-1861)

“Courtesan with a Dog,” circa 1842

Woodcut in colors on Japanese paper backed with tissue-thin paper

From the edition of unknown size and date

With the printed black ink signature, inscriptions, and chopmarks in Japanese, in the right half of the image

Image: 14.375” H x 9.875” W; Sheet: 14.5” H x 10” W

$400-600

Provenance: The Estate of Mario Armond Zamparelli, La Cañada, CA

295

Utagawa Kuniyoshi (1798-1861)

“Poem by Kakinomoto no Hitomaro,” from the “The Thirty-six Poets, an Instructive Mirror for Women and Children” series, circa 1843-47

Woodcut in colors on Japanese paper laid to paper

From the edition of unknown size and date

With the printed black ink signature, inscriptions, and chopmarks in Japanese, all lower left; with other various printed black ink Japanese inscriptions in the upper half of the work

Image: 14” H x 9.875” W; Sheet: 14.125” H x 9.875” W

$200-400

Provenance: The Estate of Mario Armond Zamparelli, La Cañada, CA

296

Six 19th Century Japanese

A group of six woodcuts setting. The figures are backdrops of rivers, mountains, Each: From the edition

Each: With the printed printed blue ink Japanese

Six pieces

Sight of each: 14” H x

$600-900

Provenance: The Estate of Mario Armond

Japanese woodcuts in colors woodcuts in colors on paper, each depicting a female courtesan posed within an outdoor landscape are portrayed with elaborately patterned garments, their appearance contrasted against natural mountains, and town scenes

edition of unknown size and date

printed blue ink signature, inscriptions, and chopmarks in Japanese, all lower right; and other Japanese inscriptions in the upper half of the work

10” W

Armond Zamparelli, La Cañada, CA

297

Five Japanese woodcuts in colors

Kikugawa Eizan (1787-1867)

Courtesan with a parasol

Woodcut in colors on paper

From the edition of unknown size and date

With the printed signature lower right Sight: 29” H x 9.75” W

Toyohara Chikanobu (1838-1912)

Bijin, cover page for the “Chiyoda Inner Palace” series Woodcut in colors on paper

From the edition of unknown size and date

With the printed signature and various other inscriptions in Japanese characters

Sight: 13.125” H x 9” D

Takeuchi Keishu (1861-1943)

Woman with a lamp Woodcut in colors on paper

From the edition of unknown size and date

With a red chopmark near the center of the right edge

Sight: 11” H x 8” W

Utagawa Kunisada (1786-1865)

Woman seated on a bench Woodcut in colors on paper

From the edition of unknown size and date

With the printed signature and various other inscriptions in Japanese characters

Sight: 14.375” H x 9.875” W

Utagawa Kunisada (1786-1865)

Bijin with cherry blossoms and a waterfall Woodcut in colors on paper

From the edition of unknown size and date

With the printed signature and various other inscriptions in Japanese characters

Sight: 14.375” H x 9.875” W

$400-600

298

20th Century Japanese Woodcut in colors

Triptych of Bijin-ga (Beautiful Women)

Each: Woodcut in colors on Japanese paper laid to paperboard

Each: From the edition of unknown size and date

With the printed black ink signature and various Japanese characters in the lower corners of each image

Overall Image/Sheet: 15.125” H x 30.5” W

$150-250

Provenance: The Estate of Mario Armond Zamparelli, La Cañada, CA

299

Kikukawa Eizan (1787-1867)

Hanaogi from the House of Ogi strolling outside, circa 1830 Woodcut in colors on Japanese laid paper

From the edition of unknown size and date

With the printed black ink signature, inscriptions, and chopmarks in Japanese, lower left, and other various Japanese inscriptions in the upper half of the work

Sheet: 13.75” H x 8.875” W

$100-200

Provenance: The Estate of Mario Armond Zamparelli, La Cañada, CA

300

Yoshu (Hashimoto) Chikanobu (1838-1912)

Sixteen triptychs from the “Chiyoda Castle (Album of Women)” series, circa 1895

Each: Woodcut in colors on joined sheets of paper (triptych)

Each from the edition of unknown size and date

Each with printed signatures and various other inscriptions in Japanese characters

Sight of each triptych (overall): 13.5” H x 27.5” W

$1,000-2,000

301

Tasaburo Takahashi (1904-1977)

“Rafu Hanga-shu” (Nude Hanga album)

The complete set of twenty-five small woodcuts in colors on different types of paper, depicting nudes in various activities; from the edition of unknown size and date; each initialed in the block in either sheet corners: TA; each woodcut is tipped to its own booklet sheet from the verso of the upper sheet corners, into a decorative, handmade booklet in traditional “fukurotoji” (stub binding) construction, and stored within its original folder

The Largest: 3.5” H x 2.5” W; Booklet: 7.375” H x 5.375” W

$100-150

Provenance: The Estate of Mario Armond Zamparelli, La Cañada, CA

302

An English watercolor artist’s wood paint box

Early 19th century

Gilt-stamped to leather under lid: J. Newman’s Manufactory

The locking hinged lid with tooled and gilt-stamped leather to underside, revealing multiple cubbies and lidded compartments with painting supplies and implements, all above a lower drawer with brass pull revealing an enameled metal palette

3.5” H x 12” W x 9” D

$300-500

303

Algernon Mayow Talmage (1871-1939)

“Seaside View,” 1922

Oil on canvas laid to canvas

Signed and dated lower right: A. Talmage 1922; titled by repute

36” H x 49.5” W

$15,000-25,000

Provenance:

Purchased in London, England, circa 1970s

Private Collection, Falmouth, ME

Sold: Grogan & Company, Boston, MA, The Fall Auction, November 15, 2020, Lot 183

Notes:

Algernon Mayow Talmage is best known for establishing the Cornish School of Landscape, Figure, and Sea Painting in 1900 with fellow artist Albert Julius Olsson. He studied under Hubert von Herkomer at the Herkomer School of Art in Bushey, and later at the St. Ives School in Cornwall, where he founded an artists’ club and tutored Emily Carr. Talmage married Cornish artist Gertrude Rowe in 1896. Following the founding of the Cornish School, Talmage and Rowe ran their own art school. Talmage exhibited regularly including at a 1909 solo exhibition at the Goupil Gallery and at the Royal Academy of Arts in 1937, both in London. He was elected a member of the Royal Society of British Artists in October 1902 and worked as a war artist on the Western Front in France during World War I.

304

Henry John Stock (1853-1930)

“Dante’s Vision,” 1923

Watercolor with traces of graphite on wove paper mounted to thin paperboard

Signed and dated lower left: H. J. Stock 1923; titled in pencil in another hand on the verso of the frame; titled again on a gallery label affixed to the frame’s hanging wire

Image/Sheet: 14” H x 9” W; Paperboard: 14.5” H x 9.5” W

$2,000-3,000

Provenance:

Sold: Sotheby’s, Billingshurst, England, April 29, 1986, Lot 2944 Galerie Michael, Beverly Hills, CA

305

Hans Zatzka (1859-1945)

Woman carrying a basket of flowers Oil on panel

Signed lower left: H. Zatzka; variously inscribed in pencil, presumably in another hand, all verso 11.75” H x 4.625” W

$1,500-2,000

Provenance:

Sold: Crescent City Auction Gallery, New Orleans, LA, “2-Day Important Summer Estates Auction,” June 13-14, 2020, Lot 140

306

Jules Cheret (1836-1932)

“La Guirlande des fleurs” Pastel on canvas Signed lower left: J. Cheret; titled on a gallery label affixed to the frame’s backing board 15.875” H x 9.25” W

$3,000-5,000

Provenance: Jane Kahan Gallery, New York, NY

Paul de Longpré (1855-1911)

Paul de Longpré was a renowned French-American Lyon, France, he developed a passion for art Longpré began selling his artwork, and by his works at prestigious salons.

In 1890, financial difficulties brought on by bank immigrate to the United States, where he settled floral painting. However, it was his move to Los lush plant life, de Longpré built a home in Hollywood, his paintings. His home became a tourist destination

De Longpré was particularly celebrated for his which earned him the nickname “King of Flowers.” compositions that elevated floral still lifes to colors of petals, leaves, and blooms made his

Although his fame peaked in the early 20th and beauty. His paintings were widely exhibited world and popular culture. Today, his pieces art scene in Southern California.

French-American painter best known for his exquisite and detailed floral still lifes. Born in art at a young age, particularly for painting flowers. By the time he was 12, de his early twenties, he had become a highly regarded artist in Paris, exhibiting his bank failures in his home country, forced de Longpré to leave France and settled in New York City. There, he quickly gained a reputation as a master of Los Angeles in 1899 that solidified his legacy. Attracted by the city’s climate and Hollywood, surrounded by extensive gardens that became the subject of many of destination and a hub for art lovers and collectors.

his ability to capture the delicate nuances of different flowers, particularly roses, Flowers.” He worked primarily with oil paint and watercolor, often creating vibrant a fine art form. His attention to detail and skill in rendering the textures and his work highly sought after during his lifetime.

century, de Longpré’s work continues to be admired for its technical precision exhibited and reproduced in prints, further cementing his influence in both the art are part of various museum collections, and his legacy remains tied to the early

307

Paul de Longpré (1855-1911)

Floral spray

Oil on canvas laid to paperboard

Signed lower left: Paul de Longpré 21.25” H x 9.125” W

$1,000-2,000

308

A pair of English sterling silver entrée dishes 1827-1845

Each marked for sterling, London, and maker Robert Garrard II; lower components with George IV mark and dated: 1827; covers with Queen Victoria mark and dated: 1845 Each lid with a crown finial, one with an inner partition, with armorial showing the royal coat of arms and personalized 2 pieces

Each: 7.75” H x 10.625” W x 9.375” D

Total weight: 123.2 oz. troy approximately

$2,500-3,500

309

A George III sterling silver berry bowl 1759

Marked for sterling, date, and for London, with maker’s mark: CM [Christopher Makemeid]

The sterling footed bowl with repoussé scrolled, floral, and foliate motifs to body

3.375” H x 6.625” Dia. 12.7 oz. troy approximately

$500-700

An American silver tea service

Early/mid-20th century, Frederick Marquand

Each XRF tested for .900 silver; each with pseudo-British hallmarks with monarch, lion passant, and G / F.M. [within a crenelated box]

Comprising a teapot (9.75” H x 10.125” W x 6.375” D), a covered sugar bowl (9.5” H x 8.5” W x 5.75” D), and a milk jug (6.75” H x 6.375” W x 4.625” D)

3 pieces

Total weight: 75.8 gross oz. troy approximately

$1,500-2,000

A group of sterling silver and glass match strikes Late 19th/20th century

Most marked for sterling and most with British hallmarks for various makers Each ribbed glass body mounted with a silver or silver-plated insert, some with repoussé decorations to rim, together with one copper alloy insert set in pink glass 11 pieces

Largest: 6.5” H x 7” Dia.; Smallest: 1.75” H x 1.875” Dia.

$400-600

312

An Edward VII sterling silver coffee and tea service

1917

One with hallmarks for sterling, London, and dated; each marked: Goldsmith and Silversmiths Company

Comprising a hot water kettle, a coffee pot, a teapot, a covered sugar, a creamer, a hot milk jug, a waste bowl, and a muffin dish

8 pieces

Largest: 13.75” H x 10.25” W x 8.25” D; Smallest: 4.625” H x 3.625” W x 3.125” D

Total weight: 179.3 gross oz. troy approximately

$3,000-5,000

313

Elizabeth Strong (1855-1941)

Brittany and game

Oil on canvas laid to waxed canvas

Signed lower right: Elizabeth Strong

20” H x 24” W

$3,000-5,000

314

John Trickett (b. 1953)

Springer spaniel Oil on canvas

Signed lower right: John Trickett

30” H x 24” W

$800-1,200

315

William McPherson (1905-1972)

Golden Retriever at the beach, 1959

Pastel on tan paper

Signed and dated in pencil lower right: Bill McPherson / 1959Sight: 11.75” H x 10.5” W

$500-700

316 Roy Nockolds (1911-1979)

Two portraits of yellow Labrador Retrievers

Each: Oil on paperboard

Each: Initialed lower left: R.N. Sight of each: 6” H x 7” W (or reverse)

$300-500

317

Mid 20th Century American School

Dog portrait, 1959

Gouache and colored pencil on paper

Signed and dated, both faintly, at lower left

Sheet: 12.75” H x 8.75” W

$200-300

318

William McPherson (1905-1972)

Spaniel in a landscape

Pastel on tan paper

Signed and dated lower left: Bill McPherson / -1959Sight: 13.75” H x 10.75” W

$600-800

319

William McPherson (1905-1972)

Portrait of a Spaniel Pastel on tan paper

Signed and dated lower right: Bill McPherson / -1959Sight: 10.5” H x 9.375” W

$100-150

A Royal Crown Derby bone china ‘Old Imari’ dinner service 20th century

Most marked: Royal Crown Derby / English Bone China / [logo with crown] / Old Imari / 1128; most date marked for 1988: LI; two earlier dinner plates with alternate logo marks and lacking date mark

The dinner service decorated with blue, red, and gilt floral and geometric motifs, comprising 11 dinner plates (10.625”), 8 salad plates (8.625”), 8 bread and butter plates (6.325”), 8 rim soup bowls (8.5”), 8 flat cups (3.325”), 8 flat cup saucers (5.875”), 1 gravy boat (8.125”), 2 gravy boat saucers (8.5”), 2 oval serving bowls (10.25”), and 1 oval serving platter (16.125”) 57 pieces

$3,000-5,000

A set of eight Mintons gilt porcelain soup bowls Early 20th century, retailed by Tiffany & Co.

Each marked with pattern in red enamel: H1832; factory and retailer marks in pink; New York / Made in England With gilt foliate decoration to rim 8 pieces

Each: 1.5” H x 8” Dia.

$400-600

A Minton & Co. ironstone ‘Poonah’ dinner service

Circa 1841-73

Each stamped: POONAH [in a cartouche] / M & Co.; impressed: B . B / New Ironstone; marked in red: 6099

Comprising 31 dinner plates (10.25”), 11 salad plates (9”), 12 soup bowls (10.375”), 5 oval serving trays (largest: 19.25” W x 15.375” D), 1 round serving tray with handles (15.25” W x 13.5” D), 1 large soup tureen (10.75” H x 12.25” W x 10.5” D), 2 covered sauce tureens with underplate (overall: 6.625” H x 9” W x 8” D), and 3 covered servers (6.75” H x 11.75” W x 11” D) 66 pieces

$600-800

An assembled English ironstone ‘Flying Bird’ part dinner service

Early 19th century-1920s

Some marked for Mason’s and some marked for Davenport

Comprising 2 dinner plates (9.625”), 2 salad plates (8.5”), 6 soup bowls (9.75”), 1 large soup tureen (10” H x 14” W x 9” D) 3 hexagonal lidded and footed vegetable servers (7.75” H x 11” W x 10” D), 1 low hexagonal server (6” H), 1 larger hexagonal lidded footed server with opposed handles (11.25” H x 13.25” W x 9.5” D), 2 oval lidded servers, 2 pierced oval baskets with pierced underplates, 5 individual covered oval tureens and an extra unpaired lid (5” H x 7.25” W x 4.625” D), 2 lidded jars (7.5” H), 1 large oval serving platter (20” W x 15.25” D), 1 rectangular serving platter, and 6 small oblong serving dishes

38 pieces

$1,000-1,500

A set of twelve Mottahedeh porcelain ‘Tobacco Leaf’ dinner plates

Late 20th/early 21st century

Each marked: Mottahedeh / [crown] / V A / 1824 / Portugal; further marked: Metropolitan Museum of Art / 52 12 pieces

Each: 1.25” H x 10.75” Dia.

$400-600

325

A William & Mary-style walnut chest on stand 20th century

The chest with inlaid accents and four locking drawers with brass hardware, set on a single-drawer base with conforming hardware, raised on barley twist legs joined by a box stretcher

2 pieces

Chest: 24.75” H x 33.5” W x 21.25” D; Stand: 18.25” H x 37.5” W x 22.5” D

$600-800

326

A George III-style mahogany chest

Late 19th/early 20th century

The three-drawer chest with brass pulls on latticed escutcheons and lock plates, raised on bracket feet

32.25” H x 41” W x 21.5” D

$600-800

327

A pair of campaign-style brass-mounted dressers

Early 20th century

Each five-drawer dresser raised on bracket feet, with brass pulls, corner accents, and opposed handles, each with a gold-toned finish

2 pieces

Each: 32” H x 28.25” W x 9” D

$600-800

328

A George III oak Welsh dresser

Late 18th/early 19th century

The upper console with two dish racks above display niches centering opposed hinged locking cabinet doors, each revealing three small shelves, the lower console with three locking drawers raised on front cabriole legs and rear casters

2 pieces

Upper console: 49” H x 76.5” W x 7” D; Lower console: 33” H x 75” W x 19.5” D

$800-1,200

329

A set of twelve George III-style mahogany dining chairs

20th century

Comprising 10 side chairs and 2 armchairs, each with openwork back splat, the armchairs with more carved detailing and scrolled armrest terminals, each with a later fabric-upholstered seat cushion

12 pieces

Each side chair: 37.5” H x 21.75” W x 20.25” D; Each armchair: 40.75” H x 25.75” W x 21.5” D

$1,000-1,500

A Regency bookcase cabinet

Early 19th century

The upper console with inlaid accents to cornice above glazed locking cabinet doors revealing two shelves, the lower console conformingly decorated with inlaid borders, featuring a single drawer with inner partition and brass lion mask ring pulls, above locking cabinet doors revealing a single adjustable shelf 2 pieces

Upper console: 55.5” H x 48” W x 19” D; Lower console: 43” H x 48.5” W x 20” D

$700-900

331

A Victorian walnut Canterbury

Circa 1840

With burlwood veneer and four pierced racks joined by turned joints, above a single drawer and raised on turned legs with casters

20.5” H x 22.5” W x 16” D

$300-500

A large brass telescope in fitted case 19th century

With a smaller scope and mounted on a tripod stand or a smaller brass stand, housed in a handled box Telescope: 45” L; Stand stored: 57” L x 3.75” Dia.; Box: 6.25” H x 46.75” W x 9.25” D

$700-900

Provenance: Estate of Robert Baron, Huntington Beach, CA

333

George Armfield (1808-1893)

Hunting dogs in an interior, 1870 Oil on canvas laid to canvas

Signed and dated lower right: G. Armfield / 70 30” H x 50” W

$3,000-5,000

334

George Armfield (1810-1893)

Terriers hunting a fox

Oil on canvas laid to waxed canvas

Signed lower right: G. Armfield

16” H x 20” W

$800-1,200

Provenance: Bellechasse Antiques, New York, NY

335

Frank Cassell (1862-1908)

Dogs surrounding a bowl

Oil on canvas laid to waxed canvas

Signed with conjoined initials lower right: FCassell 12” H x 16” W

$300-500

336

George Armfield (1810-1893)

