Barbara Walters: American Icon

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B A R B A R A W A LT E R S : A M E R I C A N I C O N New York | November 6, 2023 Online | October 29 - November 7, 2023

Barbara Walters: American Icon Live Sale I New York I Monday, November 6, 2023 I Day Session 11am, Evening Session 5pm Online Sale I Sunday, October 29 - Tuesday, November 7, 2023

BONHAMS

INQUIRIES

SALE NUMBERS

Morgan Martin Head of Department +1 646 565 0475 morgan.martin@bonhams.com

Lots 1 - 135

Jewelry

580 Madison Avenue New York, New York 10022 bonhams.com Live Sale - 29354

Online Sale - 29357 Lots 1001 - 1239 ILLUSTRATIONS

Front Cover Photograph Douglas Kirkland/Corbis Premium Historical via Getty Images Back Cover Illustration: Lot 48 PREVIEW

Monday, October 30, 10am-5pm Tuesday, October 31, 10am-5pm Wednesday, November 1, 10am-5pm Thursday, November 2, 10am-5pm Friday, November 3, 10am-5pm Saturday, November 4, 12pm-5pm Sunday, November 5, 12pm-5pm

American Art

Caroline Morrissey Head of Department +1 212 461 6526 caroline.morrissey@bonhams.com Furniture and Decorative Arts Anna Hicks Head of Department +1 323 436 5463 anna.hicks@bonhams.com Books & Manuscripts Catherine Williamson Vice President/Director +1 323 436 5442 catherine.williamson@bonhams.com

BIDS

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SHIPPING & COLLECTION

All buyers will be extended a shipping quote within 5 business days following the sale. Lots marked “W” are oversized and therefore subject to alternative shipping methods. For further information, please refer to the Oversized Lots page.

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If you are sending a thirdparty to collect, we will require authorization to release the property to the nominated party.

Contents

LIVE SALE Monday, November 6, 2023 Day Session, 11am Lots 1 - 124 Evening Session, 5pm Lots 125 - 135 ONLINE SALE Sunday, October 29 - Tuesday, November 7, 2023 Lots 1001 - 1239

Bettmann/Bettman via Getty Images

Barbara Walters was a sophisticated collector with an eye for exceptional beauty and quality. The works of art she lovingly chose to surround herself with were also very personal – marking cherished memories of her iconic life.

Born in Boston, Walters built her trailblazing, five-decade career in broadcast journalism in New York – interviewing every US President and First Lady from Richard and Pat Nixon to Barack and Michelle Obama, as well as dozens of international political and cultural figures. References to both Boston and New York were joyously featured in her Upper East Side apartment, from the Beaux Arts-style furniture that evoked the opulent Gilded Age to the American Impressionist paintings that were a familiar and comforting reminder of her New England roots. John Wharf’s Swan Boat, Boston Public Gardens, a reminder of her mother and her hometown, hung above Walters’ bed and William Merritt Chase’s masterwork, The Tenth Street Studio, was prominently displayed in her living room. Childe Hassam’s The Peony Girl reminded Walters of the flower markets in Paris and held a particularly special place in the collection, greeting visitors in the foyer. Portraits of elegant, glamorous women by artists John Singer Sargent and Frank Weston Benson adorned the living room, conveying strength, confidence, and beauty – all qualities Walters held in herself.

As with art, jewelry was a beloved interest of Walters’ and provided a very personal reflection of her own sense of self and style. Indeed, it is difficult to find a photograph of Walters without jewelry during her countless number of high-profile interviews and appearances. She was democratic in her jewels, often mixing costume pieces with real gemstones. And what real gems she had: a 13.84 carat diamond engagement ring by Harry Winston, the ‘King of Diamonds’, given to her by her third husband Merv Adelson, a handcrafted Harry Winston white gold and diamond ‘BW’ monogram pendant, diamond brooches, and cultured pearl and diamond necklaces. Walters also owned three vibrantly coloured gemstone earrings, made bespoke for her by JAR – the discerning American designer Joel Arthur Rosenthal, dubbed ‘the Faberge of our time’ – who handpicked his clients.

Throughout her extraordinary career, Walters broke the mould, paving the way for women in the media. At home, she surrounded herself with objects of beauty and meaning, creating a sanctuary full of reminders of her achievements, her travels, her friendships, and her remarkable life. A committed philanthropist, Walters has directed that the net proceeds of this auction benefit charities dear to her heart. Her legacy continues.

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Barbara Walters: American Icon Day Session | Monday, November 6, 2023 at 11am

JEWELRY Lots 1 - 94 FASHION Lots 95 - 99 FURNITURE, DECORATIVE AND FINE ARTS Lots 100 - 124

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1¤ A PAIR OF 18K GOLD EARCLIPS Each designed as interlocking hoops with carved gold feathers and a textured finish; estimated gross weight 38.3 grams; length 1½ in.

3¤ ATTRIBUTED TO CARTIER: AN 18K GOLD AND ENAMEL RING Designed as a Cuban cigar ring with red enamel; estimated gross weight 9.1 grams; size 4½

$1,200 - 1,800

$1,500 - 2,000

2¤ A PAIR OF SAPPHIRE AND RUBY RINGS Each designed with either channel-set rubies or sapphires; estimated total ruby weight 1.50 carats; estimated total sapphire weight 1.25 carats; mounted in 14k gold; ruby ring size 7½; sapphire ring size 6½

4¤ PIAGET: AN 18K GOLD ‘POLO’ WRISTWATCH, 1994 With automatic movement, the circular white dial set with Roman numeral and Diver indices, to the textured gold bracelet, further enhanced by a back inscription ‘The Friars Club Honor Barabra Walters 5-7-94’; signed Piaget and no. 606265 with Swiss assay marks; inner circumference 5½ in.

$1,800 - 2,500

$1,000 - 2,000

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Jenifer S. Altman/Contour RA via Getty Images

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5¤ SEAMAN SCHEPPS: A PAIR OF 18K GOLD AND AVENTURINE QUARTZ EARCLIPS Each of rectangular shape with gold rope detailing; signed Seaman Schepps and no.

19096 with maker’s mark; length 1 in. $1,800 - 2,500

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6¤ A RUBY AND DIAMOND RING Centering a bezel-set cabochon-cut ruby flanked with baguette and trilliant-cut diamonds; estimated total diamond weight 1.50 carats; mounted 18k gold; size 5 $1,200 - 1,800

7¤ AN EMERALD AND SEED PEARL BANGLE Of hinged design with a series of openwork foliate motifs set with seed pearls and roundcut emeralds; estimated total emerald weight 6.50 carats; inner circumference 7 in. $1,200 - 1,800

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8 A DIAMOND RING Centering a round brilliant-cut diamond, weighing approximately 4.40 carats, flanked by princess-cut diamonds; estimated total remaining diamond weight 1.60 carats; mounted in 18k gold; size 3½ $20,000 - 30,000 9¤ SEAMAN SCHEPPS: A PAIR OF 18K GOLD AND WOOD EARCLIPS Each of rectangular shape with gold rope detailing; signed Seaman Schepps and no. 7186 with maker’s mark; length 1 in. $1,500 - 2,000

10 ¤ JAR: A PAIR OF 18K GOLD AND ALUMINUM EARCLIPS, FRANCE Each of foliate design; signed JAR and no. 81 with French assay marks; estimated gross weight 13.4 grams; length 1½ in.; accompanied by signed pouch $3,000 - 5,000 11 ¤ A TURQUOISE AND DIAMOND RING Centering an oval-shaped cabochon-cut turquoise flanked by round brilliant-cut diamonds ina textures setting; mounted in 14k gold; size 5 $1,800 - 2,500

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12 Y ¤ SEAMAN SCHEPPS: A PAIR OF SHELL AND CITRINE EARCLIPS Each designed as a spiraled shell to the bezelset round-cut citrine; signed Seaman Schepps and no. 14714 with maker’s mark; mounted in 18k gold; length 1 in.; accompanied by signed box $1,200 - 1,800 Please note that this item contains endangered species and cannot be shipped internationally.

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13 ¤ A RUBY BRACELET Of flexible design set with rows of oval-shaped rubies; estimated total ruby weight 14.00 carats; mounted in 18k gold; length 7 in. $2,500 - 3,500

14 Y ¤ MAZ: A PAIR OF SHELL AND CORAL EARCLIPS Each designed as a spotted spiraled shell to the bezel-set cabochon-cut coral; signed MAZ; mounted in 14k gold; length 1 in. $1,200 - 1,800 Please note that this item contains endangered species and cannot be shipped internationally.

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15 ¤ A PAIR OF 18K GOLD AND DIAMOND EARCLIPS Each of floral design with round brilliant-cut diamonds and a textured finish; length 1½ in. $1,200 - 1,800

16 ¤ A CHARM BRACELET Comprising six charms: one 18k gold and enamel, one 22k gold gemset and enamel and three metal and glass, suspended from a triple-link chain; bracelet 14k gold; length 7 1/2 in. $2,500 - 3,500

17 ¤ SEAMAN SCHEPPS: A PAIR OF 18K GOLD AND CARNELIAN EARCLIPS Each designed as a twist of polished yellow gold and carnelian; signed Seaman Schepps and no.

19775 with maker’s mark; length 1¼ in. $1,800 - 2,500

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18 ¤ VERDURA: A PAIR OF 18K GOLD EARCLIPS Each designed as a spiraled knot; signed Verdura; length 1 in.; accompanied by signed box

19 A DIAMOND BROOCH Of freeform design set with round brilliantcut diamonds; signed Ilton; estimated total diamond weight 27.00 carats; mounted in 18k gold; measures 2½ x 1 in

$2,500 - 3,500

$15,000 - 20,000

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20 ¤ VHERNIER: A PAIR OF 18K GOLD AND DIAMOND ‘ECLIPSE’ EARCLIPS, ITALY Each designed as a polished gold demi-lune accented with pavé-set diamonds; signed Vhernier with Italian assay marks; estimated total diamond weight 2.25 carats; length 2 in. $3,000 - 5,000

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21 ¤ A CULTURED PEARL AND DIAMOND NECKLACE Designed as a long strand of round-shaped cultured pearls of creamtint, measuring approximately 9.50 to 9.85 mm, to the two pavé-set diamond ball clasps; estimated total diamond weight 2.50 carats; mounted in 18k white gold; length 31½ in.

22 ¤ VERDURA: A PAIR OF CHALCEDONY AND CULTURED PEARL EARCLIPS Each designed as a spiraled shell with yellow gold accents and cultured pearls of white-tint; signed Verdura with maker’s mark; mounted in 18k gold; length 1½ in.; accompanied by signed box

$5,000 - 7,000

$3,000 - 5,000

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23 ¤ A DIAMOND AND RUBY CUFF Of flexible design with a central row of bezelset cabochon-cut rubies and round brilliantcut diamonds within a gold frame; estimated total diamond weight 1.00 carat; inner circumference 7 in.

24 ¤ A DIAMOND AND EMERALD CUFF Of flexible design with a central row of bezelset cabochon-cut emeralds and round brilliant-cut diamonds within a gold frame; estimated total diamond weight 1.00 carat; inner circumference 7 in.

25 ¤ MARINA B.: A PAIR OF ONYX AND SYNTHETIC RUBY EARCLIPS Each of tapered design centering a cabochoncut heart-shaped synthetic ruby, accented by polished onyx; signed MB and no. 287T AL; mounted in 18k gold; length 1 in.

$3,000 - 5,000

$3,000 - 5,000

$2,000 - 3,000

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26 ¤ ATTRIBUTED TO LUZ CAMINO: A DIAMOND BROOCH Of floral design comprising several pavé-set diamond heart ‘en tremblant’ motifs; estimated total diamond weight 10.00 carats; mounted in 18k gold; measures 3½ x 2 in. $4,000 - 7,000 27 ¤ A CULTURED PEARL, RUBY AND ONYX RING Centering a cultured pearl of cream-tint, measuring approximately 12.80 mm, flanked by rows of square-cut rubies and onyx inlay; estimated total ruby weight 1.15 carats; size 4½ $800 - 1,200

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28 ¤ ATTRIBUTED TO LUZ CAMINO: A PAIR OF DIAMOND EARCLIPS Each of floral design comprising several pavé-set diamond heart ‘en tremblant’ motifs; estimated total diamond weight 5.50 carats; mounted in 18k gold; length 1¼ in.; accompanied by signed box $2,000 - 3,000 29 ¤ AN AMETHYST AND DIAMOND RING Of floral design centering an oval-shaped amethyst, weighing approximately 4.35 carats, accented by old-cut diamond-set petals; estimated total diamond weight 1.15 carats; size 5 $1,000 - 1,500

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30 ¤ A CULTURED PEARL AND DIAMOND NECKLACE Designed as a long strand of round-shaped cultured pearls of creamtint, measuring approximately 9.40 to 9.78 mm, to the two pavé-set diamond ball clasps; estimated total diamond weight 2.50 carats; mounted in 18k white gold; length 33½ in.

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$5,000 - 7,000 31 ¤ A RUBY AND DIAMOND BROOCH Designed as a butterfly set with oval-shaped rubies and rose-cut diamonds; estimated total ruby weight 23.10 carats; mounted in 18k gold and sterling silver; measures 3¾ x 1 in. $4,000 - 7,000

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32 ¤ A CULTURED PEARL AND DIAMOND NECKLACE Designed as a long strand of baroque-shaped cultured pearls of white-tint, measuring approximately 11.62 to 17.96 mm, to the two pavé-set diamond ball clasps; estimated total diamond weight 3.50 carats; mounted in 18k white gold; length 33½ in. $5,000 - 7,000

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33 A RUBY AND DIAMOND BROOCH Of floral design with invisibly-set square-cut rubies and round brilliant-cut diamonds; estimated total ruby weight 28.00 carats; estimated total diamond weight 3.10 carats; mounted in 18k gold; measures 2½ x 2½ in. $12,000 - 18,000

Ron Galella/Ron Galella Collection via Getty Images

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34 ¤ DAVID WEBB: A PAIR OF 18K GOLD EARCLIPS Each designed as interlocking hoops with a hammered finish; signed WEBB; estimated gross weight 36.7; length 2 in. $2,000 - 3,000 35 ¤ A DIAMOND AND SYNTHETIC RUBY BRACELET Comprising a row of alternating princess-cut diamonds and baguettecut synthetic rubies; estimated total diamond weight 2.80 carats; estimated total synthetic ruby weight 8.90 carats; mounted in 14k gold; length 7 in. $2,500 - 3,500

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36 ¤ A PAIR OF RUBY AND DIAMOND EARCLIPS Each of convex design with central rows of invisibly-set French-cut rubies within a frame of round brilliant-cut diamonds; estimated total diamond weight 2.25 carats; length 1 in. $3,000 - 5,000

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37 ¤ A RUBY AND DIAMOND SIMULANT NECKLACE Designed as a graduated row of ruby beads to the diamond simulant-set clasp; length 22 in. $4,000 - 7,000 Accompanied by GIA report stating that the rubies are dyed. Report number 5234079846, dated September 22, 2023.

38 ¤ MARINA B.: A PAIR OF 18K GOLD AND COIN EARCLIPS, FRANCE Each of tapered design centering a bezel-set antique coin; signed Marina B. and no. 3Q34 with French assay and maker’s mark; length 1 in. $1,500 - 2,000

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39 ¤ JAR: A PAIR OF 18K GOLD AND ALUMINUM EARCLIPS, FRANCE Each designed as a red rose petal; signed JAR Paris with French assay marks; estimated gross weight 14.2 grams; length 1½ in.; accompanied by signed pouch

40 ¤ HARRY WINSTON: A DIAMOND PENDANT NECKLACE The pendant designed as a pavé-set diamond monogram with letters “BW” suspended from a cable-link chain; signed HW and no. 88317 with maker’s mark; estimated total diamond weight 1.92 carats; mounted in 18k white gold; length 20 in.

$3,000 - 5,000

$4,000 - 7,000

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41 ¤ A PAIR OF DIAMOND EARCLIPS Each of floral design set with round brilliantcut diamonds; estimated total diamond weight 5.00 carats; length 1 in. $2,000 - 3,000

42 ¤ A RUBY AND CULTURED PEARL TORSADE BRACELET Comprising ten strands of faceted ruby beads to the cultured pearl clasp, measuring approximately 13.80 mm; length 8 in. $1,000 - 1,500

43 ¤ A DIAMOND AND GEMSET BROOCH, FRANCE Designed as a dragonfly set with round and oval-shaped sapphires, rubies and emeralds accented by rose-cut diamonds; with French assay marks; estimated total diamond weight 1.35 carats; mounted in 18k gold; measures 2 x 2½ in. $3,000 - 5,000

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44 ¤ A PAIR OF DIAMOND EARCLIPS Each of floral asymmetrical design set with rose-cut diamonds; length 2¼ in. $2,000 - 3,000

45 A PAIR OF DIAMOND BRACELETS, ITALY Each of flexible design set with round brilliantcut diamonds within a blackened metal setting; with Italian assay marks; estimated total diamond weight 46.00 carats; mounted in 18k white gold; length 7 in. respectively $25,000 - 35,000

46 ¤ A DIAMOND, ONYX AND EMERALD RING Centering a round brilliant-cut diamond, weighing approximately 1.00 carat, accented with polished onyx and emerald inlay; signed JJ; mounted in 14k white gold; size 4 $3,000 - 5,000

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47 OSTERTAG: A DIAMOND BRACELET, FRANCE, CIRCA 1935 Of openwork design set with baguette, triangular and round brilliantcut diamonds; signed Ostertag France with French assay marks; estimated total diamond weight 27.00 carats; mounted in platinum; length 7¼ in. $40,000 - 70,000

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48 A BELLE ÉPOQUE DIAMOND BOW BROOCH, CIRCA 1910 Comprising a bow of openwork design set with old-cut diamonds; estimated total diamond weight 11.00 carats; measures 5 x 3 in. $15,000 - 20,000

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Donna Ward/Stringer/Getty Images Entertainment via Getty Images

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49 A NATURAL PEARL AND DIAMOND BROOCH, LATE 19TH CENTURY Comprising three drop-shaped natural pearls, measuring 10.60 to 11.05 mm, suspended from a diamond and natural pearl-set medallion-shaped surmount; estimated total diamond weight 8.00 carats; measures 1¼ x 2½ in. $15,000 - 20,000 Accompanied by GIA report stating that the four pearls are of natural origin with no indications of treatment. Report number 2231079858, dated September 22, 2023.

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50 A PAIR OF NATURAL PEARL AND DIAMOND EARRINGS, LATE 19TH CENTURY Each comprising a drop-shaped natural pearl of cream-tint, measuring 10.00 to 10.02 mm, suspended from an old-cut diamond-set surmount; estimated total diamond weight 5.60 carats; length 1½ in. $15,000 - 20,000 Accompanied by GIA report stating that the two pearls are of natural origin with no indications of treatment. Report number 1236079855, dated September 22, 2023.

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51 A MID-CENTURY DIAMOND BOW BROOCH, FRANCE, CIRCA 1960 Designed as a bow set with baguette and round brilliant-cut diamonds; with French assay marks; estimated total diamond weight 26.00 carats; mounted in platinum; measures 3 x 2¼ in. $20,000 - 30,000

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52 ¤ AN ART DECO DIAMOND AND SAPPHIRE BROOCH, CIRCA 1920 Designed as a bar pin with old-cut diamonds and French-cut sapphires; estimated total diamond weight 2.25 carats; length 2½ in. $1,200 - 1,800

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53 ¤ CARTIER: AN ART DECO DIAMOND AND GEMSET WRISTWATCH, FRANCE, CIRCA 1925 Of manual movement, the rectangular white dial set with Roman numeral indices and the bezel set with rose-cut diamonds to the diamond, onyx and seed-pearl bracelet; signed Cartier Paris with French assay marks; estimated total diamond weight 2.10 carats; inner circumference 6½ in.

54 ¤ AN ART DECO DIAMOND AND EMERALD WATCH PENDANT NECKLACE, CIRCA 1920 Comprising an old-cut diamond and emerald-set watch pendant, the rectangular dial set with Arabic numerals, suspended from a fine-link diamond-set chain; mounted in platinum; length 30 in. $3,000 - 5,000

$5,000 - 7,000

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55 ¤ A DIAMOND AND CULTURED PEARL LARIAT Designed as strand of round-shaped graduated cultured pearls of cream-tint, measuring approximately 8.00 to 8.50 mm, accented with a central geometric motif set with old-cut diamonds; signed WJ; estimated total diamond weight 4.25 carats; mounted in 14k white gold; length 26 in. $2,000 - 3,000

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56 ¤ A PAIR OF NEPHRITE AND DIAMOND EARCLIPS Each designed as a fan of carved nephrite with rose-cut diamond centers and lining; estimated total diamond weight 2.00 carats; length 1 in. $2,000 - 3,000

57 ¤ A PAIR OF RUBY AND DIAMOND DROP EARRINGS Each designed as diamond-set swags to the navette-shaped surmounts, further accented with bezel-set rubies; estimated total diamond weight 5.25 carats; estimated total ruby weight 3.80 carats; length 2½ in. $2,000 - 3,000

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58 ¤ A CULTURED PEARL, DIAMOND AND RUBY NECKLACE Designed as a double strand of semi-round-shaped graduated cultured pearls of cream-tint, measuring approximately 5.70 to 10.30 mm, to the rectangular clasp set with old-cut diamonds and one cabochon-cut ruby; estimated total ruby weight 2.90 carats; length 16 in.

59 ¤ A PAIR OF RUBY AND DIAMOND EARCLIPS Each of foliate design with round brilliant-cut diamond-set accents to the ruby-set leaves; estimated total ruby weight 16.50 carats; length 1¼ in. $2,000 - 3,000

$1,500 - 2,500

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60 ¤ AN 18K GOLD AND RUBY BANGLE Of hinged design set with oval and marquise-shaped rubies; estimated total ruby weight 20.00 carats; inner circumference 7 in. $1,200 - 1,800 61 ¤ A PAIR OF 18K GOLD AND ENAMEL EARCLIPS Each of spiral design with black enamel accents; length 1½ $1,000 - 1,500

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62 Y ¤ BOUCHERON: A PAIR OF CORAL AND DIAMOND EARCLIPS Each designed as a spiraled shell to the cabochon-cut coral ends, accented with round brilliant-cut diamonds; signed Boucheron and no.

P36262; estimated total diamond weight 1.20 carats; mounted in 18k gold; length 1½ in. $3,000 - 5,000 Please note that this item contains endangered species and cannot be shipped internationally.

63 ¤ A RUBY BANGLE Of hinged design set with oval-shaped rubies; estimated total ruby weight 21.00 carats; inner circumference 7 in. $1,000 - 1,500

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64 ¤ FRED LEIGHTON: A PAIR OF 18K GOLD AND ENAMEL EARCLIPS Each of spiral design with blue enamel accents; signed Fred Leighton; length 1½ in.

66 ¤ A SAPPHIRE AND DIAMOND BROOCH Designed as a pansy centering an old mine-cut diamond accented by old-cut sapphire-set petals; estimated total diamond weight 1.00 carat; estimated total sapphire weight 20.00 carats; measures 2 x 1¼ in.

$1,200 - 1,800

$4,000 - 7,000

65 ¤ A SAPPHIRE BANGLE Of hinged openwork design set with cabochon and round-cut sapphires; estimated total sapphire weight 6.00 carats: inner circumference 7 in. $1,500 - 2,000

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67 ¤ VAN CLEEF & ARPELS: AN 18K GOLD, DIAMOND AND SAPPHIRE COMPACT, FRANCE Of circular shape with a central floral motif of round-cut sapphires and one diamond, further accented with scrolled foliate motifs; signed Van Cleef & Arpels NY and no. 10252 44107; measures 3 x 3 in.

68 ¤ CHOPARD FOR CARTIER: AN 18K GOLD WRISTWATCH With manual movement, the oval-shaped dial set with Roman numeral indices and the bezel set with round brilliant-cut diamonds to the red leather backstrap; signed Cartier and no.

110928 with Swiss assay marks; inner case signed Chopard; inner circumference 5½ in.

$2,000 - 3,000

$1,500 - 2,000

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69 ¤ VERDURA: A PAIR OF 18K GOLD AND MABÉ PEARL EARCLIPS Each designed as a mabé pearl beneath woven gold accents; signed Verdura; length 1 in.; accompanied by signed box $2,500 - 3,500

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70 Y ¤ ANGELA CUMMINGS: A PAIR OF GEMSET EARCLIPS Each of paisley shape designed with a floral scene of gem-set inlay, including tourmalines, jadeite and mother-of-pearl; signed Angela Cummings; mounted in 18k gold; length 1½ in. $1,800 - 2,500 Please note that this item contains endangered species and cannot be shipped internationally.

71 ¤ DAVID WEBB: A PAIR OF 18K GOLD EARCLIPS Each of elongated hoop design with a hammered finish; signed WEBB; length 1½ in. $2,000 - 3,000

72 Y ¤ KUTCHINSKY: AN 18K GOLD, DIAMOND AND CORAL BROOCH, ENGLAND Comprising teardrop-shaped corals suspended from a textured gold motif accented with round brilliant-cut diamonds; signed Kutchinksy with English hallmarks and maker’s mark; estimated total diamond weight 1.50 carats; measures 3 x 2 in. $4,000 - 7,000 Please note that this item contains endangered species and cannot be shipped internationally.

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73 AN 18K GOLD AND DIAMOND EVENING CLUTCH, ITALY Of woven and textured design set with single-cut diamond fluting and floral accents; no. 8GSAL and with Italian assay marks; estimated total diamond weight 3.25 carats; mounted in 18k gold; measures 6 x 3 x 2 in. $10,000 - 15,000

74 Y VAN CLEEF & ARPELS: A PAIR OF DIAMOND, CORAL AND ONYX EARCLIPS, FRANCE Each of freeform design comprising polished segments of onyx and coral accented by round brilliant-cut diamonds; signed VCA and no.

45094 with French assay and maker’s marks; estimated total diamond weight 2.20 carats; mounted in 18k gold; length 1 in. $6,000 - 9,000 Please note that this item contains endangered species and cannot be shipped internationally.

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75 ¤ JAR: A PAIR OF 18K GOLD AND ALUMINUM ‘TICKLE ME’ EARCLIPS, FRANCE Each designed as a curled feather; signed JAR and no. 69 with French assay marks; estimated gross weight 47.9 grams; length 2½ in.; accompanied by signed pouch $3,000 - 5,000

76 Y VAN CLEEF & ARPELS: A DIAMOND AND CORAL BROOCH, FRANCE Of floral design with carved coral petals and a central cluster of round brilliant-cut diamonds; signed Van Cleef & Arpels and no. 20465 69 with French and maker’s marks; estimated total diamond weight 1.90 carats; mounted in 18k gold; measures 2 x 2 in.

