The Estate of William N. Banks | September 12, 2020

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The Estate of William N. Banks, Jr. of Newnan, Georgia

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Brunk

Auctions September 12, 2020

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Saturday, September 12, 2020 Auction Begins 9:00am BrunkAuctions.com ۰ 117 Tunnel Road ۰ Asheville, NC 28805 ۰ 828-254-6846 ۰ info@brunkauctions.com NCAL 3095, VAAL 2908001063

...I tried to collect furniture and paintings appropriate to this remarkable early nineteenth-century house.

-William N. Banks

Courtesy of The Magazine Antiques

The Estate of William N. Banks, Jr. An Appreciation

An invitation to join William Banks for luncheon at Bankshaven, his estate on the outskirts of Newnan, Georgia, was rarely declined. It seemed an experience not only of another era, but of another world. As first-time guests left the interstate highway and turned onto hardscrabble Highway 29, they could hardly be prepared for what awaited through the pristine white gates. Driving up the long and lumpy driveway to the crest of a rise, they were often halted by a snow white peacock with tail spread in the middle of the drive – a novel sentry and introduction to the elegance beyond. Following successful negotiation with the peacock, which was sometimes lengthy, the astonishing 1820’s mansion came into view.

Set amongst towering and spreading oaks of an age approaching that of the house, the entry faced a circular drive bordered by magnolias and azaleas, which offered only a glimpse of a neoclassical statue hidden in the facing woods. A pair of separated single doors, one of which was blind and existed solely for symmetry, seemed incongruous under the grand, two-story semicircle of columns framing the entrance.

This was, in fact, the rear facade of the residence. After choosing the correct door, the guest entered Bankshaven beneath a soaring, three-story spiral staircase and was greeted by a view, through the open double doors at the other end of the wide hall, of a boxwood hedge framing an emerald lawn sweeping down to a black lake, with only forest beyond. Depending on the season, the lake sported swans, mallards or Canada geese.

After recovering from the pleasant shock of such a spectacular entrance, the fortunate guest noticed two white-jacketed servers to the left of the entry to the dining room. Each held a small, silver tray – one with flutes of Champagne and one with a basket of cheese straws. Thus fortified, William’s guest was then whisked down the steps of the proper entrance to the home, again under a two-story rank of columns supporting an upper porch, and the tour of the gardens began. With luck the peacock rejoined the party and, if it was early April, the soft, lilac blossoms of the fifty-foot tall Japanese magnolia shadowed the kitchen wing to the right. To the left, beyond the bedroom addition to the original residence, steps led down to the

fountain garden, an elongated oval of immaculate lawn and dark green boxwood borders, over which towered privet in full bloom and full scent. At the end of the oval sat the three-tier Italian marble fountain originally located at the Barnsley gardens near Rome, Georgia, which was a gift to William. To the left, a break in the hedges led to a more private space dominated by an immense styrax tree covered with white bells in early summer. On axis with the fountain was a smaller statue of a boy with a dolphin which William had discovered abandoned in the woods, apparently discarded during an earlier renovation of the gardens.

Returning to the fountain and passing through the opposing break in the boxwoods, the guest was greeted by a double set of curving steps leading down to a long, pristine swimming pool, bordered by hedges of tall, clipped hollies, at the far end of which was a fanciful pavilion with a striped tent surmounted by clusters of Prince of Wales feathers. Back through a gap in the hollies, William led his guest into an immense boxwood maze, originally moved years prior by his father (with each plant numbered on a schematic) from another garden. Flowering cherries overarched the maze, and on its edge sat a Gothic/Victorian folly of a gazebo, where the now-parched guest was delighted to find a silver bucket with chilled Champagne, ready to refill his glass.

A final garden awaited beyond a partial-brick wall bordering the box maze. This was a formal, walled flower garden with long brick walks bordered by beds of tulips, iris, violas, phlox, daisies and other annuals and perennials, all precisely placed according to William’s scheme and in most cases by his hand. The two sizeable center sections of this garden were planted, respectively, with roses and with peonies, all in shades of dark pink and red.