Spaniels hunting a pheasant Oil on canvas

Signed lower center: G. Armfield 12.25” H x 16” W

$700-900

337

Signed lower left: Frank Cassell 12.25” H x 16.25” W

$300-500

Frank Cassell (19th Century)

Dogs in an interior with a red blanket Oil on canvas laid to canvas

338

20th Century American School

Signed indistinctly lower left: H. W**** 14.125” H x 12” W

$400-600

Bird dog Oil on canvas

339

Colin Graeme (1858-1910)

Two spaniel puppies Oil on panel

Unsigned 8” H x 6” W

$400-600

340

Attributed to Alfred Wheeler (1851-1932)

Shetland sheepdog

Oil on canvas

Indistinctly initialed and dated or partially signed, lower left, possibly “AW93;” also with letters and numbers, verso, possibly “AW9,” and more distinctly (in a different hand), “x1164,” all verso 14” H x 12” W

$400-600

341

Colin Graeme (1858-1910)

Two spaniels

Oil on panel

Signed along the center of the left edge: Colin Graeme

8” H x 5.875” W

$400-600

Louis Riche (1877-1949)

Seated German shepherd Brass with metal base

Signed in the casting: L. Riche; with indistinct foundry impression: incised to interior: LA / H

20.125” H x 18.5” W x 8.25” D

$500-700

343

A Baroque ‘Vanitas’ needlework panel 18th century, likely English

The rectangular petit point fine needlework panel worked in silk, wool and metallic threads, with a cartouche inscribed “VANITAS VANITATUM ET OMNIA VANITAS”

[“vanity of vanities, and all is vanity”] surmounting an interior with a seated beauty attended by putti, with a crown and a fallen orb at her feet on a checkerboard floor, all surrounded by multiple figural and landscape vignettes, mounted to a stretcher and framed

Sight: 38” H x 27.5” W

$1,000-1,500

344

A Victorian slant-front desk

Late 19th century

Hinged marked: Hodges patent

The locking drop front revealing a fitted interior centering four small drawers to each side, above four larger locking drawers with brass pulls

36.5” H x 37.75” W x 19.5” D

$500-700

345

A George I walnut chest

Early 18th century

The chest with five locking drawers with burlwood fronts and later brass hardware, raised on bracket feet

35.25” H x 37.5” W x 22” D

$600-800

A Chippendale mixed wood chest of drawers

Late 18th century; likely Pennsylvania

With five locking drawers and later batwing brass pulls, flanked by fluted columnar pilasters, raised on later married bracket feet

34.5” H x 37.25” W x 20.25” D

$500-700

347

A George III mahogany small bow-front sideboard 19th century

With upper locking drawer above opposed smaller drawers, each with brass hardware, raised on tapered legs

28.5” H x 34” W x 18.25” D

$500-700

348

A group of Chippendale-style mahogany dining chairs 20th century

Comprising six side chairs with open ribbon-work back and and two associated armchairs with similar openwork to back, upholstery, one armchair with a variation of fabric from the 8 pieces

Each side chair: 38” H x 23” W x 24” D; Each armchair: 37.25”

$1,000-2,000

Purchased from Gumps, San Francisco

chairs and ball and claw front feet, back, each seat with fabric the rest

37.25” H x 25” W x 24” D

A George III mahogany fold-over games table

Late 18th/early 19th century

The single-drawer table with folder-over top revealing a green felt-lined surface, resting on two gate legs, each leg raised on casters

29.5” H x 36.25” W x 18” D

$400-600

A Victorian mahogany center table

Late 19th century

With inset leather top above a single locking drawer to one side, raised on scrolled trestle supports joined by a turned and block stretcher, set on casters

Without casters: 27.5” H x 47.25” W x 25.5” D

$400-600

351

A set of Victorian-style carved oak steps

Early/mid-20th century

With lion forms to each side

21.5” H x 17.75” W x 16.75” D

$600-800

A George III mahogany breakfront on stand

Early 19th century elements

The three-piece upper console with architectural cornice above four astragal glazed cabinet doors with illuminated interior, each revealing adjustable shelves above a single drawer, set on a stand with four drawers, raised on fluted legs, electrified 5 pieces

Upper console: 70” H x 103.5” W x 23” D; Lower console: 38.25” H x 103” W x 27” D

$1,000-1,500

353

A George III-style mahogany breakfront cabinet

Mid-20th century

Appears unmarked

The broken swan neck and latticework pediment cresting an architectural cornice, featuring four astragal glazed cabinet doors, each revealing three illuminated adjustable shelves, the lower console with three locking drawers centering opposed locking cabinet doors, each revealing a single shelf, electrified

Lower console: 34.5” H x 62” W x 18.5” D; Upper console: 55” H x 61” W x 15.25” D

$800-1,000

354

A George III mahogany server

19th century

The apron fitted with three drawers, with brass pulls

28.5” H x 72” W x 18” D

$400-600

355

A pair of neoclassical marble and lapis table lamps 20th century

The three-light lamps each with columnar marble standard, featuring lapis lazuli overlay and gilt-bronze Corinthian capitals and finial, electrified

2 pieces

Each: 35.5” H x 7” W x 7” D

$400-600

356

An English campaign-style brass-mounted mahogany pedestal desk Late 19th/early 20th century With brass pulls, hardware, and opposed handles, the top with inset gilt-stamped red leather surface and apron with three drawers, raised on two six-drawer pedestals

Overall: 30.5” H x 61” W x 32” D; Each cabinet: 24.25” H x 16” W; Top: 6.125” H

$1,000-1,500

Provenance: Estate of Robert Baron, Huntington Beach, CA

357

A Victorian carved wood fold-over games table 19th century

The demilune top with fold-over and swivel action, opening to a velvetlined interior over four turned supports raised on curved legs ending in block feet

Stored: 28.5” H x 36” W x 18” D; Open: 35.75” Dia.

$200-400

A Chinese contemporary blue and white wool rug Late 20th century, designed by Robert Clement for Sanders & Clement With tags verso: Custom Designed by Robert Clement / Sander & Clement / Los Angeles, Calif. / MITIN / Smoothproofed for life / RN 20363

14’ 10” L x 10’ 6.5” W

$1,000-1,500

359

Robert Stone (1820-1870)

Steeplechase scene

Oil on panel

Signed lower right: R. Stone

6.5” H x 12.75” W

$600-800

Provenance:

An unidentified Christie’s 19th Century Paintings Department auction, as one of two works in “Lot 146,” according to labels affixed verso

Notes:

There is a portion of an even older label than the Christie’s examples, also affixed verso, however, it is unclear if that label is for a framer, exhibition, or auction.

360

Robert Stone (1820-1870)

Fox hunting scene

Oil on panel

Signed lower right: R. Stone

6.6” H x 12.75” W

$600-800

Provenance:

White chalk notations on the panel’s verso and brown paper tape, reading “146 [small 2],” suggest that at one time, this painting was offered by Christie’s 19th Century Paintings Department as one lot, together with the other Robert Stone painting in our auction of this same size and general theme.

361

19th Century American School

Two horses

Oil on canvas laid to waxed canvas

Unsigned 12.125” H x 36.125” W

$800-1,200

362

19th Century Continental School

Woman on horseback, 1873

Oil on canvas laid to waxed canvas

Signed indistinctly and dated 73, lower left 29” H x 23.5” W

$500-700

363

Emil Volkers (1831-1905)

“In the Stable,” 1898 Oil on panel

Signed and dated lower left: E. Volkers 1898; titled in ink on a label affixed verso

9.375” H x 12.5” W

$1,000-1,500

364

Albert Clark (1821-1909)

“Briton II,” 1889 Oil on canvas laid to canvas

Signed and dated lower left: Albert Clark / 1889; titled on the frame 20” H x 24” W

$800-1,200

365 Henry Stull (1851-1913)

“Carbuncle,” 1905 Oil on canvas laid to canvas

Signed and dated lower right: Henry Stull / 1905; titled on the frame plaque 14.125” H x 18” W

$3,000-5,000

366

Colin Graeme (1858-1910)

A horse and two hounds, 1904

Oil on canvas

Signed and dated lower left: Colin Graeme. 1904

24” H x 18” W

$700-1,000

367

Colin Graeme (1858-1910)

Horse and dogs outdoors

Oil on canvas

Unsigned 24” H x 18” W

$600-800

369

368

James Thomas Wheeler (1849-1888)

Horse with dogs

Oil on academy board

With the incised signature and indistinct inscription lower left: James T. Wheeler

19” H x 21.75” W

$600-800

19th Century Continental School

Cows and pig in a barnyard, 1839

Oil on canvas

Signed and dated lower left: S. Cooper / 1839

13” H x 11.25” W

$500-700

370

An Amston sterling silver ‘Athene’ flatware service

Mid/late 20th century; Meriden, Connecticut

Each marked: H / Amston Sterling

Comprising 12 dinner knives (8.875”), 12 butter spreaders (5.75”), 12 dinner forks (7.125”), 12 salad forks (6.5”), 12 cocktail forks (6”), 12 cream soup spoons (6.25”), 24 teaspoons (6”), and 1 sugar spoon (6”)

97 pieces

Total weighable sterling: 87.6 oz. troy approximately

$2,000-3,000

371

A Gorham sterling silver ‘Melrose’ flatware service

Mid/late 20th century

Each marked for Gorham and for sterling, with pattern name

Comprising 12 dinner knives (8.875”), 12 butter spreaders (6.375”), 10 dinner forks (7.25”), 12 salad forks (6.625”), 13 oval soup spoons (6.75”), 12 cream soup spoons (6.375”), 4 serving spoons (8.5”), 1 teaspoon (6”), 1 salt spoon (4.125”), 1 sugar spoon (6.125”), 1 gravy ladle (6.375”), 1 serving fork (8.125”), 1 bon bon spoon (4.875”), 1 pastry server (6.75”), and 1 cheese knife (7.25”)

83 pieces

Total weighable sterling: 94.4 oz. troy approximately

$2,000-3,000

372

A Gorham sterling silver ‘Chantilly’ partial flatware service

20th century

Each marked for Gorham and for sterling

Comprising 5 dinner knives (9.25”), 6 butter spreaders (6.25”), 6 dinner forks (7.5”), 6 salad forks (6.5”), 4 oval soup spoons (6.75”), 6 teaspoons (5.875”), and 1 serving fork (8.625”), together with 1 associated sterling

Gorham dinner fork from another pattern

35 pieces

Total weighable sterling: 32.6 oz. troy approximately

$700-900

373

A Durgin sterling silver ‘Fairfax’ flatware service

Early 20th century, retailed by Spaulding & Co.

Each marked: Spaulding & Co. / [Durgin cipher] / Sterling / Pat’d

Comprising 12 place knives (9.75”), 3 place knives with different blades (9.75”), 4 dinner knives (8.75”), 9 dinner forks (7.875”), 12 salad forks (7.25”), 12 cream soup spoons (6.875”), 12 oval soup spoons (7.125”), 10 teaspoons (5.75”), 5 iced tea spoons (7.5”), and 3 serving spoons (8.5”), personalized

82 pieces

Total weighable sterling: 100.7 oz. troy approximately

$2,000-4,000

Notes:

Founded in 1853, Durgin was absorbed by Gorham following the founder’s death in 1905. Gorham continued to use the Durgin ‘D’ mark in manufacturing for decades to follow.

374

A Gorham sterling silver ‘Etruscan’ flatware service

Mid/late 20th century

Each marked for Gorham and for sterling

Comprising 12 dinner knives (9.75”), 6 dinner knives with alternate blade (9.625”), 17 dinner forks (7.625”), 12 salad forks (6.25”), 11 oval soup spoons (7”), 18 teaspoons (6”), and 4 serving spoons (8.375”)

80 pieces

Total weighable sterling: 84 oz. troy approximately

$1,500-2,000

Provenance: Estate of Robert Baron, Huntington Beach, CA

375

Three Revere-style sterling Mid-20th century

Each marked for sterling; marked for International numbered: 873

The footed bowls in graduated 3 pieces

Largest: 4.625” H x 9.125”

Total weight: 40.53 oz. troy

$800-1,200

silver bowls

one marked for Gorham and numbered: 41660; another and numbered: D259; the last marked for Manchester and graduated sizes, one personalized

9.125” Dia.; Smallest: 2.5” H x 4.5” Dia. troy approximately

sterling

376

A Howard & Co. sterling silver center bowl 1892

Dated and marked to underside: Howard & Co. / Sterling / New York The round bowl with pierced and repoussé floral motifs, raised on a pierced base

5.25” H x 12.75” Dia.

42.9 oz. troy approximately

$1,000-1,500

377

An International sterling silver ‘Orchid’ flatware service Late 20th century

Each marked: International Sterling Comprising 12 dinner knives (8.625”), 11 butter spreaders (5.75”), 12 dinner forks (7.25”), 12 viande forks (7.625”), 20 salad forks (6.375”), 12 cocktail forks (5.5”), 12 cream soup spoons (6”), 12 oval soup spoons (7.25”), 21 teaspoons (6”), 12 demitasse spoons (4.125”), 4 table/serving spoons (8.5”), 2 sugar spoons (5.875”), 1 serving fork (9”), 1 pie server (10”), 1 gravy ladle (6.375”), 1 bon bon spoon (4.875”), 1 pickle fork (5.875”), 1 cucumber server (6.25”), 1 jelly server (6.375”), 1 relish spoon (6.125”), and a carving set (knife: 10.25”)

152 pieces

Total weighable sterling: 148.6 oz. troy approximately

$3,000-5,000

378

A set of eleven International sterling silver mint juleps

Mid-20th century

Each marked to underside: International Sterling / La Paglia Designed / 145

Each with a pierced floral base

11 pieces

Each: 5.75” H x 3” Dia.

Total weight: 70 oz. troy approximately

$1,200-1,800

379

An International sterling silver ‘Continental’ flatware service

Late 20th century

Each marked for International Sterling

Comprising 12 dinner knives (8.875”), 12 butter spreaders (6”), 12 dinner forks (7.375”), 11 salad forks (6.75”), 12 cream soup spoons (6.375”), and 12 teaspoons (6.125”)

73 pieces

Total weighable sterling: 71.7 oz. troy approximately

$1,000-1,500

380

A Lunt sterling silver ‘Mount Vernon’ flatware service

20th century

Each marked: RLB [Rogers, Lunt & Bowlen Company] / Sterling

Comprising 12 dinner knives (9.375”), 11 salad forks (6”), 11 cream soup spoons (7”), and 13 teaspoons (5.875”)

47 pieces

Total weighable sterling: 33.7 oz. troy approximately

$700-900

381

A Lunt sterling silver ‘Eloquence’ flatware service

Late 20th century

Each marked: Lunt / Sterling / Eloquence

Designed 1953, comprising 17 dinner forks (7.375”), 18 salad forks (6.5”), 13 cream soup spoons (6.25”), 17 teaspoons (6.125”), 1 iced tea spoon (7.375”), 16 dinner knives (9.125”), and 1 place knife (9.875”), together with the following stainless: 7 associated butter spreaders, 1 place knife, 3 spoons, and an oyster pick

83 pieces

Total weighable sterling: 102.4 oz. troy approximately

$2,000-4,000

382

A pair of Poole sterling silver ‘Chippendale’ graduated trays

Early/mid-20th century

Each marked for Poole, sterling, and pattern name; alternately numbered 120 / 130

2 pieces

Larger: 15.625” Dia.; Smaller: 13.625” Dia.

Total weight: 79.1 oz. troy approximately

$1,000-1,500

383

A Porter Blanchard sterling silver ‘Fiddle’ flatware service

20th century

Each marked for Porter Blanchard and for sterling

Comprising 6 dinner knives (8.375”), 6 butter spreaders (5.5”), 6 luncheon forks (7”), 6 salad forks (6.75”), 6 ice cream spoons (6”), 6 teaspoons (6”), 1 small serving fork (6.5”), and 1 carving set (knife: 10”)

39 pieces

Total weighable sterling: 30.8 oz. troy approximately

$1,800-2,200

384

A Reed & Barton sterling silver ‘Fragrance’ flatware service

Mid-20th century

Each marked for Reed & Barton and for sterling

Comprising 12 dinner knives (9”), 12 butter spreaders (6”), 11 dinner forks (7.125”), 12 salad forks (6.125”), 12 cream soup spoons (6”), 12 teaspoons (6”), and 3 serving spoons (8.5”), together with 9 associated sterling and plated utensils from various makers including gravy ladles

83 pieces

Total weighable sterling: 77.9 oz. troy approximately

$1,000-2,000

385

A Reed & Barton sterling silver ‘Francis I’ flatware service

Late 20th century

Each marked for Reed & Barton and for sterling

Comprising 8 dinner knives (9.75”), 8 butter spreaders (5.875”), 8 dinner forks (8”), 8 salad/cake forks (6.25”), 8 cocktail forks (5.625”), 8 cream soup spoons (6”), 12 teaspoons (6”), and 1 serving spoon (8.5”)

61 pieces

Total weighable sterling: 68.5 oz. troy approximately

$1,500-2,500

Provenance: Estate of Robert Baron, Huntington Beach, CA

A Reed & Barton sterling silver ‘Hampton Court’ tea and coffee service

Mid/late 20th century

Each marked for Reed and Barton and for sterling, with pattern name Comprising a coffee pot (8.75” H x 10.875” W x 5.125” D), a teapot (6.75” H x 10.5” W x 4.625” D), a lidded sugar (6” H x 7.75” W x 4.375” D), a creamer (4.875” H x 5.5” W x 3.5” D), and a cachepot (3.75” H x 5.875” W x 4.5” D)

5 pieces

Total weight: 80.2 gross oz. troy approximately

$1,800-2,500

387

A Tiffany & Co. sterling silver pedestal bowl

Mid-19th century; Directorship of John Chandler Moore (1853-1869)

Marked: Tiffany & Co. / M [in a cartouche] / Quality 925-1000 / 1131 / 9632

With opposed grotesques and loop handles

10.5” H x 13” W x 11.75” D

56 oz. troy approximately

$1,000-1,500

388

A Wallace sterling silver ‘Grand Baroque’ flatware service

Mid/late 20th century

Each marked for Wallace and for sterling Designed 1941, comprising 12 dinner knives (9”), 8 butter spreaders (6.375”), 12 dinner forks (7.625”), 12 salad forks (6.375”), and 12 teaspoons (6.25”)

56 pieces

Total weighable sterling: 64.6 oz. troy approximately

$1,800-2,500

389

A Wallace sterling silver ‘Grand Baroque’ flatware service

Mid/late 20th century

Each marked for Wallace and for sterling

Designed 1941, comprising 11 dinner knives (9”), 13 dinner forks (7.625”), 12 salad forks (6.375”), 8 cream soup spoons (6.125”), and 11 teaspoons (6.25”)

55 pieces

Total weighable sterling: 68.9 oz. troy approximately

$1,500-2,000

390

A group of sterling silver serving utensils

Late 19th/20th century

Each marked for sterling; fish servers marked for Sheffield and London, dated 1870, and maker: R MEH [Martin Hall & Co.]; asparagus marked for London, dated 1878, Elizabeth III, and maker: HJL [Henry John Lias]; salad set marked for Reed & Barton

Comprising an Elizabethan fish server set (larger 12.625”), an Elizabethan asparagus tongs (9.375”), and a Reed & Barton ‘Francis I’ salad serving set (each: 9.5”), personalized 5 pieces

Total weighable sterling: 16.1 oz. troy approximately

$500-700

391

Michel Delacroix (b. 1933)

“Cour de Rohan” Oil on canvas

Signed lower left: Michel Delacroix; signed and with the artist’s device, titled, and inscribed “Paris,” all verso 28.75” H x 21.5” W

$10,000-15,000

392

Michel Delacroix (b. 1933)

“La diligence”

Oil on canvas

Signed and inscribed lower right: Michel Delacroix / “Paris”; signed and inscribed again, titled, and with the artist’s device and copyright statement, all verso 23.625” H x 28.5” W

$10,000-15,000

Josef Liesler (1912-2005)

Josef Liesler was a born in the small town of Czech painter who explored Surrealism in his training at the architectural and structural engineering ucení in Prague between 1934 and 1938, where

In 1938, the Munich Agreement was signed, Liesler and fellow artists formed a protest group group had one major show at the Prague Stocker during war time.