77 Y VAN CLEEF & ARPELS: A PAIR OF CORAL AND DIAMOND EARCLIPS Each of floral design with carved coral petals and a central cluster of round brilliant-cut diamonds; signed Van Cleef & Arpels and no. 69 20661 with French assay and maker’s mark; estimated total diamond weight 1.80 carats; mounted in 18k gold; length 1¼ in.

$12,000 - 18,000

$12,000 - 18,000

Please note that this item contains endangered species and cannot be shipped internationally.

Please note that this item contains endangered species and cannot be shipped internationally.

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78 JAR: A PAIR OF GEMSET EARRINGS, FRANCE Each designed with a drop-shaped motif centering a faceted briolette tourmaline accented by round-cut tourmalines of yellow-tint and diamonds; signed JAR Paris with French assay marks; estimated total diamond weight 3.00 carats; mounted in sterling silver and 18k gold; length 2½ in.; accompanied by signed box $150,000 - 250,000

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79

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79 ¤ A DIAMOND AND EMERALD RING Of openwork navette design centering a cabochon-cut emerald accented by single-cut diamonds; no. 366; size 4 $800 - 1,200 80 ¤ A PAIR OF DIAMOND EARRINGS Each designed as a concaved spiral pavé-set with black and white diamonds; no. D320169; estimated total diamond weight 4.50 carats; mounted in 18k white gold; length 1¼ in. $2,000 - 3,000

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81 ¤ A RUBY BRACELET Designed as a row of French-cut rubies; length 7 in. $4,000 - 7,000 82 ¤ A DIAMOND RING Of openwork design with scalloped edges accented with round brilliant-cut diamonds; signed VBH; estimated total diamond weight 3.75 carats; mounted in 18k gold and sterling silver; size 5 $1,500 - 2,000

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83 ¤ A PAIR OF CULTURED PEARL, BLUE TOPAZ AND DIAMOND EARCLIPS Each comprising a baroque-shaped cultured pearl of silver-tint, measuring approximately 18.60 to 20.11 mm, suspended from a floral topaz-set surmount accented with pavé-set diamonds; estimated total diamond weight 2.25 carats; mounted in 18k gold and sterling silver; length 2¼ in.

84 ¤ A CULTURED PEARL AND DIAMOND NECKLACE Designed as a strand of baroque-shaped cultured pearls of silver-tint, measuring approximately 12.20 to 20.3 mm, to the pavé-set diamond clasp; estimated total diamond weight 2.30 carats; mounted in 18k white gold; length 17 in.

$1,500 - 2,000

85 ¤ A DIAMOND RING Of floral design set with old-cut diamonds; size 5

$2,000 - 3,000

$3,000 - 5,000

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86 JAR: A PAIR OF DIAMOND AND GEMSET EARRINGS, FRANCE Each of paisley-shape set with a variety of gems including peridot, tourmaline, sapphire and diamond; signed JAR Paris with French assay marks; estimated total diamond weight 2.50 carats; mounted in 18k gold and sterling silver; length 2 in.; accompanied by signed pouch $180,000 - 250,000

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87 89

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87 ¤ A DIAMOND BANGLE Designed as a knot set with single and round brilliant-cut diamonds and enhanced with round-cut glass of green-tint; estimated total diamond weight 8.45 carats; mounted in 14k white gold; inner circumference 7 in. $5,000 - 8,000

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88 ¤ A PAIR OF DIAMOND EARCLIPS Each of bombé design pavé-set with diamonds; estimated total diamond weight 4.25 carats; length 1 in.

89 ¤ A DIAMOND AND TURQUOISE RING Centering an oval-shaped cabochon-cut turquoise within a single-cut diamond surround; size 5

$2,500 - 3,500

$1,000 - 1,500

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90 ¤ JAR: A PAIR OF 18K GOLD AND ALUMINUM EARCLIPS, FRANCE Each designed as a red rose petal; signed JAR Paris with French assay marks; estimated gross weight 15.1 grams; length 1½ in.; accompanied by signed pouch $3,000 - 5,000

91 A DIAMOND AND RUBY BRACELET Comprising a double-strand set with ovalshaped rubies and enhanced with round brilliant-cut diamonds; estimated total ruby weight 25.00 carats; estimated total diamond weight 6.00 carats; mounted in 18k white gold; length 7 in.

92 ¤ A DIAMOND BROOCH Designed as the letter “B” with round brilliantcut diamonds; estimated total diamond weight 1.15 carats; length 1½ in. $1,000 - 1,500

$7,000 - 9,000

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93 JAR: A PAIR OF DIAMOND AND GEMSET EARRINGS, FRANCE Each featuring alternating centers of either an oval-shaped garnet or rubellite tourmaline within a surround of garnets and tourmalines, further accented by single-cut diamonds; signed JAR Paris with French assay marks; estimated total diamond weight 2.20 carats; mounted in 18k gold; length ½ in.; accompanied by signed pouch $200,000 - 300,000

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94 HARRY WINSTON: A DIAMOND RING Centering an emerald-cut diamond, weighing 13.84 carats, flanked by trilliant-cut diamonds; signed Harry Winston; estimated total remaining diamond weight 1.45 carats; mounted in platinum; size 4; accompanied by signed paperwork $600,000 - 900,000 Accompanied by GIA report stating that the diamond, weighing 13.84 carats, is D color and VVS2 clarity. Report number 5231083143 dated September 27, 2023.

Accompanied by GIA report stating that the diamond, weighing 13.84 carats, is Type IIA. Report number 5231083143 dated October 2, 2023.

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95 ¤ A CHANEL BLACK CALFSKIN XL CERF EXECUTIVE TOTE 2006-2008 Serial number 11928865. height 8 7/8in (22.5cm); width 13 1/4in (33.5cm); handle drop 7in (17.8cm) $2,000 - 3,000

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96 ¤ A CHANEL WHITE LEATHER CLASSIC JUMBO DOUBLE FLAP SHOULDER BAG height 6 1/2in (16.5cm); width 10in (25.3cm); handle drop 13 1/2in (34.3cm) $3,000 - 5,000

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97 ¤ AN HERMES ETOUPE CLEMENCE VICTORIA II 35CM HANDBAG 2011 height 7 1/2in (19cm); width 14in (35cm); handle drop 8in (20.3cm) $2,000 - 3,000 97

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98 ¤ AN OSCAR DE LA RENTA GREEN DAMASK STRAPLESS GOWN Circa 2011 With all over floral pattern.

Size 10. $400 - 600 This dress was worn to the Metropolitan Museum of Art’s Costume Insitute Benefit celebrating ALEXANDER MCQUEEN : Savage Beauty exhibition, May 2, 2011.

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99 ¤ AN OSCAR DE LA RENTA BLACK EMBELLISHED BURNOUT GOWN Size 10. $300 - 500 This dress was worn to the 39th Annual Daytime Emmy Awards broadcasted on HLN held at The Beverly Hilton Hotel on June 23, 2012 in Beverly Hills, California.

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100 ¤ W A CUSTOM MARIO BUATTA CREAM UPHOLSTERED SOFA 20th century Together with a pair of chintz floral throw pillows. height 32in (81cm); width 74in (188cm); depth 43in (109cm) $600 - 800

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101 ¤ Y A CHINESE SHELL INLAID AND LACQUERED OCCASSIONAL TABLE 20th century height 21 1/2in (56cm); width 34in (86cm); depth 25 1/2in (65cm) $1,000 - 1,500

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102 ¤ A CUSTOM MARIO BUATTA TUFTED CHINTZ UPHOLSTERED ARMCHAIR 20th century height 34in (86cm); width 35 1/2in (90cm); depth 33in (84cm) $100 - 200

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103 ¤ A TUFTED UPHOLSTERED SALON CHAIR 20th century With a tapestry pillow. height 36in (91cm); width 23in (58cm); depth 20in (51cm) $300 - 500

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104 ¤ A PAIR OF GILT METAL OSTRICH-FORM CANDLESTICKS 20th century Together with a similar example. height of pair 16in (40.5cm); width 7in (17.5cm); depth 6 1/2in (16.5cm) $800 - 1,200

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105 ¤ W A PAIR OF CUSTOM MARIO BUATTA CHINTZ UPHOLSTERED ARMCHAIRS 20th century height 31in (79cm); width 33in (84cm); depth 39in (99cm) $200 - 300

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106 ¤ A REGENCY STYLE CHINOISERIE DECORATED TWO-TIER SERVING TABLE 20th century height 32 1/4in (82cm); width 31in (79cm); depth 21 1/4in (54cm) $600 - 800 107 ¤ A PORTUGUESE AGATE MOUNTED GILT BRONZE MODEL OF A SEDAN 20th century Marked Lisbon, with a note from Farah Pahlavi. height 5 3/4in (14.5cm); width 9 1/2in (24cm); depth 4in (10cm) $800 - 1,200

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108 ¤ W A PAIR OF CHINESE LANDSCAPE DECORATED LACQUERED CONSOLE TABLES 20th century height 33 1/4in (84cm); width 60in (152.4cm); depth 19 1/4in (48.9cm) $5,000 - 7,000

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108

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109 W A WILLIAM AND MARY BRASS BOUND CHINOISERIE DECORATED CABINET Late 17th century and later On an elaborately carved giltwood stand. height overall 65 1/2in (166cm); width 43in (109cm); depth 25 1/2in (65cm) $8,000 - 12,000

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110 ¤ W A SET OF TWELVE GEORGE II STYLE UPHOLSTERED MAHOGANY DINING CHAIRS 20th century Upholstered in Oscar De La Renta fabric. height 40in (101cm); width 20in (51cm); depth 20in (51cm) $4,000 - 6,000 111 ¤ W A REGENCY STYLE MAHOGANY EXTENSION CIRCULAR DINING TABLE 20th century With five external leaves. height 28in (71cm); diameter extended 98in (249cm) $4,000 - 6,000

110 (part)

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112 ¤ A GEORGIAN STYLE SILVER-PLATED WARMING STAND Early 20th century height 21in (53cm); width 29in (73.5cm); depth 21in (53cm) $1,500 - 2,500

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113 ¤ W A BACCARAT GLASS STEMWARE SERVICE 20th century In the Colbert pattern, comprising twenty-five water goblets, twenty claret glasses, and twenty-three white wine glasses. height of goblet 7 1/8in (18cm) $800 - 1,200

113 (part)

114 ¤ W A ROYAL CROWN DERBY IMARI PORCELAIN DINNER SERVICE Late 20th century Comprising twenty-eight dinner plates, thirty salad plates, a serving bowl, a serving tray, a coffee pot, a creamer, a sugar bowl, eight teacups, and fifteen saucers. diameter of serving plate 12in (30.5cm) $800 - 1,200

114 (part)

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115 (part)

115 AN EXTENSIVE AMERICAN STERLING SILVER FLATWARE SERVICE Tiffany & Co, New York, NY, 20th century In the Windam pattern, monogrammed W, comprising twenty-six dinner forks, fourteen soup spoons, twenty-five dinner knives, thirteen forks, twelve bullion spoons, twenty-five salad forks, twelve butter spreaders, twenty-seven luncheon forks, forty-seven teaspoons, twelve luncheon knives, twenty-four cocktail forks, sixteen fruit spoons, fourteen hollow butter knives, twelve tablespoons, and eight serving utensils; total weighable silver approximately 204 oz troy. $10,000 - 15,000

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116 ¤ A GEORGE III STYLE UPHOLSTERED MAHOGANY SIDE CHAIR 20th century height 39in (99cm); width 24in (61cm); depth 25in (64cm) $200 - 400

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117 ¤ W A CONTINENTAL ROCOCO CHINOISERIE DECORATED AND RED LACQUERED SECRETAIRE Probably Italian, 18th century height 95in (241cm); width 41in (104cm); depth 22in (56cm) $3,000 - 5,000

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118

119

118 ¤ A GROUP OF FIFTEEN DESK ARTICLES Comprising a sterling silver monogramed shell form dish; a sterling silver monogrammed miniature double frame; a monogrammed metal pocket watch form compact; a sterling silver monogrammed calendar frame; a silver plated cup inscribed BARBARA WALTERS / THE RICHMOND FORM / OCTOBER 5, 1991; a monogrammed sterling silver pen award inscribed N.C.C.J. / HUMANITARIAN AWARD / FREDERICK S. PIERCE / SEPTEMBER 29, 1980; a pair of silver plated note pad covers, one inscribed To Barbara / On the Occasion of your Fifteenth Anniversary with ABC News / Love Georgette; a monogrammed silver plates note pad cover; a monogrammed faux tortoiseshell note paper holder; a monogrammed leather dictionary; a silver plated ball point pen; a pair of metal scissors; a magnifying glass and a Cross gold plate ball point pen. length of dictionary 7 3/8in $500 - 700

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119 ¤ A TIFFANY STUDIOS GILT BRONZE SEVEN PIECE ‘ZODIAC’ DESK SET Circa 1905 Model no. 1089, each piece stamped TIFFANY STUDIOS NEW YORK and with respective model number. height of largest letter rack 6 1/2in (16.5cm); width 9 1/2in (23cm); depth 2 1/4in (6cm) $800 - 1,200

120 JEAN BÉRAUD (FRENCH, 1849-1935) La Loge signed ‘Jean Béraud’ (lower left) watercolor on paper 9 1/8 x 5 in. (23.2 x 12.7 cm.) $8,000 - 12,000 Provenance Sale, Christie’s, London, June 23, 1983, lot 24.

Hazlitt, Gooden & Fox, London, by 1987.

Jayne Wrightsman (1919-2019), New York, acquired from the above.

Gift to the late owner from the above.

Exhibited London, Hazlitt, Gooden & Fox, Nineteenth Century French Drawings, June 18-July 17, 1987, no. 20, pp. 42-43, illustrated.

Literature P. Offenstadt, Jean Béraud 1849-1935, The Belle Époque: A Dream of Times Gone By, Catalogue Raisonné, Cologne, 1999, p. 203, no. 240, illustrated.

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121 ¤ A COMPOSITE CAST OF A SHOCK (MALTESE) DOG Circa 2014 Inscribed copyright 2015 MMA. height 10in (25.4cm); width 11in (27.9cm); depth 9 1/4in (23.5cm) $200 - 300 Provenance This replica was given to Barbara Walters from the Metropolitan Museum of Art, New York in appreciation of her gift of the original marble sculpture by 18th century artist Anne Damer (British, 1748–1828) to the museum.

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122 ¤ LEIBOVITZ, ANNIE. Annie Leibovitz. New York: Taschen, 2014.

Elephant folio. Keith Haring dust jacket.

Publisher’s cloth. Includes tripod book stand designed by Marc Newson.

LIMITED EDITION. SIGNED by Annie Leibowitz. Number 2771 of 10,000 copies printed of the Deluxe edition. $2,000 - 3,000

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detail

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123 JOE GOODE (B. 1937) Untitled No 3 - Mauve 1974 oil on canvas 60 x 60 in. (152.4 x 152.4 cm.) $50,000 - 80,000 Provenance Felicity Samuel Gallery, London.

James Corcoran Gallery, Santa Monica.

Acquired directly from the above by the present owner.

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124 ¤ PETER MAX (AMERICAN, BORN 1937) Untitled (Portrait of Barbara) signed; stamped with artist’s stamp on the reverse acrylic on canvas 32 x 24 in. (81.4 x 61 cm.) $3,000 - 5,000

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Barbara Walters: American Icon Evening Session | Monday, November 6, 2023 at 5pm

AMERICAN ART Lots 125 - 135

WWD /Penske Media via Getty Images

125 MAURICE BRAZIL PRENDERGAST (1858-1924) Franklin Park, Boston watercolor and pencil on paper laid down on paper 14 x 20 in. (35.6 x 50.8 cm.) $150,000 - 250,000 Provenance Charles Prendergast (1863-1948), by descent from the artist, his brother, 1924.

Mr. and Mrs. John F. Kraushaar (d. 1946), New York.

Antionette Kraushaar (1902-1992), New York, by descent from the above, his daughter.

Richard Larcada Gallery, New York.

Coe Kerr Gallery, New York, 1978.

Private collection, Nebraska, acquired from the above, 1980.

Coe Kerr Gallery, New York.

Acquired from the above by the late owner.

Exhibited Birmingham, Alabama, Birmingham Museum of Art, n.d. (possibly) Palm Springs Desert Museum, A Hundred Years of American Art, January 1-March 4, 1979.

New York, Coe Kerr Gallery, The Remembered Image: Prendergast Watercolors 1896-1906, October 23-December 6, 1986, n.p., fig. 30, illustrated.

New York, Coe Kerr Gallery, American Impressionism, May 19-June 23, 1989, n.p., fig. 28, illustrated.

Literature D. Adlow, Christian Science Monitor, July 2, 1963, p. 8.

E. Glavin and E. Green, “Chronology”, Maurice Prendergast: Art of Impulse and Color, College Park, Maryland, 1976, p. 38.

C. Clark, N.M. Mathews and G. Owens, Maurice Brazil Prendergast, Charles Prendergast, A Catalogue Raisonne, Williamstown, Massachusetts, p. 356, no. 615 illustrated.

An important example of Maurice Brazil Prendergast’s Impressionist watercolors, Franklin Park, Boston demonstrates the artist’s fully matured style he developed during his 1891-1894 trip to Paris. During his time in Paris, in addition to his education at Atelier Colarossi and the Académie Julien, he was exposed to and internalized the works of European Modernists Eduard Vuillard, Pierre Bonnard, and Eugene Boudin. As beloved Prendergast scholar Nancy Mathews wrote “By the 1890’s, when young Maurice Prendergast (1858-1924) was searching for artistic direction, “leisure” had become the grand theme of modern art. Impressionist, with its views of beaches and cafes, spread quickly beyond Paris and emerged as an international phenomenon among avant-garde artists. At the same time, leisure was promoted as the hallmark of a progressive society . . .With the impetus of political currency, American artists and writers capitalized on the modernity of the subject . . . But few artists were so well suited to capture this moment in the history of American culture as Maurice Prendergast.

His talent and personality drew him to the kind of experiences turnof-the-century leisure offered: the colorful jostling of holiday crowds, the experience of nature mediated by parasol and windswept banner, and the lowering of class and gender barriers to foster a sense of inclusiveness--however fleeting...True to his age, leisure became the great theme of Prendergast’s art. Over time, attitudes and values changed, but he never lost his reverence for a subject that he felt made people more civilized and more human. Nor did he forget that art itself was a leisure-time spectacle.” (The Art of Leisure: Maurice Prendergast in the Williams College Museum of Art, Williamstown, Massachusetts, 1999, pp. 15-16) Prendergast’s watercolors from the 1890’s are hallmarked by the usage of fluid strokes of rich colors highlighted with dabs of bright,

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vibrant colors to denote the hats, dresses, and parasols of the figures.

These ambitious watercolors, such as Franklin Park, Boston, are quite complex, displaying the artist’s immense talent to capture the vitality of modern life. During this period, the delineations between social classes was immensely prevalent, though in the parks and beaches that Prendergast captured, all members of society could comingle. According to Art Historian Milton W. Brown, “Prendergast’s crowds have a very particular character. They are anonymous as all crowds really are, but a Prendergast crowd is not just a mass of undifferentiated humanity, as in many Impressionist paintings. No one stands out by virtue of either personality or action, yet the people in it are individuals, each doing something of his own within the context of a group. Within this urban throng there are some indications of class distinction in dress, activity, and means of locomotion, but it is exactly the democratization of people in a Prendergast crowd that gives it its character.” (M.W. Brown, “Maurice B. Prendergast”, Maurice Brazil Prendergast, Charles Prendergast: A Catalogue Raisonné, Williamstown, Massachusetts, 1990, p. 16) Franklin Park was designed in the 1890s by famed landscape architect Frederick Law Olmsted as the crown jewel of his “Emerald Necklace”, an 1,100-acre chain of parks connected by parkways and waterways throughout the greater Boston Area. This sprawling 527acre parkland south of Boston, located between the Jamaica Plain, Roxbury, and Dorchester neighborhoods, was named after Bostonborn patriot Benjamin Franklin and has been attracting crowds’ people from across the Commonwealth for over 120 years. In Franklin Park, Boston, Prendergast has captured families playing and congregating throughout one of the parks open meadows, with several buildings dotting the very high horizon line.

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126 FRANK W. BENSON Firelight signed and dated ‘F.W. Benson ‘93’ (lower left) oil on canvas 40 x 30 in. (101.6 x 76.2 cm.)

Painted in 1893. $400,000 - 600,000 Provenance Paul Magriel, New York, by 1966.

Sale, Sotheby Parke-Bernet, New York, January 24, 1973. (as The Reflection) Kennedy Galleries, New York.

The Virginia Steele Scott Foundation, Pasadena, California.

Stuart Pivar (b. 1930), New York.

Berry-Hill Galleries, New York.

Irving H. Picard, Receiver for David Peter Bloom.

Sale, Sotheby’s, New York, May 25, 1988, lot 172.

Acquired by the late owner at the above sale.

Exhibited Boston, St. Botolph Club, An Exhibition of Paintings by Joseph de Camp, F.W. Benson, E.C. Tarbell, Theodore Wendel, Dawson Watson, Philip Hale, F.P. Vinton, and Mrs. L.C. Perry, 1894, no. 1.

New York, National Academy of Design, 69th Annual Exhibition, 1894, no. 342, pg. 112.

Chicago, Art Institute of Chicago, American Paintings and Sculpture 7th Annual, October 29– December 17, 1894, no. 19, p. 12, awarded the James W. Ellsworth Prize.

Philadelphia, Pennsylvania Academy of Fine Arts, 1895.

Lincoln, Nebraska Art Association, 1895.

Cleveland, Cleveland Art Association, First Annual Exhibition, January 22-February 22, 1895, no. 268, p. 57. (as Fire Light) Akron Institute, 1953.

New York, Finch College Museum, Galaxy of Ladies: American Paintings from the Paul Magriel Collection, 1966, no. 2, n.p. (as Lady before the Fireplace) Greensberg, Pennsylvania, The Westmoreland County Museum of Art, Collection of the Virginia Steele Scott Foundation of Pasadena, California, January 23-March 6, 1977, no. 4, n.p. (as The Reflection (Girl in White) ) New York, Berry-Hill Galleries, Inc., Frank W. Benson: A Retrospective, May 17-June 24, 1989, no. 7, p 37.

Literature “Two Hundred Years of American Portraits”, The Kennedy Quarterly, Vol. IX, no. 4, New York, 1970, no. 276, p. 274, illustrated. (as Girl in White/Reflection) Berry-Hill Galleries, American Paintings IV, New York, 1986, no. 56, pp. 56-57, illustrated.

Bedford, Faith Andrews. Frank W. Benson: American Impressionist, New York, 1994, pp. 59, 66.

We are grateful to Benson scholar Faith Andrews Bedford, author of the biography Frank W. Benson: American Impressionist, The Sporting Art of Frank Benson, and Impressionist Summers: Frank W. Benson’s North Haven, for her assistance in cataloguing this lot.

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Born in Salem, Massachusetts in 1862, Frank Weston Benson was descended from a long line of sea captains. By the time he was born in the large Benson home on Salem’s historic Washington Square, they had filled it with exotic treasures from the China trade. Oriental scrolls and screens lined the walls, silks in intricate patterns shimmered, tall vases stood in corners, reflecting the light from the fireplace, candles, oil lamps or the tall windows that overlooked Washington Square.

The five Benson children grew up surrounded by color and pattern, design and detail, the elegance of furniture handed down through the generations and, most of all, light. Their evenings were illuminated by the soft glow of candles and gaslight. Sunlight sparkled off the waters of Salem harbor and marshes of nearby Essex County where they hiked and observed the many birds that filled the sky with graceful patterns. Benson filled his sketchbooks with drawings of them. His accomplished painting of these birds encouraged his parents to send him to Boston’s School of the Museum of Fine Arts. He studied there from 1880 to 1883 with a group long considered the school’s “banner class.” Robert Reid, became a fellow member of the group of American painters later known as “The Ten.” Edmund Tarbell became Benson’s closest friend and shared not only a studio but the directorship of the school itself. With them, Benson visited numerous galleries and private collections.

For his twenty-first birthday, Benson’s parents gave him one thousand dollars along with strict instructions to come home when the money ran out. He and his fellow art student, Joseph Lindon Smith, sailed to Paris and quickly enrolled at the Academie Julian where they studied under Gustave Boulanger and Jules Joseph Lefebvre. Afternoons were spent at the Louvre as well as at various small galleries and paint supply stores where the works of the Impressionists were often hung. The two undoubtedly studied carefully their high-keyed palette, broken brush strokes, and loose handling of paint. The frugal friends managed to make their money last through two years at the Academie as well as a summer in Brittany at the seaside art colony of Concarneau. In Benson’s summer painting, After the Storm, one can see his mastery of light upon the water. It was accepted for exhibition by the Royal Academy in London.

Returning home to Salem in 1885, Benson set up a studio and began painting portraits - a time honored way for young artists to gain commissions. Of his oil of Joseph Lindon Smith, which Benson hung at his first exhibition in Boston, a reviewer wrote that it had “a good deal of life and character.”(i) For his first show at the National Academy of Design in New York, Benson chose Moonlight, a painting from Concarneau. It garnered for him not only his first sale in that city, but also excellent reviews.” A capital performance,” wrote one reviewer. “The sense of unresting waters is prettily conveyed without leaving an impression of a noisy or busy picture.”(ii) Benson’s growing reputation quickly drew the attention of the trustees of the Portland Society of Art who, in 1887, hired him to teach for the next two years. It was no surprise that, just a year after marrying a childhood friend, Ellen Peirson, he was hired as an instructor at the Museum School in Boston in 1889. The previous year he had found a studio in the large building at 145 Dartmouth Street where Edmund Tarbell and Dennis Bunker were already working. It was here that Benson began painting studio works of lovely young women in elegant gowns lit by the mellow, muted effects of light thrown by

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the flickering flames of a fire or the gentle glow of an oil lamp. These paintings earned for him not only some of his earliest praise but also his earliest awards.

While many of Boston’s artists hired professional models, at this early point in his career Benson was delighted when his sisters offered to sit for him. His paintings of Georgianna and Elisabeth were not portraits but likenesses. Like Abbot Handerson Thayer, who was an early mentor, Benson transformed the women in his family into an ideal. As his eldest daughter Eleanor, who was his most frequent model, wistfully recalled, “He always made us far more beautiful than we were.”(iii) The first of these dramatic paintings, By Firelight, was a study of his sister Elisabeth gazing into a fireplace that is surrounded by objects d’art all illuminated by the flickering firelight. Painted in 1889, it underscores the sense that these works were part portrait and part still life. The compositional elements provided by the Oriental ginger jar, urns and a woodblock print underscore Benson’s comment decades later that, “Picture making has become to me merely the arrangement of design within the frame. It has nothing to do with the painting of objects or the representation of nature. . .”(iv) The exotic tiger-skin rug beneath Elisabeth’s chair may well have been what inspired Mrs. P.T. Barnum to buy it.