This exercise having created an appetite, William led his party back to the cool of the house and the delight of a formal lunch in the handsome dining room (or, for smaller parties, in the adjacent, more intimate breakfast room, where models of white cockatoos surveyed guests from perches in the niches). Luncheon was prepared by the talented Amanda Dean, who had overseen the kitchen at Bankshaven for decades. It was served on the highly polished, three-pedestal banquet table surmounted by an epergne filled alternately with roses or carnations arranged by William himself and sourced, as he once confided to me, from the Kroger in Newnan. Lunch might consist of a melon soup followed by sliced ham and perhaps chicken pie, with thoroughly cooked asparagus, and always Amanda’s superb biscuits. A glass of cold Pouilly-Fuissé accompanied this otherwise thoroughly Southern menu, and the finale could be a berry cobbler. Lucky guests at the larger luncheons often included professionals in the worlds of art and design – people who would appreciate the rare opportunity not just to marvel at, but even if only briefly, actually to live among William’s remarkable collections of American furniture and paintings from the eighteenth and nineteenth centuries.

William’s paintings and furniture are described in detail in the following pages of this catalog, so I will not presume to list their outstanding features here. Suffice it to say that, although each is an exemplar of its type in its own right, it was the ensemble that created the extraordinary and possibly, even, romantic atmosphere of Bankshaven. Although William occasionally remarked that his taste perhaps ran to objects that were more refined than what would have been expected in the 1820’s in rural Georgia, there is no doubt that they appeared completely at home in the exquisite architecture of the Gordon-Banks House in its extraordinary setting in Newnan. It was William’s strict discipline in acquiring pieces of the period, and his unerring eye for excellence, that resulted in a harmonious collection. It is worth noting that virtually none of the furnishings were crafted in the American South, but rather in New England and the Middle Atlantic States.

These were the sources of the elegant yet honest pieces with which owners of the new and impressive mansions of the South furnished their homes during this period.

Bankshaven, as it has come to be called, is more formally referred to as the Gordon-Banks House. Its first life was not in Newnan, but in the tiny town of Haddock, near Milledgeville, Georgia – the state’s first capital. It was constructed by Daniel Pratt for the newly wealthy Mr. John W. Gordon, who later became a Georgia legislator. Pratt was born in Temple, New Hampshire, was apprenticed to carpenters there, and at age twenty sailed to Savannah to seek greater opportunity. In Savannah he also served apprenticeships with carpenters and, perhaps more importantly, builders. In the 1820’s he sought work from the newly wealthy landowners farther from the coast, and arrived in Milledgeville. With no formal architectural training, but with the invaluable aid of Asher Benjamin’s manuals and pattern books, he designed and constructed at least a half dozen porticoed mansions and other buildings, including John Gordon’s home which he began in 1828. Pratt was also an inventor, and made improvements on the cotton gin, which led to his removal farther west again to Alabama where he established the town of Prattville and became Alabama’s most illustrious industrialist at that time.

William Banks saw the Gordon House on one of his rambles through the state, and remembered it immediately when he learned, after buying a house in Temple, New Hampshire (to be close to the mountains where he liked to ski), that Daniel Pratt was Temple’s most favorite son. That coincidence led to a greater interest in the Gordon House, which although still well maintained, had been occupied only seasonally by its owners for decades. After the death of William’s father, he suggested to his mother that they raze the family’s Tudor-style mansion on the outskirts of Newnan, for which the striking gardens had been designed by William Pauley, and dismantle and reconstruct the Gordon House on its site. The work began in 1968 and was completed in 1970, overseen by the preservationist architect Robert Raley. The major rooms on the ground floor were moved intact, to preserve their unique plasterwork and faux wood-grained doorways and wainscoting, on flat-bed trucks. The spiral staircase was also moved intact by a (very long) truck. The upper floor rooms were disassembled, the boards numbered, and reassembled on site. Roads had to be closed and power lines temporarily removed along the hundred mile route. It was clearly an undertaking of passion, which also informed the later furnishing of what was now the Gordon-Banks House.

Who was the man who possessed such passion? William was often referred to as the quintessential Southern gentleman. Born in Grantville, Georgia, in 1924, to a prominent family, he attended Dartmouth before servinzg in the United States Army during the Second World War. He recommenced his studies after the Army, this time at Yale, from which he graduated with membership in Phi Beta Kappa. He had a consuming interest in theater, and was the author of several successful plays, including Season of Choice, which had a successful run in New York, The Glad Girls and The Curate’s Play, which received positive reviews in The New York Times. William also wrote numerous carefully researched articles on historic American towns and houses, most of which were published in The Magazine Antiques.