In the 1940s, Liesler explored themes of Surrealism, outlining. He also looked retrospectively at earlier creating related themes of theater, music and were a visual outlet to protest occupation and

Liesler had the freedom to reach new heights and irony increasingly influenced by Modern the Czech Technical University in Prague in 1945.

Liesler was a founding member of the Czechoslovak group’s members were focused on experimenting social realism. By this period, Liesler had achieved Academy and awarded Accademico Onorario Venice Biennale three times, and had extensive

From the 1950s to about 1975, Liesler illustrated died in Prague.

Vidolice near Kadan, Czechoslovia to German-born parents. He was a noted his work, as well as a graphic designer and illustrator. Liesler received his artistic engineering school Architektury a Pozemního Stavitelství na Ceském vysokém where he studied under artists Cyril Bouda, Oldrich BlaûÌcek and Josef Sejpka.

signed, which turned the Czech border region over to Hitler’s Germany. In response, group called “The Seven.” Though short-lived after disbanding in 1941, the Stocker Salon in 1939, exhibiting works that depicted man’s humanity and dignity Surrealism, branding his art “surreal reality,” in imagery that was colorful with bold earlier artists such as Francisco Jose De Goya Y Lucientes and Honore Daumier, and allegory. Allegorical images of monsters, ghosts, and beasts, in particular, and government oppression.

heights in his work post-war when he created imagery inspired by memory, fantasy Modern artists including Pablo Picasso, and Salvador Dali. He also began teaching at 1945.

Czechoslovak art group the “58” who were active in the 1950s and 1960s. The experimenting with new artistic forms and challenging the prevailing artistic style of achieved international fame and was elected a member of the Royal Belgian Onorario (honorary member) of the Academy of Florence. He participated in the extensive international exhibitions.

illustrated numerous books, and after 1975 designed more than 100 stamps. Liesler

393

Josef Liesler (1912-2005)

“Nadja Oprena o Lokte” (Nadja Leaning on Her Elbow), 1959 Oil on Masonite

Signed and dated lower right: Liesler 1959; signed and dated again, inscribed, and titled, all verso 39.25” H x 27.5” W

$2,500-3,500

Provenance:

Galerie Art Praha, Prague

Notes:

This lot is accompanied by a copy of a sales invoice dated 22.08.2001 from the gallery mentioned above, and a copy of a letter in Czech from Prof. PhDr. František Dvorák confirming that this work is in the hand of the artist.

In the present portrait of a young woman seated at a table, the sitter’s expression is difficult to read, but she seems deep in thought, holding her head in her hands, her elbows leaning on the table’s patterned cloth. Painted with bold, confident linework, and layers of gestural patterning, the portrait of sitter “Nadja” is emotionally provocative and showcases the artist’s modernist style and artistic influences.

394

A Steuben glass ‘Baluster’ stemware service

Late 20th century

Each with etched Steuben script mark; Box marked: Steuben Showroom / Bullock’s Wilshire Pattern 7877, comprising 12 caret wine glasses (5.75”), 12 water goblets (6.75”), and 4 cordials (4.375”), together with 2 smaller cordials in pattern 7926 (3.75”), the water goblets housed in a formed Bullock’s Wilshire box

30 pieces

Box: 7.875” H x 17.5” W x 13.25” D

$700-900

395

A pair of Chippendale-style mahogany side chairs

Late 19th/early 20th century

Each with carved openwork back depicting foliate motifs above a fabric upholstered seat, raised on ball and claw front feet

2 pieces

Each: 38.5” H x 23.75” W x 22.5” D

$300-400

396

A Classical Revival giltwood convex mirror 19th century

The mirror within an elaborately carved frame with acanthus leaves and crested by an eagle 56” H x 31.5” W x 8” D

$1,000-1,500

397

A set of six Queen Anne-style dining 20th century

Likely Hickory Chair Company, comprising fiddle back and seat upholstered in cotton 6 pieces

Each side chair: 38.5” H x 22.5” W x 23” D;

$500-700

chairs

two armchairs and four side chairs, each with cotton blend fabric, raised on front pad feet

D; Each armchair: 38.5” H x 27” W x 23” D

398

A Rustic stripped wood harvest table

Early 20th century

With slightly tapered legs

31.5” H x 76” W x 36” D

$700-900

399

An American Sheraton-style mahogany chest of drawers

Early 19th century

With four locking drawers and brass pulls with grape bunch motifs to escutcheons, raised on turned legs

40.5” H x 40.5” W x 21.25” D

$400-600

400

A Canadian stained pine cabinet

Early/mid-19th century; Frontenac or Victoria County Of mortise and tenon construction, the reeded cornice above two cabinet doors fitted with octagonal panels with fan corner accents, opening to reveal three shelves to each side 73.5” H x 50.5” W x 21.25” D

$1,000-1,500

Provenance:

Sold: Sotheby’s, New York, “Important Americana,” October 9, 1997, lot 430 Private Collector Palm Desert, CA, acquired from the above

Literature: c.f. Howard Pain, “The Heritage of Upper Canadian Furniture,” (Toronto: Van Nostrand Reinhold, Ltd.: 1978), pp. 177-181, 194-195

An Ansonia Renaissance Revival tall case clock

Late 19th century

The single-movement clock with silvered and gilt dial bearing Roman numeral hour marks and Arabic outer minutes track, housed in a Renaissance Revival wood case mounted with brass ornamentation including lion masks, foliate motifs, acanthus leaves, pictorial panels, a central panel depicting Cupid with a maiden, and the pendulum depicting Apollo riding a lion with a lyre

84.5” H x 21” W x 11” D

$1,000-1,500

An American Renaissance Revival carved wood side chair Circa 1870

The parcel gilt and ebonized wood chair with pierced seatback depicting a mask and foliate motifs, above a later fabric-upholstered seat, raised on turned legs joined by an H-stretcher 37.75” H x 16.5” W x 20” D

$500-700

A Classical Revival mahogany nine-tube long case clock 20th century, retailed by Marshall, Field & Co.

Dial marked: Chicago / Marshall Field & Co.; movement marked: Germany; subsidiary dials marked: Chime / Silent / Westminster / Whittington

The three-movement clock with nine tube chimes and a silvered and gold-toned metal dial bearing Arabic hour markers, including seconds sub-dial with Arabic track and a moon phase dial, housed in a glazed wood case with opposed columns

92.5” H x 28.75” W x 18” D

$600-900

The Traditional Collector

February 2026

A Riviere Studios “Wisteria” table lamp

Price Realized: $31,750

Consignment and Auction Inquiries: info@johnmoran.com Consign Today

Do you need a formal appraisal for insurance scheduling, estate tax ﬁling, gift or charitable donation? Moran’s team of USPAP compliant appraisers is here to meet your needs.

• USPAP Compliant • Quick Turnaround art - jewelry - decorative objects - furnishings and more

Sold at John Moran Auctioneers: Francois Boucher “The Vegetable Vendor: A Sheet of Studies,” c.1738

Price Realized:$81,250

SINCE 1969

Condition Reports

Each overall good condition. Very nicely rendered detail overall. Some slight variation to diameter of bowls. Some typical marks, scratches and rubbing to surface of all. Polish residue in crevices. Minor denting to rims. Interiors of pepper with soiling. One glass insert broken and retained with the lot.

Each overall good condition with tarnishing and light scratches commensurate with age.

Each overall good condition with tarnishing, scratches, and soiling commensurate with age. Each with wax residue. Weight includes wax residue.

The minaudiere with broken mirror missing a fragment. Each with residue to interior and perfumed scent. Each otherwise good condition with tarnishing and scattered scuffs and scratches commensurate with age.

Overall good condition with tarnishing, soiling, and light scratches commensurate with age. Weight includes nonsilver components.

Each overall good condition with tarnishing and light scratches commensurate with age. Weight does not include hollow-handled items. A few of the hollowhandled knives with small indentations to the handle. One tablespoon personalized.

Each overall good condition with tarnishing and light scratches commensurate with age. Each with denting to rim and body.

With margins. Toning throughout, including time staining along the extreme margin edges. A few 2” (or smaller) tears in the image and margins, scattered in the lower right quadrant, and with a few smaller areas scattered in the lower portion of the left margin, all now reinforced by the Japanese support sheet to which the work is laid. A flattened horizontal crease (presumably a prior folding crease) extending along the upper center of the image and margins. Three pale, unobtrusive pea-sized stains in the gray pigment, at the center of the work. A scattered hairline surface scratch running between the letters “vue” of the printed title. Other lesser defects. The sheet is loose, not matted.

Framed under glass: 36.5” H x 29.125” W x 2.25” D

Overall generally good appearance. With possibly full margins, the left, right, and lower margin edges are deckled. Overmat staining along the margins covered by the overmat. Occasional specks of pale (mostly) unobtrusive foxing scattered in the image and margins. A less than 1” horizontal crease in the lower margin edge, at right. Stray printer’s ink scattered just outside the platemark. The verso with uneven toning, specks of foxing, and minor surface soiling. The sheet is hinged to the overmat with two pieces of white tape from the verso of the upper margin corners.

Framed under glass: 21.75” H x 25.375” W x 1.5” D

Overall good appearance. With margins. The paper slightly toned and with some very pale and unobtrusive foxing in the upper margin. Not examined out of the frame.

Framed under glass: 29.5” H x 35.5” W x 1.75” D

Overall good appearance. With margins. Pale flecks of foxing scattered in the image, primarily visible in raking light. A small pale foxmark or iron filing in the figure’s right cheek. Not examined out of the frame.

Framed under glass: 18.375” H x 13.125” W x 1.375” D

Overall good appearance. With margins, the left and lower margin edges are deckled. A good impression. Very pale light-staining affecting only the sheet exposed from the overmat window. Flecks of pale foxing scattered along the verso of the lower margin edge, and a few other specks of foxing scattered on the verso. Two small unobtrusive areas of surface skinning on the verso of the upper margin corners. Two bands of white tape along the verso of the right margin edge. The sheet is hinged to the overmat with two pieces of hinging tape from the upper margin corners.

Unframed

With wide margins, somewhat trimmed both horizontally and vertically. The red pigment is slightly attenuated. Mat staining throughout the outer margin edges. The lower margin with minor surface soiling. The upper portion of the left margin edge with a few tiny edge abrasions. Back board staining, verso. The sheet is affixed to the overmat along the upper margin edge.

Framed under glass: 21.625” H x 17.625” W x 1.25” D

Overall good appearance. With margins. Pale lightstaining. The surface of the upper margin edge is slightly uneven, presumably attendant to how it’s framed. Not examined out of the frame.

Framed under glass: 26” H x 18.625” W x 1” D

Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Each with crazing to the glaze and tops with slight yellowing. One with a chip to tassel at lower corner

Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. One rice-sized repair to head feather tip. Two wing feathers with rice-sized chipped losses.

One with two 2” long vertical cracks in the rim. The middle with chipped losses to feet/base. Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Each with crazing to the glaze. No evidence of restorations or repairs under UV light.

Overall good condition with scattered minor scuffs and darkening/oxidation to bronze commensurate with age.

Overall good condition with wear, dust accumulation, minor soiling, and minor scuffs commensurate with age. Scattered small chips to pedestal.

Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. One footed cup with rice-sized chipped loss to edge of foot.

Six teacups with chips and/or vertical cracks. One saucer with cracks. One bread & butter plate with a pea-sized conchoidal chip to foot and four with a small chip to rim, one with cracks to underside, not surface-reaching. One dinner plate with pea-sized conchoidal chip to foot. One salad plate with dime-sized chip to rim, another with peasized chip to rim, and another with cracks to underside, not surface-reaching. One soup bowl with pea-sized chip to rim. The rest overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age.

Each overall very good condition overall with normal light shelf and handling wear. One tall water goblet with a fleabite to rim. One champagne coupe with rice-sized chip to rim.

Each overall good condition with minor shelf wear, minor wear to the gilding, scattered minor scuffs, and light scratches commensurate with age.

With scuffs, scratches, nicks, indentations, and small losses commensurate with age.

Each overall good condition with scattered scuffs, scratches, small nicks, and oxidation commensurate with age. Lacking at least two drop pendants. One accent detached and retained with the lot. Other small losses possible. Grapes out of original form.

With scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. The top with a 6” split in the wood and areas of degradation. Areas of insect grazing and attendant losses, concentrated to corners and legs. Drawer fronts with scattered splits. Losses to wood, concentrated verso and to legs. An older repair to top drawer front. Evidence of older wood worm throughout. Lacking locks.

Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. Oxidation to metal hardware. The top with heavy wear to finish, drink rings, and staining, with small losses from insect grazing along rear edge. Verso with evidence of older wood worm. The sides with splits in the wood.

With scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. Heavy wear to the leather top, with staining and losses. Two legs lacking bronze trimmings on the side of false drawers. Lacking key.

Repaired break to the wreath, with other possible small scattered repairs and cracks throughout. With scuffs, scratches, nicks, and older losses commensurate with age. Rubbed wear and soiling to the gilding.

Each overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. Each with scattered breaks in the caning, concentrated to backs at edges and the larger with a 3” long area of breaks. Each seat reinforced with updated wood, one with a 5” diameter loss to canning of seat. Updated upholstery in good condition with minor rubbed wear and mild soiling. The larger with soiling and some tears to the armrest fabric.

One branch broken and retained with the lot. Scattered chipped losses to the floral ends, with some lights bent out of original position. Each with soiling, surface grime, oxidation, and scattered scuffs and scratches commensurate with age. Crazing to vases.

Overall good condition with scattered scuffs, scratches, nicks, and indentations commensurate with age. Upper right corner of rectangular mirror with some de-silvering.

Overall good condition with minor shelf wear, scuffs, and light scratches commensurate with age. Felt feet applied to underside.

Each overall good condition with minor shelf wear, scuffs, and light scratches commensurate with age.

Each with minor shelf wear commensurate with age.

Overall good condition. Box with shelf wear, soiling, and a small tear to one lower corner.

With minor shelf wear commensurate with age. Sticker remnants to underside.

With minor shelf wear commensurate with age.

Each with soiling, oxidation, indentations, and scuffs and scratches commensurate with age.

Overall good condition with scattered minor scuffs, scratches, and oxidation commensurate with age.

One foot detached but retained with the lot. With scattered scuffs, scratches, nicks, soiling, and oxidation commensurate with age. Wiring should be checked by a qualified electrician prior to use. Moran’s does not guarantee the working condition of electronic equipment.

Each with areas of wear and small flaked losses to the silver plating. Each with shelf wear, scuffs and scratches, and oxidation commensurate with age.

With minor air bubbles and inclusions. Overall good condition with minor shelf wear, scuffs, and light scratches commensurate with age.

One plate with a quarter-sized loss at rim. Otherwise in overall good condition with minor shelf wear, scuffs, and light scratches commensurate with age.

Overall good condition with shelf wear, oxidation, and scattered scuffs and scratches commensurate with age. Wiring should be checked by a qualified electrician prior to use. Moran’s does not guarantee the working condition of electronic equipment.

Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. One side with about five 1” long black scuffs.

Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. No evidence of restorations or repairs under UV light.

With a rice-sized glaze pop to the shoulder. Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age.

Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age.

Visual of each: Overall generally good appearance. Varnish discoloration, specks of grime, very fine craquelure, and minor frame abrasion along the extreme edges, all commensurate with age. The castle on the left side of the work with three, less than 2” vertical hairline cracks, possibly in the panel and not just the pigment, at the center of the upper edge. The same work with two pinpoint-sized losses at the extreme upper corners. The other castle work with a panel that curves outward, presumably naturally, with the lower edge protruding beyond the frame opening.

Blacklight of each: No evidence of restoration.

Frame of each: 19.25” H x 17” W x 4” D

Visual: Overall generally good appearance. Varnish discoloration, grime, and dust accumulation. A pinpointsized pigment loss near the center of the work.

Blacklight: A few pea-sized (or smaller) touch-ups scattered in places along the extreme edges.

Frame: 14.875” H x 12.25” W x 2.375” D

Visual: Overall good appearance. Minor varnish discoloration and grime. Slight pigment wear scattered in the figures and cattle at the center of the work. A pinheadsized loss in the pigment and surface of the panel in the upper portion of the right edge. An unobtrusive, 0.25” diagonal scratch with two attendant flecks of pigment loss near the center of the right edge. Scattered frame abrasion along the extreme edges, primarily along the lower edge. A chip in the panel, however, seems to be a natural part of the surface.

Blacklight: No evidence of restoration.

Frame: 13.5” H x 21.75” W x 2.5” D

Overall generally good appearance. Minor varnish discoloration and grime. Fine craquelure throughout, and a few areas of unstable craquelure with attendant, small pigment losses, primarily in the upper half of the work.

Blacklight: No evidence of restoration.

Frame: 16” H x 20” W x 2.5” D

Visual: Overall generally good appearance. Varnish discoloration and grime. Fine craquelure scattered throughout. An unobtrusive, approximately pinhead-sized loss near the upper edge, at right. A penny-sized scattered area of very minor wear to the pigment near the lower left corner.

Blacklight: A pea-sized area of touch-up near the lower portion of the left edge.

Frame: 14.25” H x 18.375” W x 1.625” D

Significant grime and varnish discoloration throughout. An approximately 1.5” H x 0.5” W irregular vertical area of touch-up directly above the peak of the roofline at left, likely attendant with a repaired tear. A pea-sized repaired hole in the tree branches near the upper portion of the left edge. A 0.5” diagonal hairline touch-up in the foreground shrubs at lower right.

Blacklight: Scattered touch-ups attendant with the repaired areas just described. Additionally, a 0.5” H x 0.75” W touchup extending diagonally from the center of the extreme left edge.

Frame: 25.5” H x 34” W x 2.5” D

Visual: Overall generally good appearance. Stable craquelure scattered throughout. Stretcher bar creases along all four sides.

Blacklight: Extensive areas of touch-up throughout the sky.