Twilight, Benson’s second “firelight painting,” was completed in 1891 shortly after Benson moved into a larger space at the Harcourt Studios a short walk from the Museum School. In this prize-winning oil, Georgiana, in white, and Elisabeth, in black, sit on an antique settee.(v) The composition includes a table with a floral arrangement in a porcelain vase, a chair, a music stand and a partly hidden lamp which, along with the unseen fireplace, casts a warm glow on the sitters.

Although portraits were his mainstay, Benson looked forward to his time doing creative work such as his third foray into capturing the effects of light. Lamplight is, once again, a painting of two young women, one dressed in black and one in white. The deep, rich gold of the reflected lamplight bathes the entire left half of the painting and is echoed in the shimmering oriental screen. As the light fades toward the middle of the canvas, the shadows deepen and the skirt of Georgiana’s black dress dissolves into shadow. Standing against the foil of mellow gold and velvet black, her shawl and hair ribbon make bright splashes of vermilion. Oddly, although a fireplace is shown, no flickering flames are seen. As though arranging scenery on a stage, Benson placed a wooden table in front of a golden screen.

On it is a flower arrangement in a porcelain jar. A painting hands above the mantle and two chairs are partially visible. The figure in the background is an enigma. Dressed in white, the model sits with her back to us. Her face is not visible, and one hand is poorly done. It could well be that Benson did not use a model but tried to recreate his little sister from memory. Elisabeth had died shortly after Twilight was completed.

Firelight, the final canvas of Benson’s firelight paintings, is the capstone to this studio series. In it, Bensons seems to distil all that he learned while creating the previous three. The similarities are many; the differences are subtle. In Firelight, the light from the fire is not intense and hot like that seen in By Firelight. There is no glow

of lamplight. Georgianna, her hand outstretched to enjoy the gentle warmth of an unseen fire, is centered on the canvas. While the fire casts a subtle glow on the antique corner chair and a tall, green urn, it is the beautiful handling of light on the model’s dress that captures the viewer’s attention. The warm glow of the fire suffuses the right portion of the canvas and touches the dress and Georgianna’s face with glimmers of gold and opalescent color. Benson depicts the delicate texture of the fabric by interweaving broken, barely discernible brushstrokes of varied tones of cream and ivory, blue and yellow. A review of Benson’s known portraits and studio pieces reveal that he overwhelmingly asked clients or models to wear white, the better to allow him to use the deceptive simplicity of white to demonstrate his mastery of the qualities of light and color.

Although Firelight won first prize at the Cleveland Art Association, it was at the Chicago Art Institute exhibition of 1894 that it garnered effusive praise. A discussion of the exhibition was offered in a small pamphlet titled “Impressions on Impressionism.” The commentators were novelist Hamlin Garland, “Brush and Pencil” editor Charles Francis Browne and Lorado Taft, a sculptor. All were active in a Chicago-based arts organization, the Central Art Association. When the three stood in front of Firelight, which had won the Ellsworth prize, their comments continued for three full paragraphs. Garland was the first to opine, “It is masterly. I don’t know of anything finer in the way of firelight. See the simplicity of his method. That hand and arm is painted with three broad strokes of the brush, but it takes genius to do that.” “Look at those mellow shadows,” exclaimed Taft.

“See how it is done! See your effect of firelight now. Look at that arm. A stripe of pure vermilion and then next to it one of clean, vivid blue, and then this mass of transparent shadow. You step back three steps, and they blend into the tenderest gradations, but preserve a purity that you don’t see once a year in a painting.”(vi) It is interesting to note that, in Firelight, Benson has used only two accessories, a tall vase and an antique corner chair. The painting has a spare composition and is a departure from his penchant for including numerous accessories or props that reflect the popular Colonial Revival movement, his own Salem upbringing in a house full of decorative arts and his strong interest in art from the Orient.(vii) Henry Fitz Gilbert Waters, a close family friend and neighbor in Salem and one of this country’s first collectors of American antiques, was an early mentor. The first piece of furniture the Bensons bought as newlyweds was an antique sideboard. As Benson wrote Waters, “I have bought most of my furniture piece by piece to fit the rooms and quite a lot of it is old—I dislike so much any sets of [new] furniture that I could afford to buy that I furnished with old whenever I could find what I wanted at reasonable prices.”(viii) Brass candlesticks and fire tools, silver mirrors, and porcelains, shimmering fabric and highly polished furniture all allowed him to display his mastery of light and reflection. For decades, many of the objects in these paintings found their way into Benson’s other interiors with figures and still lifes. The corner chair half hidden behind Georgianna’s skirt in Lamplight becomes her seat in Twilight and later appears in Benson’s 1899 portrait of Marjorie, the four-year-old daughter of Henry Westinghouse, who traveled to Benson’s studio from his home in Pittsburg. The porcelain vase in Firelight is later used in The Artist’s Daughters, a studio work from 1906.

Frank Weston Benson, The Artist’s Daughters, 1906, oil on canvas, 26 x 36 in. (66 x 99.4 cm.), Private Collection.

Firelight and its related paintings were but a brief coda in a long and illustrious career. Many years after Benson created it, while teaching his daughter Eleanor to paint Benson summed up his guiding principle, “I simply follow the light, where it comes from, where it goes.”(ix) Faith Andrews Bedford, Copyright 2023 (i) Boston Evening Transcript, 23 January l886 (ii) Unidentified newspaper clipping in the Benson File. Museum of Fine Arts, Boston. (iii) Eleanor Benson Lawson as remembered by her daughter JA, interview with the author, October l976. (iv) Advice to an Artist: Notes Taken After Criticism. Benson Papers.

Peabody Essex Museum Library. This is a typewritten manuscript of Eleanor Benson Lawson’s notes after her father visited her studio on Salem’s harbor and offered criticism of her work. July 29, 1948. (v) When Twilight was shown at the National Academy, it was awarded the Clark Prize for being the best American figure composition painted in the U.S. that year. In Chicago, it won the Ellsworth prize. (vi) Hamlin Garland, Lorado Taft and Charles Francis Browne, “A Critical Triumvirate,” in Impressions on Impressionists (Chicago: Central Art Association), pp. 10-11 (vii) As a teenager, Bulkio Matsuko was brought to Salem by Edward S. Morse, director of the Essex Museum. Upon graduating from Salem High School he became a dealer and connoisseur of oriental art and artists’ supplies in Salem and on Boston’s Boylston Street. Correspondence between Benson and the manager of a rival company, Yamanaka & Co., show that both companies vied for Benson’s business. Private collection. (viii) Frank W. Benson to Henry Fitz Gilbert Waters, December 18, 1888. Waters Collection, Phillips Library, Peabody Essex Museum, Salem, Massachusetts. (ix) November 19, 1942. Advice to an Artist.

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127 AUGUSTUS SAINT-GAUDENS (1848-1907) Diana of the Tower stamped ‘DIANA· / OP THE· / TOWER·’ (along the base) and inscribed ‘© A. SAINT GAUDENS / MDCCCXCV’ (on the base) and stamped ‘AVENUE DE CHATILLON / PARIS / 44 / E.GRUET / JEUNE / FONDEUR’ (on the base) stamped ‘AVGVSTVS· / SAINTGAVDENS / MDCCCXCIX’ (on the base) and stamped ‘·COPYRIGHT· / BY·AVGVSTVS· / SAINTGAVDENS / M / ·DCCXC / IX’ (on the base) bronze with brown patina 21 1/2 in. (54.6 cm.) high from top of head to toe; 38 3/4 in. (98.4 cm.) high including bow and tripod base Cast circa 1899. $350,000 - 450,000 Provenance Doll & Richards, Boston.

Collection of the Adams Family, Massachusetts.

By descent in the family of the above, Lincoln, Massachusetts, until 1988.

Childs Gallery, Boston.

Hirschl & Adler Gallery, acquired from the above, 1988.

Acquired from the above by the late owner, 1989.

Exhibited New York, Hirschl & Adler Gallery, Uncommon Spirit: Sculpture in America 1800-1940, April 22-June 9, 1989, no. 15, pp. 28-29, illustrated.

Literature B. Hollingsworth, American Sculptors Series: Augustus SaintGaudens, New York, 1948, p. 39, another example illustrated.

A.T. Gardner, American Sculpture: A Catalogue of the Collection of The

Madison Square Garden circa 1905; photographer unknown.

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Metropolitan Museum of Art, Greenwich, Connecticut, 1965, pp.52-3, another example illustrated.

J.H. Dryfhout, “Diana,” Metamorphoses in Nineteenth Century Sculpture, Cambridge, Massachusetts, 1975, pp. 183-86, 201-13, no. 19, another example illustrated.

J.H. Dryfhout, The Works of Augustus Saint-Gaudens, Hanover, New Hampshire, 1982, pp. 155, 194, 205-10, nos. 121, 144, 154, figs. 154-59, other examples illustrated.

K. Greenthal, Augustus Saint-Gaudens: Master Sculptor, Boston, 1985, pp. 23, 138-41, pl. VIII, fig. 143, another example illustrated.

T. Tolles, ed., American Sculpture in The Metropolitan Museum of Art, vol. 1, New York, 1999, pp. 305-09, no. 131, another example illustrated.

H.J. Duffy, J.H. Dryfhout, Augustus Saint-Gaudens: American Sculptor of the Gilded Age, exhibition catalogue, Washington, D.C., 2003, pp. 80-3, no. 43, another example as frontispiece illustration.

T. Tolles, Augustus Saint-Gaudens in The Metropolitan Museum of Art, New York, 2009, pp. 31-5, 72, fig. 42, another example illustrated.

The huntress Diana is amongst Augustus Saint-Gaudens’ most coveted bronzes, as it is an embodiment of the sculptor’s unparalleled skill of creating balance and form. Originally conceived in 1886 as a commission for famed architect Stanford White, the monumental figure of Diana was intended to be a weathervane for the tower at Madison Square Garden. The first version, built by the W. H. Mullins Manufacturing Company in Salem, Ohio, was 18 ft tall and weighed 1,800 lbs. Saint-Gaudens’s initial design specified that the figure be delicately balance on its left toe atop a ball. Due to the weight of the sculpture, the manufacturer was unable to pass the rotating rod through the toe, so the design was altered to have the figure ungracefully balanced on its heel. This example was unveiled atop Madison Square Garden’s tower on September 29, 1891. This original version was too heavy and unbalanced, which led White and SaintGaudens to having it removed after less than a year on September 7th 1892. After its removal from Madison Square Garden, this first version was shipped to Chicago to be exhibited at the 1893 World’s Columbian Exposition. As Saint-Gaudens served as the head of the sculpture committee, he intended for the work to be exhibited atop the Women’s Pavilion, but after the Women’s Christian Temperance Union protested, the work was placed on top of the agricultural building.

After careful consideration for the balance of work, Saint-Gaudens modified his prototype and a second version of the beloved Diana was placed atop the Madison Square Garden tower in November 1893. This version was slightly shorter at 13 ft, but significantly lighter, clocking at just over 700 lbs. This second edition was significantly more refined than the first and became an overnight sensation. SaintGaudens immediately began to produce a handful of hand-modeled reductions in with variations in detail, such as the base, sphere, bow and hair. As Lauretta Dimmick wrote, “In 1894 Saint-Gaudens gave his wife as a Christmas gift a ‘little’ Diana ‘to do whatever you please with it.’ In January 1895 he obtained a copyright for the reduced Diana.

An edition of 31-inch-high figures was cast by the Aubry Brothers foundry in New York. For this version (Brooklyn Museum of Art), Diana balances on a hemisphere and holds an arrow and a strung bow that is heavier than in subsequent versions. A 21-inch figure, gracefully poised on a sphere upon a two-tiered base, was cast as early as 1894 at the Gruet foundry in Paris. A third variation, also a 21-inch figure, was produced when Saint-Gaudens was in Paris in 1899. For this version, he remodeled the hair and the bow and altered the base so that the sphere rests on a tripod decorated with winged griffins, scrollwork, and rosettes.” (American Sculpture in The Metropolitan Museum of Art, vol. 1, New York, 1999, p. 309) The present example is the third variation of Diana with the tripod base, cast circa 1899 by the E. Gruet Foundry in Paris. Diana is the only model of a female nude that the artist ever created and demonstrates Saint-Gaudens’ modern perspective on a classical subject.

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128 JOHN SINGER SARGENT (1856-1925) Egyptian Woman (Coin Necklace) signed ‘John S. Sargent’ (lower left) oil on canvas 25 5/8 x 20 in. (65.1 x 50.8 cm.)

Painted in 1891. $1,200,000 - 1,800,000 Provenance Sir Philip Albert Gustave David Sassoon, 3rd Baronet, GBE, CMG (1888-1839), London.

Sybil Rachel Betty Cecile Cholmondeley, Marchioness of Cholmondeley CBE (1894-1989), London, by descent from the above, his sister.

Cholmondeley Chattels Settlement Trustees.

Sale, Christie’s, New York, December 2, 1988, lot 206, sold by the above. (as A Fellah Woman) Coe Kerr Gallery, New York.

Acquired by the late owner from the above, 1989.

Exhibited Boston, Copley Hall, Paintings and Sketches by John S. Sargent, R.A., February 20-March 13, 1899, no. 60. (as Sketch of a Fellah Woman) London, Carfax & Co, Loan Exhibition of Sketches and Studies by J.S. Sargent, R.A., June 1908, no. 7. (as An Egyptian Woman) London, The Goupil Gallery, Modern British Art together with a group of Oil Paintings by J.S. Sargent, R.A., Summer 1924, no. 39. (as Head of an Egyptian Dancing Girl) New York, Grand Central Art Gallery, Retrospective Exhibition of British Paintings under the Auspices of the English-Speaking Union, January 10-February 28, 1925, no. 63. (as Head of an Egyptian Dancing Girl) London, Royal Academy of Arts, Exhibition of Works by the Late John S. Sargent, R.A., January 14-March 13, 1926, no. 353. (as Head of an Egyptian Dancing-girl) Birmingham, U.K., City Museum and Art Gallery, Exhibition of Works by John Singer Sargent, R.A., 1856-1925, September 25-October 18, 1964, no. 21, pp. 13-14. (as Head of an Egyptian Dancing Girl) New York, Coe Kerr Gallery, American Impressionism II, May 19-June 23, 1989, no. 36. (as A Fellah Woman) Literature A.C. Meynell, The Work of John Singer Sargent, London, 1903, pp. 253, 255, illustrated.

R. Cortizzoz, “John Singer Sargent”, Scribner’s Magazine, vol. 34, no. 5, November 1903, p. 523, illustrated. (as Egyptian Woman with Coin Necklace) C. Mauclair, “John Sargent”, L’Art et Les Artistes, vol. 4, December 1906, p. 376. (as Femme egyptienne au collier de monnaies) C. Brinton, “Sargent and his Art”, Munsey’s Magazine, vol. 36, December 1906, pp. 162, 165, illustrated. (as Egyptian Woman with Coin Necklace) W. H. Downes, John S. Sargent, His Life and Work, Boston, 1925, pp. 35, 166. (as Egyptian Woman) E. Charteris, John Sargent, London, 1927, p. 284, dated ‘1890’. (as Head of a Dancing Girl) C. M. Mount, John S. Sargent, New York, 1955, no. 193, p. 433. (as Head of an Egyptian Dancing Girl); 1957 ed., nos. 193f and 917, p. 342; 1969 ed. p. 467, under ‘Egyptian Women (heads): I. A Fellah Woman.’

R. Ormond and E. Kilmurray, John Singer Sargent, Figures and Landscapes (1883-1899), Complete Paintings, Volume V, New Haven and London, 2010, no. 931, pp. 229, 353, illustrated.

We would like to provide special thanks to Elaine Kilmurray and Richard Ormond for their kind assistance with the cataloguing of this lot.

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This study of a young woman was painted in Egypt in 1891. It relates to a number of studies of women in Sargent’s oeuvre and, more broadly, to depictions of women from the Near and Middle East by various nineteenth century artists.

The Napoleonic invasion of Egypt in 1798 had begun an opening up of the Near and Middle East to adventurous European travellers and it inspired artist-travellers with an imaginative vision of a life, landscape, colour and culture different from their own. A number of French artists, Delacroix, Jean-Léon Gérôme, Théodore Chassériau and AlexandreGabriel Decamps, travelled to the region, while Ingres, who never ventured beyond mainland Europe, painted his odalisques based on contemporary literature, anecdotes, and his own imagination.

British artists, William Holman Hunt, Frederic Leighton, Richard Dadd, John Frederic Lewis and Edward Lear made journeys, some of them extended, to the Middle East, painting its scenes of everyday life, its buildings, landscapes and people. For some, artistic experience of the region became central to their artistic identities and expressions.

Romantic writers like Charles Baudelaire and Théophile Gautier saw the East as a place which might restore the deficiencies of life in the modern West. Their longings entered the literary imagination in a profound way, creating an abundance of potential themes and images for artistic exploration. The East, as described by Western artists and writers, was often seen through a European lens and an unsettling antithesis was set up whose premise was that Europe represented enlightenment, reason, and progress, while the East was associated with ancient traditions, the chaotic and primitive: it was essentially unmodern, even anti-modern.

Sargent made his first visit to northern Africa in 1879. After a seminal visit to Spain, he sailed to Morocco, spending some time there, late in the year and during the early part of 1880. In and around Tangier, he painted figure studies and sketches of vernacular architecture, but his principal work was a mysterious white-on-white study of a young woman, swathed in white in an arched interior setting, perfuming herself with the incense of ambergris (Fumée d’ambre gris, 1880, Sterling and Francine Clark Art Institute). In 1880, he sent the painting to the Paris Salon, where its tonal and decorative restraint and hyperrefinement appealed to critics with aesthetic tastes.

Sargent did not return to the Africa or the Middle East for a decade.

This intervening time was spent building his career in Paris, experimenting with Impressionist studies in the English countryside and then decisively moving his base to London. He had a triumphant visit to America in 1887/8; in New York, and then in Boston, where his first one-man show was held to great acclaim, and where he was welcomed as if he were a returning hero. 1890 heralded a new phase.

He made a second professional visit to America, spending most of John Singer Sargent, Fumée d'ambre gris (Smoke of Ambergris), 1880, oil on canvas, 54 3/4 x 35 11/16 in. (139.1 x 90.6 cm), Clark Art Institute, 1955.15.

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the year in New York, Worcester, Boston and the surrounding area.

He painted La Carmencita (Musée d’Orsay, Paris) and a number of portraits of significant people, among them the actor Edwin Booth, Beatrice Goelet dressed as a Spanish Infanta, Homer St Gaudens and his mother and the collector and creator of Biltmore House, George Washington Vanderbilt. In January 1890, his sparkling, impressionistic A Morning Walk (private collection) was shown at the St Botolph Club, Boston and, in February, at the Union League Club, New York, where it was accompanied by Paul Helleu Sketching With His Wife (Brooklyn Museum, New York); La Carmencita and A Morning Walk were among the seven pictures he contributed to the Society of American Artists exhibition in New York, a display of style which further increased his visibility and enhanced his reputation. Critics and audiences responded to the bravura performances of his portraiture, to his daringly broken brushwork and expressive paint surfaces. Through his progressive technique and realistic representation, he seemed to bring European chic to the New World.

It was this spring, when he was very much the artist of the moment, that he was first approached about a commission to decorate the vaulted space on the third floor of the Boston Public Library, which was reserved for the ‘Special Libraries’. Construction of the Library, designed by McKim, Mead and White in the style of Renaissance Beaux-Arts Classicism, had begun in 1888. Edwin Austin Abbey was commissioned to The Quest and Achievement of the Holy Grail and the celebrated French muralist Pierre Puvis de Chavannes undertook The Muses of Inspiration.

Sargent had been trained in Paris and the values of the French academic system, in which history painting occupied the highest place in the hierarchy of genres, had been instilled into him. The commission was a significant honour and it presented intellectual and technical challenges. Sargent responded to the grandeur of the idea and to the exacting artistic efforts required to realize it, telling an interviewer: ‘What a fine thing it is to have some big work on hand which calls for continued labor and all one’s ability! . . . It is an artist’s work. You can study on and on, and crowd your life into it.’(i) From the outset, Sargent approached the project with real seriousness through extensive reading (including some arcane texts), travel, observation and sketching. He told a friend that he was ‘cramming hard for my library.’(ii) It was in this context that, on returning from America, Sargent stopped briefly in London and then crossed from Marseilles to Egypt embarking on a research expedition lasting a full three months. 1891 saw him in Alexandria and Cairo, where he rented a studio. He travelled in Upper Egypt: Denderah, Luxor, Thebes, Aswan, Philae and El Faiyûm, returning to Paris and London via Greece and Turkey. He had initially been interested ‘in the direction of Spanish literature [which] was a most natural one’ as a subject for his mural scheme (and had planned to visit Spain that year), but his Egyptian travels inspired a change.(iii) John Singer Sargent, Life Study (Study of an Egyptian Girl), 1891, oil on canvas, 75 × 24 in. (190.5 × 61 cm ), The Art Institute of Chicago.

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He wrote to Isabella Stewart Gardner from Bursa in Turkey (the letter is undated, but c. 14 April 1891): ‘The consequence of going up the Nile is, as might have been foreseen, that I must do an Old Testament thing for the Boston Library, besides the other one [Spanish literature], & I saw things in Egypt that I hope will come in play. While I was out here it seemed best to see Greece and Turkey, so I gave up Spain for another year.’(iv) The new and ambitious scheme, which he envisaged would depict important moments from Paganism, Judaism and Christianity, became The Triumph of Religion.

Sargent was temperamentally averse to the obvious and he painted few ancient Egyptian monuments during his travels, with some notable exceptions. He must have gone out from Cairo to visit the Pyramids, because he did execute a watercolour of the Sphinx. During a voyage sailing along the Nile with his old friend Joseph Farquharson, he painted a study of the Temple of Hathor at Denderah, the cliffs at Deirel-Bahri (disregarding the famous temple beneath them) and he drew the Colossi of Memnon. Sketchbooks in the Fogg art Museum and the Yale University Art Gallery attest to the range of his source material. He was voracious and inclusive, copying illustrations in books and objects in museums to build up his portfolio of Eastern imagery.

During this visit, he was particularly interested in the human form, painting a full-length portrait Life Study (Study of an Egyptian Girl) (on loan to the Art Institute of Chicago). There is a group of studies of craggy faced older men, with a biblical feeling about them, faces worn by experience, sun and probably hardship. This is Sargent making a study of Eastern physiognomies. He depicted the same woman four times, exploring the pictorial possibilities of her face. There are three oils (two are in The Metropolitan Museum of Art, New York) and one pencil study (Yale University Art Gallery). This is the only profile study and it is more highly charged, almost as if Sargent is painting the woman in character. She wears a heavy necklace consisting of a single row of light-struck coins closely strung and hung from podlike metallic lozenges, with a central, clustered drop of coins. It is a traditional Eastern necklace and may have been a studio prop.

John Singer Sargent, Egyptian Woman, 1890–1891, oil on canvas, 25 1/2 x 21 in. (64.8 x 53.3 cm), Gift of Mrs. Francis Ormond, 1950 (50.130.21). © The Metropolitan Museum of Art. Image source: Art Resource, NY

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The profile pose plays a significant role in Sargent’s portraiture and in his figurative work. The slight figure of Rosina Ferrara silhouetted against an evanescent sky as she dances the tarantella on a Caprese rooftop is treated with a certain restraint. Sargent uses the profile for dramatic purposes, especially in his theatrically lit study of the Spanish dance El Jaleo (c. 1880-82, Isabella Stewart Gardner Museum, Boston). It was the purity of Amélie Gautreau’s lines (Madame X, 1883-84, The Metropolitan Museum of Art, New York) that transfixed him and made him want to paint her: most of his pencil sketches of her dwell on her profile. Of the two little girls in Carnation, Lily, Lily, Rose (1885-86), one is in profile, the other in semi-profile. In a painting that is all about fading light, flowers coming towards the end of their life, the fragility of

childhood, the girls’ faces are half screened from exposure. Sargent continues to use the profile throughout his career. His monumental frieze-like Gassed portrays a line of young men blinded by mustard gas stumbling towards a dressing station, their bandaged profiles eloquently poignant (1919, Imperial War Museum, London).

In this painting, the sense of being protected is underlined by the semi-transparent black veil the model wears, which seems to place her at one remove from the spectator. The veil operates as national or ethnographic dress/costume accessory and as motif as in Fumée d’ambre gris (1880, Sterling and Francine Clark Art Institute, Williamstown, Massachusetts) and the portrait of Sally Fairchild known as ‘Lady with a Blue Veil’ (c. 1890, private collection). The veil partially contains and isolates the figure, with implications of masking or hiding.

It offers the sitter/model a degree of privacy, a sense of personal withdrawal from the spectator, a protection from scrutiny. Painting a woman in this way enabled the artist to avoid the troubling fantasies of ‘oriental’ femininity.

When the picture was exhibited at a one man show at the Copley Gallery, Boston, in 1899, it was entitled ‘Sketch of a Fellah Woman’.

The Fellahin were the peasant class in what was a predominantly agrarian economy. At the Carfax Gallery in London in 1903, it was ‘An Egyptian Woman’. In exhibitions since the artist’s death, the woman has sometimes been identified as an Egyptian dancing girl.

The title ‘Egyptian Woman (Coin Necklace)’ is that given to the picture, very probably by the artist, in the large folio volume of collotype reproductions of his work, with an essay by Alice Meynell, published by Heinemann in 1903. The fact that Sargent chose to exhibit the painting during his lifetime and selected it for inclusion in the 1903 volume of reproductions suggests that he valued it, that it meant something to him.

At an unknown date, the picture was acquired by Sargent’s friend, the politician and connoisseur, Sir Philip Sassoon (1888-1939), Sargent painted Sir Philip in 1923 (Tate Britain, London). He had painted a portrait of Lady Sassoon in 1907 and portraits of Sir Philip’s sister, Sybil, in 1913 and 1922 (all private collection). There are charcoal drawings of Sir Philip and Lady Sybil, and of other members of the family. Sir Philip owned a small, but very fine, collection of the artist’s work. (i) Gutzon Borglum, ‘John Singer Sargent — Artist’, The Delineator, February 1923, 15. (ii) Sargent to Charles Fairchild, 1 Feb. [1891], Boston Athenaeum. (iii) Letter from Charles Follen McKim to Mr [Samuel Appleton Browne] Abbott, President of the Board of Trustees, Boston Public Library. (iv) Isabella Stewart Gardner Museum archive, Boston. (detail)

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129 HENRY RODERICK NEWMAN (1850-1913) Italian Grotto signed and dated ‘HR Newman / 1886’ (lower left) watercolor on paper 30 3/4 x 25 1/4 in. (78.1 x 64.1 cm.)

Executed circa 1886. $30,000 - 50,000 Provenance John Mason Cook, acquired from the artist, 1891.

Private collection, London, b descent from the above.