William was a lifelong bachelor who was very popular with a number of attractive and intelligent ladies. He maintained an apartment in Manhattan for many years, as well as the house in Temple. He loved to ski and to play tennis, and hunted in his youth. He drove a black Mercedes convertible and exploited the constant twinkle in his eye. He admired creativity in all of its forms and was a generous supporter and Trustee of the MacDowell Colony in New Hampshire. He was loyal to his friends and modest in his affect, including even the twinkle. He collected furniture, paintings and experiences with the same passion that brought Bankshaven to life.

Courtesy of Jim Landon, June 2020

Courtesy of The Magazine Antiques

I believe that if a house makes a strong architectural statement, that statement should be respected and reflected in its decor, I tried to collect furniture and paintings appropriate to this remarkable early nineteenth-century house. In the sun-filled parlor, with its original wood graining and marbleizing and its intricate plasterwork, there are lyre-back chairs attributed to Duncan Phyfe and a caryatid card table originally attributed to Charles-Honoré Lannuier and, more recently, to Phyfe... In the dining room is a Sheraton style Massachusetts sideboard of about 1820 equipped with a butler’s desk... To its left hangs a still life

by Severin Roesen (c. 1816–c. 1872). ... Another White Mountain scene, this one by Asher B. Durand, hangs above the fireplace.

-William N. Banks

Courtesy of The Magazine Antiques

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The Estate of William N. Banks, Jr.

1 Rare John Abbot Watercolor (British/Georgia, 1751-1840) Summer Duck (Wood Duck), No. 98, circa 1790, Abbot notes: “Is 17 inches long, and 29 broad, some few builds here in holes in cypresses in ponds and swamps at considerable height from the ground, the old duck carry the young ones to the ground in her bill. If the young ones is taken and put in a pail or tub, they will readily climb out by the help of their bill & nails. Some few continue all the year but the number is very inconsiderable in comparison of the numbers that appear in the winter.

This duck is well tasted”, watercolor and graphite on laid paper affixed to Chetham Library’s volume, bordered paper, original page 11-1/4 x 8-3/4 in., volume page 16-1/8 x 12 in.; gilt wood frame, 17 x 12-7/8 in.

Provenance: Collection of artist; John Leigh Philips, 1761-1814, Manchester; John Radcliffe, a proprietor and librarian of Chetham Library; Chetham Library, Manchester; Christie’s, New York, October 1, 1980, (four volumes), lot 127; Andrew Crawley, Director, Ibarcord Group Fine Arts (accompanied by the original receipt) Estimate: $4,000 - $6,000

This work by John Abbot comes from a bound copy that was purchased

by Chetham’s Library (London) in 1792. John Francillon, the artist’s agent, was able to sell large groups and single works of art that Abbot painted and drew over the course of his long career. The vast majority were sent to England where the art and science of classification were well established. Abbot’s correspondence shows us that he was also sending specimens to collectors and societies of naturalists. While John Abbot does not share the universal name recognition of his contemporaries, John James Audubon and Alexander Wilson, it is certainly not because he is a lesser talent nor was he any less enthusiastic about the flying and crawling creatures that were his primary subjects. He created his meticulous paintings and drawings for a devoted circle of collectors and produced thousands of works in his lifetime - often replicating those that were requested by more than one collector. While volumes of his work were not published during his lifetime, Abbot was pivotal in disseminating information about the birds, moths and insects of his adopted landscape of Virginia and Georgia. He was born and trained in England, but arrived on colonial shores on the eve of the Revolution in 1773 and made Georgia his home and remained until his death in 1840.

This lot is accompanied by copies of Abbot’s notes, the receipt from Ibarcord Group Fine Arts and the text for the exhibition monograph, [John Abbot of Georgia: The Vision of a Naturalist Artist (1751-Circa 1840)], Madison Morgan Cultural Center, Madison, Georgia, September 25-December 31, 1983, and the Christie’s New York, October 1, 1980 catalog.

See: The Houghton Library at Harvard University for an almost identical version used as the cover illustration for Abbot, John, and Vivian Rogers-Price. John Abbot’s Birds of Georgia: Selected Drawings from the Houghton Library, Harvard University. Savannah: Library of Georgia, 1997.