Frame: 19.5” H x 26.5” W x 2.25” D

Overall generally good appearance. Pale light-staining and the colors slightly attenuated. A rice-sized abrasion in the center, just above the young boy’s head. Four areas of tape remnants, the largest 0.25” H x 0.625” W, in places along the upper sheet edge, as well as a few minor flecks of old glue residue scattered in the extreme outer edges. A few scattered flecks of pigment loss, primarily in the upper and lower left corners. As mentioned, the sheet is laid to board. The work is loose, not matted.

Framed under glass: 21” H x 26.25” W x 2.5” D

Visual: Overall generally good appearance. Very fine craquelure, varnish discoloration, minor darkening to the pigment, dust accumulation, and grime, all commensurate with age. Visible abrasions that have been touched-in scattered along the upper, lower, and the upper portion of the left edge.

Blacklight: As mentioned above, areas of visible touch-ups, the largest area measuring 0.25” H x 1.5” W along the upper edge, at right.

Frame: 14.125” H x 11.75” W x 1.75” D

Each with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Each with older losses, the footed with chips to rim. No evidence of restorations or repairs under UV light.

Lidded bowl reassembled from repaired breaks. Each with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Footed with pinholing to glaze with attendant oxidation.

Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. The rim of irregular shape and with imperfections. Scattered pinholing with attendant oxidation. Crazing to the glaze around rim where it thins, as well as a 1.5” x 1.5” area of exterior. No evidence of restorations or repairs under UV light. The box with normal shelf wear.

Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Scattered soiling. No evidence of restorations or repairs under UV light.

The rim with a 1.75” long area of repaired break (2 pieces). With shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age.

Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. No evidence of restorations or repairs under UV light.

Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Sticker ghost to underside. No evidence of restorations or repairs under UV light.

Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. The underside with inked inscription, previous dealer’s markings, and a previous sticker. No evidence of restorations or repairs under UV light.

Restoration to two leaves and one flower petal. With shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age.

Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Crazing to glaze throughout with attendant oxidation. No evidence of restorations or repairs under UV light.

Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. No evidence of restorations or repairs under UV light.

Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. No evidence of restorations or repairs under UV light.

Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Each with pinholing and attendant oxidation. One with older chipped losses to foot rim. No evidence of restorations or repairs under UV light.

Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Scattered pinholing with attendant oxidation, including to areas of center of well, with slight bubbling to the glaze. Rim and foot rim each with older fleabite chips. No evidence of restorations or repairs under UV light.

With shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. No evidence of restorations or repairs under UV light.

Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Soiling to interior. No evidence of restorations or repairs under UV light.

Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Pinholing to glaze of smallest vase, with attendant oxidation. No evidence of restorations or repairs under UV light.

One with a 6.5” long repaired break to rim with other restoration to adjacent areas. Each with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Crazing to the glaze throughout, pinholing, and attendant oxidation.

Each with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. One teapot with broken and repaired lid, another lacking a lid. Each cup with chips to rim. Saucers with pinholing to glaze.

Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. No evidence of restorations or repairs under UV light.

Overall good condition with shelf wear and minor scattered scuffs and scratches commensurate with age.

Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. The rim with a 0.5” long chipped older loss. Previous dealer’s markings and sticker fragment to underside. No evidence of restorations or repairs under UV light.

Each with shelf wear, soiling, scattered minor scuffs, and inherent firing flaws commensurate with age. One lacking lid, another with broken and repaired lid. The cup with a vertical crack. No evidence of restorations or repairs under UV light.

Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. One bowl with remnants of characters to interior well. No evidence of restorations or repairs under UV light.

Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. No evidence of restorations or repairs under UV light.

With an older 2.5” diameter U-shaped crack to rim. Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Previous dealer’s marks to underside. No evidence of restorations or repairs under UV light.

Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. No evidence of restorations or repairs under UV light.

Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Minor soiling. No evidence of restorations or repairs under UV light.

Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age.

Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. The rim with an older rice-sized chipped loss. Scattered pinholing, with attendant oxidation. No evidence of restorations or repairs under UV light.

Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. No evidence of restorations or repairs under UV light. One stand with losses and a break to upper rim.

Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. No evidence of restorations or repairs under UV light. Wiring should be checked by a qualified electrician prior to use. Moran’s does not guarantee the working condition of electronic equipment.

With two 3” x 2.25” areas of restoration to neck. With shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. The underside with a pea-sized start of a hole being drilled, issuing cracks in the glaze.

Each overall good condition with scattered scuffs, scratches, shelf wear, and rubbed wear to polychrome and gilding commensurate with age. Each with wear and bumping to opening juncture, one with a repaired break and another with restoration.

With scattered scuffs, scratches, shelf wear, and rubbed wear to polychrome and gilding commensurate with age. With wear and bumping to opening juncture.

Each overall good condition with scattered scuffs, scratches, shelf wear, and rubbed wear to polychrome and gilding commensurate with age. Each with wear to the opening juncture and possible restoration, with craquelure to lacquer throughout.

With even pile-wear, soiling, and typical signs of wear commensurate with age and use. Issues include, but not limited to: fading throughout, heavy trafficked wear to pile with attendant exposed warp, breaks to selvage edges, and a 2” diameter near-hole.

100

Overall good condition with even pile-wear, soiling, and typical signs of wear commensurate with age and use. Issues include, but not limited to: dye migration, scattered losses and loose threads at fringes, and the rug has been shortened at fringe edges.

101

With soiling and typical signs of wear commensurate with age and use. Issues include, but not limited to: uneven fading, scattered areas of heavier pile wear, scattered moth grazing, small breaks to selvage edge, the rug has been shortened at fringe edges, one corner with losses and attendant loose threads, and multiple stitched repaired cuts, the longest measuring 8” long.

102

103

Each overall good condition with scattered scuffs, scratches, shelf wear, and rubbed wear to polychrome and gilding commensurate with age. Each with wear at opening juncture, one with bumping and indentation and a small loss, another with multiple repairs at juncture.

104

Each overall good condition with scattered scuffs, scratches, shelf wear, and rubbed wear to polychrome and gilding commensurate with age. Each with wear and bumping to opening juncture. One with a repaired break, and two with craquelure to the lacquer.

105

106

107

Each overall good condition with scattered scuffs, scratches, and minor indentations commensurate with age. The dish with a dent near rim.

108

Each with scattered scuff, scratches, abrasions, and indentations commensurate with age. Each with a slight tilt. One with wax remnants to nozzle and base. Felt applied to undersides.

109

Each overall good condition with tarnishing and light scratches commensurate with age. One Kiddush cup with a dent to base. Another with bent rim. One underplate with a dent.

110

Overall good condition with tarnishing and light scratches commensurate with age. Small dents to foot and rim.

111

Each overall good condition with tarnishing and light scratches commensurate with age.

112

Visual: Overall generally good appearance. Crazing throughout. Stretcher bar creases along each edge.

Blacklight: Flecks of touch-up in the figures face, and surrounding areas. Bands of touch-up in the outer edges, primarily in the upper edge and the lower left corner, with four attendant patches verso.

Frame: 40” H x 32.5” W x 3.5” D

113

Visual: Overall good appearance. Fine crazing throughout. Stretcher bar creases along the left and right sides. As mentioned, the canvas has been relined.

Blacklight: Two approximately 1.25” H x 2” W (or reverse) areas of touch-up in the lower right quadrant, as well as occasional smaller touch-ups in the upper right corner, in the figure’s raised hand, and a few others, smaller, scattered in the upper half of the sky or on the figure.

Frame: 67.75” H x 49.25” W x 5” D

Visual: Each overall generally good appearance. Crazing throughout, primarily visible in the skin of the figures. Soft stretcher bar creases, primarily visible in raking light. Minor scattered frame abrasion. The portrait of Sir Robert Sinclair with a few hairline surface scratches, 3” (or smaller). The portrait of Lady Helen Lindsay with two 1.5” (or smaller) horizontal surface scratches.

Blacklight: The portrait of Sir Robert Sinclair with a 0.25” H x 0.75” W touch-up in the extreme right edge, and a few scattered pinhead-sized or smaller touch-ups throughout, but concentrated in the lower half. The portrait of Lady Helen Lindsay with a rice-sized touch-up in the background to the left of her forehead, and occasional scattered touchups primarily in the frame abrasion. Each with heavy varnish application.

Each frame: 34.5” H x 28” W x 2.5” D

115

Visual: Overall generally good appearance. Craquelure throughout with a few attendant pigment losses, the largest pea-sized in the center of the lower edge. Stretcher bar creases along each edge. A few tiny specks of stray house paint, two in the lower right quadrant and one near the center of the left edge.

Blacklight: A few specks of possible old touch-up in the upper right corner. A heavy layer of varnish has been applied.

Frame: 30.75” H x 26.75” W x 2.75” D

116

Overall generally good appearance. A repaired vertical split down the center of the thick wooden panel, showing to some degree on both recto and verso. A few scattered pigment losses revealing the underlying gesso near the lower left corner, the largest 0.125” H x 0.375” W. Scattered craquelure throughout, most of which follows the grain of the wood, with attendant rice-sized (or smaller), touched-in pigment losses. Dust accumulation, surface grime, edge wear, traces of modern adhesive along the right edge of the panel, and other lesser defects.

Unframed

117

Grime, scattered fine craquelure, surface scuffs and scratches, wear to the pigment, small occasional losses along the image and border, darkening, and abrasions, all commensurate with age. A vertical 3” crack into the panel, extending from the lower edge and near the center of the work. A small loss to the panel in the extreme lower edge, right of center. Other lesser defects.

118

With losses to enameling, oxidation, soiling, and small losses to metal, concentrated to edges.

Framed: 8.625” H x 7.125” W x 1” D

119

Grime, craquelure and areas of unstable craquelure with small attendant pigment losses, surface scuffs and scratches, wear to the pigment, especially in the lower half of the work, losses along the edges, darkening, and abrasions, all commensurate with age. Other lesser defects.

120

Grime, craquelure and areas of unstable craquelure with small attendant pigment losses (two small losses affecting the painted inscription), surface scuffs and scratches, wear to the pigment, darkening, and abrasions, all commensurate with age. Other lesser defects.

121

Each overall good condition with minor shelf and handling wear.

122

Each overall good condition with minor shelf and handling wear.

123

Each overall good condition with dust accumulation, scattered minor scuffs, and darkening/oxidation to bronze commensurate with age. Some areas with wear to patination.

124

With scattered scuffs, scratches, nicks, shrinkage cracks, indentations, soiling, and separation at joints commensurate with age. Repairs to front feet, with likely older repairs throughout. Staining to top, which is slightly bowed. Older cracks in the wood panels. Cabinet doors likely with replaced hinges, slightly loose. Evidence of older wood worm throughout. Includes key. Updated brass pulls.

125

With scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. The seatback with two 6” long cracks, the rear support with a 5” long loose portion at one side. Older losses and chips throughout.

126

Each overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. Soiling and chipped losses and rubbed wear to the paint and gilding throughout.

127

Each overall good condition with soiling, scattered scuffs and minor indentations, and verdigris/oxidation to bronze commensurate with age.

128

Overall good condition with wear, dust accumulation, and minor scuffs commensurate with age. Chipped losses along rim of base, with plaster adhered to underside.

129

With shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Possibly with repaired break and attendant loss verso. Wear and losses to patination.

Each overall good appearance. Some of the works on paper with pale light-staining, occasional specks of foxing, wear, and other lesser defects, all commensurate with age. The two medals with minor tarnishing.

Nine framed under glass: Smallest: 8.5” H x 6.5” W x 0.625” D; Largest: 16” H x 30.75” W x 1” D

131

Each overall generally good appearance. Pinhead-sized (or smaller) areas of pale foxing, minor surface soiling, and occasional soft handling marks scattered throughout, all commensurate with age. The left sheet with a tear measuring 1,” and another, 0.75,” both running horizontally near the center of the right edge. The right sheet with very pale, uneven staining in the lower right quadrant, primarily visible in raking light. Each work is slightly sandwiched between the overmat and the cardboard backing. In some areas, the overmat has detached from the cardboard backing in a few places, revealing that the sheets taped to the backing with brown paper tape along the margin edges, presumably on all sides.

Each framed under glass: 32.75” H x 26” W x 1.75” D

132

The title plate is a rich impression with a good overall appearance. Wide margins on three sides, with the upper half of the upper margin made-up from a separate strip of laid paper. Some of the other plates with their margins skillfully made-up either partially or fully with other strips of laid paper. Plate 3 with a 1.5” H x 3” W hole in the center of the image made-up from a separate sheet of paper with part of the right foot of the central commode drawn in India ink, and with a tongue-shaped repaired tear in the blank of the plate near the lower right corner. Plate 4 with a 0.75” vertical tear (backed with glassine tape) in the upper margin, not affecting the plate. Plate 5 with one distinct vertical and one distinct horizontal flattened crease through the plate, not affecting the made-up margins, showing mostly verso. Plate 7 with a distinct vertical flattened crease through the plate, showing mostly verso. All plates with slight surface soiling and occasional creases and foxmarks showing mostly verso. Other lesser defects. The endpapers with various French inscriptions and numeric notations, all in pencil.

Overall: 10.25” H x 14.25” W x 0.5” D

133

Overall good appearance. With margins and the colors good. A few of the plates with an occasional foxmark in the blank below the image. Only one of the plates, “Queen’s State Bedchamber / Windsor Palace,” examined out of the frame, however, as all of these plates are matted and framed in exactly the same manner, it can be assumed that the others would reveal similar features within their frames. The one unframed plate with narrow margins beyond the platemark. Very pale and unobtrusive mat staining to the portion of the sheet beyond the printed title. The work is hinged to the back mat with two long strips of masking tape from the upper portion of the sheet, verso. Only one of ten examples examined out of the frame.

Each framed under glass: 17” H x 19” W x 1” D

134

Foot stirrup is broken. Overall good condition with dust accumulation, scattered minor scuffs, and darkening/ oxidation to bronze commensurate with age.

135

One cracked, several with chipped losses at edges. Each with soiling and handling wear commensurate with age. Each frame with small chipped losses, concentrated at corners.

136

Each with heavy uneven verdigris throughout. Each with soiling/weathering, scuffs and scratches commensurate with age and possible outdoor use.

137

Lacking floral boss on front door. With scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. Older chipped losses to the wood throughout. Lacking key.

138

Overall good condition with scattered scuffs, scratches, nicks, and abrasions commensurate with age. Rubbed wear and soiling to the gilding throughout.

139

Overall good condition with dust accumulation, minor creasing, and wear commensurate with age. Tapestry with some scattered areas of loose weave and minor stitch losses with attendant gaps, especially to sky area and near lower edge. A few scattered areas of repair stitching. Tapestry with an added beige woven braid trim to front edges and with linen scrim lining to the back. Loose stitching to woven braid edging in areas. Scattered minor stains and some marks to lining. Velcro fastener strip added to top edge of the back.

140

Overall good condition with general wear, dust accumulation, and soiling commensurate with age. Each panel with several scattered stitched repairs, and each backing with scattered stains.

141

Overall good appearance. Scattered, very faint surface scratches, mostly showing in raking light, commensurate with age.

Frame: 14.875” H x 17.875” W x 2” D

142

With scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. Scattered losses and cracks to veneer and inlay, concentrated to edges and corners. Losses to drawer front corners. Includes key.

143

Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. At least 8 soup tureen lid finials with a small chipped loss. Some pieces with very minor rubbed wear to gilding. The large round handled platter with a 4” x 1.75” repaired break. Some items with minor soiling.

144

Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. One bread and butter plate with chip chipped losses to lacing at rim. Some with minor soiling. Crescent plate with a 3” crack at rim with attendant small loss. Cream and sugar tray with a 4” area of repaired breaks to rim. Hors d’oeuvre tray, candelabra, and ashtray each with more soiling. Large serving bowl with a pea-sized chipped loss at rim.

145

Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. One dinner plate with a 0.75” x 0.375” chipped loss to rim, three with pea-sized chips to rim, and two with ground down foot. One luncheon plate with a pea-sized chip to rim. One large saucer with pea-sized chipped loss to rim. Some items with minor soiling.

146

Each overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. At least one leg with repair at juncture. Each with older chipped losses throughout. Upholstery of each overall good condition, one with a pea-sized stain at front edge and with some rippling to seat from under-stuffed cushion.

147

Lacking one pole lug. Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. Heavy rubbed wear and losses to polychrome, scattered chipped losses to the wood.

148

Each with shelf wear, scuffs and scratches, and oxidation commensurate with age. Crazing to the glaze of ceramic elements. Wax residue throughout.

149

Overall good condition with inherent flaws and minor wear commensurate with age. The frame with some soiling and three pea-sized abrasions to lower panel.

Framed: 12” H x 14.75” W x 1.875” D

150

Overall good appearance. Slight surface scratches and grime.

Framed without glazing: 19.5” H x 14.75” W x 2” D

151

Visual: Overall good appearance. Two pea-sized (or smaller) abrasions with attendant pigment loss near the center of the right edge. Various surface scuffs or scratches scattered primarily in the outer edges, the longest 5.5” W, along the right portion of the lower edge, partially affecting the signature.

Blacklight: No evidence of restoration.

Frame: 27.5” H x 41.5” W x 2.75” D

152

Visual: Overall good appearance. Craquelure primarily in the white pigment of the clouds. A few minor areas of surface soiling, the largest 1” H x 0.75” W, in the silk fabric of the ship’s sails. Two fine snags in the tread of the silk, the longest 1”, in the leftmost sail of the ship.

Blacklight: No evidence of restoration.

Framed under glass: 24.25” H x 32.25” W x 4.25” D

153

Visual: Overall generally good appearance. Dust accumulation, grime, and varnish discoloration. Very fine occasional craquelure. A scattered diagonal 1.5” hairline surface scratch, with attendant flecks of pigment loss, in the sky of the upper left quadrant. A pinhead-sized pigment loss at the center of the upper edge, another smaller area of pigment loss to the top layer at the center of the left edge, and a few other smaller flecks of pigment loss scattered occasionally in the sky.

Blacklight: No evidence of restoration.

Frame: 13.625” H x 15.625” W x 2.25” D

154

Visual: Overall good appearance. Two small, very fine and unobtrusive areas of craquelure near the center of the left edge. Minor scattered frame abrasion in places along the left edge.

Blacklight: No evidence of restoration.

Frame: 23.25” H x 29.125” W x 3” D

155

Visual: Overall good appearance. Stretcher bar creases showing slightly along all but the lower edge.

Blacklight: No evidence of restoration.

Frame: 17” H x 23” W x 3” D

156

Visual: Overall good appearance. Occasional specks of grime, primarily in the lower left quadrant.

Blacklight: No evidence of restoration.

Frame: 27.5” H x 33.375” W x 3” D

157

Visual: Overall good appearance. Minor varnish discoloration and specks of grime. A few small clusters with scattered thin craquelure, primarily visible in raking light. One 1.5” diagonal loss and pea-sized loss, all visibly touched-in, in the frontmost boat of the lower right quadrant. Two unobtrusive pinpoint-sized losses, one each in the upper and lower right quadrants.