Barry Friendman, New York.

Jordan-Volpe Gallery, New York, 1979.

Joan Michelman Ltd., New York.

Masco Corporation, Detroit, acquired from the above, 1984.

Sale, Sotheby’s, New York, December 3, 1998, lot 74.

Acquired by the late owner at the above sale.

Exhibited New York, Jordan-Volpe Gallery, A Quiet Devotion: The Life and Work of Henry Roderick Newman, April-June 1996, pl. 24, pp. 42-3, 88, 109, illustrated. (as Roses and Dragons)

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130 GEORGE HITCHCOCK (1850-1913) Hyacinths in Holland signed ‘G. HITCHCOCK’ (lower left) oil on canvas 16 5/8 x 12 1/8 in. (42.2 x 30.8 cm.)

Painted circa 1895. $30,000 - 50,000 Provenance Private collection, England.

The Jordan-Volpe Gallery, New York.

Acquired from the above by the late owner.

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131 CHILDE HASSAM (1859-1935) The Peony Girl signed ‘CHILDE HASSAM’ and signed again (upper left) and inscribed and dated ‘PARIS 1889’ (upper right) and signed, inscribed and dated again (lower left) and signed again with monogram and dated again (on the reverse) oil on canvas 12 3/4 x 9 3/4 in. (32.4 x 24.8 cm.)

Painted in 1888-89. $1,000,000 - 1,500,000 Provenance The artist, (probably) until 1903, painting lost or stolen during move. (possibly) William Clausen Galleries, New York.

Charles J. McDonough, New York.

Frank K. M. Rehn Gallery, New York, by 1919.

The artist, by 1920.

American Academy of Arts and Letters, New York, bequest of the above, 1935. (as Flower Girls) Private collection, about 1940s.

Private collection, Colorado Springs, Colorado, by descent in the family of the above.

Sale, Sotheby’s, New York, May 30, 1984, lot 52.

Hirschl & Adler Galleries, New York.

Private Collection, New York, 1986.

Spanierman Gallery, New York, by 1988.

Acquired by the late owner from the above, 1989.

Exhibited (possibly) New York, National Academy of Design, 165th Annual Exhibition, 1890, no. 424, p. 29. (possibly) Boston Art Club, 43rd Exhibition, 1891, no. 48. (as Peony Girl) New York, New Society of Artists, 2nd Annual Exhibition, 1920, no. 58, pp. 6, 37, illustrated. (as Peony Girl) New York, Spanierman Gallery, Childe Hassam, 1988, illustrated on the cover. (as Flower Girls)

Literature R.H. Russell, Three Cities by Childe Hassam, New York, 1899, n.p., illustrated. (as Flower Girls) “Hassam Finds Painting, Missing Sixteen Years.” New-York Tribune, November 27, 1919, p. 11. (as Flower Girl Selling Peonies) “Stolen Painting Recovered.” Daily News (New York), November 29, 1919, p.4 illustrated. (as The Flower Girl) “Friendly Suit for Hassam Painting.” New York Herald, November 29, 1919, p. 7. (as The Girl with the Peonies) “The World of Art: New Society of Artists.” The New York Times, November 14, 1920, p. 35.

R. Cortissoz, “Works by the New Society of Artists. The Secessionist Group Settled in Its Stride.” New-York Tribune, November 14, 1920.

N. Pousette-Dart, Childe Hassam, New York, 1922, n.p., illustrated. (as Peonies) F. Newlin Price, “Flowers and Gardens,” The American Magazine of Art, vol. 14, no. 10, October 1923, p. 537, illustrated. (as The Flower Girl) This work will be included in Stuart P. Feld’s and Kathleen M. Burnside’s forthcoming catalogue raisonné of the artist’s work.

After decades of preparation, the Hassam Catalogue Raisonné is in the final stages of editing. New research on many works has been added to the catalogue database and information on The Peony Girl has been shared by the authors with Bonhams. We would like to thank Stuart and Kathleen for their invaluable contribution and scholarly assistance to the cataloguing of this lot.

“In about 1886, Hassam entered an approximately ten-year period that must be considered his most productive and original one.”

- Joseph Czestochowski, "Childe Hassam: Paintings from 1880 to 1900" in American Art Review, January 1978, p. 46.

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After gaining initial success with his watercolors in Boston, Childe Hassam and his wife [Kathleen] Maud Doane, moved to Paris in the autumn of 1886. Their three-year sojourn to the artistic capital of the world dramatically altered Hassam’s style and the trajectory of his career. The couple chose to move to France so Hassam could further his education and develop his skills at the Académie Julian.

To supplement his education at the Académie, Hassam enrolled at the ‘petit atelier’, under the direction of Jules-Joseph Lefebvre (1836-1911) and Gustave Boulanger (1824-1888), whose classes were an extension of the standard life drawing classes he took in Boston. Hassam quickly found that these classes did not fulfill his desire for creativity and innovation. As Ulrich Hiesinger wrote, “After a few months Hassam reported that he was working hard at the academy, although found the method of teaching there not entirely to his liking. “I am drawing like a slave at Julian’s,” he wrote in January 1887, “and shall until Spring. I don’t believe all that there is in the academy is good. It teaches whoever comes within to draw mechanically exact – That’s about all but it is of importance of course as far as it goes.” Further experience of the French system only deepened his misgivings, calling the pictures of this teacher Boulanger “stiff, academique, and paradoxical to the last degree” and those of Lefevbre “stupid.” By the time Hassam was ready to leave Paris, his aversion to the French Academic system was complete. “The Julian academy is the personification of routine,” he stated, and, as for French academic training in general: “It is nonsense. It crushes all originality our of the growing men. It tends to put them in a rut and it keeps them in it.” (Childe Hassam: American Impressionist, Munich and New York, 1994, p. 32.)

Despite his misgivings about his education at the academy, Hassam continued to study there until 1888. While attending the academy, Hassam worked independently and studied the works of the Barbizon School and a contemporary painting style of the day that would come to be known as Impressionism. As he came to embrace the impressionist style of painting, Hassam’s palette brightened and his brushwork loosened, and his preferred subject of everyday people going about their day-to-day lives blended seamlessly into this method of painting. This innovative style was recognized early on, as the first major work Hassam completed in his first year, Cab Station, Rue Bonaparte, was accepted to the Salon of 1887. This was considered a triumph for a visiting American artist, as very few foreigners were so quickly accepted into the Salon.

Despite this victory at the Salon and works selling well in Boston, money was tight during the late 1880’s, so the Hassam’s rarely traveled beyond the streets of Paris and gardens of its nearby provinces during their three years in the City of Lights. This seeming ill fortune would drive Hassam to absorb himself in the city and devote his time to capturing its denizens, “Hassam developed in these Paris scenes a working catalogue of theme that was to serve him through the following years. More than professional duty, we sense on this process of accumulation the drive of personal curiosity, a faith in the artistic process as a genuine search for truth, and a belief that his role as artist-observer was to discover and communicate the often unrecognized aspects of life. The strength of his street pictures lies in their energy and spontaneity, precisely the qualities that he had difficulty translating to his larger, more labored exhibition pieces.” (ibid, pp. 44-50)

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Of the works capturing the streets of Paris, few distill Hassam’s take on urban realism in conjunction with the innovative techniques of the Impressionists quite like his depictions of flower sellers.

Following a trip in the summer of 1887 to Villiers-Le-Bel, where Hassam painted several canvases of the garden of German businessman Ernest Blumenthal, the floral motif would be central to his output during the Paris years. When connecting the source of the flowers to the sellers, Ulrich Hiesinger notes “Hassam’s interest in the gardens at Villiers-le-Bel carried over into his work in the Paris streets, where he found the flower vendors with their gorgeous baskets of merchandise a compelling opportunity to explore color.

Hassam not only included figures of flower vendors in his more general street scenes, but developed the subject into a distinct category of its own...The viewpoints, with passerby cut off by the frame, suggest a random encounter, yet, despite the accidental quality, the restraint and deliberation of the composition imposes its own sense of abiding significance.” (Ibid, p. 52) The Peony Girl is a melding of his tonalist palette and developing broken, impressionist brush work. Here, the central figure is the young woman at right, peddling vibrant peony blooms and facing the viewer in three-quarters. Hassam has embellished her otherwise white apron with streaks of crimson and teal, which balance and harmonize with the bright blossoms. He has also used loose but intentional brushwork to create a ruffled collar above the tight waisted bodice, as would have been in fashion at the time.

Directly behind her is an elegantly dressed woman who has just procured her bouquet for the evening and more loosely rendered figures beyond. Unlike so many of his other pictures from this series, The Peony Girl is likely the only known rendering of a flower seller at night, with the inky sky dabbed with whites and pinks to represent the streetlights or lanterns would illuminate the market, though Hassam did produce other nocturnes during his time Paris, including Promenade at Sunset, in Paris.

Hassam returned from Paris with this work and it remained in his collection until around the turn of the century, when it mysteriously disappeared. According to Hassam scholars Stuart P. Feld and Kathleen M. Burnside, “In 1919 this painting gained some notoriety, and not because it is a fine and attractive work from a desirable period in Hassam’s oeuvre. At that time the art dealer Frank K. M. Rehn, who had a gallery at 6 West 50th Street, New York, purchased the painting from Charles J. McDonough, and called on Hassam to clean the work. Upon seeing it, Hassam claimed that it had been stolen from him in 1903 at a time he was moving his home to a new artist’s studio cooperative building at 27 West 67th Street. McDonough reported that he had bought the picture from William Clausen, who claimed he had owned it for many years.

Hassam filed a “friendly” replevin suit against Rehn to recover the picture, and from the provenance of the painting, it appears that the work was returned to him.”(undated letter, 2023)

“I remember walking to the flower market one beautiful, early morning and sitting on a bench, surrounded by bouquets of brilliant flowers and thinking, I’m happy. Utterly and completely happy. As a reminder of that moment of perfect contentment, I bought a small Childe Hassam painting of the same flower market. It hangs in the front hall of my apartment in New York, where I see it every time I come in or go out.”

– Barbara Walters, Audition: A Memoir, New York, 2008, p. 78.

Childe Hassam, Promenade at Sunset, Paris, 1888-1889, oil on canvas, 18 x 15 in.

(46 x 38.5 cm.). Private Collection.

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132 CHILDE HASSAM (1859-1935) Evening (Isles of Shoals) signed and dated ‘Childe Hassam / 1907’ (on the reverse) oil on board 5 1/8 x 9 1/8 in. (13 x 23.2 cm.)

Painted in 1907. $60,000 - 80,000 Provenance Montross Gallery, New York.

Sale, Christie’s, New York, March 16, 1990, lot 185.

Acquired by the late owner at the above sale.

This work will be included in Stuart P. Feld’s and Kathleen M. Burnside’s forthcoming catalogue raisonné of the artist’s work.

According to Stuart P. Feld and Kathleen M. Burnside, Evening (Isles of Shoals) is “one of a series of small, impromptu oil sketches that Hassam executed in the early years of the 20th century when he visited the Isles of Shoals. It is certainly a picture done from an Appledore cottage porch, facing west. We know of about 15 of these oil sketches, executed between 1904-1913. Some of them seem to have been gifted to artist’s friends who likewise spent time at the Shoals in this period.” (undated letter, 2023)

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133 W WILLIAM MERRITT CHASE (1849-1916) The Tenth Street Studio oil on canvas 53 7/8 x 78 in. (136.8 x 198.1 cm.)

Executed circa 1884-1915. $700,000 - 1,000,000 Provenance Estate of the artist.

Sale, American Art Galleries, New York, May 14-17, 1917, lot 197, sold by the above.

Emil Carlsen (1853-1932), New York, acquired at the above sale.

Dines Carlsen (1901-1966), Falls Village, Connecticut, son of the above, by descent from the above.

Ira Spanierman Gallery, New York.

Acquired by the late owner from the above.

Literature R. G. Pisano, The Complete Catalogue of Known and Documented Work by William Merritt Chase (1849-1916), vol. IV, New Haven, Connecticut, 2010, pp. 124-5, no. I.56, illustrated.

We would like to thank Mr. Frederick Baker for his assistance with the cataloguing of this lot.

Photographer Unknown, William Merritt Chase's Tenth Street Studio, ca. 1879, Gelatin printing-out paper, 9 ¼ x 7 ¾ in., The William Merritt Chase Archives, Parrish Art Museum, Water Mill, N.Y., Gift of Jackson Chase Storm, 89.Stm.91

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On Thurs. April 1, 1890, at the urging of John Singer Sargent, Carmencita, the internationally famous Spanish dancer, gave a dance performance in William Merritt Chase’s grandiose exhibition space in The Tenth Street Studio building in New York City. It was an evening likely never to be forgotten by the many artists, collectors and supporters of American art, plus friends fortunate enough to attend the festive event.

Designed by Richard Morris Hunt, the 1858 building was the creation of James Johnson, businessman, art collector and first president of the Metropolitan Museum of Art, as the first building in the country designed specifically for artists, with twenty-three studios and several living spaces. Among the first artists to occupy the building when it opened were Frederic E. Church, Martin Johnson Heade, Robert Morris Hunt, John La Farge and Albert Bierstadt, who turned the grand exhibition gallery into his personal studio. In 1879, Bierstadt left this great space, which included several adjoining exhibition spaces, and a young, newly returned from his studies at the Munich Royal Academy, artist named William Merritt Chase, eagerly took possession. It fulfilled his stated plan described to a friend when leaving Germany, “I intend to have the finest studio in New York.”

And that, indeed, is what he did.

Who was this young artist? What were his credentials? How did he manage to snag the premier gallery space in the premier art studio on Tenth Street in New York? It turned out that Chase was somewhat known prior to his moving in as a forerunner of a “new school” of European trained artists, and heralded by his having sent a painting to the 50th anniversary of the National Academy of Design of

1875, where it was purchased by Eastman Johnson, a kind of elder statesman of American artists, and the following year having been awarded a medal for his submission to the Philadelphia Centennial Exhibition.

His wonderful, great space studio would soon become the epicenter of weekly Saturday afternoon receptions at the Tenth Street Studio building when all the artist studios were open to the public. Actors and actresses, musicians, doctors, lawyers, socialites, diplomats, wealthy New York businessmen and their wives, bankers, publishers, politicians, U.S. presidents Rutherford B. Hayes and James Buchanan, tycoons, and fellow artists came to the studio, many returning again and again to have their portraits painted. From 1879 until Chase gave up the studio in 1895 the studio was a hub of activity, a place to see and be seen.

During the sixteen years he occupied the studio, he completed hundreds of oil paintings and a number of pastels, often including aspects of the studio. But he only painted five major paintings, in terms of composition and size, in which the studio, in and of itself, was the subject – a few also included figures, but it was the studio in all its grandeur that was immortalized on the canvas.

The first major painting of the studio was completed in 1880 and exhibited the following year in the Boston Art Club annual exhibition to rave reviews: “...it shows still-life painting at its best, and is a beautiful piece of coloring as well as execution.” Another reviewer noted “...perhaps the best piece of color in the room...The handling of the canvas is so clever as its color is rich and glowing...

Photographer Unknown, William Merritt Chase in his Tenth Street Studio, NYC, with copies after Hals, Velázquez and other Old Masters on the wall, ca. 1895, Albumen print, 4 ½ x 7 ⅝ in., The William Merritt Chase Archives, Parrish Art Museum, Water Mill, N.Y., Gift of Jackson Chase Storm, 83.Stm.41

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Photographer Unknown, William Merritt Chase’s Tenth Street Studio, NYC, Gelatin print, 4 ⅝ x 6 ¾ in., The William Merritt Chase Archives, Parrish Art Museum, Water N.Y., Gift of Jackson Chase Storm, 89.Stm.3

The handiwork seems quite magical.” The following year, Chase completed another masterful studio painting which, when exhibited in a Society of American Artists exhibition won praises from critics, “His studio interior is a delightful piece of work...,” “While the Studio Interior is not only the best thing of a kind he has ever shown, but the best representation of a color scheme in a still life.” Another, though slightly different, major studio interior also dated to 1881, shows the backside of Chase in the process of painting on another canvas. It too delighted critics, “...a truly inspired disregard of composition on the part of the artist. Of course, a studio by Chase, with Chase left out, would be like ‘Hamlet’ with the Dane omitted.” Around the same time a fourth major “studio” painting was begun, however, according to Katherine Metcalf Roof, who wrote the first biography of the artist in 1917, it was “an early sketch quite recently filled in.” It was first exhibited in the 1917 Memorial Exhibition of Chase, organized by the Metropolitan Museum of Art, and included in the estate sale of the same year, where it was described as “A free and comprehensive sketch with marked variety and richness of color, a fine soft light and atmospheric charm.”

These four paintings of the famous Tenth Street Studio which became famous as an artistic “must see” destination for New Yorkers in the late 19th century recall, an era long gone but never to be completely forgotten as long as they are hung in museums across the country: the Brooklyn Museum, New York; The Carnegie Museum, Pittsburgh; the St. Louis Museum, Missouri, and The Huntington Library, Art Museum, and Botanical Gardens, San Marino, California.

The fifth and last major Tenth Street Studio painting by William Merritt Chase remains in private hands – started c. 1884, and, it is said,

worked on until 1915. He obviously aged himself a little by adding touches of gray to his hair. But the sitter who was in the studio that day remained the same, her unfinished portrait on the left side of the painting, and his faithful man-servant Daniel wearing his red fez is shown entering the gallery carrying a repast of some sort. The painting was never exhibited by Chase and never sent to auction, until it became part of his estate sale in 1917, described as “A free, direct and brilliant sketch on a large scale of the famous studio in the old Tenth Street building...” It was purchased at the auction by fellow artist Emil Carlsen (1853-1932). It was, in fact, fitting that the new owner was himself a respected artist, who emigrated from Copenhagen to New York in 1872, just as Chase left to study at the Royal Munich Academy.

The painting, The Tenth Street Studio, arguably a tour-de-force of bravura brushwork, is the largest of the five major “portraits” of the studio – the studio itself being the first and foremost subject.

It bristles with energy and brilliant accents of color. It is important to emphasize that an unfinished painting or a sketch was neither a pejorative noun or adjective to Chase, the description being merely descriptive.

This painting could, however, be described as a talisman of a life well lived, with Chase constantly returning to it. And, by doing so, recalling the days when he was in his early thirties, his career was blazing along, and a long-ago evening when Carmencita, the “Pearl of Seville” danced to the great delight of a hand-clapping audience in his first and most famous studio on West Tenth Street, New York.

D. Frederick Baker, undated letter, New York, 2023.

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134 PAUL CORNOYER (1864-1923) Washington Square, New York signed ‘PAUL CORNOYER’ (lower left) oil on canvas 18 1/8 x 24 1/4 in. (46 x 61.6 cm.) $60,000 - 80,000 Provenance Ira Spanierman Gallery, New York, by 1984.

Acquired by the late owner from the above.

In 1899, at the encouragement of William Merritt Chase, Paul Cornoyer moved from his hometown of St. Louis, Missouri to New York City.

Once in New York, Cornoyer was inspired by the architecture of the Gilded Age and became known for his rainy or snowy street scenes.

His favored subjects were Madison Square Park, Fifth Avenue, and Washington Square Park, which was just blocks away from Chase’s famed Tenth Street studio. While many of his peers in the Ashcan school were focusing on portrayals exposing the gritty reality of urban life, Cornoyer focused on capturing the rare moments of quietude, as depicted in Washington Square, New York. Here the artist has portrayed a variety of figures enjoying a calm afternoon stroll, basking in the warm late afternoon sun.

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135 JOHN WHORF (1903-1959) Swan Boat, Boston Public Gardens signed ‘John Whorf’ (lower right) watercolor graphite on paper 15 x 21 7/8 in. (38.1 x 55.6 cm.)

Executed circa 1955. $10,000 - 15,000 Provenance Private collection, Cambridge, Massachusetts.

Spanierman Gallery, New York, by 1989.

Acquired form the above by the late owner.

In the 1870’s, Robert Paget was granted a ‘boat for hire’ license for the pond in the Boston Public Garden, nestled between the Back Bay and Beacon Hill neighborhoods. In 1877, Robert introduced the now iconic Swan Boats, which have been a staple of the summer season ever since. This catamaran style boat was foot-propelled by a bicycle attachment connected to a paddle wheel with a Swan to cover the mechanical apparatus.

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Barbara Walters: American Icon Online Session | Sunday, October 29 - Tuesday, November 7

FURNITURE, DECORATIVE AND FINE ARTS Lots 1001 - 1136 BOOKS Lots 1137 - 1166 AWARDS AND MEMORABILIA Lots 1167 - 1182 FASHION Lots 1183 - 1211 JEWELRY Lots 1212 - 1239 For full illustration, please see online catalog.

Lots: 1008, 1010 116 | BONHAMS

Lots: 1002, 1003, 1006, 1009, 1012 BARBARA WALTERS: AMERICAN ICON

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1007

1001

1001 ¤ A REGENCY CHINOISERIE DECORATED WORK TABLE Circa 1820 height 34 3/4in (88cm); width 20 3/8in (51cm); depth 11 3/4in (30cm)

1005 ¤ A PAIR OF ENGLISH MAHOGANY PARLOR CHAIRS Late 19th century height 34in (86cm); width 18in (46cm); depth 15in (38cm)

$600 - 800

$200 - 300

1002 ¤ A PAIR OF ZEBRA PATTERN AND SUEDE UPHOLSTERED ARMCHAIRS Late 20th century height 34in (86cm); width 28in (71cm); depth 24in (61cm)

1006 ¤ A REGENCY STYLE CHINOISERIE DECORATED LACQUERED AND BRASS TWO-TIER SIDE TABLE Late 20th century height 26 1/2in (67cm); width 21 7/8in (56cm); depth 15 3/4in (40cm)

$400 - 600 1003 ¤ A GLASS TOP CHROMED STEEL AND BRASS CENTER TABLE Late 20th century height 29 1/4in (74cm); diameter 42in (105cm) $200 - 300 1004 ¤ A MATCHED PAIR OF LOUIS PHILLIPE GRANITE TOP MAHOGANY STAINED CABINETS 19th century height 28 1/2in (72cm); diameter 14in (35.5cm) $500 - 700

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1009 ¤ A CHINESE GILT DECORATED AND PAINTED WOOD GARDEN SEAT 20th century height 17in (43cm); diameter 17in (43cm) $400 - 600 1010 ¤ A FRENCH AUBUSSON CARPET 19th century approximately 16ft 10in x 14ft 11in (5.13m x 4.55m) $1,500 - 2,500

1007 ¤ A PAIR OF REGENCY PARTIAL GILT AND EBONIZED CANED SEAT SIDE CHAIRS Circa 1820 height 33 1/4in (85cm); width 18 1/4in (46cm); depth 17 1/2in (44cm)

1011 ¤ A CHINESE SONG/YUAN STYLE PALE WOOD HEAD OF A BODHISATTVA 20th century On a laminated wood pedestal. height of head 24in (61cm); width 9 1/2in (24cm); depth 11in (28in); height of pedestal 46in (117cm); width 13in (33cm); depth 13in (33cm)

$400 - 600

$800 - 1,200

1008 ¤ A CHINESE STYLE CHINOISERIE DECORATED AND PAINTED LOW TABLE 20th century height 15 1/8in (38cm); width 51in (130cm); depth 27 1/2in (69cm)

1012 ¤ W A BACCARAT MOLDED GLASS THREELIGHT CANDELABRUM 20th century With Baccarat mark. height 15 1/2in (39.5cm)

$800 - 1,200

$200 - 400

$400 - 600

1013 ¤ W A STEINWAY MAHOGANY BABY GRAND PIANO Model S, circa 1943 Serial Number 314223, the underside marked W299 in multiple locations. height 38 1/2in (98cm); width 63in (160cm); depth 55 1/4in (140cm) $2,000 - 4,000

1013

1014 ¤ A LOUIS XV STYLE GILTWOOD BENCH 20th century height 17in (43cm); width 47in (120cm); depth 20in (51cm) $600 - 800

1014

1015 ¤ A LOUIS XVI STYLE AUBUSSON UPHOLSTERED GILTWOOD TABOURET 20th century height 17in (43cm); width 23in (58cm); depth 23in (58cm) $400 - 600

1015

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1016

1016 ¤ W AN ITALIAN ROCOCO FOSSILIZED MARBLE TOP AND SILVERED WOOD CONSOLE 18th century and later height 36 1/2in (93cm); width 51in (130cm); depth 27in (69cm) $3,000 - 5,000 1017 ¤ A CHINESE EXPORT LACQUERED SEWING BOX Early 19th century With a fitted interior. height 11in (28cm); width 17in (43cm); depth 11in (28cm) $800 - 1,200 Provenance Keith Sked Antiques, London.

1018 ¤ A PAIR OF REGENCY STYLE CHINOISERIE DECORATED TWOLIGHT SCONCES 20th century height 20in (51cm); width 15 1/2in (39cm); depth 6 1/2in (16.5cm) $400 - 600 1019 ¤ A COMMEMORATIVE PHOTO PRINTED PORCELAIN BOX 20th century With printed inscription to interior With Best Wishes, Ardeshir Zahedi. length 5 1/2in (12.7cm) $100 - 200 1020 ¤ A CHINESE BRASS BOUND SHELL INLAID TRAVELING JEWELRY BOX First half of the 20th century height closed 8 1/2in (21.6cm); width 11in (28cm); depth 14in (35.5cm) $100 - 200 120 | BONHAMS

1021

1021 ¤ A SWEDISH NEOCLASSICAL WHITE PAINTED STOOL Early 19th century height 27in (69cm); width 27 1/2in (70cm); depth 18 1/2in (46cm) $800 - 1,200 1022 ¤ A CONTINENTAL POTTERY PORTRAIT PLAQUE Late 19th century diameter 8 1/2in (21.6cm) $200 - 300 1023 ¤ A GROUP OF THREE TABLE BOXES Comprising an Indian enamel and metal example, a silver filigree example with a note from Jehan Sadat, and a lapis example. width of largest 11 3/4in (30cm) $400 - 600 1024 ¤ A GROUP OF FOUR ENGLISH COMMEMORATIVE WINE GLASSES 1936 Each inscribed HM King Edward Ascended January 20th 1936 to commemorate the coronation of Edward VIII. height 6in (15.2cm) $200 - 300 1025 ¤ AN ENGLISH SILVER-PLATE MOUNTED AND EBONIZED TWOHANDLED TRAY Early 20th century Monogrammed AMC, on a later chinoiserie decorated stand. height overall 20in (51cm); width 24in (61cm); depth 14 1/2in (37.8cm) $200 - 400

Lots: 1030 and 1066 BARBARA WALTERS: AMERICAN ICON

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1026

1031 (part)

1026 ¤ W A REGENCY SATINWOOD INALID MAHOGANY SIDEBOARD Circa 1820 height 37in (94cm); width 71 1/2in (180cm); depth 30 1/2in (77cm) $2,000 - 4,000 1027 ¤ W A REGENCY STYLE BRASS MOUNTED MAHOGANY STAINED THREE-TIER SERVING TABLE 20th century height 25 1/2in (65cm); width 51in (130cm); depth 22in (56cm) $400 - 600 1028 ¤ A NEOCLASSICAL STYLE REVERSE PAINTED MIRRORED GLASS TWO-TIER CONSOLE AND SIMILAR MIRROR EN SUITE 20th century height of console 30in (76cm); width 36in (91cm); depth 13in (33cm) $800 - 1,200

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1029 ¤ GEORGE WILLIAM SARTORIUS (LONDON 1759-1828) Two still lifes of grapes, berries, and cherries in a bowl on a tabletop each signed (lower right) oil on canvas 14 x 16 in. (35.5 x 40.6 cm.); 11 1/2 x 16 3/4 in. (29.2 x 42.5 cm.) $1,500 - 3,000 1030 ¤ W AN ITALIAN BAROQUE POLYCHROME PAINTED AND GILTWOOD CABINET 18th century height 105in (267cm); width 60in (152cm); depth 33in (84cm) $2,000 - 4,000

1032

1031 ¤ A GEORG JENSEN STERLING SILVER FLATWARE SERVICE 20th century In the Acorn pattern, comprising twenty-five dinner forks, thirty-six salad forks, twenty-five teaspoons, twenty-four dinner knives, twelve oval soup spoons, four round soup spoons, twelve butter knives, twelve cocktail forks, ten demitasse spoons, eight coffee spoons, twenty-three dessert spoons, a ladle, a pickle fork, a pair of salad servers, a cake knife and a pickle fork in a different pattern. total weighable silver approximately 233oz troy.