2 Rare John Abbot Watercolor (British/Georgia, 1751-1840) Indian Hen (Green Heron), No. 81, circa 1790, Abbot notes: “Is a summer bird that also builds here, making its nest of sticks in a bush, eggs of a round shape, of a pale blue green”, watercolor and graphite on laid paper affixed to Chetham Library’s volume, bordered paper, original page 11-1/4 x 8-3/4 in., volume page 16-1/8 x 12 in.; gilt wood frame, 17 x 12-7/8 in.

Provenance: Collection of artist; John Leigh Philips, 1761-1814, Manchester; John Radcliffe, a proprietor and librarian of Chetham Library; Chetham Library, Manchester; Christie’s, New York, October 1, 1980, (four volumes); Andrew Crawley, Director, Ibarcord Group Fine Arts (accompanied by a copy of the original receipt) Estimate: $4,000 - $6,000 This lot is accompanied by copies of Abbot’s notes, the receipt from Ibarcord Group Fine Arts and the text for the exhibition monograph, John Abbot of Georgia: The Vision of a Naturalist Artist (1751-Circa 1840), Madison Morgan Cultural Center, Madison, Georgia, September 25-December 31, 1983 and a copy of the catalog entry from the Christie’s New York catalog.

Condition notes available in back of catalog

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3 Very Fine Pair Classical Carved Mahogany Recamiers attributed to Anthony Quervelle, Philadelphia, 1825-1830, recamiers or Grecian couches, each with fine leaf carved and scrolled backrest, scrolled and reeded arms with rosette terminals, with scroll and leaf carved seat rail, resting on elaborately carved and pierced legs with lion’s paw feet on casters, 33 x 80-1/2 x 23 in.

Provenance: R. T. Trump & Co., Philadelphia, purchased June 1968 for $4,600 (accompanied by original receipt and correspondence) Estimate: $8,000 - $12,000

4 Four Finely Decorated Wedgwood Jasperware Urns British, 19th century, two near pairs, each bowl encircled with classical dancing maidens and two loop handles over satyr masks, removable bell form stoppers, square bases with bands of anthemia, 8-7/8 in. and 9-1/8 in.

Provenance: Jo-Abbe Blum, Inc., New York, purchased 1972 for $900 (accompanied by original receipt) Estimate: $1,000 - $1,500

5 Fine Pair Boston Classical Curule Form Stools attributed to William Hancock, Artemas R. Holden & Charles B.F. Adams, active 1836-1837, each with green and yellow upholstered cushioned top on curule form mahogany base with scrolled feet and turned central stretcher, 18 x 20-1/2 x 16 in.

Provenance: Woldman & Woldman, Alexandria, Virginia, purchased December 1992 for $4,500 (accompanied by original receipt, correspondence and photograph) Estimate: $1,500 - $2,500 For a nearly identical example labeled by the makers, see Cooper, Classical Taste in America, 1800-1840, pg. 121, fig. 81. See also Hirschl & Adler Galleries, Boston in the Age of Neoclassicism, catalog no. 33.

6 Fine Federal Carved and Giltwood Mirror attributed to New York, 1780-1800, with urn and floral spray central ornament, flanked by urn plinths containing floral sprays, over rectangular frame centering early mirror plate, leaf carved drapery base pendant; together with a fine reproduction made to match; 57 x 24 in.

Provenance: Israel Sack, New York, purchased October 1969 for $5,000 including the matching reproduction mirror (accompanied by original receipt) Estimate: $5,000 - $7,000

7 Suite of Four Brass and Etched Glass Wall Lights probably British, 19th century, including two double arm lights and two single arm lights, each with circular disk back plates supporting S-scrolled candle arms ending in drip pans hung with prisms, fitted with 13-1/2 in. hurricane shades etched with floral and leaf designs, wired for electricity, 22 in. height (including shade), 12 in. depth Provenance: J. A. Lloyd Hyde, Amos W. Shepard, New York, purchased 1969 for $1,440 (accompanied by original receipt) Estimate: $1,000 - $1,500 8 Pair Wedgwood and Silver Plated Argand Lamps British, early 19th century, each with two S-scrolled silver plated candle arms with a central diamond faceted glass oil reserve, supported on cylindrical Wedgwood blue base with white classical figures in relief, with four frosted glass shades, wired for electricity, 18-1/2 x 12 in.