Blacklight: A 2” H x 2” W area of touch-up in the area mentioned above in the frontmost boat of the lower right quadrant. A few smaller, approximately 0.5” areas of touch-up scattered in the sky of the upper left quadrant.

Frame: 28.5” H x 36.25” W x 1.25” D

158

Overall good appearance. Minor pinhead-sized indentations in the sky of the upper left quadrant. As mentioned, the sheet is laid to paperboard. The work is taped to the overmat from the verso of the paperboard’s edges.

Framed under glass: 21.75” H x 21.75” W x 2.25” D

159

Overall good appearance. Pale light-staining. A few soft diagonal surface scuffs in the center of the lower half, the longest 3” above the black cattle.

Framed under glass: 18.25” H x 25.25” W x 2” D

160

Luohan snuff bottle with restoration at neck. Loss to Buddha’s hand base. Each otherwise overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. All ivory spoons are removed and no longer extant.

161

Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. The white with crazing and attendant oxidation. The squared script bottle with older chips to two corners as well as to rim. All ivory spoons are removed and no longer extant.

162

Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. All ivory spoons are removed and no longer extant.

163

Each overall good condition with minor shelf wear, scuffs, and light scratches commensurate with age. Blue with multiple restorations to previous breaks at the shoulder and neck. All ivory spoons are removed and no longer extant.

164

Each overall good condition with minor shelf wear, scuffs, and light scratches commensurate with age. All ivory spoons are removed and no longer extant.

165

Each overall good condition with minor shelf wear, scuffs, and light scratches commensurate with age. All ivory spoons are removed and no longer extant.

166

Overall good condition with minor shelf wear, scuffs, and light scratches commensurate with age. All ivory spoons are removed and no longer extant.

167

Each overall good condition with minor shelf wear, scuffs, and light scratches commensurate with age. Some with soiling to interior or surface grime. Rose quartz with chipped losses to lid and rim. All ivory spoons are removed and no longer extant.

168

Each overall good condition with minor shelf wear, scuffs, and light scratches commensurate with age. All ivory spoons are removed and no longer extant.

169

Overall good condition with minor scuffs and scratches commensurate with age. All ivory spoons are removed and no longer extant.

170

Each overall good condition with minor shelf wear, scuffs, and light scratches commensurate with age. All ivory spoons are removed and no longer extant.

171

Each with soiling, oxidation, scuffs, and scratches commensurate with age. Tibetan with losses to inset glass. All ivory spoons are removed and no longer extant.

172

In good condition overall with light handling wear.

173

Overall good condition with shelf wear and minor scuffs and scratches commensurate with age. The rim with a fleabite chip.

174

The lid with a small chipped loss to rim of juncture with body and two fleabites to exterior rim. Otherwise good condition with shelf wear and minor scuffs and scratches commensurate with age.

175

Chipped loss at the crest. With wear, dust accumulation, and minor scuffs commensurate with age.

176

One branch with loss, and chipped losses to flowers and leaves. With shelf wear and scattered minor scuffs and scratches commensurate with age.

177

Overall good condition with wear, dust accumulation, and minor scuffs commensurate with age. Possibly with chipped loss at bottom right proper. No evidence of restorations or repairs under UV light.

178

One with repair to beak. Each overall good condition with wear, dust accumulation, and minor scuffs commensurate with age.

179

Overall good condition with wear, dust accumulation, and minor scuffs commensurate with age.

180

Overall good condition with wear, dust accumulation, and minor scuffs commensurate with age.

181

Overall good condition with wear, dust accumulation, and minor scuffs commensurate with age. No evidence of restorations or repairs under UV light.

182

Scattered chipped losses including but not limited to phoenix feathers, peonies, and lid juncture. With shelf wear, oxidation, and scattered scuffs and scratches commensurate with age. Wiring should be checked by a qualified electrician prior to use. Moran’s does not guarantee the working condition of electronic equipment.

183

Overall good condition with wear, dust accumulation, and minor scuffs commensurate with age.

184

Overall good condition with wear, dust accumulation, and minor scuffs commensurate with age.

185

Overall good condition with wear, dust accumulation, and minor scuffs commensurate with age.

186

Overall good condition with wear and minor scuffs commensurate with age.

187

With weathering, wear, soiling, dust accumulation, and scattered small losses commensurate with age and outdoor use.

188

Overall good condition with minor shelf wear and scattered scuffs and scratches. Possibly with small chipped losses.

189

Overall good condition with minor shelf and handling wear commensurate with age.

190

Overall good condition with minor shelf and handling wear commensurate with age. Stand with areas of wear to the wood finish.

191

Overall good condition with minor shelf and handling wear commensurate with age.

192

Last registered 2022. Buyer assumes all back registration and smog fees. Per DMV, approximate costs are: $1,802. New front tires and battery, mostly recall-current. One original key. Carfax and inspection paperwork available upon request. Exterior overall good condition with scattered scuffs and scratches, including but not limited to: the front passenger’s side wheel well with a 6” long scratch and paint loss, and the rear bumper with scuffing and a pea-sized paint loss. Interior overall good condition with minor soiling to mats and scattered small scuffs and scratches to paneling, concentrated to driver’s side door.

193

Visual: “Victoria Peak, Hong Kong:” Overall generally good appearance. An L-shaped, 0.25” H x 0.25” W tear at center, with a related patch verso. Varnish discoloration and scattered craquelure throughout. Rectangular stretcher bar creases showing along all four sides. Other lesser defects. Hong Kong harbor with boats and a pagoda-type tower: Overall generally good appearance. A rice-sized pigment loss in the foreground water, and other smaller losses in places, primarily near the outer edges. A 2.5” H x 0.125” W area of frame abrasion along the extreme right edge, slightly affecting the tops of the trees and sky in that area. Varnish discoloration and occasional craquelure. Clusters of tiny spots of grime or mildew along the right and lower edges. Rectangular stretcher bar creases showing along all four sides. Other lesser defects. “Hong Kong:” with a 0.75” horizontal hairline pigment loss to the left of center in the foreground water, and a 1.5” H x 0.125” W area of frame abrasion along the extreme left edge, slightly affecting the edge of the horizon line and sky in that area, with some even smaller pigment losses in places along the upper edge of the oval canvas. Varnish discoloration and occasional craquelure. Rectangular stretcher bar creases showing along all four sides. Other lesser defects.

Blacklight of each: No evidence of restoration.

Each unframed

194

Toning, tears, losses, slight color attenuation, surface soiling, specks of foxing, wear to the pigment, occasional staining, surface scuffs, and creases from rolled storage, all commensurate with age. The paper of the scroll is torn, damaged, and brittle, as well as toned and stained in places on the recto and verso. The upper dowel is completely detached from the scroll. Other minor defects.

195

Toning, tears, losses, slight color attenuation, surface soiling, specks of foxing, wear to the pigment, occasional staining, surface scuffs, and creases from the work having been stored rolled, all commensurate with age. A 3” vertical tear in the fabric/paper of the scroll’s upper edge, at left. Other lesser defects. The lower edge of the scroll is detaching slightly from the wooden dowel at one end.

196

Overall good appearance. Occasional wear to some areas of the pigment, A few small areas of loss, scattered surface soiling, a few flecks of foxing and grime, and soft handling marks, all commensurate with age. The border with minor surface soiling and a few areas of staining.

197

Each overall generally good appearance. Horizontal creases and handling marks showing primarily in the blank background. Each not examined out of the frame.

Each framed under glass: 52.75” H x 33.25” W x 1.25” D

198

Overall good/generally good appearance. Slight color attenuation, surface soiling, specks of occasional foxing, surface scuffs, and creases from the work being rolled stored, all commensurate with age. Small tears, creasing, and occasional stains in the fabric/paper. Other lesser defects.

199

Toning, occasional pea-sized (or smaller) losses likely insect damage, in the upper image near the edge (continuing verso), slight color attenuation, surface soiling, specks of foxing, wear to the pigment, occasional staining, surface scuffs, and creases from the work having been stored rolled, all commensurate with age. Other lesser defects. The scroll wrapped around the lower wooden dowel.

200

Overall generally good appearance. Pale light-staining, areas of wear, and small losses to the pigment scattered in the figures/horses, as well as the landscape, surface soiling, scattered flattened creases, small tears, abrasions, and scratches to the fabric, some irregularities in the threads of the fabric, and specks of grime, all commensurate with age. Other lesser defects. The silk border with occasional glue staining, primarily near the corners.

Framed without glazing: 25.5” H x 51.375” W x 1.5” D

201

Overall good condition with shelf wear and scattered minor scuffs and scratches commensurate with age. The rim with small older chipped losses.

202

Each likely re-gilt, in good condition with scattered scuffs and scratches, shelf wear, and small nicks commensurate with age. A few shrinkage cracks in the crevices of figures. The bases with some separation cracks.

203

Two lacking lids. Each overall good condition with shelf wear and scattered scuffs and scratches commensurate with age.

204

Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. With splits in the wood at legs and bottoms of robes. Previous dealer’s markings verso. Losses to polychrome and gilding throughout.

205

With insect grazing and degradation, concentrated to the base and verso. Heavy losses to polychrome. Otherwise with soiling, shelf wear, and older losses commensurate with age. Lacking hand elements.

206

Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. Figure is loose from its mounting. The base missing some finial accents. Rubbed losses to the gilding. Multiple cracks in the wood throughout base and figure verso.

207

With handling and shelf wear and rubbed wear to lacquer and gilding commensurate with age. Scattered losses to inset glass.

208

Losses including but not limited to: multiple tree branch ends, one stone figure missing from lower edge, a 2” x 3” element missing from underneath house, a chip to an element under the bone table, and the eaves of house with small chips and two vertical cracks. The ground with multiple cracks in the enameling, concentrated to upper edge, and craquelure to frame. Possibly with other small losses. Normal general wear and scattered scuffs and scratches commensurate with age.

209

Each overall good condition with scattered scuffs, scratches, and nicks commensurate with age. Some mounting and handling wear, with mounting putty residue at rims.

210

Each with older losses, rubbed losses and wear to lacquer and gilding, and scattered scuffs, scratches, nicks, and abrasions commensurate with age. Each with more concentrated wear to ends, with shallow cracks in the wood and lacquer.

211

Overall good condition with scattered scuffs, scratches, nicks, and indentations commensurate with age. Chipped losses to lacquer concentrated to edges, a few in the decorations. Scattered cracks in the lacquer. Some hinges loose, one detached.

212

Overall good condition with dust accumulation, scattered minor scuffs, and darkening/oxidation to bronze commensurate with age. One side of body with a 10” long area of horizontal scuffing. Soiling to interior.

213

Wear to silvering, some oxidation and verdigris. Stand with losses to enamel and attendant rust/oxidation.

214

Overall good condition with shelf wear, scattered scuffs and scratches, and oxidation to metal components commensurate with age.

215

Overall good condition with scattered scuffs, scratches, small indentations, and oxidation/verdigris throughout commensurate with age.

216

Overall good to fair condition with dust accumulation and wear commensurate with age and use. scattered wear to silk fabric, with a few small holes. The embroidery with scattered minor loose threads. Brocade borders with heavier wear including losses and worn areas. Loose attachment stitching to the rank badges in areas. Fringe stitching detached in places.

217

Each overall good condition with light wear and dust accumulation commensurate with age and use. Scattered areas of loose threads to edges and minor wear to weave in some places. Front badge with gap in center seam near lower edge. Each with selvage edge to two sides. Possible fading to colors. Not examined out of frame.

Each frame: 15.25” H x 16” W x 0.75” D

218

Several losses to inset gems and a few missing pearls. The mechanism of the pagoda needs work, does not move smoothly or hold enough power to move extend all the way. Otherwise good condition with scattered scuffs and scratches and oxidation commensurate with age. Includes winding key. Moran’s does not guarantee the working condition of clocks and watches.

219

Each plaque with scattered minor scuffs and scratches and soiling commensurate with age. The wood cabinet with scuffs, scratches, nicks, shrinkage cracks, separation at joints, and small losses.

220

With scattered scuffs, scratches, nicks, shrinkage cracks, and soiling commensurate with age. With fading, wear, and craquelure to lacquer and rubbed losses to gilding. Older chipped losses to tray and interior rim.

221

Overall good condition with scattered scuffs, scratches, nicks, and indentations commensurate with age. The metal components with oxidation. Lacking three metal corner accents.

222

Each overall good condition with shelf and handling wear and scattered scuffs, scratches, nicks, and indentations commensurate with age.

223

Overall good condition with shelf wear and scattered scuffs and scratches commensurate with age. The underside with a lateral split in the wood. One corner of lid lacking a miter key.

224

Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. Cabinet hinges loose from their mountings and lacking locking mechanism.

225

Overall good condition with scattered scuffs, scratches, nicks, and abrasions commensurate with age. Oxidation to hardware, some of which is loose from its mounting. Lacking lock pins.

226

Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. One side panel with larger separation to the verso edge and another larger separation at top to verso edge. Cabinet lacking locking mechanism, drawer lacking key.

227

With antiquing. Overall good condition with scattered scuffs, scratches, nicks, and indentations commensurate with age. The upholstery in good condition with minor soiling and some pilling.

228

Overall generally good appearance. With margins, the upper and right margin edges deckled. Pale light-staining. A pale red line of staining transferred within each of the margins, attendant with the red-edged window opening of the overmat. Scattered, small streaks of glue residue along the extreme upper margin edge. The verso with occasional quarter-sized areas of glue residue, slightly visible on the recto, in the sky and in the upper margin. The sheet is hinged to the back mat with two pieces of fabric hinging tape from the verso of the upper margin corners.

Framed under glass: 17.75” H x 22.75” W x 0.875” D

229

Overall good appearance. With margins. The colors in the sky are slightly attenuated. A few pale, unobtrusive specks of foxing scattered occasionally in the sky of the image and in the upper margin. A few very soft handling marks, primarily visible in raking light. Not examined out of the frame.

Framed under glass: 17.625” H x 22.75” W x 1” D

230

Overall generally good appearance. With margins. An irregular 0.5” H x 0.25” W stain in the sky of the upper right quadrant, and a smaller, paler stain in the sky, just above the horizon line of the mountains, near the center of the image’s left edge. A pinpoint-sized foxmark in the sky, near the upper edge of the image, at center. A less than 0.75” H x 0.25” W possible repaired (and touched-in) tear in the sky, in the upper portion of the image’s left edge. Not examined out of the frame.

Framed under glass: 17.625” H x 22.625” W x 1” D

231

Overall good appearance. With margins. Very pale lightstaining. A scattered band of pale staining along the upper margin edge, not affecting the image. A few creases scattered in the left and right margins. Not examined out of the frame.

Framed under glass: 17.75” H x 22.75” W x 1” D

232

Overall generally good appearance. With margins, the upper and right margins deckled. Pale light-staining. Pinhead-sized (or smaller) foxmarks scattered primarily in the upper half of the work, and on the verso, the most prominent area being a dark foxmark on Mt. Fuji, at right. The sheet is hinged to the overmat with two pieces of hinging tape from the verso of the upper margin edge.

Framed under glass: 17.5” H x 22.125” W x 1” D

233

Overall good appearance. With margins. The colors, primarily the outlining, are very slightly attenuated in places. A pale pinpoint-sized foxmark in the light-blue pigment near the upper edge of the image, at left. A pinhole in the upper left margin corner. Not examined out of the frame.

Framed under glass: 17.5” H x 22.375” W x 0.875” D

234

Overall generally good appearance. With margins. Pale light-staining and the colors slightly attenuated. A 1” H x 1.25” W area of staining on the verso, showing through to the recto, affecting both the image and margins at upper right; and another area of staining, measuring 0.75” H x 1” W in the upper margin, at left, also affecting the image. A few small, soft creases scattered in the left and lower margins. Two pinholes in the lower left margin corner. Not examined out of the frame.

Framed under glass: 17.625” H x 22.625” W x 1” D

235

Overall good appearance. With margins. A few very pale, unobtrusive foxmarks scattered in the upper and lower margins. Printer’s ink scattered in the lower margin edge. Not examined out of the frame.

Framed under glass: 17.625” H x 22.25” W x 1” D

236

Overall generally good appearance. With margins. Toning throughout. With pale time staining along each side just inside the image border, likely resulting from a previous overmat. The colors attenuated. A pale, pea-sized foxmark near the center of the left image edge. Scattered flecks of pale foxing in the margins. The right margin edge is trimmed unevenly. Not examined out of the matting.

Unframed; however, the work is matted and has a thick plastic cover over the overmat: 20.75” H x 16.125” W x 0.5” D

237

Overall good appearance. Full margins with deckled edges. Pale light-staining showing in the margins. Two specks of foxing near the center of the left margin, and a fleck of pale, unobtrusive foxing in the upper margin, at right. Quarter-sized (or smaller) areas of glue residue along the verso of the upper margin, and a few others along the lower margin, with an attendant dime-sized area of pale staining showing through to the recto of the upper margin, at left. The sheet is hinged to the back mat with two pieces of fabric hinging tape from the verso of the upper margin corners.

Framed under glass: 17.5” H x 22.75” W x 1” D

238

Lacking torso element to one side and lacking another element to the other. With handling/shelf wear and minor scuffs and scratches commensurate with age. Two small flaked losses to the gilding.

239

Overall good condition with minor shelf and handling wear commensurate with age.

240

Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. No evidence of restorations or repairs under UV light.

241

Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. With previous dealer’s sticker to underside. No evidence of restorations or repairs under UV light.

242

Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. On with older chips to foot. Another with a 1” long crack in the glaze at rim. Another with a 1” inherent divot to center well. No evidence of restorations or repairs under UV light.

243

One plate with a pea-sized chip to foot. One salad plate with a pea-sized chip to rim. One small broken plate with repair. Two shallow bowls with a chip to rim. One rice bowl with 2” long break to foot, retained with the lot. One soy sauce dish with a 1” long chipped loss to foot. One sake cup with a rice-sized chip to rim. Possibly with other small chips.

244

Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. No evidence of restorations or repairs under UV light.

245

With scattered scuffs, scratches, nicks, shrinkage cracks, soiling, indentations, and separation at joints commensurate with age. Fading and heavy rubbed wear to the decorations. Scattered losses to lacquer and wood throughout, concentrated to edges and corners. The top with multiple splits, losses, and areas of craquelure. Hinges loose.

246

With scattered scuffs, scratches, nicks, indentations, and soiling commensurate with age. Gutters loosening, one with separation, with attendant lifting to the painted paper along edges, tears, and losses. Scattered small stains verso.

247

With scattered scuffs, scratches, nicks, indentations, and soiling commensurate with age. ach painting with small flaked losses. The fronts of gutters with small losses, tears, and soiling, with a large stain to upper edge. Hinges tight. One panel verso with tears at corners that meet with gutter. Each with small tears and soiling verso.

248

With scattered scuffs, scratches, nicks, indentations, and soiling commensurate with age. The middle gutter has completely separated, the other gutters starting to split, with attendant tears and losses. Top right corner of rightmost panel with fabric and painting separating from its mounting. The outer panels verso with repaired tears.