1032 ¤ A PAIR OF GEORGE III GILT AND PAINTED WOOD ARMCHAIRS In the French taste, late 18th century height 38in (97cm); width 24in (61cm); depth 20in (51cm) $800 - 1,200

$5,000 - 8,000

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1033 (part)

1038 (part)

1033 ¤ AN ASSEMBLED DERBY PORCELAIN DINNER SERVICE 19th and early 20th century Comprising twenty-six dinner plates and six salad plates. diameter of dinner plate 10in (25.4cm)

1038 ¤ A SET OF TWENTY-FIVE LIMOGES PORCELAIN DINNER PLATES For Puiforcat, late 20th century diameter 10 1/2in (26.7cm)

$400 - 600

$300 - 500

1034 ¤ A GROSVENOR PORCELAIN DESSERT SERVICE Retailed by Tiffany & Co., New York, NY In the Leighton pattern, comprising nine teacups, seven saucers and twelve plates. diameter of plate 8 3/4in (22.2cm)

1039 ¤ AN EXTENSIVE ASSEMBLED ENGLISH MONOGRAMMED CREAMWARE SERVICE Various makers, including Wedgwood and Minton Comprising thirty dinner plates, thirty-three shallow dishes, thirteen dessert plates, eight trays, four covered tureens, two milk jugs, six coffee cups and one egg cup. diameter of dinner plate 9in (23cm)

$300 - 500 1035 ¤ A BACCARAT GLASS PART STEMWARE SERVICE 20th century In the Burgos pattern, comprising nine champagne coups, sixteen water glasses, five claret wine glasses, twelve white wine glasses and twelve port glasses. height of water glass 8in (20.3cm)

$500 - 700

$600 - 800

$300 - 500

1036 ¤ A CERAMIC STRAWBERRY FORM COFFEE SERVICE 20th century Comprising a coffee pot, creamer, sugar, and four cups and saucers.

1041 ¤ A SET OF TWELVE PARIS PORCELAIN PLATES Late 19th century diameter 9 3/8 (23.5cm)

$200 - 400

$300 - 500

1037 ¤ A WATERFORD GLASS STEMWARE SERVICE 20th century In the Lismore pattern, comprising six water goblets, six claret glasses and twelve white wine glasses. height of water goblet 7in (17.8cm)

1042 ¤ A SET OF NINETEEN MONOGRAMMED CHAMPAGNE GLASSES Each with a gilt W. height 5 1/2in (14cm)

$500 - 700

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1040 ¤ A GROUP OF FOURTEEN COLOR CUT TO CLEAR WINE GLASSES 20th century height of tallest 7 5/8in (19cm)

$200 - 300

Lots: 113, 1035, 1037, 1040 BARBARA WALTERS: AMERICAN ICON

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1043 1048 1043 ¤ A SET OF TWELVE AMERICAN STERLING SILVER SHELL FORM PLACE CARD HOLDERS Tiffany & Co., New York, NY, 20th century total silver weight approximately 2.9oz, troy.

1048 ¤ A SET OF TWLEVE .800 SILVER HORSE FORM PLACE CARD HOLDERS Christian Dior, 20th century total silver weight approximately 5.56oz troy.

$300 - 500

$500 - 1,000

1044 ¤ TWO SILVER-PLATED TWO-HANDLED SERVING TRAYS 20th century One monogrammed B and the other A. length of largest 31in (78cm)

1049 ¤ TWO SETS OF ITALIAN SILVER SALT AND PEPPERS Mark of Missiaglia, Padua, second half of the 20th century Each hallmarked Missiaglia 925. length of pepper grinder 6in.

$100 - 200

$1,500 - 2,500

1045 ¤ AN ENGLISH AESTHETIC MOVEMENT SILVER-PLATED ICE WATER PITCHER Early 20th century Engraved for presentation Mr. and Mrs. JM Fetterle from W Herman F Shone. height 17 1/2in (44.5cm)

1050 ¤ TWO SETS OF ITALIAN SILVER SALT AND PEPPERS Mark of Missiaglia, Padua, second half of the 20th century Each hallmarked Missiaglia 925. length of pepper grinder 6in.

$600 - 800

1051 ¤ TWO SETS OF ITALIAN SILVER SALT AND PEPPERS Mark of Missiaglia, Padua, second half of the 20th century Each hallmarked Missiaglia 925. length of pepper grinder 6in.

Provenance Acquired from Whoopi Goldberg 1046 ¤ A GROUP OF SIX STERLING AND .900 SILVER TABLE ARTICLES Comprising Suren, Fina and Mexican examples, the oval dish monogrammed W. length of longest tray 11 3/4in (30cm) total silver weight approximately 39.98oz troy. $600 - 800 1047 ¤ A SET OF FIVE CHRISTOFLE SILVER-PLATED SERVING PLATTERS 20th century Length of largest 21 1/4in (54cm) $800 - 1,200 126 | BONHAMS

$1,500 - 2,000

$1,500 - 2,000 1052 TWO SETS OF ITALIAN SILVER SALT AND PEPPERS mark of Missiaglia, Padua, second half of the 20th century Each hallmarked Missiaglia 925. length of pepper grinder 6in. $1,500 - 2,000

Lot 1045 BARBARA WALTERS: AMERICAN ICON

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Lots: 1071, 1073, 1074, 1079, 1083 128 | BONHAMS

Lots: 1072, 1075, 1076, 1080, 1081, 1089, 1121 BARBARA WALTERS: AMERICAN ICON

| 129

1053

1053 ¤ AN ASSEMBLED ENGLISH SILVER REPOUSSE SIX-PIECE TEA AND COFFEE SERVICE 19th century Comprising a hot water pot; a teapot, William Hunter, London, 1824; a creamer and sugar, William Hunter, 19th century; a coffee pot, Robert Hennell II, London, 1822 and a twohandled tray, Waterhouse, Hodson & Co., Sheffield, 1824. length of tray 28 1/4in (72cm) total silver weight approximately 290oz troy. $5,000 - 7,000 1054 ¤ A GROUP OF ENGLISH SILVER TABLE ARTICLES 19th and 20th century Comprising a plate stand inscribed Coronation 1911 / The Gift of the Skinners Company; a coffee pot, Robert Garrard II, London, 1836 and a teapot, London, 1993. height of plate stand 7 3/4in (19.7cm) total silver weight approximately 56oz troy. $800 - 1,200 1055 ¤ TWO SETS OF NORWEGIAN SILVER GILT AND ENAMEL DEMITASSE SPOONS David Andersen, Oslo lengths 3 1/4in (8cm) $200 - 300

1056 ¤ AN AMERICAN STERLING SILVER MONOGRAMMED REVERE BOWL Gorham Manufacturing Co., Providence, RI Monogrammed BJW. diameter 10 1/2in silver weight approximately 29.31oz troy. $400 - 600 1057 ¤ A GROUP OF THREE SILVER BAR ARTICLES Comprising a wine coaster, a canteen, and an Edwardian flask. height of canteen 4 1/2in (11.5cm) $300 - 500 1058 ¤ A SET OF EIGHT ELIZABETH II SILVER PEPPER GRINDERS S. J. Phillips, London, late 20th century height 4 1/4in (10.4cm) $200 - 400 1059 ¤ A GROUP OF SILVER AND COBALT GLASS TABLE ARTICLES A GROUP OF SILVER, SILVER-PLATED AND COBALT GLASS TABLE ARTICLES 19th and 20th century Comprising three Georgian Scottish silver open salt cellars; two small silver-plated salt cellars; a French silver two handled covered bowl, V. Boibin, Paris, circa 1900; and two cased sets of four AB Rogers Silver Company salt shakers. length of covered bowl 9in (23cm) $500 - 700

130 | BONHAMS

1060 ¤ TWO TABLE ARTICLES INSCRIBED FOR HOLIDAY PRESENTATION The sterling silver cup, maker S.J. Phillips, London, 1995, inscribed Seasons Greetings / 1995 / BW and the tray inscribed Happy Holidays / Barbara Walters. height of cup 5in (10.7cm) silver weight of cup 22oz troy. $300 - 500 1061 ¤ A GROUP OF FIVE SILVER AND SILVERPLATED COMMEMORATIVE ARTICLES All inscribed to Barbara Walters. diameter of largest 12in (30.5cm) total weighable silver approximately 13.85oz troy. $200 - 300 1062 ¤ AN AMERICAN STERLING SILVER SERVING DISH

by International Silver Co., Meriden, CT In the Windsor pattern; Together with A Los Castillo Silver-Plated Iguana Bon-Bon Dish. length of serving dish 15in (38cm) weighable silver approximately 28oz troy. $300 - 500

1063

1063 ¤ A CARTIER LAPIS MOUNTED STERLING SILVER MONOGRAMMED DINNER BELL Monogrammed W. height 3 1/2in (19cm)

1067 ¤ A SET OF FRENCH SILVER SERVICE PIECES Paul Massat, Paris, 1877 - 1885 In a fitted case. length of case 16in (40.5cm)

$200 - 300

$400 - 600

1064 ¤ A GROUP OF SILVER TABLE ARTICLES 20th century Comprising a pair of salt and pepper shakers; a Gorham nut dish; a Lunt porringer; a Lullaby porringer; a two handled cup; a Black, Star and Frost bowl; and a Mauser Manufacturing Company salt and pepper and an Egyptian silver dish engraved ‘Jehan Sadat. diameter of largest bowl 5in (12.7cm)

1068 ¤ A GROUP OF AMERICAN, ENGLISH, RUSSIAN AND CONTINENTAL SILVER SERVING FLATWARE Various makers Twenty-one pieces. total weighable silver weight approximately 27oz troy.

$400 - 600

1069 ¤ A SILVER-PLATED THREE-PIECE CAMAEL AND PALM TREE TABLE GARNITURE 20th century tallest height 15 1/2in (39.5cm)

1065 ¤ A GROUP OF ENGLISH SILVER TABLE ARTICLES 18 and 19th century Comprising a small cup, London, 1827; a small tankard, 1728; two nut dishes, William Comyns, 1873; a dish, S. J. Phillips, London, 1963; a porringer monogrammed BW 1997; a mustard pot, George Fox, London, 1890; a mustard pot, Robert James Chaplin and Sons, 1893; an 18th century waste bowl; a Victorian sugar bowl. total silver weight approximately 48oz troy. $800 - 1,200 1066 ¤ A PAIR OF AMERICAN STERLING SIVLER THREE-LIGHT CANDELABRA Together with A Pair of Silver-Plated Three-Light Candelabra and a Sterling Silver Candle Snuffer. height of sterling candelabra 13 1/4 (33cm); width 12 3/4in (32.5cm)

$400 - 600

$200 - 300 1070 ¤ A SILVER-PLATED TRAY AND AN ENGLISH SILVER CUP The tray inscribed Best Wishes, Barbara Walters and the cup inscribed Happy 2000!

Length of tray 10in (15.4cm) $100 - 200

$500 - 700

BARBARA WALTERS: AMERICAN ICON

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1071 ¤ A JAPANESE BRASS MOUNTED GILT AND LACQUERED THREE-TIER CABINET 20th century height 27 1/2in (70cm); width 31in (79cm); depth 15 1/2in (38cm) $600 - 800 1072 ¤ A CHINESE STYLE BROWN LACQUERED COFFEE TABLE 20th century height 15in (38cm); width 44in (112cm); depth 28in (71cm) $200 - 400 1073 ¤ TWO ENGLISH LANDSCAPE DECORATED PAPIER-MÂCHÉ TRAYS ON STAND 20th century height of larger 19in (48cm); width 29 3/4in (75.5cm); depth 22 3/4in (58cm) $800 - 1,200

1071

1074 ¤ A REGENCY PARTIAL GILT AND GRAIN PAINTED SIDE CHAIR 19th century height 34in (86cm); width 22 1/2in (57cm); depth 23in (58cm) $200 - 400

1077 ¤ A GREEN PATINATED BRONZE FIGURAL GROUP OF TWO POODLES 1945 Signed indistinctly and dated. height 11in (28cm); width 17in (43cm); depth 6in (15cm) $500 - 700 1078 ¤ A PAIR OF GRAND TOUR STYLE TOLE OBELISKS 20th century height 22in (56cm) $200 - 400

1075 ¤ A PAIR OF CHENILLE UPHOLSTERED ARMCHAIRS Late 20th century With tapestry throw pillows. height 32in (81cm); width 31in (79cm); depth 31in (79cm) $300 - 400 1076 ¤ TWO PAIRS OF BRONZE BIRD FORM CANDLESTICKS 20th century height of egret form pair 9in (23cm) $400 - 600

1079 ¤ A PAIR OF JAPANESE LACQUERED VASES 20th century Now mounted as lamps. height of vase 15in (38cm) $400 - 600 1080 ¤ W A TUFTED UPHOLSTERED SCROLL ARM SOFA Late 20th century height 29in (74cm); width 89in (226cm); depth 32in (81cm) $400 - 600 1081 ¤ AN ITALIAN SPECIMEN MARBLE TOP AND FAUX BAMBOO OCCASSIONAL TABLE Late 19th century height 28in (71cm); diameter 25in (63.5cm) $1,500 - 2,500 132 | BONHAMS

1081 (detail)

Lots: 1057, 1084, 1085, 1090, 1117 BARBARA WALTERS: AMERICAN ICON

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1094

1082 ¤ A FRENCH BRASS TWO-LIGHT BOUILLOTTE LAMP Late 19th century Together with A Pair of Brass Candlesticks Lamps. height of bouillotte lamp 23in (58.5cm) $200 - 300

1086 ¤ A GROUP OF COCKTAIL ARTICLES Comprising four glass decanters and stoppers, one by Baccarat; a silver-plate mounted claret jug; five English silver liquor tags; six Gorham silver cocktail forks and a group of Mexican silver cocktail stirrers. height of tallest decanter 11in (28in)

1083 ¤ A REGENCY STYLE BRASS MOUNTED LEATHER POLE LIBRARY LADDER 20th century height 103in (262cm)

$400 - 600

$800 - 1,200

$100 - 200

1084 ¤ A FRENCH NEO-GREC GILT BRONZE AND BLACK ONYX MANTLE CLOCK Jules Graux, late 19th century On an ebonized bracket. height 26in (66cm); width 19in (48.3cm); depth 9in (23cm)

1088 ¤ A METAL ASTROLABE AND A TIBETAN PRAYER WHEEL 20th century prayer wheel length 10 5/8in (26.7cm)

$1,500 - 2,500

1089 ¤ A CUSTOM MARIO BUATTA UPHOLSTERED OTTOMAN Late 20th century height approximately 17in (43cm); width 24in (61cm)

1085 ¤ A LOUIS XV STYLE GILT BRONZE AND GLASS TANTILUS 20th century height 16in (40.6cm); width 17in (43cm); depth 11in (30cm) $800 - 1,200

134 | BONHAMS

1087 ¤ A PAIR OF PAGODA DECORATED METAL COCKTAIL TRAYS height 8 3/8in (20.6cm)

$200 - 300

$200 - 300

1090 ¤ A PAIR OF LIGNUM INDOOR CARPET BALLS Probably Scottish, late 19th century Monogrammed B. diameter 5in (12.7cm) $300 - 500 1091 ¤ A WEST MEXICAN STYLE POTTERY FIGURE 20th century height 14in (35.6cm) $300 - 500 1092 ¤ A CHINESE GREY PAINTED POTTERY FACE FRAGMENT Han dynasty height 1in (2.5cm)

1095

$200 - 400 1093 ¤ A CHINESE PAINTED POTTERY FIGURE OF A MAIDEN Tang dynasty height 8 1/4in (21cm) $200 - 400 1094 ¤ A PATINATED BRONZE FIGURAL GROUP After a model by Luca Madrassi (Italian, 18481919) Signed and dated 1899. height 10in (25.3cm); width 8in (20.2cm) $800 - 1,200 1095 ¤ A GILT METAL FIGURAL GROUP OF TRAVELERS IN THE DESERT Early 2000s On a Tiger’s Eye stone base, in a green leather box, the outside marked Kingdom of Saudi Arabia. box closed height 11in (28cm); width 14 1/2in (37cm); depth 8 1/2in (21.6cm) $1,000 - 1,500 1096 ¤ AN ENGLISH INLAID PALISANDER THREE-TIER ÉTAGÈRE Late 19th century height 41in (104cm); width 44in (112cm); depth 15in (38cm) $800 - 1,200

1096

BARBARA WALTERS: AMERICAN ICON

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1097

1098

1099 1100 (part)

1097 ¤ A GROUP OF THREE FRENCH GILT METAL MOUNTED GLASS VANITY BOXES Early 20th century largest width 9 1/2in (24cm)

1099 ¤ A GROUP OF NINE SILVER, SILVER-PLATED AND ENAMEL VANITY ARTICLES Including two covered jars monogrammed B. height of largest 6in (15cm)

$200 - 300

$300 - 500

1098 ¤ A GROUP OF FIVE DESK CLOCKS Various makers The Verdura example inscribed TO BARBARA / WITH LOVE AND THANKS / NANCY / 27th MAY 1993 and the Tiffany & Co. example inscribed BARBARA WALTERS / WITH OUR WARMEST APPRECIATION / WOMEN’S DIVISION UNITED JEWISH FUND / JANUARY 9, 1900. height of largest 4 3/4in (12cm)

1100 ¤ A GROUP OF SEVEN VANITY ARTICLES Comprising an Estee Lauder roulette wheel form compact inscribed To Barbara, Thanks for Sharing ‘The Whole Package!’/Best, Estee Lauder Team/Las Vegas/2008; a silver plated compact from NEUE GALLERY; an Estee Lauder Pocket Watch form compact; a coin form clock; a Guerlain monogramed lipstick case; a turquoise mounted metal compact and a rhinestone encrusted calling card case.

$200 - 300 136 | BONHAMS

$200 - 300

Lots: 1082, 1102, 1103, 1104 BARBARA WALTERS: AMERICAN ICON

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Lots: 1108, 1113, 1125 138 | BONHAMS

Lots: 1109, 1110, 1111, 1112, 1124 BARBARA WALTERS: AMERICAN ICON

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1110 ¤ AN ACRYLIC VANITY CHAIR AND MIRROR 20th century height of chair 33in (84cm); width 17in (43cm); depth 16in (40.5cm) $200 - 400 1111 ¤ AN ANTHROPOMORPHIC WOOD CARVING 20th century Signed Katumo. height 10 1/4 (26cm); width 23 1/2in (59.7cm); depth 5in (13cm) $200 - 300 1112 ¤ TWO INUIT CARVED STONE FIGURES 20th century height of taller 9 1/2in (24cm)

1107

1101 ¤ AN ENGLISH ENAMEL AND SIVLER VANITY SET Makers mark AJ, Sheffield, 1905 and 1906 Comprising a hand mirror, two hairbrushes and two clothes brushes. length of hand mirror 9 1/4in (23cm) $200 - 300 1102 ¤ A FRENCH MARBLE OBELISK FORM DESK CLOCK Retailed by Chaillou, late 19th century height 15in (38cm) $300 - 500 1103 ¤ W

AN ITALIAN ROCOCO PAINTED COMMODE 18th century height 38in (96cm); width 54in (137cm); depth 25in (64cm) $3,000 - 5,000 1104 ¤ A FRENCH GILTWOOD MIRROR FRAMED MIRROR Late 19th century height 47in (119cm); width 36in (91cm) $800 - 1,200 1105 ¤ A CONTINENTAL PORCELAIN MINIATURE ARMOIRE Early 20th century With sixteen small accessories. height 9in (23cm); width 6in (15.2cm) $200 - 300 140 | BONHAMS

$300 - 500 1106 ¤ A LATE VICTORIAN WICKER MAGAZINE RACK Late 19th century height 31 1/2in (80cm); width 17in (43cm); depth 15in (38cm) $100 - 200 1107 ¤

Pablo Picasso (1881-1973) Service visage noir (Ramié 38), 1948 White earthenware clay plate, decoration in engobes, knife engraved under glaze, marked with the Suzanne Ramié monogram ‘CR’ and marked ‘D’Après Picasso / Madoura / C’, from the edition of 100, with the ‘Madoura Plein Feu’ stamp on the underside. diameter 9 1/4in (23.5cm) $2,000 - 4,000 1108 ¤ W A FRENCH PROVINCIAL FRUITWOOD BUREAU PLAT 19th century height 29 1/2in (75cm); width 52in (132cm); depth 27in (68cm) $400 - 600 1109 ¤ A CHINESE EXPORT BRASS BOUND BLACK LEATHER CAMPHOR TRUNK Mid 19th century height 19 1/2in (46cm); width 43 1/2in (111cm); depth 20 1/2in (52cm) $800 - 1,200

1113 ¤ A LACQUERED AND FAUX BAMBOO COFFEE TABLE Late 20th century height 16in (41cm); width 41in (104cm); depth 24in (61cm) $200 - 400 1114 ¤ Bill Murphy (born 1952) From Silver Lake, 1999 Etching and aquatint on wove paper, signed in pencil, titled and annotated ‘artist’ proof’, with full margins, framed.

11 x 16 1/8in (27.9 x 41cm) sheet 15 1/2 x 20 3/8in (39.4 x 51.8cm) $200 - 300 1115 ¤ JEAN-ÉMILE LABOURER (1877-1943) Broadway, New York, 1907 Etching on thin wove paper, printed by A.Porcaboeuf, Paris, with full margins, framed.

8 3/4 x 6 7/16in (22.3 x 16.3cm) sheet 9 5/8 x 6 11/16 (24.5 x 17cm) $300 - 500 1116 ¤ AFTER HENRI DE TOULOUSE-LAUTREC (1864-1901) Untitled (The Dancer; Woman on horse; The Clown; The Ballernia) (4 works), c. 1864 Collotype on Rives BFK paper, each signed in pencil, published by the Musée ToulouseLautrec, Albi, France, each with full margins, each framed.

11 3/4 x 8 15/16in (29.8 x 22.7cm) sheet 17 x 13in (43.2 x 35.6cm) $400 - 600

1119 1118 1117 ¤ SARAH BERNHARDT SIGNED PHOTO. Photographic postcard Signed (“Sarah Bernhardt”), depicting the actress in costume as L’Aiglon, the title character of Edmond Rostand’s play about Napoleon II, 135 x 90 mm, signature dated 1910, light age toning. Matted and framed. $300 - 500 1118 ¤ LOUISE NEVELSON (1899-1988) Sky Passage, 1976 Cast relief multiple, incised signature and numbered 114/150 on the metal plaque on the reverse, published by Pace Editions, New York.

10 x 5 5/8 x 2 1/4in (25.4 x 14.3 x 5.7cm) $1,500 - 2,500 1119 ¤ CHARLES EAMES (1907-1978) & RAY EAMES (1912-1988) SPECIAL MODEL NO. 670 ROSEWOOD FACED PLYWOOD AND LEATHERLOUNGE CHAIR AND MODEL NO. 671 OTTOMAN Circa 1960, for Herman Miller height of chair 32 1/2in (82.5cm); width 33in (84cm); depth 34in (86.5cm) $4,000 - 6,000 1120 ¤ SUZANNE PASCAL (1914-2021) Untitled (Sculpture), circa 1970 etched signature Pascal carved glass and steel height 26in (66cm); width 12in (30.5cm) $800 - 1,200 1121 ¤ SUZANNE PASCAL (1914-2021) Untitled (Sculpture), circa 1970 etched signature Pascal carved glass and steel height 17 1/2in (44.4cm); width 4in (10.2cm)

1122 ¤ A GROUP OF FOUR PHOTOPRINTED THROW PILLOWS Each depicting Barbara Walters and used for her 80th birthday celebration. each 15in x 15 1/4in (38cm x 38.5cm) $100 - 200 1123 ¤ AMERICAN SCHOOL (20TH CENTURY) Untitled, 1976 signed B. Walters Schreiber 1976 at base mixed media composite on composite base 60 x 8 x 6in. (152 x 20 x 20cm). $800 - 1,200 1124 ¤ TWO PAIRS OF FRENCH ART DECO MARBLE AND ALABASTER BOOKENDS Circa 1925 height 10in (25.4cm); width 6in (15.3cm) $600 - 800 1125 ¤ A CHINESE FAMILLE ROSE PORCELAIN VASE 20th century Now mounted as a lamp. height overall 32in. $200 - 300 1126 ¤ AN ASSEMBLED LOUIS XVI STYLE GILT METAL MOUNTED MARBLE THREE-PIECE CLOCK GARNITURE 20th century Comprising a mantel clock and a pair of two light candelabra, the dial signed A La Renaissance / Bould height of clock 13in (33cm); width 8in (20.3) $200 - 300

$400 - 600 BARBARA WALTERS: AMERICAN ICON

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1127

1128

1127 ¤ ALEXANDER CALDER (1898-1976) One plate, from La Mémoire Eléméntaire, 1976 Lithograph in colors on Arches paper, signed in pencil and numbered 31/100, the full sheet, framed. sheet 20 1/2 x 28 3/8in (52.1 x 72.1cm)

1128 ¤ ALEXANDER CALDER (1898-1976) One Plate, from La Mémoire Eléméntaire, 1976 Lithograph in colors on wove paper, signed in pencil and numbered 31/100, the full sheet, framed. sheet 20 1/2 x 28 3/8in (52.1 x 72.1cm)

$3,000 - 5,000

$3,000 - 5,000

142 | BONHAMS

1129

1130

1129 ¤ ALEXANDER CALDER (1898-1976) One Plate, from La Mémoire Eléméntaire, 1976 Lithograph in colors on wove paper, signed in pencil and numbered 31/100, the full sheet, framed. sheet 20 1/2 x 28 3/8in (52.1 x 72.1cm)

1130 ¤ ALEXANDER CALDER (1898-1976) One Plate, from La Mémoire Eléméntaire, 1976 Lithograph in colors on Arches paper, signed in pencil and numbered 31/100, the full sheet, framed. sheet 20 1/2 x 28 3/8in (52.1 x 72.1cm)

$3,000 - 5,000

$3,000 - 5,000

BARBARA WALTERS: AMERICAN ICON

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1131

1131 ¤ ALEXANDER CALDER (1898-1976) One Plate, from La Mémoire Eléméntaire, 1976 Lithograph in colors on Arches paper, signed in pencil and numbered 31/100, the full sheet, framed. sheet 20 3/8 x 28 3/8in (51.8 x 72.1cm) $3,000 - 5,000 1132 ¤ ALEXANDER CALDER (1898-1976) One Plate, from La Mémoire Eléméntaire, 1976 Lithograph in colors on wove paper, signed in pencil and numbered 31/100, published

by Editions de la Différence, Paris, printed by Arts-Litho, Paris, the full sheet, framed. sheet 28 3/8 x 20 1/2in (72.1 x 52.1cm) $3,000 - 5,000

1132

144 | BONHAMS

1133

1134

1133 ¤ ALEXANDER CALDER (1898-1976) One Plate, from La Mémoire Eléméntaire, 1976 Lithograph in colors on wove paper, signed in pencil and numbered 31/100, the full sheet, framed. sheet 20 3/8 x 28 3/8in (51.8 x 72.1cm)

1134 ¤ ALEXANDER CALDER (1898-1976) One Plate, from La Mémoire Eléméntaire, 1976 Lithograph in colors on wove paper, signed in pencil and numbered 31/100, the full sheet, framed. sheet 20 1/2 x 28 3/8in (52.1 x 72.1cm)

$3,000 - 5,000

$3,000 - 5,000

BARBARA WALTERS: AMERICAN ICON

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1135

1136

1135 ¤ ALEXANDER CALDER (1898-1976) Untitled, Snake & Apple foams, c. 1976 Lithograph in colors on wove paper, signed in pencil and numbered 2/20, the full sheet, framed. sheet 29 3/8 x 42 5/16in (74.6 x 107.5cm) $4,000 - 6,000

146 | BONHAMS

1136

1136 ¤ HURRELL, GEORGE. 1904-1991.