Provenance: Sylvia Tearston Antiques, New York, December 1968, purchased for $3,000 with additional purchase of chimneys and electrical socket from Marvin Alexander, Inc., New York, New York (accompanied by original receipts) Estimate: $1,200 - $1,800

9 Fine Chinese Coromandel Lacquer Twelve Panel Screen Qing dynasty, probably 18th century, relief decoration with polychroming on black lacquer ground, variously depicting processions of dignitaries and beauties, warriors, wisemen, and musicians, above panels of fans and flowers, surmounted by panels of landscapes and fans, verso decorated with panels of calligraphic inscriptions, panels of songbirds and prunus branches, 9 ft. 3-1/2 in. (overall), each panel 111-1/2 x 18-1/2 in.

Estimate: $12,000 - $18,000

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The Estate of William N. Banks, Jr.

10 Rare New York Classical Marble Top Pier Table circa 1815, with original white marble top over rosewood grain painted frame with gilt highlights, water leaf decorated knees, scrolled legs with forward facing hairy paw feet, scrolled stretchers centering a carved and gilt vase of fruit, white pine frame, legs and stretchers appear to be ash, 36-3/4 x 42 x 18 in.

Provenance: Descended in the family of Colonel Othniel Beale, Charleston, South Carolina.; purchased from Israel Sack, New York, January 1969 for $4,000 with an attribution to Honore Lannuier (accompanied by original receipt), illustrated in American Antiques from Israel Sack Collection volume 2, pg. 418 Estimate: $12,000 - $18,000

Illustrated as plate 122 in Chamberlain, Southern Interiors of South Carolina, 1956, pg. 122. For more on the consumption of New York pier tables and other furnishings by prominent Charlestonians, see McInnis and Leath, “Beautiful Specimens, Elegant Patterns: New York Furniture for the Charleston Market, 1810-1840” in American Furniture (Chipstone, 1996): 137-174. The carved basket of fruit on the stretchers is very closely related to one on a cellaret attributed to Charles Honore Lannuier. See Tracy, Classical America, (Newark Museum 1963) cat. no.

14. Also Illustrated in Katherine Gross Farnham, “Living with Antiques: The Gordon-Banks House in the Georgia Piedmont,” The Magazine Antiques, 102, no. 3 (September 1972): p. 438.

Condition notes available in back of catalog

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11◉ Fine Rare Philadelphia Marble Top Center Table attributed to Anthony Quervelle, circa 1829, with finely figured “Egyptian” black marble top, with a stencil decorated, figured mahogany, burlwood and rosewood banded “drapery” surround, gadrooned outer molding, finely figured mahogany pedestal base with ebonizing and stencil decoration, on boldly formed carved lion’s paw feet, with gilt and carved scrolls and “wings”, set on brass casters, 28-1/2 x 42 in.

Provenance: Peter Hill, United States Antiques, purchased 1972 (accompanied by correspondence and early transparency) Estimate: $18,000 - $25,000

This important center table is closely related to a suite of furniture ordered for the east room of the White House in 1829. The set included two pier tables and three center tables with depressed “black and gold” marble insets in the tops which cost $100 a piece. For more on the Quervelle shop and this particular example, see The Magazine Antiques, July 1973, “The Furniture of Anthony G. Quervelle, Part Two: The Pedestal Tables” by Robert C. Smith.

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The Estate of William N. Banks, Jr.

Condition notes available in back of catalog

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12 Very Fine Federal Bird’s Eye Maple Sewing Table Boston, 1790-1810, possibly shop of John and Thomas Seymour, with banded and inlaid figured mahogany top, over a single dovetailed drawer and a fabric lined bag drawer, on tapered legs, with brass casters, the sides, drawer facings, and legs set with very highly figured bird’s eye maple panels, with inlaid surrounds, 29-1/4 x 20-1/2 x 15-1/2 in.

Provenance: Israel Sack, New York, April 1969 for $4,200 (accompanied by original receipt) Estimate: $4,000 - $6,000 Pier tables with related bird’s eye maple panels, legs, and frames are illustrated in Mussey, Jr., The Furniture Masterworks of John and Thomas Seymour, catalog entries 72 and 73. A very closely related sewing table is illustrated in Stoneman, John and Thomas Seymour, plate 144, and a nearly identical example, also with Israel Sack provenance, sold at Sotheby’s, New York, January 18, 2008 lot 301.