249

Each panel with tears, repairs, and holes. The gutters with tears and very loose, one panel completely unmounted. Heavy losses to fabric borders. Soiling throughout.

250

Overall good appearance. With presumably full margins, the left and lower margin edges are deckled. The colors good. The smallest flecks of either unobtrusive foxing or surface soiling at the center of the lower margin. A quartersized cluster of pale staining on the verso of the upper left margin corner, and slightly showing on the recto. A soft 0.75” vertical handling mark in the lower margin, at left. Two artist pinholes along the upper margin, one in the upper left corner and the other at center, three pinholes in the lower left margin corner, and one pinhole in the image, just above the lower black printed border, at right. Three small remnants of brown paper tape on the verso, along the upper margin edge. The sheet is loose, not matted.

Unframed

251

Overall good appearance. With margins, the upper margin edge is deckled. Pale, uneven toning throughout. The colors slightly attenuated. A few very pale, unobtrusive flecks of foxing scattered primarily in the margins; however, a few are in the image. A hairline 0.25” long area of a black thread-like material adhered to the surface of the upper margin, at left. A paper loss in the right margin edge, and now backed with thin paper. As mentioned, the sheet is backed with thinner Japanese paper. The work is loose, not matted.

Unframed

252

“Under the Wave off Kanagawa” in generally good appearance. With pale light-staining and the colors slightly attenuated. A 0.5” H x 0.25” W tear near the upper left corner. Two small areas of surface wear in the upper left corner, and soft handling creases, all primarily visible in raking light. The other woodcut, Wave with birds and Mount Fuji at sunrise, with significant toning and the colors attenuated. A few tears in the image and margins of the lower right quadrant, the largest measuring 4.5” H. Minor surface soiling, occasional soft handling creases, and other smaller tears scattered in the margins. Other lesser defects. Each not examined out of the frame.

Each framed under glass: Largest: 18” H x 22” W x 1.5” D

253

Pale toning to the sheet. The colors slightly attenuated. The inking quality is weaker than period prints. The extreme sheet edges trimmed slightly unevenly. A small, minor diagonal crease along the lower right sheet corner. The sheet is loose, not matted.

Unframed

254

Overall generally good appearance. Pale light-staining and the colors slightly attenuated. Small occasional losses, handling creases, pale staining, surface soiling, and a few tears. Other lesser defects. Not examined out of the frame.

Framed under Plexiglas: 17.75” H x 32.25” W x 1” D

255

Each overall generally good appearance. Scattered wear, surface scratches, small occasional tears and losses, grime, and surface soiling, all commensurate with age. Not examined out of the frame.

Each framed under glass: 18.125” H x 13.125” W x 0.875” D

256

Each overall good appearance. Minor surface soiling and slight wear to the pigment and/or gold leaf, all commensurate with age. Pinholes at each of the four corners. “Utsusemi” with a pinhead-sized hole in the upper portion of the left edge, and two even smaller holes near the lower portion of the left edge. “Ukibune,” with the sheet beginning to peel from the thin paperboard at the lower right corner, resulting in a dog-ear to the sheet. Each work is loose, not matted.

Each unframed

257

Each overall generally good appearance. Pale lightstaining and the colors slighly attenuated. Small occasional tears, soft handling creases, minor surface soiling, and occasional specks of pale foxing. A small abrasion in the upper edge, at left, of the right sheet. A few pinholes in the upper left sheet corner of the middle sheet. Other lesser defects. Not examined out of the frame.

Framed under glass: 21.25” H x 41.75” W x 2” D

258

Overall good appearance. With margins. Pale toning. The colors slightly attenuated. A paper loss in the upper left margin corner. Soft, occasional handling marks scattered in the margin edges and corners. Significant toning throughout the verso sheet. The sheet is loose, not matted.

Unframed

259

With margins. Toning, creases, and surface soiling throughout. A rice-sized tear in the green pigment, to the left of the figures in the lower left quadrant. A pea-sized stain near the lower portion of the left image edge. A few areas of insect damage scattered along the right image edge. Rice-sized (or smaller) areas of surface skinning to the image surface, backed with the tissue-thin paper. Various paper losses along the margin edges and corners. Occasional uneven staining on the verso. Other lesser defects. As mentioned, the sheet is backed to tissue-thin paper. The sheet is loose, not matted.

Unframed

260

Each overall good appearance. Each with pale toning and the colors attenuated. Some works with very minor, pale foxmarks and occasional minor, mostly flattened creases. “Clear Weather After Snow at Masaki” with pea-sized or smaller pale surface soiling scattered throughout but concentrated in the upper right corner. Not examined out of their frames.

Each framed under glass: Frame of five works: 20.25” H x 15.5” W x 0.75” D; Frame of one work: 15.25” H x 20” W x 3.25” D

261

Toning, soft creases, and minor surface soiling throughout. The colors slightly attenuated. Small occasional areas of uneven staining scattered in the outer edges and corners. Specks of unobtrusive, pale spots of foxing, primarily visible in raking light. Pinhead-sized (or smaller) holes occasionally along the left edge, and backed with the tissue-thin paper. As mentioned, the sheet is backed with tissue-thin paper. Other lesser defects. The work is loose, not matted.

Unframed

262

With dust accumulation, scattered minor scuffs, and darkening/oxidation to bronze commensurate with age. Some degradation throughout.

263

Overall good condition with scattered small losses, soiling, green stains, and weathering commensurate with age and outdoor use. The fire cavity with a large repaired break.

264

Each overall good condition with scattered scuffs, scratches, nicks, indentations, shrinkage cracks, and separation at joints commensurate with age. Lacking one lock and lacking the key for extant lock. One interior shelf unmounted. One hinge loose from its mounting. Some brass mounts lifting, loose, or with denting.

265

With scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. The top is convexly bowed. Multiple repairs throughout, including to the tabletop molding mounts. Supports with scattered areas of wood fill.

266

Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. One internal chain broken. The lock with losses to the metal. Lacking key.

267

Each overall generally good appearance. Wear to the pigment, minor surface soiling, small occasional areas of staining, craquelure, a few small pigment losses, and handling creases, all commensurate with age. Two thangkas with significant wear and attendant damp staining in the lower half of the work. The multi-colored brocade fabric borders with some “snags,” loose threading, and slight discoloration, all primarily along the edges. Other lesser defects. Each thangka hangs from its three thread loops on a Plexiglas stand with hanging hooks.

Plexiglas stand: 24” H x 13.5” W x 2.5” D

268

Toning, tears, losses, slight color attenuation, surface soiling, specks of foxing, wear to the pigment, occasional staining, surface scuffs, and creases from the work having been stored rolled, all commensurate with age. Small tears and a few holes in the fabric/paper, primarily in the blank of the upper half. The upper dowel is completely detached from the scroll. Other lesser defects.

269

Each illustration with losses and some restorations. Each exterior with handling and shelf wear and soiling with losses at corners. Each panel with moisture stains at corners. Hinges intact, one repaired. Some cockling to boards.

270

Each illustration with losses and some restorations. Each exterior with handling and shelf wear and soiling, with losses at corners. Each panel with moisture stains at corners. Hinges intact. Possibly with some restoration.

271

Overall good appearance. With margins. Pale light-staining and the colors slightly attenuated. Two approximately 1” vertical, soft creases at the center of the lower margin, and slightly extending into the image. Not examined out of the frame.

Framed under glass: 22” H x 17” W x 0.875” D

272

With margins, the upper and left edges deckled. Lightstaining affecting the image and margins from the overmat window. The colors attenuated. The verso with five areas of glue residue, each approximately 1” H x 1” W along the upper margin, slightly visible on the recto. A small square hinging remnant at the verso of the upper left margin corner. The sheet is hinged to the overmat with two pieces of hinging tape from the verso of the upper margin edge.

Framed under glass: 20.25” H x 16.5” W x 0.875” D

273

Overall generally good appearance. With margins. Pale light-staining and the colors slightly attenuated. Two ricesized, and one pinhead-sized, areas of staining near the upper left margin corner. A very unobtrusive, less than 1” hairline, pale stain running vertically in the sky of the upper right quadrant. Flecks of stray printer’s ink in the lower right margin corner. Not examined out of the frame.

Framed under glass: 14” H x 16.25” W x 0.875” D

274

Overall generally good appearance. With margins. Pale light-staining. A soft diagonal 4” crease running along the sky in the upper left quadrant, primarily visible in raking light. A 0.125” H x 0.5” W stain in the upper portion of the left margin, and just slightly affecting the image, as well as a few other pinhead-sized (or smaller) stains scattered in the margins. Pinholes in the upper margin corners. Not examined out of the frame.

Framed under glass: 14” H x 16.25” W x 0.875” D

275

Overall good/generally good appearance. With margins. Light-staining and the colors slightly attenuated. A few areas of either uneven or reverse staining scattered in the margins. A thin line of indentation or the natural fiber of the paper, along the center of the upper margin. Stray printer’s ink in the lower left margin corner. Not examined out of the frame.

Framed under glass: 15.125” H x 19.625” W x 0.75” D

276

Overall generally good appearance. With margins. Pale toning to the sheet. The colors slightly attenuated. A pinpoint-sized foxmark in the sky of the upper right quadrant. Occasional scattered and generally pale foxing, primarily in the margins, except in the case of one in the sky of the upper right quadrant, and another on the printed borderline near the lower right corner. A few small, minor handling marks mostly scattered in the margins, as well as a few in the sky. A 1” vertical band of surface skinning at the center of the right margin edge. Not examined out of the frame.

Framed under glass: 22.75” H x 17.625” W x 0.875” D

277

Overall good appearance. With margins. The pink pigments used for the cherry blossoms are slightly attenuated. Not examined out of the frame.

Framed under glass: 22.75” H x 17.5” W x 0.875” D

278

Overall good appearance. With margins. Pale light-staining. Time staining along the edges of the margins. A small cluster of a few thin, rice-sized indentations near the center of the upper margin. Not examined out of the frame.

Framed under glass: 20.875” H x 15.375” W x 0.75” D

279

Overall good appearance. With margins. Pale light-staining and the colors attenuated. An approximately pinpoint-sized area of brown residue adhered to the surface of the image, near the lower left corner. Not examined out of the frame.

Framed under glass: 17.5” H x 22.5” W x 0.875” D

280

Each overall good condition with dust accumulation and wear commensurate with age. Each with scattered loose or broken single stitches overall, with a few areas of minor stitch loss. The left piece with a small rectangular tear to the fabric at bottom right corner, approximately 1.25” x 1”, with attendant and adjacent stitch losses and loose fabric. Not examined out of frames.

Each frame: 55” H x 26.125” W x 1.25” D (unglazed)

281

With scattered scuffs, scratches, nicks, indentations, and soiling commensurate with age. Wear to fabric border. The painted surfaces with a few 0.5” diameter losses. Hinges slightly loose. Versos with soiling, and the outer panels each with a torn hole.

282

With scattered scuffs, scratches, nicks, indentations, and soiling commensurate with age. Left panel almost completely detached with attendant tears and a couple of small losses, the second from left gutter starting to detach, and other gutters tight. Tears and disintegration to fabric border.

283

With scattered scuffs, scratches, nicks, indentations, and soiling commensurate with age. Center hinge is completely detached with attendant tears and losses, the other hinges loose with attendant soiling and stains. Rightmost hinge with a repair. Versos with staining, soiling, and small tears.

284

Each overall generally good appearance. The image/sheet of each section with toning throughout, scattered small stains, surface scratches and scuffs, short flattened creases, and edge tears. The panel with the perched bird with a 1” H x 1.5” W L-shaped split just to the left of the bird’s tail feathers. This same panel with a 0.375” vertical puncture in the upper portion of the silver gilt-paper border. Assorted scratches and worn areas in places at the outermost edges of the silver-gilt paper borders on each panel. Other lesser defects.

285

With scattered scuffs, scratches, nicks, indentations, and soiling commensurate with age. Hinge very slightly loose. Left panel with a 5” diameter area of tears at bottom left. Verso with many tears.

286

With scattered scuffs, scratches, nicks, indentations, and soiling commensurate with age. Each gutter tight, with soiling and staining to surrounding areas. Scattered abrasions, the right-most panel with a possible repair along bottom right. Versos clean aside from six losses to paper of leftmost panel. One loose brass mount.

Frame of each: 57.5” H x 25.25” W: Overall: 57.5” H x 51” W

287

With scattered scuffs, scratches, nicks, indentations, and soiling commensurate with age. The paintings with small flaked losses throughout, concentrated to lower portions. The middle gutter has completely separated, the other are very loose, with attendant tears and losses. Versos with tears, soiling, and staining.

288

With scattered scuffs, scratches, nicks, indentations, and soiling commensurate with age and use. Middle panels recto each with two repaired tears measuring 8” and 6” long, one side panel with a 2” long tear, and another with an 8” x 2” area of restorations. Each gutter with separation, soiling, and small tears. Likely with other small restorations. Each panel verso with stains and tears.

289

Overall generally good appearance. Pale toning, minor surface soiling, and a few soft handling marks throughout. The colors slightly attenuated. A few scattered, pale foxmarks. Small pinholes along the left sheet edge. The sheet is tipped to a support sheet from the verso of the upper sheet corners. The work is loose, not matted.

Unframed

290

Overall generally good appearance. Pale toning, soft occasional handling marks, and minor surface soiling throughout. A few pale foxmarks. Spots of white glue-like residue at the center of the lower edge, verso. Two peasized paper remnants adhered to the verso of the upper sheet corners. Other lesser defects. The sheet is loose, not matted.

Unframed

291

Toning and surface soiling. The colors attenuated. Damp staining across the upper third of the sheet, affecting much of the text but not the figure. Occasional small spots of loss scattered throughout, and are backed with the tissuethin paper. Handling creases scattered throughout. Wear, abrasions, and small tears along the extreme sheet edges. Tape remnants on the verso of the upper sheet corners. Other lesser defects. As mentioned, the sheet is backed with tissue-thin paper. The work is loose, not matted.

Unframed

292

With narrow margins along only the upper and left edges, trimmed unevenly. Very occasional, pale and unobtrusive, approximately pinpoint-sized (or smaller) areas of foxing scattered in the image and margins, all primarily visible in raking light. A 2” tear, backed with white tape, extending diagonally from the lower image edge into the lower right quadrant. Very minor wear to the pigment scattered along the left and right image edges. Minor handling creases scattered throughout. Two small rectangular hinging tape remnants on the verso of the upper margin corners. Other lesser defects. The sheet is loose, not matted.

Unframed

293

Toning, creases, scattered pale foxing, and surface soiling throughout. The colors attenuated. Specks of occasional, pale foxing scattered primarily throughout the edges and corners. Scattered insect damage, mostly pinhead-sized, except for one pea-sized near the upper left corner. Loss along the upper edge made-up with paper, and a band of paper is adhered to the upper edge, at right. Other areas of tears and surface skinning scattered in the image, the most prominent areas being in the figure’s face, now backed with paper. Small occasional edge tears and losses. Other minor defects. As mentioned, the sheet is backed with sections of newsprint-like paper. The work is loose, not matted.

294

With narrow margins along the right and lower edges, trimmed unevenly. Pale toning. A few uneven areas of staining scattered along the image edges. A repaired vertical 0.75” tear in the upper left corner, and backed with a piece of tape from the verso. Occasional pinhead-sized holes in the image, mostly in the background, all of which are backed with the thinner Japanese paper to which the woodcut is laid, except for one which is not backed, in the background, near the center of the left edge. Small occasional edge tears. Other lesser defects. The sheet is loose, not matted.

Unframed

295

With a narrow margin along the upper edge. The sheet and margin edges trimmed unevenly. Toning, creasing (some flattened and puckered), pale occasional foxmarks, and surface soiling, throughout. The colors attenuated. Mostly pea-sized (some approximately dime-sized) areas of damp staining throughout the lower right quadrant. A 0.25” H x 1.125” W paper loss in the upper image and margin, left of center, and backed with paper. Other lesser defects. As mentioned, the sheet is laid to paper. Additionally, the work was subsequently tipped to a paper support sheet in places from the verso of the sheet edges and corners. The work is loose, not matted.

Unframed

296

Overall generally good appearance. Pale toning, surface soiling, and soft handling marks throughout. Some with a few small, occasional, pale, unobtrusive foxmarks. Some of the works with a few small paper losses, primarily in the outer edges. Other lesser defects. Each of the works is matted, four works are paired and matted together, and the other two are matted individually.

Unframed; largest mat: 20” H x 30” W x 0.25” D

297

Each overall good appearance. Toning and the colors attenuated. Some works with flattened creases, including flattened horizontal folding creases running across the width of the sheet. Other minor defects. Each not examined out of the frame.

Each framed under glass; Frame of largest: 36.5” H x 16.75” W x 0.75” D; Frame of smallest: 18.25” H x 15.25” W x 1.25” D

298

Toning and surface soiling throughout. The colors attenuated. Paper losses scattered throughout. Staining and remnants from older mounts along the upper edge and lower right corner. Flattened handling creases. Other minor defects. The three sheets of the triptych are glued together, and as mentioned, the sheets are laid to paperboard. The work is loose, not matted.

Unframed

299

Toning, the colors attenuated, pale uneven staining, and minor surface soiling throughout. The upper sheet corners with small paper losses, subsequently made-up with paper from the verso. Small areas of surface skinning, with attendant surface loss, primarily in the outer edges and corners. Pinholes scattered in places along the edges and corners. Handling creases scattered throughout, some flattened. Small paper remnants adhered to the verso sheet. Other lesser defects. The sheet is loose, not matted.

Unframed

300

Each overall generally good appearance. Uneven toning and the colors attenuated to varying degrees. Some with occasional pale foxmarks or surface soiling and staining. Some with soft, minor creasing. Other minor defects. Three triptychs framed together in each of the two larger frames, and two triptychs framed together in each of the five smaller frames. Each not examined out of the frame.

Two groups framed under Plexiglas; Five groups framed under glass; Frame of largest: 59.75” H x 37.75” W x 2.25” D; Frame of smallest: 45” H x 33.75” W x 2” D

301

Overall generally good appearance. The booklet pages with minor surface soiling and very occasional soft handling marks. As mentioned, each woodcut is tipped from the verso of the upper sheet corners to the booklet paper and stored within its original folder. The original folder with uneven toning, small scattered tears, wear, surface soiling, and handling marks.

302

Overall good condition with scattered scuffs, scratches, nicks, and indentations commensurate with age. Soiling to interior components and implements from use. Lacking key.

303

Visual: Overall good appearance. Two unobtrusive pinhead-sized pigment losses in the extreme upper right corner. As mentioned, the canvas has been relined.

Blacklight: A small group of rice-sized touch-ups at the back of the standing woman’s hat, and one pea-sized touch-up in the front portion of her fringed wrap. Two other very small (dime-sized or smaller) areas of touch-up in the extreme upper left corner. A few scattered, very small dots of possible older touch-up in places near the right edge.