Portfolio II. Los Angeles, 1979.

4to. 8 gelatin silver print portraits, each signed and editioned 123/250, housed in folding cloth portfolio, faded. $1,000 - 1,500

1137 ¤ SAINT EXUPÉRY, ANTOINE DE. 19001944.

The Little Prince. New York: Reynol and Hitchcock, 1943.

8vo. Translated by Katherine Woods.

Publisher’s salmon cloth, dust jacket. Custom slipcase.

FIRST AMERICAN TRADE EDITION, first issue with first issue dust jacket. $1,000 - 1,500 1138 ¤ KENT, ROCKWELL. 1882-1971.

MELVILLE, HERMAN. 1819-1891. Moby Dick; or, The Whale. Chicago: The Lakeside Press, 1930.

3 volumes. 4to. Illustrated with wood engravings by Rockwell Kent. Publisher’s black cloth stamped in silver, top edge stained black, aluminum slipcase. Lacking acetate jackets, spines slightly sunned, light wear to bindings and scuffs to slipcase, some offsetting from illustrations.

LIMITED EDITION, one of 1000 sets printed.

One of Rockwell Kent’s most impressive works. The Artist & the Book 1860-1960 pp 96-7.

1137

1138

$4,000 - 6,000 1139 ¤ MATISSE SIGNED EDITION OF ULYSSES. JOYCE, JAMES. 1882-1941. Ulysses ... with an Introduction by Stuart Gilbert and Illustrations by Henry Matisse. New York: Limited Edition Club, 1935.

Large 4to. 6 etched plates by Matisse, 20 reproductions of Matisse’s sketches printed on blue and yellow paper. Publisher’s brown buckram with abstract design including Matisse’s Nausicaa embossed in gold on the front cover, spine decorated in gilt, card slipcase. Slipcase damaged.

LIMITED EDITION, number 813 of 1500 copies signed by Matisse. $3,000 - 5,000 1140 ¤ HARDY, THOMAS. 1840-1928.

Tess of the D’Urbevilles: A Pure Woman.

London: Macmillan and Co, 1926.

4to (190 x 275 mm). 41 wood-engravings

by Vivien Gribble, folding map. Publisher’s vellum-backed boards. Shelfwear.

LIMITED EDITION. One of 325 copies signed

by Hardy.

1139

1140

$1,000 - 1,500

BARBARA WALTERS: AMERICAN ICON

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1141

1141 ¤ DUKE AND DUCHESS OF WINDSOR. Collection of seasonal calendars, daybooks and address books, most with entries in the hands of the Duke and Duchess; a desk diary headed His R.H. and Her R.H. with entries in a secretarial hand.

Housed in 3 boxes. (see Sotheby’s sale 7000, lot 1629) $3,000 - 5,000

148 | BONHAMS

BARBARA WALTERS: AMERICAN ICON

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Barbara Walters’ Reading Library Full descriptions can be found in the online catalog.

1142 ¤ KIPLING, RUDYARD. 1865-1936.

Poems, 1886-1929. London: Macmillan & Co, 1929.

3 volumes. 4to (195 x 265). Portrait frontispiece etching by Francis Dodd, signed by the artist.

Full red morocco, spines gilt-lettered, top edges gilt, other edges untrimmed. Spines evenly sunned, shelfwear.

1146 ¤ RACKHAM, ARTHUR. 1867-1939.

Rhinegold and the Valkyrie. [WITH:] Siegfried and the Twilight of the Gods. London and New York: William Heineman/Doubleday, Page & Co., 1910-1911.

2 volumes. 4to (185 x 240 mm). 64 tippedin color plates, numerous black and white illustrations in text. Blue half-morocco, slipcase.

LIMITED EDITION. Number 262 of 525 copies signed by Kipling.

FIRST ENGLISH TRADE EDITIONS.

$800 - 1,200 1143 ¤ FROST, ROBERT. 1874-1963.

The Complete Poems of Robert Frost. New York: Limited Editions Club, 1950.

2 volumes. 4to. Wood engravings by Thomas Nason, designed by Bruce Rogers. Publisher’s blue denim, gilt-lettered blue morocco spine label, slipcase. Small chips to spine labels, slipcase damaged.

LIMITED EDITION. Number 516 of 1500 copies signed by Robert Frost, Thomas Nason, and designer Bruce Rogers, for the Limited Editions Club.

$600 - 900 1147 ¤ LIMITED EDITIONS CLUB. 14 titles: $800 - 1,000 1148 ¤ W LIMITED EDITIONS CLUB. 20 titles: $800 - 1,000 1149 ¤ W LIMITED EDITIONS CLUB. 17 titles:

$800 - 1,200

$800 - 1,000

1144 ¤ THOMAS HART BENTON ILLUSTRATED GRAPES OF WRATH. STEINBECK, JOHN. 1902-1968. And THOMAS HART BENTON. 1889-1975. The Grapes of Wrath. New York: Limited Editions Club, 1940.

2 volumes. Folio. Lithographic illustrations

by Thomas Hart Benton. Publisher’s quarter rawhide and coarse cloth, pictorially stamped in brown, slipcase. Slipcase slightly chipped.

1150 ¤ W HERITAGE PRESS. 79 titles:

LIMITED EDITIONS CLUB, number 387 of 1,146 copies, signed by Benton. $400 - 600

1152 ¤ ARCHITECTURE AND DESIGN. 11 titles:

1145 ¤

$200 - 300

$600 - 800 1151 ¤ W LIMITED EDITIONS CLUB. SHAKESPEARE SET. 34 titles: $800 - 1,000

BLAKE, WILLIAM. 1757-1827.

Jerusalem: A Facsimile of the Illuminated Book.

London: Trianon Press, [1951].

4to. Illustrated with 100 collotype and handstenciled plates.

1153 ¤ BOOKS BY BARBARA WALTERS. 3 titles:

LIMITED EDITION. Number 475 of 516 copies.

1154 ¤ FASHION. 8 titles:

$500 - 800

$200 - 300

$200 - 300 1155 ¤ SELF-HELP AND WELLNESS. 23 titles: $300 - 400 150 | BONHAMS

1156 ¤ RELIGION AND SPIRITUALITY. 13 titles: $200 - 300 1157 ¤ TRAVEL. 9 titles: $200 - 300 1158 ¤ W LITERATURE. 54 titles: $300 - 400 1159 ¤ W LITERATURE. 66 titles: $300 - 400 1160 ¤ W HISTORY. 47 titles: $300 - 400 1161 ¤ NEWS AND BROADCASTING. 14 titles: $200 - 300 1162 ¤ W NON-FICTION. 59 titles: $400 - 600 1163 ¤ W POLITICAL BIOGRAPHIES. 56 titles: $300 - 400 1164 ¤ W BIOGRAPHIES AND MEMOIRS. 54 titles: $300 - 400 1165 ¤ W ART AND DECORATIVE ARTS. 147 titles: $600 - 800 1166 ¤ W BOOKS ON ARTISTS. 100 titles: $600 - 800

1167

1167 ¤ GOLDEN PLATE AWARD. ‘The Golden Plate’ awarded by the American Academy of Achievement to Barbara Walters, June 29, 1991, framed.

1169 ¤ THE VIEW. ‘The View — 1000th Show’ commemorative crystal vase, presented to Barbara Walters.

$200 - 300

$700 - 1,000

1168 ¤ GROUP OF FOUR AWARDS. 1. ‘Deadline Club Hall of Fame / Lifetime Achievement Award / Barbara Walters,’ small silver medallion’ 2.’National Sales Hall of Fame Walter Cronkite Master Communicator Award,’ 1991, engraved crystal disc 3. ‘Alumni Association of City College of New York John J. Finley Award,’ October 30, 2008, crystal obelisk on black base 4. ‘International Women’s Forum 1994 Hall of Fame Award, Barbara Walters,’ crystal obelisk.

1170 ¤ GROUP OF FOUR AWARDS. 1. ‘Legendary Women of the World Award,’ presented to Barbara Walters by Birmingham-Southern University, 1982. crystal obelisk 2. ‘The Partnership for the Homeless’ award presented to Barbara Walters, May 14, 2007, engraved crystal 3. 1996 GLAAD Media Award for Excellence in Journalism 4. The Hubert H. Umphrey Freedom Prize for 1978 bronze medallion. $800 - 1,200

$1,000 - 1,500

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1171

1174

1171 ¤ NIXON, RICHARD. 1913-1994.

Printed Presidential card signed as President, verso reading ‘Commemorating the visit by the President of the United States to the People’s Republic of China / February 1972 / Barbara Walters (Guber), encased. $700 - 1,000 1172 ¤ A COMMEMORATIVE SILVER PLATED BOX AND A SILVER PLATED BOWL. The box inscribed American the Beautiful, Barbara Walters, Bloomingdales 1982 and the bowl inscribed INTERNATIONAL PLATFORM ASSOCIATION 1977 LOWELL THOMAS AWARD TO BARBARA WALTERS FOR HER CONTRIBUTIONS TO TELEVISION AND HER PROFESSION AS THE NATION’S TOP ELECTRONIC JOURNALIST. height of box 3in (7.6cm); width 10in (25.3cm); depth 3in (7.6cm) $100 - 200

152 | BONHAMS

1173 ¤ A GROUP OF FIVE COMMEMORATIVE ARTICLES. Comprising a pewter box with Vice Presidential seal; a plate with the President of the United States seal; a pewter box celebrating Margaret Thatcher; a sterling box from blessing box from Iran; and a bowl inscribed ‘Condaleezza Rice.’

Diameter of plate 11in (28cm).

1175 ¤ A TIFFANY & CO. GLASS APPLE PAPERWEIGHT AND A SILVER PLATED APPLE BOX. The box inscribed THE FIFTH AVENUE AWARD 1987, BARBARA WALTERS and the glass apple inscribed BARBARA WALTERS.’ length of box 5 1/2in (14cm).

$400 - 600

1176 ¤ BARBARA WALTERS SIGNED COPY OF HER MEMOIR. WALTERS, BABARA. 1929-2022. Audition: A Memoir. New York: Alfred A. Knopf, 2008.

8vo. Hardcover with jacket. SIGNED FIRST EDITION.

1174 ¤ GUSTAVOS CISNEROS PIONEER. Silver engraved invitation for the Gustavos Cisneros Pioneer reception at MOMA, February 14, 2005. $500 - 700

$200 - 300

WITH: A miniature silver plate book form box with “Barbara Walters” etched into the cover.

(28 mm x 38 mm x 11 mm). $200 - 300

1176

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1177 ¤ AN AMERICAN 14K GOLD AND MALACHITE MOUNTED STERLING SILVER JEWELRY BOX Schroth Jewelers, New Jersey Engraved for presentation To Barbara / Love June 3, 1976 / TODAY. height 3in (7.5cm); width 6in (15.3cm); depth 4in (10cm). $400 - 600 This box was given to Barbara in appreciation of her time at NBC on June 3, 1976.

1177 1178 ¤ AN ENGLISH SILVER PLATED CIGARETTE BOX Late 20th century Engraved for presentation ‘BW Love MD & CZJ.’ length 6 3/4in; Together with a Tiffany & Co. Sterling Silver Key Chain engraved ‘925 Club.’ $100 - 200 Provenance Acquired from Catherine Zeta-Jones and Michael Douglas.

1178

Douglas, Zeta-Jones and Walters refered to themselves as the 925 Club as they all shared the same birthday, September 25.

1179 ¤ A CARTIER STERLING SILVER HOLIDAY TABLE BOX Inscribed Double Fantasy Christmas 1980 NYC / John & Yoko.’ length 4 1/4in (10.3cm) silver weight approximately 6.38oz troy. $200 - 300

1179

154 | BONHAMS

New York Daily News Archive/New York Daily News via Getty Images BARBARA WALTERS: AMERICAN ICON

| 155

1187

1180 ¤ A MONOGRAMMED SILK THROW BLANKET Made by Leron Monogrammed BW. 67 5/8in x 49 1/2in (171cm x 176cm) $200 - 300 1181 ¤ A MONOGRAMMED QUILTED BLANKET Made by Haptic Lab Quilts, New York City Monogrammed Barbara Walters.

73in x 61in (185cm x 155cm) $200 - 300 1182 ¤ A GROUP OF MONOGRAMMED AND OTHER LINEN NAPKINS Comprising sixty-three table napkins monogrammed BW; twelve cocktail napkins monogrammed W; four Christmas napkins monogrammed W and seven cocktail napkins. $200 - 300 1183 ¤ A VALENTINO PLEATED COLLAR TRENCH COAT $300 - 500

156 | BONHAMS

1184 ¤ TWO BILL BLASS SATIN SKIRTS $200 - 400 The pink skirt was worn to the Paley Center for Media’s New York Gala Evening 2011 at The Waldorf Astoria on February 16, 2011 in New York City.

1185 ¤ A FENDI THREE QUARTER LENGTH FUR COAT With Fendi tag. $500 - 1,000 1186 ¤ TWO COATS Comprising a Persian lamb’s wool jacket and a fur trimmed coat. $200 - 500 1187 ¤ A GEORGIO ARMANI RED WOOL WRAP COAT With tag and Borgo 21. $100 - 200

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1188 ¤ AN OSCAR DE LA RENTA GREEN VELVET BURN OUT DRESS Circa 2007 Size 8. $300 - 500 Worn to The Museum of Television & Radio’s Annual Gala at the Waldorf Hotel, New York, February 8, 2007.

1188

1189 ¤ AN OSCAR DE LA RENTA EMBELLISHED BLACK VELVET GOWN With beads. $300 - 500

1189

158 | BONHAMS

Donna Ward/Stringer/Getty Images Entertainment via Getty Images

BARBARA WALTERS: AMERICAN ICON

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1190 ¤ TWO OSCAR DE LA RENTA SILK TAFFETA DRESSES Both size 8. $200 - 400 The black dress was worn to the NBC 75th Anniversary Celebration at Rockefeller Plaza, New York.

The pink dress was worn to the New York Library Host the 6th Annual Library Lions Gala.

1191 ¤ AN EMBELLISHED SARI ENSEMBLE With sequins and beads on silk. $200 - 400

1190

This dress was worn to the “Magical Birthday Bash” celebrating the birthdays of Christopher Reeve, Michael Douglas, Catherine ZetaJones, Barbara Walters and Ron Meyer at the Marriott Marquis on September 25, 2002 in New York City.

1192 ¤ AN ADOLFO RED AND BLACK PRINT SILK ENSEMBLE $200 - 400 This skirt was worn to the Council of Fashion Designers of America’s Lifetime Achievement Award Ceremony at the Metropolitan Museum of Art, New York, New York, January 10, 1989.

1193 ¤ A BILL BLASS TAFFITA SHAWL AND UNSIGNED SKIRT ENSEMBLE $100 - 200 1194 ¤ TWO OSCAR DE LA RENTA EMBELLISHED KNIT LONG SLEEVE DRESSES Blue dress size L, beige dress size M. $300 - 500

1194

160 | BONHAMS

1195

1196

1195 ¤ A CHANEL RED PLISSE AND DIAMOND QUILT CLASSIC SMALL FLAP BAG 1991-1994 Serial number 2466764. height 5in; width6 7/8in; handle drop 20 1/2in $500 - 1,000 1196 ¤ A CHANEL RED LIZARD CC SHOULDER BAG With chain strap. height 5 1/2in; width 8 3/8; handle drop 14in $1,000 - 2,000 1197 ¤ A CHANEL RED SATIN STRASS SHOULDER BAG 1986-1988 With a matching coin purse. height 5in; width 7 3/4in; handle drop 16in $600 - 1,000

1197

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1198 ¤ A CHANEL SATIN CC CHARM BAG 2008 Cruise Serial number 1102189. height 6 1/2in; width 10 1/2in; handle drop 3 1/2in $500 - 1,000

1198

1199 ¤ A CHANEL BLACK VELVET MADEMOISELLE FLAP BAG 1994-1996 Serial number 8153946. height 5 1/2in; width 11 1/2in; handle drop 16 1/4in $500 - 1,000

1199

1200 ¤ A CHANEL REISSUE NAVY JERSEY 226 DOUBLE FLAP BAG height 6 1/4in; width 10in; handle drop 11 1/4in $1,000 - 1,500 1200 162 | BONHAMS

1201

1203

1202

1204

1201 ¤ AN HERMÈS NATA EPSOM JIGE ELAN 29cm CLUTCH 2009 height 5 3/4in; width 11 1/4in $2,000 - 3,000 1202 ¤ A FENDI BLACK EMBELLISHED BAGUETTE SHOULDER BAG 2000s With authentication tag. height 6in; width 10in; handle drop 4 1/2in $500 - 1,000

1203 ¤ A BARRY KIESELSTEIN-CORD DRAGON EMBELLISHED FRAME BAG 1991 height 3 1 7/8in; width 6 1/4in ; handle drop 6in $300 - 500 1204 ¤ A LANVIN YELLOW SATIN CLUTCH With chain strap. height 5 1/4in; width 9 7/8in; handle drop 18 1/4in $200 - 400

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1205 ¤ TWO BOTTEGA VENETA LEATHER INTRECCIATO HANDBAGS height of larger 8 7/8in; width 13in; handle drop 8 3/4in; height of smaller 5 1/2; depth 9 1/2in; handle drop 20 1/2 $400 - 600

1205

1206 ¤ A KING RANCH LEATHER TRIM COATED CANVAS WEEKEND BAG Monogrammed BW. height 11in; width 151/4; handle drop 9in $100 - 200

1206

1207 ¤ A GROUP OF THREE JUDITH LEIBER MINAUDIERES AND A JUDITH LEIBER SNAKESKIN CLUTCH height of largest 4 3/8in; width 10 5/8; handle drop 20 1/2in $300 - 500

1207

164 | BONHAMS

1208

1210

1209

1211

1208 ¤ TWO YVES SAINT LAURENT HANDBAGS height of python bag 6 1/2in; width 9 3/8in; drop 9 3/4in; height of raffia clutch 6 1/4in; width 9in

1210 ¤ A GROUP OF THREE VINTAGE SILVER AND SILVERED METAL BAGS height of pillow form bag 5 1/2in; width 7 1/2in

$300 - 500

$200 - 400

1209 ¤ TWO BOTTEGA VENETA SATIN INTRECCIATO CLUTCHES The black on with paper authentication label. height of cream 4 3/8in; width 6 3/8in; height of black 3 3/4in; width 6 3/8in

1211 ¤ Two Yves Saint Laurent Satin Clutches height of larger 6 3/8in; width 9 1/2in $300 - 500

$500 - 800

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1212 ¤ A PAIR OF DIAMOND EARRINGS Each designed as a series of openwork drop motifs set with multi-cut diamonds; length 3 in. $800 - 1,200

1212

1213 ¤ A DIAMOND RING Centering a Polki-cut diamond accented by single-cut diamonds and yellow gold foliate designs; size 4½

1213

$600 - 800

1214 ¤ A GEMSET TASSEL NECKLACE Designed as multi-strand seed pearl tassel with a pavé-set diamond top, accented with round-cut rubies, together suspended from a round brilliant-cut diamond-set chain; estimated total diamond weight 5.15 carats; mounted in silver; length 18 in. $300 - 500

1214 166 | BONHAMS

1217

1215

1218

1216

1215 ¤ A PAIR OF MABÉ PEARL EARCLIPS Each centering a mabé pearl within a textured yellow metal frame; mounted in 14k gold; length ½ in.

1217 ¤ KENNETH LANE: A PAIR OF IMITATION PEARL EARRINGS Each centering a faux pearl within a braided gilt frame; signed Kenneth Lane; length 1 in.

$400 - 700

$200 - 300

1216 ¤ A PAIR OF COIN EARCLIPS Each centering a bezel-set antique coin; mounted in 18k gold; length 1 in.

1218 ¤ CINER: A PAIR OF EARCLIPS Each designed as a ribbed knot; signed Ciner; estimated gross weight 31.8 grams; length 1¼ in.

$800 - 1,200

$200 - 300

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1220

1221

1219

1222

1219 ¤ A DIAMOND SIMULANT RIVIÈRE Designed as a graduated line of round-cut synthetic cubic zirconia; length 16 in.

1221 ¤ A SIMULANT DIAMOND RING Centering a cushion-cut gadolinium gallium garnet; mounted in 14k white gold; size 4½

$300 - 500

$300 - 500

1220 ¤ A SYNTHETIC SAPPHIRE AND SYNTHETIC CUBIC ZIRCONIA RING Centering an oval-shaped synthetic sapphire flanked by oval-shaped synthetic cubic zirconia; mounted in 14k white gold; size 5

1222 ¤ A DIAMOND SIMULANT BRACELET Designed as a row of emerald-cut synthetic cubic zirconia; estimated gross weight 26.2 grams; length 7 in.

$300 - 500

168 | BONHAMS

$200 - 300

1223 ¤ BREITLING: A PLATINUM ‘CALLISTO’ WRTISTWATCH With quartz movement, the circular dial set with Arabic indices to the flexible platinum bracelet; signed Breitling with Swiss assay marks; inner circumference 5½ in. $400 - 600

1223

1224 ¤ CHARLES OUDIN FOR FRED LEIGHTON: AN 18K WHITE GOLD AND DIAMOND WRISTWATCH, FRANCE With quartz movement, the square guilloché dial set with Roman numeral indices and the bezel set with round brilliant-cut diamonds to the black satin and leather backstrap; signed Charles Oudin and Fred Leighton with Swiss and French assay marks; inner circumference 4½ in. $600 - 800

1224

1225 ¤ DAVID YURMAN: A STAINLESS STEEL, DIAMOND AND SAPPHIRE ‘THOROUGHBRED’ WATCH With quartz movement, the square dial set with blue Arabic numeral indices and the bezel set with round brilliant-cut diamonds and a sapphire-set crown, to the red embossed leather backstrap; signed David Yurman and no. A 02835; adjustable length 6 to 8 in. $400 - 600 1225

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1226

1228

1229

1227

1226 ¤ PHILIP STEIN: A STAINLES STEEL AND DIAMOND ‘TESLAR’ WRISTWATCH With quartz movement, the oval dial with Arabic numeral indices and the bezel set with round brilliant-cut diamonds to the grey leather backstrap; signed Philip Stein Teslar; adjustable length 5 to 7 in. $200 - 400 1227 ¤ TOURNEAU: A STAINLESS STEEL WRISTWATCH With quartz movement, the rectangular white dial set with Baton and Arabic numeral indices to the embossed black leather backstrap; signed Tourneau and no. 181301; inner circumference 5½ in. $100 - 200

1228 Y ¤ MOVADO: A STAINLESS STEEL AND MOTHER-OF-PEARL WRISTWATCH, 2002 With movement, the rectangular mother-of-pearl dial set with Baton numeral indices and the bezel set with round-cut sapphires to the blue alligator leather backstrap, further enhanced by the engraving ‘A Magical Birthday Bash September 25, 2002’; signed Movado and no.

5368461 with Swiss assay marks; adjustable length 6 to 8 in. $200 - 400 Please note that this item contains endangered species and cannot be shipped internationally.

1229 ¤ INVICTA: A STAINLESS STEEL WRISTWATCH With quartz movement, the square dial set with Diver indices to the pale blue leather backstrap; signed Invicta with Swiss assay marks; length 6 to 8 in. $50 - 100

170 | BONHAMS

1231

1232

1233

1230 1230 ¤ A DIAMOND STRAP Of flexible and textured design with pav-set diamond terminals; estimated total diamond weight 1.25 carats; length 7 in. $100 - 200 1231 ¤ AN IMITATION PEARL AND CUBIC ZIRCONIA NECKLACE Designed as a strand of faux round-shaped pearls, measuring approximately 14.06 to 14.11 mm, to the pavé-set synthetic cubic zirconia ball clasp; signed LM; mounted in silver; length 15½ in. $300 - 400

1232 ¤ AN IMITATION PEARL AND CUBIC ZIRCONIA NECKLACE Designed as a single strand of baroque-shaped faux pearls, measuring approximately 19.37 to 20.90mm, to the pavé-set cubic zirconia ball clasp; length 16½ in. $300 - 400 1233 ¤ A SET OF TWO GEMSET RINGS The first set with synthetic cubic zirconia; the second centering an oval-shaped glass of orange-tint within a double surround of two rosecut diamonds; the first size 4½; the second size 3 $300 - 500

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1236

1237

1239

1238

1234 Y ¤ A GROUP OF EARRINGS The first designed as spirals shells to the cabochon-cut coral terminals; the second designed as a spiraled shell with yellow gold rope detailing to the cultured pearl ends; the third designed as a single textured gilt dragon holding a round-cut diamond atop blue enamel; Please note that these earrings contain moderate wear with one earring missing a counterpart; the first signed MAZ; the second signed Fred Leighton; the first mounted in 18k gold and length 1 in.; the second mounted in 14k gold and length 1 in.; the third length 1 in. $1,500 - 2,000 Please note that this item contains endangered species and cannot be shipped internationally.