13 Pair Classical Figured Mahogany Window Benches New York, circa 1825, each with scrolled arms, molded saber legs with lion’s paw feet, on casters, green silk damask upholstery, ash secondary, 26-1/2 x 41-1/2 x 15 in. (at feet) Provenance: Woldman & Woldman, Alexandria, Virginia, purchased October 1991 for $9,000 (accompanied by original receipt) Estimate: $2,000 - $3,000

14 Lewis Vernon & Co. Gilt Bronze Argand Lamp American, Philadelphia, circa 1829, lobed bell form glass base supporting two gilt bronze crossed arms with foliate cast terminals, and urn shaped glass oil reserve with pierced foliate surround mounted with eagle figures and hung with double prisms, both burner plates are labeled “Lewis Vernon & Co./ Philadelphia” and fitted with cut glass shades, wired for electricity, 25 x 21 in.

Provenance: Peter Hill Antiques, Washington, D.C., purchased 1969 for $1,550 (accompanied by original receipt, price includes curtain tiebacks) Estimate: $1,000 - $2,000

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15 Rare Mahogany and Satinwood Marble Top Side Table possibly Baltimore, Maryland, 1800-1810, with black “Egyptian” marble top, with pierced brass gallery surround, and banded mahogany border, satinwood banded and checkerboard inlaid top edge, above satinwood panels and a single dovetailed drawer, with poplar secondary, on turned and reeded legs, laminated white(?) pine secondary, 26-3/4 x 20-1/2 x 15 in.

Provenance: Teina Baumstone Antiques, New York, purchased June 1968 for $3,500 with attribution to Maryland (accompanied by original receipt) Estimate: $1,500 - $2,500

The Estate of William N. Banks, Jr.

16 Rare Federal Inlaid Mahogany Barrel Back Armchair Boston, Massachusetts, 1800-1810, possibly shop of John and Thomas Seymour, with curved back and downward curving inlaid open arms, on baluster supports, behind which are inlaid figured satinwood or flame birch panels, on turned legs and feet, 40-1/2 in. high, 16-1/2 in. (seat height); together with a well crafted copy made to match Provenance: Israel Sack, New York, purchased November 1973 for $8,000 (plus $900 for the matching reproduction chair), (accompanied by original receipt and printed photos of both chairs without their upholstery) Estimate: $6,000 - $9,000

17 Fine Rare Classical Lyre Form Sofa Table Baltimore or Philadelphia, 1815-1820, highly figured mahogany banded top with two drop leaves, over two dovetailed drawers flanked by oak leaf and acorn gilt bronze mounts, resting on a double lyre form support with leaf carved appliques, finely carved Egyptianate legs with anthemion knees and winged returns, on gilt brass paw casters, fully finished on both sides, poplar and white pine secondary with oak leaf and foot supports, 27-1/2 x 36-1/2 x 26 in.

Provenance: Peter Hill, U.S. Antiques, Washington, D.C., purchased December 1968 for $2,800 (accompanied by original receipt) Estimate: $3,000 - $5,000

Condition notes available in back of catalog

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19 French Empire Gilt Bronze Figural Mantel Clock early 19th century, broken arch case mounted with lion mask and swans supporting drapery swags, with enameled porcelain dial with Roman numerals, and flanked by Egyptian terms, on a breakfront base mounted with figural group of mother and children, and frieze of portrait roundels and swag mounts, 17 x 11-3/4 x 5-3/4 in.

Estimate: $1,000 - $2,000

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18 Very Fine Gilt and Ebonized Girandole Mirror early 19th century, with a war trophy mounted pediment with flaming torch and bow and arrow, surmounted by a spread wing eagle over ribbon applique, early distressed convex mirror plate flanked by seated cherubs, over two double candle arms with leaf appliques, 51 x 37 in.

Provenance: Ginsburg & Levy, Inc., New York, purchased July 1968 for $4,875 (accompanied by original invoice) Estimate: $8,000 - $12,000 The Ginsburg & Levy invoice indicates the design of this mirror is similar to one at the American Wing of the Metropolitan Museum of Art. The present example is illustrated in Katherine Gross Farnham, “Living with Antiques: The Gordon-Banks House in the Georgia Piedmont,” The Magazine Antiques, 102, no. 3 (September 1972): p. 446.

20 Pair Classical Gilt Bronze Argand Lamps American or British, early 19th century, each block form with lion’s paw feet on concave base, supporting urn form central oil reserve double hung with prisms and mounted with eagles on top, crossed scroll decorated double arms with vertical sockets, fitted with pear form engraved shades, wired for electricity, 20 x 16 in.