Frame: 43.5” H x 57” W x 2.5” D

304

Overall generally good appearance. Pale light-staining. A pinhead-sized foxmark to the right of the female figure in the upper right quadrant. The lower left sheet corner is slightly lifting from the paperboard, and the rest of the sheet is still mounted to the paperboard. The paperboard with a few small tears in the left and lower edges, not affecting the sheet. As mentioned, the sheet is mounted to paperboard, and the work is secured to the back mat with three archival corners.

Framed under glass: 37” H x 31.5” W x 1.5” D

305

Visual: Overall good appearance. Minor varnish discoloration and grime. Fine paint shrinkage scattered in the figure’s red skirt, in a small area of the green pigment in the greenery in the lower portion of the left edge, and another area in the sky near the upper right corner.

Blacklight: No evidence of restoration.

Frame: 19.375” H x 12.25” W x 2” D

306

Overall good appearance. The canvas is loose inside the frame and secured to the inside of the frame with foamcore spacers.

Framed under glass: 23.125” H x 16.625” W x 2” D

307

Visual: Overall good appearance. Delicate paint shrinkage (primarily scattered in the flowers), specks of occasional grime, and minor darkening, all commensurate with age. A small area of lifting near the upper right corner. Frame abrasion along the extreme edges, with attendant pinhead-sized (or smaller) areas of pigment loss, and ink numbering from the frame has slightly transferred to the extreme left edge, none of which is visible as framed.

Blacklight: Small, occasional areas of touch-up scattered in the flowers and leaves.

Framed under Plexiglas: 27” H x 15” W x 3” D

308

Each component bearing an armorial or monogrammed. Each overall good condition with tarnishing and light scratches commensurate with age.

309

Overall good condition with tarnishing and light scratches commensurate with age.

310

Each overall good condition with tarnishing and light scratches commensurate with age. Weight includes nonsilver components. Ivory insulators have been replaced.

311

Each with soiling, scattered chips to the glass, oxidation and tarnishing to the metal and silver inserts, and shelf wear commensurate with age and use. One with losses to the silver rim. A few with indentations to rim.

312

Each overall good condition with tarnishing and light scratches commensurate with age. Creamer and milk jug both bent at the foot. Each with scattered small indentations, concentrated to foot rims. Coffee pot lid detached and retained with the lot. Weight includes nonsilver components.

313

Visual: Overall good appearance. Minor varnish discoloration, dust accumulation, specks of grime, and fine craquelure scattered throughout, all commensurate with age. A few very small, unobtrusive surface scratches that have been touched-in, scattered in the sky, and primarily visible in raking light. Minor frame abrasion along the extreme upper edge, at left. As mentioned, the canvas is laid to waxed canvas.

Blacklight: A few 1” (or smaller) streaks of touch-up scattered in the sky, just above the dog’s head, a few areas in the mossy area in the upper left quadrant, and in the sky of the upper right quadrant (some of these areas already mentioned in the visual portion of this condition report). Some small bands of touch-up scattered in places along the upper and lower extreme edges.

Frame: 27.875” H x 31.875” W x 3” D

314

Visual: Overall good appearance. A few small areas of minor frame abrasion in places along the extreme lower edge.

Blacklight: No evidence of restoration.

Frame: 39.5” H x 34” W x 2.5” D

315

Overall good appearance. Not examined out of the frame.

Framed under Plexiglas: 23.75” H x 22.25” W x 3.25” D

316

Visual of each: Overall good/generally good appearance. Dust accumulation and grime. A few pea-sized areas of pigment loss, where the pigment has adhered to the inner surface of the frame’s glass and is no longer present on the work, are scattered primarily in the sky. The portrait of the dog facing right with a few flecks of pigment loss in the lower right quadrant. Each not examined out of the frame.

Blacklight of each: No evidence of restoration.

Each framed under glass: 7.75” H x 8.625” W x 1” D (or reverse)

317

Overall good appearance. The sheet is taped to the overmat with a long piece of white tape from the verso of the upper sheet edge.

Framed under glass: 22” H x 18” W x 1.5” D

318

Overall good appearance. Pale light-staining. Not examined out of the frame.

Framed without glazing: 24.25” H x 21” W x 3.25” D

319

Overall good appearance. Not examined out of the frame.

Framed under glass: 18.75” H x 16.625” W x 1.125” D

320

Each overall good condition with shelf wear and inherent firing flaws commensurate with age. Two older variations of dinner plates hand-painted with inherent imperfections. One gravy underplate broken and repaired.

321

Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age.

322

Each with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Issues include but not limited to: two dinner plates with chips to rim, three with chip to foot, three salad plates with chips, one with a crack to rim, two soup bowls with chips to rim, two with chips to foot, one serving tray with a chip to rim, one underplate with chip to rim underside, and one covered server with chip to foot rim.

323

Each with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Issues include but not limited to: two bowls with cracks to underside.

324

Each overall good condition with minor shelf wear.

325

Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. The top and sides with splits in the wood and cracking to veneer at edges. Each drawer later lined with paper. Lacking one lock plate and lacking key.

326

Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. Two right corners of top with repairs to the veneer and a small loss to front corner. The top surface with drink rings, stains, and wear to the finish. Splits in the wood to each side. Hardware possibly updated.

327

Each overall good condition with scattered scuffs, scratches, nicks, and indentations commensurate with age. Rubbed wear to the gold-toned finish of hardware, with attendant oxidation.

328

With scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. Older losses throughout. Lower console with splits in the wood under where upper console is mounted. The right cabinet stuck shut and interior not inspected. Includes two keys.

329

Multiple repairs including but not limited to: one side chair with repaired break to splat, one armchair with repair to lower edge of splat, and multiple chairs with repairs and restoration to leg junctures, some with reinforcements. Each with scattered scuffs, scratches, nicks, and indentations commensurate withe age. Some with uneven fading to the finish. Upholstery in good condition.

330

With scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. The left side with splits in the wood and a 2” x 2” . Uneven fading to finish of front. Left lower cabinet door unmounted from upper hinge, needs repair. Lacking key.

331

Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. The upper surface with cracks in the veneer.

332

Overall good condition with scattered scuffs, scratches, nicks, and indentations commensurate with age. Lenses appear not to be cracked. Moran’s does not guarantee the working condition of this telescope.

333

Visual: Overall good appearance. Fine craquelure throughout. As mentioned, the canvas has been relined.

Blacklight: A few flecks of touch-up scattered occasionally throughout, primarily in the left half.

Frame: 35.625” H x 55.5” W x 3” D

334

Visual: Overall good appearance. A few very unobtrusive pinholes in the foreground near the lower edge. As mentioned, the canvas has been relined.

Blacklight: A few approximately pinhead-sized touch-ups in the areas with pinholes mentioned above.

Frame: 21” H x 24.75” W x 3” D

335

Visual: Overall generally good appearance. Scattered, delicate, stable craquelure, as well as dust accumulation and grime throughout. Stretcher bar creases showing primarily along the upper and right edges. As mentioned, the canvas has been relined.

Blacklight: Dots and small areas of touch-up scattered throughout, the largest approximately quarter-sized in the upper right corner.

Frame: 16.5” H x 20.5” W x 2.25” D

336

Visual: Overall good appearance. Fine craquelure, primarily visible in raking light. The canvas is slightly puckered in the upper right quadrant, primarily visible in raking light.

Blacklight: No evidence of restoration.

Frame: 16” H x 19.75” W x 2.5” D

337

Visual: Overall good appearance. Old craquelure that has been stabilized from being laid to canvas. As mentioned, the canvas has been relined.

Blacklight: Crack-fill throughout. A few scattered, pea-sized (or smaller) touch-ups primarily along the upper and right edges.

Frame: 16.75” H x 20.75” W x 2.75” D

338

Visual: Stretcher bar creases, fine craquelure throughout, grime, varnish discoloration, and darkening to the pigment, all commensurate with age. Some areas of craquelure are unstable, with lifting and attendant occasional flecks of pigment loss, one in the dog’s left ear and another at the center of the lower edge. Visible areas of past pigment loss have been retouched, now scattered throughout the upper quadrants.

Blacklight: As mentioned, the upper quadrants show touch-ups from past pigment loss, mostly dime-sized (or smaller), with the largest measuring approximately 1.5” H x 0.25” W near the upper portion of the right edge.

Frame: 18.5” H x 16.625” W x 3” D

339

Visual: Overall good appearance. Very fine craquelure scattered throughout.

Blacklight: Lines of crack-fill scattered in the upper right quadrant. Bands of touch-up along the upper edge, and the upper portion of the left and right edges.

Frame: 11.75” H x 9.75” W x 2.25” D

340

Visual: Varnish discoloration, craquelure, and scattered grime throughout, commensurate with age. A few pinhead-sized (or smaller) varnish and/or pigment losses concentrated near the vertical edges of the lower half. A small area of slight lumps in the canvas in the upper left corner, probably related to the stretcher keys at the verso of that corner. Stretcher bar creases along all four edges, visible mostly in raking light.

Blacklight: Scattered touch-ups concentrated near the outer edges, the largest measuring approximately 1.5” H x 3.5” W in the upper right corner. A heavy layer of varnish has been applied.

Frame: 18.5” H x 19.5” W x 2.5” D

341

Visual: Overall good appearance. Fine craquelure scattered throughout.

Blacklight: A band of touch-up along the upper edge, at right.

Frame: 11.75” H x 9.75” W x 2.25” D

342

Overall good condition with dust accumulation, scattered minor scuffs, and darkening/oxidation to bronze commensurate with age. Wear to gilding.

343

Overall good condition with dust accumulation and minor wear commensurate with age and use. Slight fading to side A. A few areas of minor wear to threads, including minor losses to black embroidered letters.

Frame: 41.25” H x 31.25” W x 2” D (unglazed)

Stretcher: 38.5” H x 28” W x 0.75” D

344

Possibly lacking feet. Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. The top with stains and cracking to the veneer. Small chipped losses at edges and corners throughout. Drawers with later paper lining. Includes key.

345

With losses, scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. The top and sides with cracking to the veneer, the top with multiple splits and areas of degradation to lacquer. Lacking key.

346

Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. Multiple splits in the wood to top and side. The top with uneven fading to wood finish and scattered stains. Feet later. Locks do not function, one escutcheon loose from its mounting, and lacking key.

347

Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. The top with some stains, wear to finish, and drink rings.

348

Each overall good condition with scattered scuffs, scratches, nicks, and indentations commensurate with age. Each foot with small chipped losses. Upholstery good condition with minor soiling and pilling to fabric.

349

Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. Cracking to trim veneer, with an 8” long and 6” long crack in the top. Table slightly shaken.

350

Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. Leather top with soiling, staining, stiffening, and slight lifting at edges. Lacking key.

351

Overall good condition with scattered scuffs, scratches, nicks, and indentations commensurate with age. One side loose from its mounting with lowest step.

352

Each overall good condition with scattered scuffs, scratches, nicks, indentations, and separation at joints commensurate with age. One broken glass pane. Includes two keys. Drawers stick slightly. Wiring should be checked by a qualified electrician prior to use. Likely needs rewiring. Moran’s does not guarantee the working condition of electronic equipment.

353

Pediment loose from its mounting and lacking finial. Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. Drawer front with some cracking and lifting to veneer. The cornice with a 6.5” long crack along right edge with attendant 4” long loss, the other side with a 0.5” long loss to corner. Includes key. Working condition of lights unknown. Moran’s does not guarantee the working condition of electronic equipment.

354

The table has been reduced in height. Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age.

355

Each with several chipped losses to marble base and losses to lapis overlay. Each with wear, dust accumulation, and minor scuffs commensurate with age. Lacking shades. Wiring should be checked by a qualified electrician prior to use. Moran’s does not guarantee the working condition of electronic equipment.

356

Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. Scattered drink rings and stains to leather top. Includes key.

357

Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. The top with cracks in the veneer of both sides. Scuffing and small losses to block feet ends. Fading and soiling to felt surface.

358

Overall good condition with even pile-wear, soiling, staining, and typical signs of wear commensurate with age and use. Issues include, but not limited to: scattered staining, yellowing to whites, and scattered furniture impressions. Verso sprayed with a hardened substance that is starting to crack.

359

Visual: Overall good appearance. A 0.375” diagonal hairline scratch in the sky above the horse and rider at the far right, visible primarily under raking light.

Blacklight: Scattered touch-ups throughout, concentrated primarily in an approximately 0.5” horizontal band along the upper edge as well as the upper portion of both of the vertical edges.

Frame: 9” H x 15.25” W x 1” D

360

Visual: Overall good appearance.

Blacklight: Scattered touch-ups throughout, concentrated primarily in the clouds, and in an approximately 0.5” horizontal band along the upper edge as well as the upper portion of both of the vertical edges.

Frame: 9” H x 15.25” W x 1” D

361

Visual: Overall generally good appearance. Craquelure throughout. Surface grime in the sky, concentrated in the upper left quadrant. As mentioned, the canvas has been relined.

Blacklight: Three areas of touch-up, 2” H x 2” W (or smaller), two of them in the sky to the left of the brown horse, and the other, also in the sky, above the rear of the white horse, as well as scattered pea-sized (or smaller) flecks of touch-up, primarily in the upper right quadrant, and crack-fill, primarily in the lower half.

Frame: 26.5” H x 40.5” W x 2.25” D

362

Visual: Overall good appearance. Minor old crazing primarily in the upper left quadrant. Scattered frame abrasion along the right edge.

Blacklight: Scattered touch-up in the frame abrasion along the right edge. A couple of pinhead-sized touch-ups at the center of the left edge and near the lower left corner.

Frame: 34” H x 29” W x 2.75” D

363

Visual: Overall generally good appearance. Minor, horizontal, hairline surface scratches with attendant pigment loss, the longest 1.25” W, primarily along the upper edge, but scattered in a few places throughout as well. Frame abrasion along each edge.

Blacklight: A few pinhead-sized (or smaller) touch-ups scattered throughout.

Frame: 13.25” H x 16.5” W x 1.5” D

364

Visual: Overall good appearance. Old craquelure with attendant pigment losses, the largest pinhead-sized in the center of the extreme upper edge. As mentioned, the canvas has been relined.

Blacklight: A 3” H x 3” W and a 4” H x 1” W area of touchup in the wall above the horse’s back, and another, smaller, on the top of the horse’s lower back. Smaller scattered flecks of touch-up, primarily in the upper right quadrant near the edges.

Frame: 26.75” H x 30.75” W x 3” D

365

Visual: Overall good appearance. Stretcher bar creasing showing slightly along the upper and left edges, primarily visible in raking light. Scattered fine craquelure throughout. As mentioned, the canvas has been relined.

Blacklight: Minor flecks of touch-up in the fence beneath the horse’s belly. Possible older flecks of touch-up, primarily in the background of the upper half. A heavy layer of varnish has been applied.

Frame: 17.75” H x 21.75” W x 1.5” D

366

Visual: Overall generally good appearance. Dust accumulation, specks of grime, and fine scattered craquelure throughout, all commensurate with age. Two pinhole-sized holes/abrasions at the center of the shed’s upper opening. Minor frame abrasion along the upper edge of the canvas.

Blacklight: No evidence of restoration.

Frame: 27.75” H x 21.75” W x 2.5” D

367

Overall good appearance. Occasional craquelure scattered throughout. An unobtrusive, pinpoint-sized hole in the sky of the upper left quadrant. Slight surface rubbing, primarily in the lower left quadrant.

Blacklight: A heavy layer of varnish has been applied.

Frame: 27.5” H x 22” W x 2.25” D

368

Visual: Overall generally good appearance. A few minor abrasions with attendant pigment loss or craquelure, primarily in the upper half. A few surface scuffs, the largest 6” W, primarily in the sky and on the horse. Minor frame abrasion along each edge.

Blacklight: An irregular 3” H x 5” W touch-up in the lower right quadrant, on the ground below the horse, and a few small flecks of touch-up scattered throughout.

Frame: 22.75” H x 25.5” W x 1.75” D

369

Visual: Overall good appearance. Minor frame abrasion showing primarily in the lower portions of the left and right edges.

Blacklight: A few rice-sized (or smaller) touch-ups in the lower portion of the right edge and the lower left corner.

Frame: 17.75” H x 16.25” W x 2.25” D

370

Each overall good condition with tarnishing and light scratches commensurate with age. Weight does not include hollow-handled items.

371

Each overall good condition with tarnishing and light scratches commensurate with age. Weight does not include hollow-handled items.

372

Each overall good condition with tarnishing and light scratches commensurate with age. Weight does not include hollow-handled items.

373

Each monogrammed. Each overall good condition with tarnishing and light scratches commensurate with age. Weight does not include hollow-handled items.

374

Some items monogrammed. Each overall good condition with tarnishing and light scratches commensurate with age. Weight does not include hollow-handled items.

375

The smallest with two small dents to rim. Each overall good condition with tarnishing and light scratches commensurate with age. The largest monogrammed ‘D.’

376

Overall good condition with tarnishing and light scratches commensurate with age.

377

Each overall good condition with tarnishing and light scratches commensurate with age. Weight does not include hollow-handled items.

378

Each overall good condition with tarnishing and light scratches commensurate with age.

379

Each overall good condition with tarnishing and light scratches commensurate with age. Weight does not include hollow-handled items. One dinner fork with bent tines.

380

Each overall good condition with tarnishing and light scratches commensurate with age. Weight does not include hollow-handled items. Some forks with tines askew slightly.

381

Each overall good condition with tarnishing and light scratches commensurate with age. Weight does not include hollow-handled items.

382

Each with many engraved signatures and lengthy commemoration. Each overall good condition with tarnishing and light scratches commensurate with age.

383

Each overall good condition with tarnishing and light scratches commensurate with age. Weight does not include hollow-handled items.

384

Each overall good condition with tarnishing and light scratches commensurate with age. Weight does not include hollow-handled items.

385

Each overall good condition with tarnishing and light scratches commensurate with age. Weight does not include hollow-handled items.

386

Each overall good condition with tarnishing and light scratches commensurate with age. Weight includes nonsterling components. Ivory insulators have been replaced.

387

Overall good condition with scattered scuffs and minor scratches and minor tarnishing commensurate with age. The center well with remnants of floral mounting putty and attendant oxidation.

388

Each overall good condition with tarnishing and light scratches commensurate with age. Weight does not include hollow-handled items.

389

Each overall good condition with tarnishing and light scratches commensurate with age. Weight does not include hollow-handled items.

390

Fish servers monogrammed and tongs with armorial. Each overall good condition with tarnishing and light scratches commensurate with age. Fish servers with denting to handles. Weight does not include hollow-handled items.

391

Visual: Overall good appearance.

Blacklight: No evidence of restoration.

Frame: 34.25” H x 26.5” W x 2.25” D

392

Visual: Overall good appearance. An unobtrusive 0.5” vertical tear with attendant minor pigment loss in the center window of the “Md. de Vins & Spiritueux” storefront, near the center of the right half.

Blacklight: No evidence of restoration.

Frame: 30” H x 35.25” W x 2.5” D

393

Visual: Overall good appearance. A few artist’s pinholes in the upper corners. An approximately pea-sized area of the Masonite showing through near the bottom of the extreme right edge, however this appears to be in the hand of the artist.

Blacklight: No evidence of restoration.