1235 ¤ JAR: A PAIR OF 18K GOLD AND ALUMINUM EARCLIPS Each designed as a pansy; Please note that these earrings contain significant wear; signed JAR with maker’s mark; length 1 in. $1,000 - 1,500 1236 ¤ A PAIR OF CUBIC ZIRCONIA EARRINGS Each designed as graduated loops suspended from circular surmounts set with synthetic cubic zirconia; length 2 in. $200 - 300 1237 ¤ A TURQUOISE RING Centering an oval-shaped cabochon-cut turquoise within a spiraled rope frame; mounted in 18k gold; size 5½ $800 - 1,200

172 | BONHAMS

1238 ¤ A 20TH CENTURY POCKETWATCH With manual movement, the circular dial and bezel with Roman numeral indices; estimated gross weight 52.2 grams; length 2¼ in. $100 - 200 1239 ¤ WALTHAM: A 14K GOLD POCKET WATCH With manual movement, the circular dial set with Roman numeral indices and accented with cabochon-cut turquoise; signed Waltham; estimated gross weight 104.8 grams; length 63 in. $300 - 500

Lots: 67, 1101 BARBARA WALTERS: AMERICAN ICON

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Index of Artists ARTISTS

B

Béraud, Jean Benson, Frank W.

C

Calder, Alexander Chase, William Merrit Cornoyer, Paul

LOTS

120 126

1127, 1128, 1129, 1130, 1131, 1132, 1133, 1134, 1135 133 134

G

Goode, Joe

H

Hassam, Childe Hitchcock, George

L

Labourer, Jean-Émile

123

131, 132 130

M

Max, Peter Murphy, Bill

N

Nevelson, Louise Newman, Henry Roderick

P

Picasso, Pablo Prendergast, Maurice Brazil

S

Saint-Gaudens, Augustus Sargent, John Singer Sartorius, George William

T

Toulouse-Lautrec, After Henri de 1115

W

Whorf, John

124 1114

1118 129

1107 125

127 128 1029

1116

135

Jewelry Index ARTISTS

A

Angela Cummings

B

Boucheron

C

Cartier Chopard for Cartier Chopard

D

David Webb

F

Fred Leighton

H

Harry Winston

LOTS

J

JAR 70

K

Kutchinsky 62

49 68 97, 84

34, 71

64

40, 94

M

Marina B. Maz

O

Ostertag

P

Piaget

S

Seaman Schepps

V

Van Cleef & Arpels Verdura Vhernier

10, 39, 75, 78, 86, 90, 93

72

25, 38 14

47

4

5, 9, 12, 17

67, 74, 76, 77, 18, 22, 69 20

Post-War & Contemporary Art

Download Bonhams app for iOS & Android

New York | 16 November 2023

INQUIRIES +1 917 206 1634 oliver.morris-jones@bonhams.com bonhams.com/PIC-CON

HELEN FRANKENTHALER (1928-2011) Alchemy, 1964 acrylic on canvas 81 1/2 by 79 3/4 in. (207.1 by 202.6 cm.)

US$ 2,000,000 - 3,000,000 £1,600,000 - 2,400,000

© Bonhams & Butterfields Auctioneers Corporation. All rights reserved. 580 Madison Avenue, New York, NY 10022. NYC DCA Auction House License No. 2077070

New Bond Street, London | 21 November 2023

ENQUIRIES +44 20 7468 8358 charlie.thomas@bonhams.com bonhams.com

* For details of the charges payable in addition to the final hammer price, please visit bonhams.com/buyersguide

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Important Names & Notices DIAMONDS, COLORED STONES & PEARLS The Jewelry department of Bonhams & Butterfields recognizes that there are many various forms of treatments and enhancements used in diamonds and colored stones in order to improve their appearance and or color. Techniques such as heat treatment have been used to improve the color and transparency of both sapphires and rubies in addition to other gemstones. Techniques such as oiling have been used to enhance the clarity of emeralds while dying has been used to effect the color of jade. Techniques such as heat treatment, oiling, resin impregnation, irradiation, color diffusion, dying, fracture filling, and HTHP are just a few off the techniques that are in use today. Prospective buyers are therefore reminded that unless otherwise noted in our catalog description it must be assumed that some form of enhancement may have been used and that such treatment may not always be permanent or detectable and that our estimates have taken such possibilities into account. As a matter of policy, Bonhams & Butterfields endeavors to obtain certificates from recognized gemological laboratories when such certificates are deemed crucial to the authenticity of a gemstone. It is not possible however to gain certificates for all items offered for sale and it is therefore recommended where there is no mention of a certificate that all prospective buyers consult with one of our department specialists prior to purchase of such items.

PLEASE NOTE: A number of laboratories issue certificates that give more detailed descriptions of gemstones, however there may not be consensus between different laboratories on the degrees, or types of treatment for any particular gemstone. Neither is there necessarily consensus between different laboratories, or private appraisers, on the grading of diamonds. All gemstone weights are approximations only and although an independent laboratory grading may be used in the catalog text, we cannot guarantee such gradings.

Images shown may appear smaller or larger than actual size.

Although we endeavor to mention in our descriptions significant defects, needed repairs, absent stones and the like, WE DO NOT GUARANTEE THAT THE DESCRIPTIONS ARE COMPREHENSIVE. Please examine all lots carefully. It is the responsibility of the prospective bidder, or his agent, to determine the condition of lots during the preview. Condition reports have been created for most lots in this auction, and are available upon request. Please contact the Jewelry department at least two days prior to the sale date for additional information.

REGULATED SPECIES MATERIALS AND CITES PERMITS The export of a lot from the United States or import into certain countries may be subject to export or import regulations, licensure and/or other restrictions; in particular, lots containing plant or animal materials such as ivory, rhinoceros horn, tortoiseshell, coral, whalebone or certain types of woods, irrespective of age or value, may require the granting of one or more export or import licenses or certificates, or may be banned from import altogether by some countries.

Moreover, the ability to obtain an export license or certificate does not insure the ability to obtain an import license or certificate in another country. Lots that contain such regulated species materials may also not be eligible for exportation or for re-importation into the United States if they are not at least 100 years of age, and, under current law, lots containing African Elephant Ivory may no longer be re-imported into the United States regardless of age. In addition, resales of lots containing certain regulated species materials may be subject to restrictions in some jurisdictions.

Lots noted in the catalog with a Y next to the lot number contain one or more such regulated plant or animal materials. It is the buyer’s responsibility to investigate any such restrictions and to obtain any relevant export or import licenses. Please note that this process is governed by local authorities and may take considerable time. Regardless of any delay in the obtaining of an export or import license or certificate or denial of a license’s or certificate’s issuance, purchased lots shall be paid for in accordance with the Conditions of Sale, and any such delay or denial shall not serve as the basis for cancellation of any sale. Prospective buyers are advised to obtain information from the relevant regulatory authorities regarding export and import restrictions, requirements, and costs prior to bidding.

Prospective buyers should also check with their local (e.g. state) regulatory authorities regarding any local restrictions and/or permit requirements that may apply with respect to purchases of regulated species materials, including without limitation purchases of items containing elephant ivory or rhino horn. For example, we are advised that New York buyers of any lot containing elephant or mammoth ivory or rhino horn will be responsible for obtaining a New York State permit before taking possession of the lot within New York State, and that the State of New Jersey has banned the import of items containing elephant or marine mammal ivory or rhino horn into that state.

Upon request, Bonhams can refer the purchaser to a third party agent to assist the purchaser in attempting to obtain the appropriate licenses and/or certificates. However, there is no assurance that any necessary licenses or certificates can be obtained. Please contact the Specialist Department for a suggested list of shipping agents prior to placing a bid if you are uncertain as to whether a lot is subject to export/import license or certificate requirements or related restrictions.

WATCHES Although we endeavor to mention in our descriptions significant defects, needed repairs, absent stones and the like, WE DO NOT GUARANTEE THAT THE DESCRIPTIONS ARE COMPREHENSIVE. Please examine all watches carefully.

It is the responsibility of the prospective bidder, or his agent, to determine the condition of watches during the preview. Except as expressly set forth in the Conditions of Sale, all watches are sold “as is”. We do not guarantee the accuracy or operation of any watch function such as timekeeping, chronograph, calendar, repeater or register.

We make no judgments as to whether diamond dials or diamond bezels originated at the factory or are later additions.

Conditions of Sale The following Conditions of Sale, as amended by any published or posted notices or verbal announcements during the sale, constitute the entire terms and conditions on which property listed in the catalog shall be offered for sale or sold by Bonhams & Butterfields Auctioneers Corp. and any consignor of such property for whom Bonhams acts as agent. By participating in this sale, you agree to be bound by these terms and conditions.

If live online bidding is available for the subject auction, additional terms and conditions of sale relating to online bidding will apply; see Conditions of Website use at www. bonhams.com/WebTerms for the supplemental terms. As used herein, “Bonhams,” “we” and “us” refer to Bonhams & Butterfields Auctioneers Corp.

1.

As used herein, the term “bid price” means the price at which a lot is successfully knocked down to the buyer.

The term “purchase price” means the aggregate of (a) the bid price, (b) a PREMIUM retained by us and payable by the buyer (the “buyer’s premium”), EQUAL TO 28% OF THE FIRST $50,000 OF THE BID PRICE, PLUS 27% OF THE AMOUNT OF THE BID PRICE ABOVE $50,000 UP TO AND INCLUDING $1,000,000, PLUS 21% OF THE AMOUNT OF THE BID PRICE ABOVE $1,000,000 UP TO AND INCLUDING $6,000,000, PLUS 14.5% OF THE AMOUNT OF THE BID PRICE ABOVE $6,000,000, and (c) unless the buyer is exempt by law from the payment thereof, any Alabama, Arizona, California, Colorado, Connecticut, Florida, Georgia, Hawaii, Idaho, Illinois, Iowa, Indiana, Kansas, Kentucky, Louisiana, Maine, Maryland, Massachusetts, Michigan, Minnesota, Mississippi, Missouri, Nebraska, Nevada, New Jersey, New Mexico, New York, North Carolina, Ohio, Oklahoma, Pennsylvania, Rhode Island, South Carolina, Tennessee, Texas, Utah, Virginia, Washington, D.C., Washington state, West Virginia, Wisconsin, Wyoming or other state or local sales tax (or compensating use tax) and other applicable taxes. With regard to New York sales tax, please refer to the “Sales and Use Tax” section of these Conditions of Sale.

2.

In order to bid at the sale, prospective bidders must submit to Bonhams a completed bidder registration and any other requested information or references. New bidders and bidders who have not recently updated their registration information must pre-register to bid at least two (2) business days before the sale. Individuals will be required to provide government-issued proof of identity and proof of address.

Entity clients will be required to provide documentation including confirmation of entity registration showing the registered name, confirmation of registered address, documentary proof of officers and beneficial owners, proof of authority to transact on behalf of the entity and governmentissued proof of identity for the individual who is transacting on the entity’s behalf.

We may also request a financial reference and/or deposit from bidders before approving the bidder registration. In the event a deposit is submitted, and you are not the successful bidder, your deposit will be returned to you. If you are the successful bidder, any such deposit will be credited to offset the appropriate portion of the purchase price.

We reserve the right to request further information, including regarding the source of funds, in order to complete bidder identification and registration procedures (including completing any anti-money laundering and/or anti-terrorism financing checks we may require) to our satisfaction. If our bidder identification and registration procedures are not satisfied, we may, in our sole discretion, decline to register any bidder or reject any bid or cancel any sale to such bidder.

Every bidder shall be deemed to act as a principal unless prior to the commencement of the sale there is a written acceptance by Bonhams of a bidder registration form completed and signed by the principal which clearly states that the authorized bidding agent is acting on behalf of the named principal. Absent such written acceptance by Bonhams, any person placing a bid as agent on behalf of

another (whether or not such person has disclosed that fact or the identity of the principal) may be jointly and severally liable with the principal under any contract resulting from the acceptance of a bid. Every bidder shall be responsible for any use of its assigned paddle or bidding account, regardless of the circumstances.

3.

You represent and warrant that: (i) you have provided to us, or will provide upon request, true and correct copies of valid identification and proof of residence and, if applicable, financial and/or corporate documents; (ii) neither you, your principal (if applicable, and subject to Bonhams’ prior written acceptance pursuant to section 2 above), nor any individual or entity with a beneficial or ownership interest in either the purchased property or in the purchase transaction is on the Specially Designated Nationals List maintained by the Office of Foreign Assets Control of the U.S. Department of the Treasury nor subject to any other sanctions or embargo program or regulation in effect in the United States, European Union, England and Wales, or other applicable jurisdictions (such programs and regulations, collectively, “Sanctions”); (iii) if you are acting as an agent for a principal, you have conducted appropriate due diligence into such principal, and agree that Bonhams shall be entitled to rely upon such due diligence, you will retain adequate records evidencing such due diligence for a period of five (5) years following the consummation of the sale, and will make these records available for inspection upon Bonhams’ request; (iv) neither the purchase transaction (including your bidding activity) nor the purchase funds are connected with nor derive from any criminal activity, and they are not designed to nor have they or shall they, violate the banking, anti-money laundering, or currency transfer laws or other regulations (including without limitation, import-export laws) of any country or jurisdiction, or further any other unlawful purpose, including without limitation collusion, anti-competitive activity, tax evasion or tax fraud; and (v) property purchased by you or your principal (if applicable) hereunder is not and will not be transferred to or used in a country in contravention of any Sanctions.

You acknowledge and agree that we may rely upon the accuracy and completeness of the foregoing warranties.

4.

On the fall of the auctioneer’s hammer, the highest bidder shall have purchased the offered lot in accordance and subject to compliance with all of the conditions set forth herein and (a) assumes full risk and responsibility therefor, (b) if requested will sign a confirmation of purchase, and (c) will pay the purchase price in full or such part as we may require for all lots purchased. No lot may be transferred.

Unless otherwise agreed, payment in good, cleared funds is due and payable within five (5) business days following the auction sale. Whenever the buyer pays only a part of the total purchase price for one or more lots purchased, we may apply such payments or any deposits, in our sole discretion, to the lot or lots we choose. Payment will not be deemed made in full until we have received good, cleared funds for all amounts due. Title in any purchased property will not pass until full and final payment has been received by Bonhams. Accounts must be settled in full before property is released to the buyer. In the event property is released earlier, such release will not affect the passing of title or the buyer’s obligation to timely remit full payment.

We reserve the right to refuse to accept payment from a source other than the registered bidder or buyer of record.

Once an invoice is issued, we cannot change the buyer’s name on an invoice.

Payment for purchases must be made in the currency in which the sale is conducted. Bonhams’ preferred payment method is by wire transfer. For final purchases exceeding US $25,000, all payments must be in the form of wire transfer unless other arrangements have been approved in advance.

For final purchases below US $25,000, payment may also be made in or by the following methods: (i) Cash. Please note that the amount of cash that can be accepted from a given purchaser is limited to US $5,000 per

auction sale (whether by single or multiple related payments).

If the amount payable exceeds that sum, the balance must be paid by another method. (ii) Cashier’s check, money order, or personal check with approved credit drawn on a U.S. bank. A processing fee will be assessed on any returned checks. (iii) Visa, MasterCard, American Express or Discover debit or credit card issued in the name of the purchaser or record.

Only one debit or credit card may be used for payment of an account balance. This method of payment may not be available to first time purchasers.

To the fullest extent permitted by applicable law, the buyer grants us a security interest in the property, and we may retain as collateral security for the buyer’s obligations to us, any property and all monies held or received by us for the account of the buyer, in our possession. We also retain all rights of a secured party under the Uniform Commercial Code (which shall mean the New York Uniform Commercial Code, except where the Uniform Commercial Code of another state governs the perfection of a security interest in collateral located in that state), and you agree that we may file financing statements without your signature. If the foregoing conditions or any other applicable conditions herein are not complied with, in addition to all other remedies available to us and the consignor by law, we may at our election: (a) hold the buyer liable for the full purchase price and any late charges, collection costs, attorneys’ fees and costs, expenses and incidental damages incurred by us or the consignor arising out of the buyer’s breach; (b) cancel the sale, retaining as liquidated damages all payments and deposits made by the buyer; (c) cancel the sale and/or resell the purchased property, at public auction and/or by private sale, and in such event the buyer shall be liable for the payment of all consequential damages, including any deficiencies or monetary losses, and all costs and expenses of such sale or sales, our commissions at our standard rates, all other charges due hereunder, all late charges, collection costs, attorneys’ fees and costs, expenses and incidental damages; and/or (d) reveal the buyer’s identity and contact details to the consignor. In addition, where two or more amounts are owed in respect of different transactions by the buyer to us, to Bonhams 1793 Limited and/or to any of our other affiliates, subsidiaries or parent companies worldwide within the Bonhams Group, we reserve the right to apply any monies paid in respect of a transaction to discharge any amount owed by the buyer. If all fees, commissions, premiums, bid prices and other sums due to us from the buyer are not paid promptly as provided in these Conditions of Sale, we reserve the right to impose a finance charge equal to 1.5% per month (or, if lower, the maximum nonusurious rate of interest permitted by applicable law), on all amounts due to us beginning on the 31st day following the sale until payment is received, in addition to other remedies available to us by law.

5.

We reserve the right to withdraw any property and to divide and combine lots at any time before such property’s auction. Unless otherwise announced by the auctioneer at the time of sale, all bids are per lot as numbered in the catalog and no lots shall be divided or combined for sale.

6.

We reserve the right to reject a bid from any bidder, to split any bidding increment, and to advance the bidding in any manner the auctioneer may decide. In the event of any dispute between bidders, or in the event the auctioneer doubts the validity of any bid, the auctioneer shall have sole and final discretion either to determine the successful bidder, re-open the bidding, or to cancel the sale and re-offer and resell the article in dispute. If any dispute arises after the sale, our sales records shall be conclusive in all respects.

We further reserve the right to cancel the sale of any property if: (i) you are in breach of your representations and warranties as set forth in section 3 above; (ii) we, in our sole discretion, determine that such transaction might be unlawful or might subject Bonhams or the consignor to any liability to any third party; or (iii) there are any other grounds for cancellation under these Conditions of Sale.

US/MAIN/20.9.2023

Conditions of Sale - continued 7.

If we are prevented by fire, theft or any other reason whatsoever from delivering any property to the buyer or a sale otherwise cannot be completed, our liability shall be limited to the sum actually paid therefor by the buyer and shall in no event include any compensatory, incidental or consequential damages.

8.

All lots in the catalog are offered subject to a reserve unless otherwise indicated in the catalog. The ¤ symbol next to the lot number denotes no reserve. The reserve is the confidential minimum bid price at which such lot will be sold and it does not to exceed the low estimate value for the lot. If a lot is offered subject to a reserve, we may implement such reserve by bidding on behalf of the consignor, whether by opening bidding or continuing bidding in response to other bidders until reaching the reserve. If we have an interest in an offered lot and the proceeds therefrom other than our commissions, we may bid up to the reserve to protect such interest. If the auctioneer determines that any opening or subsequent bid is below the reserve for a lot, (s)he may reject such opening bid and withdraw the item from sale.

CONSIGNORS ARE NOT ALLOWED TO BID ON THEIR OWN ITEMS. 9.

Other than as provided in the Limited Right of Rescission with respect to identification of authorship, all property is sold “AS IS” and any statements contained in the catalog or in any advertisement, bill of sale, announcement, condition report, invoice or elsewhere as to period, culture, source, origin, media, measurements, size, quality, rarity, provenance, importance, exhibition and literature of historical relevance, merchantability, fitness for a particular purpose, or physical condition ARE QUALIFIED STATEMENTS OF OPINION AND NOT REPRESENTATIONS, WARRANTIES, OR ASSUMPTION OF LIABILITY. Neither Bonhams nor the consignor shall be responsible for any error or omission in the catalog description of any property. No employee or agent of Bonhams is authorized to make on our behalf or on that of the consignor any representation or warranty, oral or written, with respect to any property.

10. All purchased property shall be removed from the premises at which the sale is conducted by the date(s) and time(s) set forth herein, and, if applicable, as further specified in the “Buyer’s Guide” portion of the catalog. Lots designated with a “W” and associated purchased lots, if not removed promptly following sale, will be transferred to an offsite warehouse at the buyer’s risk and expense, as set forth in more detail in the “Buyer’s Guide.” Purchased property that is permitted to remain onsite at Bonhams’ facility must be removed at the buyer’s expense not later than 5:00 p.m. local time five (5) business days following the date of the sale.

If not so removed, a storage fee of US $5.00 per lot per day will be payable to us by the buyer beginning at the close of the 14th day following the sale, and we may thereafter transfer such property to an offsite warehouse at the buyer’s risk and expense.

Accounts must be settled in full before property will be released. Packing and handling of purchased lots are the responsibility of the buyer and at the buyer’s entire risk, as are the identification, application for, and cost(s) of obtaining any necessary export, import, restricted material (e.g. endangered species) or other permit for such lots.

11. The copyright in the text of the catalog and the photographs, digital images and illustrations of lots in the catalog belong to Bonhams or our licensors. You will not reproduce or permit anyone else to reproduce such text, photographs, digital images or illustrations without our prior written consent. Bonhams and the consignor make no representation or warranty as to whether the buyer acquires any copyrights on the purchase of an item of property.

12. Bonhams may, in our discretion, as a courtesy and free of charge, execute bids on your behalf if so instructed by you, provided that neither Bonhams nor our employees or agents will be liable for any error or default (whether human or otherwise) in doing so or for failing to

do so. Without limiting the foregoing, Bonhams (including our agents and employees) shall not be responsible for any problem relating to telephone, online, or other bids submitted remotely through any means, including without limitation, any human error, telecommunications or internet fault or failure, or breakdown or problems with any devices or online platforms, including third-party online platforms, regardless of whether such issue arises with our, your, or such third-party’s technology, equipment, or connection.

By participating at auction by telephone or online, bidders expressly consent to the recording of their bidding sessions and related communications with Bonhams and our employees and agents, and acknowledge their acceptance of these Conditions of Sale as well as any additional terms and conditions applicable to any such bidding platform or technology.

13. These Conditions of Sale shall bind the successors and assigns of all bidders and buyers and inure to the benefit of our successors and assigns. No waiver, amendment or modification of the terms hereof (other than posted notices or oral announcements during the sale) shall bind us unless specifically stated in writing and signed by us. No act or omission of Bonhams, its employees or agents, nor any failure thereof to exercise any remedy hereunder, shall operate or be deemed to operate as a waiver of Bonhams’ rights under these Conditions of Sale. If any part of these Conditions of Sale is for any reason invalid or unenforceable, the rest shall remain valid and enforceable.

14. These Conditions of Sale and the buyer’s and our respective rights and obligations hereunder shall be governed by and construed and enforced in accordance with the laws of the State of New York. Any dispute, controversy or claim arising out of or relating to this agreement, or the breach, termination or validity thereof, brought by or against Bonhams (but not including claims brought against the consignor by the buyer of lots consigned hereunder) shall be resolved by the procedures set forth below.

15. You accept and agree that Bonhams will hold and process your personal information and may share and use it as required by law and as described in, and in line with Bonhams’ Privacy Policy, available online at http://www. bonhams.com/legals/9945/. If you desire access, update, or restriction to the use of your personal information, please email data.protection@bonhams.com.

SALES AND USE TAX New York sales tax is charged on the hammer price, buyer’s premium and any other applicable charges on any property collected or delivered in New York State, regardless of the state or country in which the buyer resides or does business.

Buyers who make direct arrangements for collection by a shipper who is considered a “private” or “contract” carrier by the New York Department of Taxation and Finance will be charged New York sales tax, regardless of the destination of the property. Property collected for delivery to a destination outside of New York by a shipper who is considered a “common carrier” by the New York Department of Taxation and Finance (e.g. United States Postal Service, United Parcel Service, and FedEx) is not subject to New York sales tax, but if it is delivered into any state in which Bonhams is registered or otherwise conducts business sufficient to establish a nexus, Bonhams may be required by law to collect and remit the appropriate sales tax in effect in such state. Property collected for delivery outside of the United States by a freightforwarder who is registered with the Transportation Security Administration (“TSA”) is not subject to New York sales tax.

MEDIATION AND ARBITRATION PROCEDURES (a) Within 30 days of written notice that there is a dispute, the parties or their authorized and empowered representatives shall meet by telephone and/or in person to mediate their differences. If the parties agree, a mutually acceptable mediator shall be selected and the parties will equally share the fees and expenses of mediation. The mediator shall be a retired judge or an attorney familiar with

commercial law and trained in or qualified by experience in handling mediations. Any communications made during the mediation process shall not be admissible in any subsequent mediation, arbitration or judicial proceeding. All proceedings and any resolutions thereof shall be confidential, and the terms governing arbitration set forth in paragraph (c) below shall govern. (b) If mediation does not resolve all disputes between the parties, or in any event no longer than 60 days after receipt of the written notice of dispute referred to above, the parties shall submit the dispute for binding arbitration before a single neutral arbitrator. Such arbitrator shall be a retired judge or an attorney familiar with commercial law and trained in or qualified by experience in handling arbitrations. Such arbitrator shall make all appropriate disclosures required by law. The arbitrator shall be drawn from a panel of a national or international arbitration service agreed to by the parties, and shall be selected as follows: (i) If the arbitration service has specific rules or procedures, those rules or procedures shall be followed; (ii) If the arbitration service does not have rules or procedures for the selection of an arbitrator, the arbitrator shall be an individual jointly agreed to by the parties.

If the parties cannot agree on an arbitration service, the arbitration shall be conducted by Judicial Arbitration and Mediation Services, Inc. (“JAMS”) or another national or international alternative dispute resolution (“ADR”) provider of Bonhams’ choice, and the arbitrator shall be selected in accordance with JAMS’ Streamlined Arbitration Rules and Procedures or the rules of the other ADR provider selected

by Bonhams. The arbitrator’s award shall be in writing and shall set forth findings of fact and legal conclusions. (c) Unless otherwise agreed to by the parties or provided by the published rules of the arbitration service: (i) The arbitration shall occur within 60 days following the selection of the arbitrator; (ii) The arbitration shall be conducted in New York, New York; and (iii) Discovery and the procedure for the arbitration shall be as follows: A. All arbitration proceedings shall be confidential; B. The parties shall submit written briefs to the arbitrator no later than 15 days before the arbitration commences; C. Discovery, if any, shall be limited as follows: (I) Requests for no more than 10 categories of documents, to be provided to the requesting party within 14 days of written request therefor; (II) No more than two (2) depositions per party, provided however, the deposition(s) are to be completed within one (1) day; (III) Compliance with the above shall be enforced by the arbitrator in accordance with New York law; D. Each party shall have no longer than eight (8) hours to present its position. The entire hearing before the arbitrator shall not take longer than three (3) consecutive days; E. The award shall be made in writing no more than 30 days following the end of the proceeding.