Provenance: Peter Hill Antiques, Washington, D.C., purchased in 1968 for $750 (accompanied by original receipt) Estimate: $1,000 - $2,000

21 Fine American Classical Mahogany Work Table Baltimore or Philadelphia, 1810-1820, figured and banded top with turned outset corners and brass caps, centering two dovetailed drawers, underside of top drawer with indistinct scratched inscription, double lyre form base with finely carved legs with scrolls and athemions, on brass paw casters, 37 x 23-1/4 x 15-1/4 in.

Estimate: $1,000 - $2,000 The distinctive carved legs of this work table are nearly identical to a sofa table in the Banks collection. See lot 17.

22 Pair Baltimore Two Light Argand Lamps early 19th century, patinated bronze, each with a two handled urn form oil reserve with lion masks, over modeled rim hung with prisms, cross arms with burner plates labeled “Manufactured for T Palmer/ Baltimore”, acanthus leaf decorated stem on scrolled trifid base, frosted and clear glass shades, electrified, 20-1/2 x 17 in.

Provenance: Peter Hill, Washington, D.C., January, 1968, purchased for $650 (accompanied by copy of receipt) Estimate: $800 - $1,200

The Estate of William N. Banks, Jr.

23 Rare Signed Philadelphia Federal Mahogany Sofa back frame boldly signed “Samuel McIntire, Philadelphia”, with downward swept arms with rosette terminals, over reeded supports, reeded skirt, on reeded turned and carved legs, 36-1/2 x 60 x 23 in.

Provenance: John Walton, New York, purchased July 1968 for $9,500 (accompanied by original receipt) Estimate: $6,000 - $9,000 The leg carving and foot turning of this sofa are in keeping with examples often ascribed to the Connelly and Hains shops of Philadelphia. McIntire may have been affiliated with one of these makers at some point, or may have simply been catering to the current tastes of the time. McIntire appears in the 1803 Philadelphia directory as a cabinet maker.

Illustrated in Katherine Gross Farnham, “Living with Antiques: The Gordon-Banks House in the Georgia Piedmont,” The Magazine Antiques, 102, no. 3 (September 1972): p. 444.

24 William James Bennett, Engraver (American/English, 1787-1844) Baltimore Taken Near Whetstone Point., third and final state, Henry I. Megarey, New York, publisher, 1831, J. Neale at Illman & Pilbrow’s, printer, hand colored aquatint with engraving on wove paper, sheet 20-3/8 x 26-3/4 in.; gilt wood frame, 30-1/4 x 35-5/8 in.

Provenance: Kennedy Galleries. Inc. (label verso); Christie’s New York, January 27, 1995, purchased for $7,475.00 (accompanied by catalog and original receipt) Estimate: $4,000 - $6,000

Condition notes available in back of catalog

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25 Fine Pair of Boston Classical Mahogany Recamiers circa 1830s, each with curved back and scrolled arm with anthemion carved terminals, on scrolled floriform carved feet, ash or chestnut seat frames, fitted with casters, 33 x 62 x 22-1/2 in.

Estimate: $4,000 - $6,000

26 Very Fine Pair Adam Carved Gilt Mirrored Sconces British, late 18th century, with urn tops over bellflower chains, centering oval mirror plates, resting on dolphin figural supports over double candle arms, 39 x 14 in.

Provenance: Max Weber Antiques, Middleton, Massachusetts, purchased February 1969 for $4,100 (accompanied by original receipt) Estimate: $5,000 - $7,000

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The Estate of William N. Banks, Jr.

27 Workshop of Gaetano Merchi (Italian, 1747–1829) Bust of Madame Marie Madelaine Guimard (1743-1816), unsigned, terracotta with marble socle, 28 x 19 x 11 in. 19th century; octagonal faux marble painted wood pedestal base by La Vitrine, Inc., New York, 46-1/4 x 13 x 13 in.

Estimate: $2,500 - $3,500

28 Jean-Jacques Caffieri (French, 1725-1792) Pierre-Laurent Buirette de Belloy (1727-1775), French actor/dramatist, signed and inscribed verso “Buirette de Belloy . par son Amy. J.J. Caffieri 1771.”, terracotta with marble socle, 29-1/2 x 22 x 12 in.; octagonal faux marble painted wood pedestal base by La Vitrine, Inc., New York, 46-1/4 x 13 x 13 in.