Frame: 45.75” H x 34” W x 4” D

394

Each overall good condition with minor shelf wear, scuffs, and light scratches commensurate with age. One claret with a pea-sized chip to base. Box with shelf wear and a tear to the lid with rubbed wear to lid edges.

395

Each overall good condition with scattered scuffs, scratches, nicks, and abrasions commensurate with age. The upholstery in good condition with minor soiling.

396

Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations commensurate with age. Rubbed wear and soiling to the gilding throughout. Multiple cracks and repairs including a few leaf ends and the eagle head. Older small losses and chips to gilding throughout.

397

Each overall good condition with scattered scuffs, scratches, nicks, and indentations commensurate with age. Legs, seat rails, and armrests with more concentrated scuffs. Updated upholstery in good condition with minor soiling.

398

Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. Scattered stains to tabletop.

399

Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, and small indentations commensurate with age. One drawer front with a 2.5” long loss to upper left edge trimming. The front top left edge with a 0.375” chipped loss to veneer. The top with a 21” long split in the wood.

400

With scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. Older losses and evidence of wood worm throughout. Repairs to hinges and feet junctures. Some replaced areas of molding. Heavier losses to cornice corners and feet, the back left foot with a 5” x 4” repaired break.

401

The case in overall good condition with scattered scuffs, scratches, nicks, and abrasions commensurate with age. Some loss to the silver-toning of the dial. Oxidation to brass components. Working condition unknown. Moran’s does not guarantee the working condition of clocks and watches.

402

Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. Scattered older losses throughout. Upholstery in good condition with a pea-sized stain.

403

Overall good condition with scattered scuffs, scratches, nicks, and indentations commensurate with age. The dial with some rubbed wear to silvering and gold-toned finish. Includes weights, winding key, and front cabinet door key, but lacking original mercury pendulum. Moran’s does not guarantee the working condition of clocks and watches.

John Moran Auctioneers, Inc

SPECIALISTS

Head of Sale, Senior Specialist, Furniture & Decorative Art

President, Auctioneer

Vice President, Specialist, Silver, Western & American Indian Art

Director, Furniture & Decorative Art

Director, Fine Art

Associate Specialist, Fine Art

Department Administrator, Fine Art

Cataloguer, Furniture & Decorative Art

Cataloguer, Silver, Western and American Indian

Senior Cataloguer, Fine Art

Cataloguer, Fine Art

Post-War & Contemporary Design Specialist

Director, Jewelry & Watches

Specialist, Jewelry & Watches

TRUSTS & ESTATES

Senior Vice President, Director Trusts & Estates

Angela Past

Jeffrey J. Moran

Maranda Moran

Jen Kurtz

Katherine Halligan, AAA

Bobby Cullen

Jacob Baer

Grant Stevens

Sally Andrew

Anne Spink

Madison Ari

Lori Kassabian

Matthew Grayson

Tom Burstein

Kelly Sitek

Morgana Blackwelder, ISA AM Director, Appraisals

Associate Appraiser

Department Administrator, Trusts and Estates

CLIENT SERVICES

Office/HR Manager

Client Services

Finance Administrator

OPERATIONS

Vice President, Business Director, Auctioneer

Controller

Consignment Coordinator

Warehouse Supervisor, Senior Art Handler

Transport Supervisor, Senior Art Handler

Art Handler

MARKETING

Director, Advertising & Marketing

Manager, PR/Social Media

Graphic Designer

PHOTOGRAPHY

Senior Photographer, Head of Photography

Photographer

FOUNDERS

Founder

Co-Founder

Mariam Whitten, ISA AM

Shannon Dailey

Julia Kelley

Mario Esquivel

Ella Fountain

Jamie Holthauser

Stephen Swan

Joseph Scott

Jean Rapagna

Richard Corral

Joe Miranda

Romero Corral

Robert Robles

Nathan Martinez

Brenda Smith

Brian Olivas

Keith Berson

Madison Torres

Wyatt Beserra

John H. Moran (1942-2017)

Madeleine Moran

This catalogue is meant merely as a guide. The Auctioneers do not warrant the accuracy, genuineness, authenticity, description, weight, count or measure of any of the lots specified herein.

BUYER’S PREMIUMS:

BUYER’S PREMIUM is calculated at 27% on the first $1,000,000 of the hammer price, plus 21% on any amount between $1,000,001 - $5,000,000, and 15% on any amount above $5,000,000 when paying by cash, check or wire transfer.

Credit card payments will be subject to an additional 3.5% acceptance fee. This fee is not more than the cost of accepting these cards. Buyers outside of the United States must submit payment via wire transfer.

Credit cards are not an accepted form of payment for buyers outside of the United States.

BIDDING INCREMENTS:

$100 - $475 @ $25 increments

$500 - $950 @ $50 increments

$1,000 - $1,900 @ $100 increments

$2,000 - $4,750 @ $250 increments

$5,000 - $9,500 @ $500 increments

$10,000 - $19,000 @ $1,000 increments

$20,000 - $47,500 @ $2,500 increments

$50,000 - $95,000 @ $5,000 increments

$100,000 - $190,000 @ $10,000 increments

$200,000 - $480,000 @ $20,000 increments

$500,000 & above @ $50,000 increments, or at Auctioneer's discretion.

View Illustrated Catalogue Online @ www.johnmoran.com

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These Terms and Conditions of Sale (“Terms“) set out the terms by which the sale or purchase of property at auction through John Moran Auctioneers, Inc. (“Moran”) will be governed. These Terms constitute a legal and binding agreement between You and Moran.

AUCTION HOUSE AS AGENT

Except as otherwise expressly stated in writing, Moran acts as an agent for the seller. Thus, any contract for the sale of property through Moran is made between the respective seller and buyer.

BEFORE THE AUCTION

(a) Public Preview. All property is available for inspection by public or private preview according to the auction information posted online and in the catalogue. In many cases, particular lots can be examined in advance by private appointment by contacting a customer service representative at info@johnmoran. com or by dialing 626-793-1833. Prospective buyers are strongly encouraged to personally examine any property in which they are interested.

(b) Buyer’s Responsibility. Buyers are responsible for determining to their own satisfaction the true nature and condition of any lot prior to bidding. Though buyers are not legally required to inspect lots prior to purchase, failure to do so may constitute a waiver of complaint that an item was not delivered in a condition equal to the existent condition at the auction.

(c) Property Sold “As Is”: Neither Moran nor the seller provides any guarantee in relation to the nature of the property, or to any errors or omissions in the catalogue or supplemental material, apart from the Limited Warranty stated in Section 5 below. ALL PROPERTY IS SOLD “AS IS.” Condition reports are offered as a courtesy and are typically published in Moran’s catalogue, or online, or can be made available upon request. The absence of a condition report does not imply that an item is free from defects or restoration, nor does reference to particular defects imply the absence of others.

AT THE AUCTION

(a) Admission. Moran’s auction is open to the public, although Moran reserves the right to, in its sole discretion, refuse admission or participation to anyone at any time. The auction may be recorded (visually, aurally, or otherwise) and all participants or attendees at the auction consent to such recording.

(b) Buyer Registration. Prospective buyers must register with Moran before bidding. Moran may, in its sole discretion, require identification, financial references, or a deposit in advance of buyer eligibility. Registered bidders accept personal liability to pay the purchase price, including the Buyer’s Premium, as described in Section 4(a) below, plus all applicable charges, unless Moran agrees in advance that the bidder is acting as agent on behalf of an identified third party that Moran, in its sole discretion, deems acceptable. In such case, Moran will look to the third party for payment. Successful bidders may be required to further verify their identity before property is released.

(c) Bidding Guidelines. Bidding, whether in person or by agent, absentee bid, telephone, or internet, constitutes a bidder’s acceptance of these Terms. The highest bidder acknowledged by the auctioneer shall be the buyer. The auctioneer retains the absolute right to reject any bid; withdraw, pass, or divide any lots; combine multiple lots; advance the bidding at their absolute discretion; and—in the case of error or dispute, whether during or after the sale—determine the successful bidder; continue the bidding; cancel the sale; or re-offer and sell the lot in question. Under no circumstances are sellers, or agents acting on their behalf, permitted to bid on their own property. In the event of any dispute after the auction, Moran’s sale record shall be conclusive as to the successful bidder and the price of the successful bid.

(d) Absentee, Telephone, and Internet Bidding. Moran offers absentee, telephone, and internet bidding as a convenience to clients and does not accept liability for errors or failures to execute bids. Absentee and telephone bids must be recognized by Moran prior to auction day. When identical absentee bids are submitted that become the highest bids at the auction, the bid first received by Moran shall be accepted as the winning bid. Telephone bidders are encouraged to leave minimum bids in case of technical failure.

(e) Reserves. Unless Moran expressly indicates otherwise, lots may be offered subject to a reserve, which is the confidential minimum price below which the lot will not be sold. The reserve for any lot shall not exceed its published estimate. Moran shall act to protect the reserve by bidding through the auctioneer, who may open bidding on any lot below the reserve by placing a bid on the seller’s behalf. The auctioneer may continue to bid on behalf of the seller up to the reserve amount, either by placing consecutive bids or by placing bids in response to other bidders. Lots without reserves are typically opened for bidding at 50% of their low estimate. In the absence of a bid at that level, the auctioneer may proceed backward at their discretion or deem the lot unsold if a bid is not recognized.

AFTER THE AUCTION

(a) Payment and Title Transfer. The buyer agrees to pay the sum of the hammer price plus Buyer’s Premium, plus any applicable sales tax. The Buyer’s Premium will be calculated as follows: 27% on the first $1,000,000 of the hammer price, plus 21% on any amount between $1,000,001 and $5,000,000, and 15% on any amount above $5,000,000 when paying by cash, check, or wire transfer.

Successful bidders using Live Auctioneers or Invaluable platforms will be charged a Buyer’s Premium calculated as follows: 32% on the first $1,000,000 of the hammer price, plus 26% on any amount between $1,00,001 and $5,000,000, and 20% on any amount above $5,000,000 when paying by cash, check, or wire transfer.

Credit card payments made directly to Moran will be subject to an additional 3% acceptance fee. This fee is not more than the cost of accepting these cards. The name and address associated with the credit card must match the name and address of the successful bidder. Credit Cards are not an accepted form of payment for buyers outside the United States.

Buyers are strongly encouraged to provide full payment at the auction. Payment must be received by Moran within five business days immediately following the auction. The buyer does not acquire title to and may not take possession of the lot until all amounts (including the hammer price, premium, and applicable taxes) due to Moran have been paid in full.

Unless alternate payment arrangements are made immediately following the auction, successful Live Auctioneers bidders will be automatically charged via Live Auctioneers’ LivePayments 24 hours after the auction. Payments made through Live Auctioneers LivePayments are subject to an additional processing fee and any applicable state sales tax.

(b) Collection: Buyers are strongly encouraged to collect purchased items from the sale site at the time of the auction. Packing material and labor are provided free of charge at the sale site during the auction. Packing and handling of purchased lots is undertaken by Moran solely as a convenience to customers. If a buyer opts to use this courtesy packing and handling service, Moran is not liable for damage to property, regardless of cause.

(c) Storage and Abandonment. Following the auction, uncollected lots shall be relocated to and stored in Moran’s warehouse. Moran shall retain possession of all purchases until full payment has been received from the buyer. Lots remaining uncollected after the fifth business day following the sale, regardless of payment status, are subject to a per-lot daily storage charge of $10.00. In addition to other remedies available by law, Moran reserves the right to impose upon delinquent buyers a separate 1% monthly charge (of the purchase price, or the maximum permitted by law) commencing on the sixth business day after the sale date. If a buyer fails to retrieve a purchased lot within thirty (30) days after the date of sale (the “Retrieval Period”), Moran may, without further notice, (a) continue to store the lot in Moran’s warehouse, or at the warehouse of a third-party, subject to the storage charge described above; (b) deliver the lot to the buyer at the buyer’s expense; or (c) sell the lot at auction without reserve at a place and time determined by Moran in its sole discretion.

(d) Consequences of Late Pick-Up/Abandoned Property. Notwithstanding the foregoing, Moran has no duty to store any lot indefinitely. Any purchased lot that remains in Moran’s possession sixty (60) days after the Retrieval Period (collectively, ninety (90) days) will be deemed abandoned (“Abandoned Property”) and title to it will pass to Moran. Moran may, in its sole discretion, discard or sell any Abandoned Property and may keep any proceeds from any such sale. Moran may not be held liable for any claims related to Abandoned Property. Moran is not responsible for damage or loss that occurs to Abandoned Property and Moran is not responsible for insuring Abandoned Property after the Retrieval Period.

(e) Shipping. As a courtesy to buyers, Moran provides a list of preferred shippers who are in the business of transporting antiques and works of art. Buyers are responsible for arranging their own shipping estimates and deliveries. Moran, in its sole discretion and as a courtesy to buyers, may arrange to have purchased lots packed, insured, and forwarded by a third-party shipper at the request, expense, and risk of the buyer. In circumstances where Moran arranges for such third-party services, Moran may apply an administration charge of 15% of that service fee. Moran assumes no responsibility for acts or omissions in such packing or shipping by other packers or carriers, even if recommended by Moran. Moran also assumes no responsibility for any damage to picture frames or to the glass therein.

(f) All Sales Final. Notwithstanding other terms mentioned herein, refunds may be given in Moran’s sole discretion. Refunds requested on the grounds of authenticity must be made within 180 days of the auction and accompanied by a supporting written statement from a recognized authority (defined as a person who has authored, edited, or substantially contributed to a monograph on the artist; a person who has curated, organized, or substantially contributed to a solo exhibition on the artist; or a person who has represented the artist’s estate or someone who represented or worked closely with the artist while they were alive and, in any of the foregoing instances, physically handled works of the period, medium, and subject matter in question during the course of their duties) stating that the object sold is incorrect or not the work of the artist. Dealers, appraisers, and representatives of other auction firms do not qualify as authenticators of individual artists unless they have had such specific involvement with that artist’s work, as specified above, in addition to their daily duties. Refunded lots must be returned to Moran in the same condition as when sold. Moran does not grant extensions to refund considerations based upon authenticity due to shipping delays. There are no exceptions to this refund policy.

LIABILITY AND LIMITED WARRANTY

(a) Liability. The buyer expressly agrees that (i) neither Moran nor the seller shall be liable, in whole or in part, for any special, indirect, or consequential damages, including, without limitation, loss of profits, and (ii) the buyer’s damages, if any, are limited exclusively to the original purchase price paid for the lot.

(b) Limited Warranty. ALL PROPERTY IS SOLD AS IS. Neither the seller nor Moran or its associates make any representation, express or implied, warranty (including merchantability and fitness), or guarantee in condition, age, size, provenance, medium, signature, inscription, exhibition history, importance, rarity, country of origin, genuineness, historical relevance, monetary or other value, framing or lack thereof, mounting, conservation, coloring, palette, inscription, edition, style, label, or other descriptor. No statement in the catalogue, brochures, website, bill of sale, invoice, any supplementary material, or statements by any Moran employee shall be deemed a warranty, representation or assumption of liability.

(c) Descriptions. No warranty, whether express or implied, is made with respect to any description contained in this auction or any second opinion. Any description of the items or second opinion is for the courtesy of identifying the items for those bidders who do not have the opportunity to view the lots in person, and no description of items has been made part of the basis of the transaction or has created any express warranty that the goods would conform to any description made by the auctioneer. Color variations can be expected in any electronic or printed imaging and are not grounds for the return of any lot.

(d) Estimates. All estimates provided are carefully considered opinions of Moran’s specialists and are merely suggested guidelines for interested buyers. Buyers must be aware that all property sold is subject to fluctuating values depending on the subjective interests of collectors and a wide variety of other uncontrollable factors. The lots auctioned may sell at prices above, within, or below estimate.

(e) Notices, Demands, and Refunds. Any demands for refunds, problems with the lot(s) sold or notices of any kind concerning the auction shall be made (1) in writing and addressed to John Moran Auctioneers, Inc, 145 East Walnut Avenue, Monrovia, CA 91016 or (2) via email at info@johnmoran.com.

(f) Notices, Demands and Refunds: Any demands for refunds, problems with the lot(s) sold or notices of any kind concerning the auction shall be in writing and addressed to John Moran Auctioneers, Inc, 145 East Walnut Avenue, Monrovia, CA 91016.

ADDITIONAL MATTERS

(a) Copyright. The copyright on all images, illustrations, and written material produced by or for Moran for its auction is and will remain at all times the property of Moran. Moran and the seller make no representation or warranty that the buyer will acquire any copyright or reproduction rights to a purchased lot.

(b) Buyer’s Breach of Conditions. If a buyer fails to comply with any of these Terms, Moran may, in addition to asserting all remedies available by law, including the right to hold that buyer liable for the purchase price, (i) cancel the sale, retaining as liquidated damages any payment made by the buyer; (ii) resell the property without reserve at public auction or privately upon notice to the buyer; or (iii) take such other action as Moran deems necessary or appropriate. If Moran resells the property, the original defaulting buyer shall be liable for the payment of any deficiency between the original sale price and any subsequent mitigation sale, including warehousing, the expenses of both sales, reasonable attorney’s fees, commissions, incidental damages, and all other charges due hereunder. In the event that such buyer pays a portion of the purchase price for any property, Moran’s shall apply the payment received to such property that Moran, in its sole discretion, deems appropriate. Moran shall have the benefit of all rights of a secured party under the Uniform Commercial Code as adopted in the State of California.

(c) Governing Law. The rights and obligations of the parties with respect to these Terms and the conduct of the auction shall be governed and interpreted by the laws of the State of California.

(d) Arbitration. Any dispute, claim, or controversy arising out of or relating to these Terms or the breach, termination, enforcement, interpretation, or validity thereof, including the determination of the scope or applicability of this agreement to arbitrate, shall be determined by private arbitration before an arbitrator. The arbitration shall be administered by JAMS pursuant to its Comprehensive Arbitration Rules and Procedures. Judgment on the award may be entered in any court having jurisdiction.

This clause does not preclude the parties from seeking provisional remedies in aid of arbitration from a court of appropriate jurisdiction. The parties shall maintain the confidential nature of the arbitration proceeding and the award, including the hearing, except as may be necessary to prepare for or conduct the arbitration hearing on the merits, or except as may be necessary in connection with a court application for a preliminary remedy, a judicial challenge to an award or its enforcement, or unless otherwise required by law or judicial decision.

In any arbitration arising out of or related to these Terms, the arbitrator shall award to the prevailing party, if any, the costs and attorneys’ fees reasonably incurred by the prevailing party in connection with the arbitration. If the arbitrator determines a Party to be the prevailing party under circumstances where the prevailing party won on some but not all of the claims and counterclaims, the arbitrator may award the prevailing party an appropriate percentage of the costs and attorneys’ fees reasonably incurred by the prevailing party in connection with the arbitration.

(e) Severability. Should any of these conditions be deemed unenforceable, invalid, or illegal in any court having jurisdiction, that part shall be severed from these Terms and shall have no effect on the enforceability of the remaining provisions contained herein, which shall remain valid to the fullest extent permitted by law.