Judgment upon the award rendered by the arbitrator may be entered by any court having jurisdiction thereof.

To the fullest extent permitted by law, and except as required by applicable arbitration rules, each party shall bear its own attorneys’ fees and costs in connection with the proceedings and shall share equally the fees and expenses of the arbitration.

LIMITED RIGHT OF RESCISSION If within one (1) year from the date of sale, the original buyer (a) gives written notice to us alleging that the identification of Authorship (as defined below) of such lot as set forth in the UPPERCASE TYPE heading of the catalog description of such lot (as amended by any saleroom notices or verbal announcements during the sale) is not substantially correct based on a fair reading of the catalog (including the terms of any glossary contained therein), and (b) within ten (10) days US/MAIN/20.9.2023

Conditions of Sale - continued after such notice returns the lot to us in the same condition as at the time of sale, and (c) establishes the allegation in the notice to our satisfaction (including by providing one or more written opinions by recognized experts in the field, as we may reasonably require), then the sale of such lot will be rescinded and, unless we have already paid to the consignor monies owed him in connection with the sale, the original purchase price will be refunded.

If, prior to receiving such notice from the original buyer alleging such defect, we have paid the consignor monies owed him in connection with the sale, we shall pay the original buyer the amount of our commissions, any other sale proceeds to which we are entitled and applicable taxes received from the buyer on the sale and make demand on the consignor to pay the balance of the original purchase price to the original buyer. Should the consignor fail to pay such amount promptly, we may disclose the identity of the consignor and assign to the original buyer our rights against the consignor with respect to the lot the sale of which is sought to be rescinded. Upon such disclosure and assignment, any liability of Bonhams as consignor’s agent with respect to said lot shall automatically terminate.

The foregoing limited right of rescission is available to the original buyer only and may not be assigned to or relied upon by any subsequent transferee of the property sold.

The buyer hereby accepts the benefit of the consignor’s warranty of title and other representations and warranties made by the consignor for the buyer’s benefit. Nothing in this section shall be construed as an admission by us of any representation of fact, express or implied, obligation or responsibility with respect to any lot. THE BUYER’S SOLE AND EXCLUSIVE REMEDY AGAINST BONHAMS FOR ANY REASON WHATSOEVER IS THE LIMITED RIGHT OF RESCISSION DESCRIBED IN THIS SECTION.

“Authorship” means only the identity of the creator, the period, culture and source or origin of the lot, as the case may be, as set forth in the UPPERCASE TYPE heading of the catalog entry for the lot. The right of rescission does not extend to: (a) works of art executed before 1870 (unless these works are determined to be counterfeits created since 1870), as this is a matter of current scholarly opinion which can change; (b) Chinese, Japanese and Korean paintings and calligraphy (unless, within twenty-one days of the sale of any such lot, the original purchaser gives written notice to Bonhams alleging that the lot is a counterfeit and within ten days after giving such notice returns the lot to us in the same condition as at the time of sale and demonstrates to our satisfaction that the lot is a counterfeit), as current scholarship in these respective fields does not permit unqualified statements as to Authorship or date of execution; (c) titles, descriptions, or other identification of offered lots, which information normally appears in lower case type below the UPPERCASE TYPE heading identifying the Authorship; (d) Authorship of any lot where it was specifically mentioned that there exists a conflict of specialist or scholarly opinion regarding the Authorship of the lot at the time of sale; (e) Authorship of any lot which as of the date of sale was in accordance with the then generally-accepted opinion of scholars and specialists regarding the same; or (f) the identification of periods or dates of creation in catalog descriptions which may be proven inaccurate by means of scientific processes that are not generally accepted for use until after publication of the catalog in which the property is offered or that were unreasonably expensive or impractical to use at the time of such publication.

LIMITATION OF LIABILITY EXCEPT AS EXPRESSLY PROVIDED ABOVE, ALL PROPERTY IS SOLD “AS IS.” NEITHER BONHAMS NOR THE CONSIGNOR MAKES ANY REPRESENTATION OR WARRANTY, EXPRESS OR IMPLIED, AS TO THE MERCHANTABILITY, FITNESS OR CONDITION OF THE PROPERTY OR AS TO THE CORRECTNESS OF DESCRIPTION, GENUINENESS, ATTRIBUTION, PROVENANCE OR PERIOD OF THE PROPERTY OR AS TO WHETHER THE BUYER ACQUIRES ANY COPYRIGHTS OR OTHER INTELLECTUAL PROPERTY RIGHTS IN LOTS SOLD OR AS TO WHETHER A WORK OF ART IS SUBJECT TO THE ARTIST’S MORAL RIGHTS OR OTHER RESIDUAL RIGHTS OF THE ARTIST. THE BUYER EXPRESSLY ACKNOWLEDGES AND AGREES THAT IN NO EVENT SHALL BONHAMS BE LIABLE FOR ANY DAMAGES INCLUDING, WITHOUT LIMITATION, ANY COMPENSATORY, INCIDENTAL OR CONSEQUENTIAL DAMAGES. IN NO EVENT SHALL THE AGGREGATE LIABILITY OF BONHAMS AND ITS CONSIGNOR TO A PURCHASER EXCEED THE PURCHASE PRICE ACTUALLY PAID FOR A DISPUTED ITEM OF PROPERTY.

For purposes of sections (a) and (b) above, “counterfeit” is defined as a work created with intent to deceive.

US/MAIN/20.9.2023

Buyer’s Guide BUYING AND BIDDING AT AUCTION Whether you are an experienced bidder or an enthusiastic novice, auctions provide a stimulating atmosphere unlike any other. Bonhams previews and sales are free and open to the public. As you will find in these directions, bidding and buying at auction is easy and exciting. Should you have any further questions, please visit our website at www.bonhams.com or contact our Client Services Department at Tel: 1-800-9594383 (toll free, within the US) or Tel: 1-908-707-0077 (outside the US).

Catalogs Before each auction we publish illustrated catalogs. Our catalogs provide descriptions and estimated values for each “lot.” A lot may refer to a single item or to a group of items auctioned together. The catalogs also include the dates and the times for the previews and auctions. We offer our catalogs by subscription or by single copy. For information on subscribing to our catalogs, you may refer to the subscription form in this catalog, call our Client Services Department, or visit our website at www.bonhams.com/us.

Previews Auction previews are your chance to inspect each lot prior to the auction. We encourage you to look closely and examine each object on which you may want to bid so that you will know as much as possible about it. Except as expressly set forth in the Conditions of Sale, items are sold “as is” and with all faults; illustrations in our catalogs, website and other materials are provided for identification only. At the previews, our staff is always available to answer your questions and guide you through the auction process. Condition reports may be available upon request and are strongly recommended for all intending bidders who cannot view the property in person.

Estimates Bonhams’ catalogs include low and high value estimates for each lot, exclusive of the buyer’s premium and tax. The estimates are provided as an approximate guide to current market value based primarily on previous auction results for comparable pieces, and should not be interpreted as a representation or prediction of actual selling prices. They are determined well in advance of a sale and are subject to revision. Please contact us should you have any questions about value estimates.

Reserve Unless indicated by the ¤ symbol next to the lot number, which denotes no reserve, all lots in the catalog are subject to a reserve. The reserve is the minimum auction price that the consignor is willing to accept for a lot. This amount is confidential and does not exceed the low estimate value.

Auction House’s Interest in Property Offered at Auction On occasion, Bonhams may offer property in which it has an ownership interest in whole or in part or otherwise has an economic interest. Such property, if any, is identified in the catalog with a ▲ symbol next to the lot number(s). Bonhams may also offer property for a consignor that has been guaranteed a minimum price for its property by Bonhams or jointly by Bonhams and a third party. Bonhams and any third parties providing a guarantee may benefit financially if the guaranteed property is sold successfully and may incur a financial loss if its sale is not successful. Such property, if any, is identified in the catalog with a ○ symbol next to the lot number(s).

Bidding at Auction You must be eighteen (18) years old or over to bid. At Bonhams, you can bid in many ways: in person, via absentee bid, over the phone, or via Bonhams’ live online bidding facility. Absentee bids can be submitted in person, online, or via email. Irrespective of previous bidding activity a valid Bonhams’ client account is required to participate in bidding activity. You will be required to provide government issued proof of identity, proof of residence, and if you are a company, your certificate of incorporation or equivalent documentation with your name and registered address, proof of your current address, documentary proof of your beneficial owners and directors, and proof of authority to transact. We may also request a financial reference and/or deposit from you before allowing you to bid. By bidding at auction, whether in person or by agent, by absentee bid, telephone, online or other means, the buyer or bidder agrees to be bound by the Conditions of Sale. Lots are auctioned in consecutive numerical order as they appear in the catalog. Bidding

normally begins below the low estimate. The auctioneer will accept bids from interested parties present in the saleroom, from telephone bidders, and from absentee bidders who have left written bids in advance of the sale. The auctioneer may also execute bids on behalf of the consignor up to the amount of the reserve, but never above it. We assume no responsibility for failure to execute bids for any reason whatsoever.

In Person If you are planning to bid at auction for the first time, you will need to register at the reception desk in order to receive a numbered bid card. To place a bid, hold up your card so that the auctioneer can clearly see it. Decide on the maximum auction price that you wish to pay, exclusive of buyer’s premium and tax, and continue bidding until your bid prevails or you reach your limit. If you are the successful bidder on a lot, the auctioneer will acknowledge your paddle number and bid amount.

Absentee Bids As a service to those wishing to place bids, we may at our discretion accept bids without charge in advance of auction online or in writing on bidding forms available from us. “Buy” bids will not be accepted; all bids must state the highest bid price the bidder is willing to pay. Our auction staff will try to bid just as you would, with the goal of obtaining the item at the lowest bid price possible. In the event identical bids are submitted, the earliest bid submitted will take precedence. Absentee bids shall be executed in competition with other absentee bids, any applicable reserve, and bids from other auction participants. A friend or agent may place bids on your behalf, provided that we have received your written authorization prior to the sale. Absentee bid forms are available in our catalogs, online at www.bonhams.com/ us, at offsite auction locations and at our Los Angeles, San Francisco and New York galleries.

By Telephone We can arrange for you to bid by telephone. To arrange for a telephone bid, please contact our Client Services Department a minimum of twenty-four (24) hours prior to the sale.

Online We offer live online bidding for most auctions and accept absentee bids online for all our auctions. Please visit www. bonhams.com/us for details.

address, date of birth and the full name of the entity. You must provide a credit card for verification either in your name or the name of the entity but payment must be made from an account in the entity’s name. If your credit card fails verification, you will not be permitted to bid and should contact the Client Services Department for assistance. We may, in addition, require a bank reference or deposit prior to letting you bid. For all successful bids, we require the entity’s certificate of formation/incorporation or equivalent documentation confirming the entity’s name and registered address, documentary proof of each beneficial owner owning 25% or more of the entity, and proof of your authority to transact before the lot can be released to you.

We reserve the right to request any further information from any bidder that we may require in order to carry out any identification, anti-money laundering or anti-terrorism financing checks conducted by us. We may at our discretion postpone or cancel your registration, not permit you to bid and/or postpone or cancel completion of any purchase you may make.

Bid Increments Bonhams generally uses the following increment multiples as bidding progresses: $50-200............................................by $10s $200-500..........................................by $20/50/80s $500-1,000.......................................by $50s $1,000-2,000....................................by $100s $2,000-5,000....................................by $200/500/800s $5,000-10,000…..............................by $500s $10,000-20,000................................by $1,000s $20,000-50,000................................by $2,000/5,000/8,000s $50,000-100,000..............................by $5,000s $100,000-200,000............................by $10,000s above $200,000................................at auctioneer’s discretion The auctioneer may split or reject any bid at any time at his or her discretion as outlined in the Conditions of Sale.

In order to bid online in a sale, you must be eighteen (18) years old or over and you must register to bid via MyBonhams.com. Once you have registered, you should keep your account details strictly confidential and not permit any third party to access your account on your behalf or otherwise. You will be liable for any and all bids made via your account. Please note payment must be made from a bank account in the name of the registered bidder.

Currency Converter Solely for the convenience of bidders, a currency converter may be provided at Bonhams’ auctions. The rates quoted for conversion of other currencies to U.S. Dollars are indications only and should not be relied upon by a bidder, and neither Bonhams nor its agents shall be responsible for any errors or omissions in the operation or accuracy of the currency converter.

Online Bidding Registration for Individuals: Enter your full name, email, residential address, date of birth and nationality and provide a valid credit card in your name which will be verified via Stripe before you are able to bid. If your credit card fails verification, you will not be permitted to bid and you should contact the Client Services Department for assistance.

We may in addition request a financial reference and/or deposit from you prior to letting you bid. If you are bidding as agent on behalf of another party, you agree: (i) to disclose this fact to the Client Services Department; (ii) to provide such information as we require to enable us to complete bidder identification and registration procedures (including completing any anti-money laundering and/or anti-terrorism financing checks) on that third party; and (iii) that where your bid is successful, you are jointly and severally liable with that other party for the full amounts owing for the successful bid (whether or not you have disclosed that fact or the identity of the principal). Where you are the successful bidder for any lot with a hammer price equal to or in excess of US $10,000, and if you have not provided such documents previously, you will be required to upload or provide to the Client Services Department your government issued photo ID and (if not on the ID) proof of your address before the purchased lot can be released to you. Notwithstanding the foregoing, we reserve the right to request ID documentation from any bidder or buyer and to refuse to release any purchased lot until such documentation is provided.

Buyer’s Premium A buyer’s premium is added to the winning bid price of each individual lot purchased, at the rates set forth in the Conditions of Sale. The winning bid price plus the premium constitute the purchase price for the lot. Applicable sales taxes are computed based on this figure, and the total becomes your final purchase price.

Unless specifically illustrated and noted, fine art frames are not included in the estimate or purchase price. Bonhams accepts no liability for damage or loss to frames during storage or shipment.

All sales are final and subject to the Conditions of Sale found in our catalogs, on our website, and available at the reception desk.

Payment Payment may be made to Bonhams by cash, checks drawn on a U.S. bank, money order, wire transfer, or by Visa, MasterCard, American Express or Discover credit or charge card or debit card. All items must be paid for within five (5) business days of the sale. Please note that payment by personal or business check may result in property not being released until purchase funds clear our bank.

Online Bidding Registration for Companies or Other Legal Entities: You must select the option to set up a business account and then provide your full name, email, residential US/MAIN/20.9.2023

Buyer’s Guide - continued Sales Tax Residents of states listed in section 1 of the Conditions of Sale must pay applicable sales tax. Other state or local taxes (or compensation use taxes) may apply. Sales tax will be automatically added to the invoice unless a valid resale number has been furnished or the property is shipped via common carrier to destinations outside the states listed in the Conditions of Sale. If you wish to use your resale license please contact the Client Services Department for our form.

Regulated Species Materials The export of a lot from the United States or import into certain countries may be subject to export or import regulations, licensure and/or other restrictions; in particular, lots containing plant or animal materials such as tortoiseshell, coral, whalebone or certain types of woods, irrespective of age or value, may require the granting of one or more export or import licenses or certificates, or may be banned from import altogether by some countries. Moreover, the ability to obtain an export license or certificate does not ensure the ability to obtain an import license or certificate in another country. Lots that contain such regulated species materials may also not be eligible for exportation or for re-importation into the United States if they are not at least 100 years of age. In addition, resales of lots containing certain regulated species materials may be subject to restrictions in some jurisdictions.

Lots noted in the catalog with a “Y” next to the lot number contain one or more such regulated plant or animal materials, however lots containing regulated material may lack the Y notation. It is the buyer’s responsibility to investigate any such restrictions and to obtain any relevant export or import licenses.

Please note that this process is governed by local authorities and may take considerable time. Regardless of any delay in the obtaining of an export/import license or certificate or denial thereof, purchased lots shall be paid for in accordance with the Conditions of Sale, and any such delay or denial shall not serve as the basis for cancellation of any sale. Prospective buyers are advised to obtain information from the relevant regulatory authorities regarding export and import restrictions, requirements, and costs prior to bidding.

Prospective buyers should also check with their local (e.g. state) regulatory authorities regarding any local restrictions and/or permit requirements that may apply with respect to purchases of regulated species materials. Upon request, Bonhams may refer the purchaser to a third-party agent to assist the purchaser in attempting to obtain the appropriate licenses and/or certificates. However, there is no assurance that any necessary licenses or certificates can be obtained. Please contact the relevant Specialist Department for a suggested list of shipping agents prior to placing a bid if you are uncertain as to whether a lot is subject to export/import license or certificate requirements or related restrictions.

Collection of Purchases Scheduling an appointment and payment in full prior to arrival will facilitate the quick release of your property. If you are sending a third party to collect, please provide details to our Client Services Department at invoices.us@bonhams.com prior to your scheduled pickup or we will be unable to release your property.

For your convenience, pre-allocated 30-minute collection time slots are available by appointment Monday through Friday between 9am – 4:30pm local time. To schedule collection of purchases, please contact our Client Services Department at Tel: 1-800-959-4383 (toll free, within the US) or Tel: 1-908-7070077 (outside the US).

Shipping & Removal Buyers are to review the Offsite Sold Property Storage section (below) for information regarding lots that will be removed to the offsite warehouse of Door To Door shortly after the sale.

These designated lots must be collected by the buyer from Bonhams (at the designated premises where the sale occurred) prior to the day and time designated in the Offsite Sold Property Storage section, or from Door To Door thereafter. If buyers of these designated lots also buy other lots, these lots may also be removed to the warehouse of Door To Door, so all lots remain together and customers can collect or ship from one location. All other items will remain at Bonhams for a period of fourteen (14) days, after which time they may be transferred to offsite storage at the buyer’s risk and expense.

Bonhams’ shipping quote, please indicate this at the time of registration. Carriers are not permitted to deliver to P.O. boxes.

International buyers are responsible for all import/export customs duties and taxes. An invoice stating the actual purchase price will accompany all international purchases.

Handling and Storage Charges Storage charges of US $5 per lot, per day will begin accruing for any lots not collected within fourteen (14) calendar days of the auction.

Bonhams reserves the right to remove uncollected sold lots to the warehouse of Door To Door at the buyer’s risk and expense.

Handling and storage and Full Value Protection fees will apply, as further set forth in the Offsite Sold Property Storage section (below).

Offsite Sold Property Storage All lots marked with a “W” in the catalogue are oversized and subject to additional storage and shipping as set forth below.

Lots not so listed will remain at Bonhams; provided, however, THAT IF BUYERS OF W LISTED LOTS ALSO BUY OTHER NON-LISTED ITEMS, THESE OTHER LOTS WILL ALSO BE REMOVED TO THE WAREHOUSE OF DOOR TO DOOR, so that all lots remain together and buyers can collect their entire purchases from one location. For any questions please refer to the Bonhams Client Services Department.

A. NEW YORK Sales (and New York Online Sales). Unless you are otherwise notified: • W lots (and additional purchases) from sales occurring on Tuesdays and Wednesdays will be transferred to offsite storage at Door To Door on the proximate Thursdays. You may collect W lots from Bonhams by 5pm Eastern Time on Wednesdays.

Purchases will be available for collection on Fridays of the same week from Door To Door.

• W lots (and additional purchases) from sales occurring on Thursdays, Fridays and Mondays will be transferred to offsite storage at Door To Door on the proximate Tuesdays. You may collect W lots from Bonhams by 5pm Eastern Time on Mondays.

Purchases will be available for collection on Wednesdays from Door To Door.

Collections appointments must be booked twenty-four (24) hours in advance with Door To Door (subject to full payment of all outstanding amounts due to Bonhams and Door To Door).

Address: Door To Door Services 50 Tannery Rd Somerville, NJ 08876 B. LOS ANGELES Sales (and Los Angeles Online Sales) • You will be notified in advance of the sale of the date and time of the removal of W lots (and additional purchases) to the Door To Door warehouse. Please be advised that removal may occur the day following the day of the sale.

Collections appointments must be booked twenty-four (24) hours in advance with Door To Door (subject to full payment of all outstanding amounts due to Bonhams and Door To Door).

Address: Door to Door Services 6280 Peachtree St Commerce, CA, 90040 The transfer of lots to the warehouse of Door To Door is at the buyer’s risk and expense. For sold lots removed to Door To Door, there will be transfer and Full Value Protection charges due immediately upon transfer and daily storage charges will begin to accrue five (5) business days after the transfer.

The per-lot charges of Door To Door Services are as follows (plus any applicable sales tax): FURNITURE/LARGE OBJECTS Transfer .................. $75 Daily storage........... $10 Full Value Protection (on Hammer + Premium + tax) 0.3% SMALL OBJECTS Transfer ................. $37.50 Daily storage........... $5 Full Value Protection (on Hammer + Premium + tax) 0.3% Please note, Door To Door does not accept liability for damage or loss due to negligence or otherwise, exceeding the stated value of such goods, or at its option the cost of repairing or replacing the damaged or missing goods.

For more information regarding storage, shipping, or collection from Door To Door please contact Door To Door directly at auctions@dtdusa.com.

Payment Payments for purchased lots must be made directly to Bonhams. Door To Door will not release property unless the buyer has paid Bonhams in full. All charges for handling and storage due to Door To Door must be paid by the time of collection from their warehouse. Payment may be made by cash, check, or credit card. Please contact Door to Door in advance to ascertain the amount due.

Lots will only be released from the Door To Door warehouse upon production of a “Release Order” obtained from the Cashier’s Office at Bonhams.

The removal/storage and/or shipment by Door To Door of any lots will be subject to their standard Conditions of Business, which can be found at https://www.dtdusa.com/terms-andconditions and are available upon request from the Bonhams Client Services Department or from Door To Door directly.

OVERSIZED (W) LOTS 25354 100 105 108 109 110 111 113 114 117 133 29357 1008 1013 1016 1026 1030 1039 1080 1083 1103 1108 1148 1149

1150 1151 1155 1158 1159 1160 1162 1163 1164 1165 1166

For an additional fee, Bonhams may provide packing and shipping services for certain items. If you wish to receive a US/MAIN/20.9.2023

Auction Registration Form

(Attendee / Absentee / Online / Telephone Bidding) Please circle your bidding method above.

Sale title: Barbara Walters: American Icon

Sale date:

6 November

Paddle number (for office use only)

Sale no.

Sale venue:

New York

General Notice: This sale will be conducted in accordance with Bonhams Conditions of Sale, and your bidding and buying at the sale will be governed by such terms and conditions. Please read the Conditions of Sale in conjunction with the Buyer’s Guide relating to this sale and other published notices and terms relating to bidding.

Payment by personal or business check may result in your property not being released until purchase funds clear our bank. Checks must be drawn on a U.S. bank.

General Bid Increments: $10 - 200 .....................by 10s $200 - 500 ...................by 20 / 50 / 80s $500 - 1,000 ................by 50s $1,000 - 2,000 .............by 100s $2,000 - 5,000 .............by 200 / 500 / 800s $5,000 - 10,000 ...........by 500s

Notice to Absentee Bidders: In the table below, please provide details of the lots on which you wish to place bids at least 24 hours prior to the sale. Bids will be rounded down to the nearest increment. Please refer to the Buyer’s Guide in the catalog for further information relating to instructions to Bonhams to execute absentee bids on your behalf. Bonhams will endeavor to execute bids on your behalf but will not be liable for any errors or non-executed bids.

Notice to First Time Bidders: New clients are requested to provide photographic proof of ID - passport, driving license, ID card, together with proof of address - utility bill, bank or credit card statement etc. Corporate clients should also provide a copy of their articles of association / company registration documents, together with a letter authorizing the individual to bid on the company’s behalf. Failure to provide this may result in your bids not being processed. For higher value lots you may also be asked to provide a bankers reference.

Notice to online bidders; If you have forgotten your username and password for www.bonhams.com, please contact Client Services.

If successful I will collect the purchases myself Please contact me with a shipping quote (if applicable) I will arrange a third party to collect my purchase(s) Please email the completed Registration Form and requested information to: Bonhams Client Services Department 580 Madison Avenue New York, New York 10022 Tel +1 (212) 644 9001 bids.us@bonhams.com

29354

$10,000 - 20,000 .........by 1,000s $20,000 - 50,000 .........by 2,000 / 5,000 / 8,000s $50,000 - 100,000 .......by 5,000s $100,000 - 200,000 .....by 10,000s above $200,000 ...........at the auctioneer’s discretion The auctioneer has discretion to split any bid at any time.

Customer Number

Title

First Name

Last Name

Company name (to be invoiced if applicable) Address City

County / State

Post / Zip code

Country

Telephone mobile

Telephone daytime

Telephone evening Telephone bidders: indicate primary and secondary contact numbers by writing 1 or 2 next to the telephone number.

E-mail (in capitals) By providing your email address above, you authorize Bonhams to send you marketing materials and news concerning Bonhams and partner organizations. Bonhams does not sell or trade email addresses.

I am registering to bid as a private client

I am registering to bid as a trade client

Resale: please enter your resale license number here

We may contact you for additional information.

SHIPPING Shipping Address (if different than above): Address: _____________________________________

Country: _____________________________________

City: _________________________________________

Post/ZIP code: _________________________________

Please note that all telephone calls are recorded.

Type of bid (A-Absentee, T-Telephone)

Lot no.

Brief description (In the event of any discrepancy, lot number and not lot description will govern.)

If you are bidding online there is no need to complete this section.

You instruct us to execute each absentee bid up to the corresponding bid amount indicated above.

MAX bid in US$ (excluding premium and applicable tax) Emergency bid for telephone bidders only*

* Emergency Bid: A maximum bid (exclusive of Buyer’s Premium and tax) to be executed

by Bonhams only if we are unable to contact you by telephone or should the connection be lost during bidding.

BY SIGNING THIS FORM YOU AGREE THAT YOU HAVE READ AND UNDERSTAND OUR CONDITIONS OF SALE AND SHALL BE LEGALLY BOUND BY THEM, AND YOU AGREE TO PAY THE BUYER’S PREMIUM, ANY APPLICABLE TAXES, AND ANY OTHER CHARGES MENTIONED IN THE BUYER’S GUIDE OR CONDITIONS OF SALE. THIS AFFECTS YOUR LEGAL RIGHTS. Your signature:

Date: NY/MAIN/10.20

Bonhams 580 Madison Avenue New York, NY 10022 +1 212 644 9001 bonhams.com AUCTIONEERS SINCE 1793