Estimate: $8,000 - $10,000 This lot is accompanied by the original drawing and receipt for the pedestal from La Vitrine, Inc. dated 1968.

For a similar example see Christie’s Paris: September 28-29, 2015, Lot 2.

Condition notes available in back of catalog

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29 Very Fine Pair of Enameled Glass Moderator Lamps French, circa 1865-1875, bulbous form, coral ground with painted black and gold fretwork and anthemion decoration, gilt metal mounts, glass chimneys and opaque spherical blown glass shades, wired for electricity, 26-1/2 in. (overall) Provenance: purchased from Hirschl & Adler Galleries, Inc., New York, January 19, 1996 for $8,000 (accompanied by original receipt) Estimate: $1,500 - $2,500

30 Classical Mahogany and Brass Mounted Card Table Boston, Massachusetts, 1810-1815, figured solid mahogany top rotating over a highly figured skirt with anthemion mounts on four reeded and leaf carved supports, with trestle form frame, carved and turned stretcher, scrolled legs with brass casters, 29 x 35-3/4 x 17-1/2 in.

Provenance: Israel Sack, New York, purchased June 1970 for $3,000 (accompanied by original receipt) Estimate: $2,000 - $3,000

31 Sevres Terracotta Ground Porcelain Ewer and Basin French, probably late 19th century, heavily gilded two piece set with terracotta red ground and fine gilt outlining, saffron yellow bands with green borders and finely painted cameos of lyres, the ewer with molded sphinx head spout and fine cameo portrait of a woman, 11 x 5 x 6 in.; the ovoid basin with cameos of stellate roundels, 3-1/2 x 14-1/2 in.; each inscribed in gold “M. Imple de Sevres”, with early “?. P. Harbeson / Sevres” labels to bases Provenance: Parke-Bernet Galleries, Inc., New York, Lot 270, purchased in 1972 for $350 (accompanied original receipt and catalog page) Estimate: $1,000 - $1,500

32 Pair Charles X Style Bronze Mounted Glass Urns Continental, 19th/20th century, urn form with diamond pattern band, detachable gilt bronze rim and handles, bases with paw feet, 12 in.

Provenance: purchased from Bergdorf Goodman, New York, in June 1969 for $736.30 (accompanied by original receipt and card from Bergdorf Goodman inscribed “Purchased in France 1968”) Estimate: $300 - $500

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33 Aubusson Carpet 19th century, oval daisy wreaths enclosing floral sprays, multiple floral border, 15 ft. 5 in. x 10 ft. 1 in.

Estimate: $500 - $700

The Estate of William N. Banks, Jr.

34 Pair American Federal Brass Steeple Top Andirons probably New York, early 19th century, each with stepped billet bars with log stops, spurred legs with ball feet, 27 x 15 x 26 in.

Estimate: $300 - $500

35◉ Fine Classical Gilt, Vert Antique, and Rosewood Caryatid Table attributed to Duncan Phyfe, 1815-1820, figured rosewood top with brass inlay and satinwood banding, brass inlaid edge, opening to a felt lined playing surface above a gilt bronze mounted and brass inlaid rosewood frieze, carved gilt and vert antique painted caryatid support, back with leaf carved and fluted column supports, on rosewood veneered and bronze mounted base set on carved gilt and vert antique and animal paw feet, with leaf carved knees and brass casters, interior till with early and probably original marbled paper lining, poplar, ash, and white pine secondary, 29-1/4 x 35-3/4 x 18 in.

Provenance: By descent through the Ravenel, Frost, and Pringle families of Charleston, South Carolina. William purchased the table from his cousin Olive Pringle Brown, who lived in Newnan, probably in 1968/1969.

Estimate: $40,000 - $60,000

This rare table is illustrated and discussed in McInnis and Leath, “Beautiful Specimens, Elegant Patterns: New York Furniture for the Charleston Market, 1810-1840” (Chipstone, 1996) p. 149-150. McInnis and Leath note that it is one from a pair that descended in the Ravenel-Frost family. Banks family members recall William purchasing the table from his Cousin, Olive Pringle Brown, who also lived in Newnan. It was said to have come from the Pringle mansion in Charleston. Among Charleston’s most prominent families. The Ravenel, Frost and Pringle families were amoung Charleston’s most prominent and their inteconnections create a web of possible histories for the this table. It is also illustrated in Katherine Gross Farnham, “Living with Antiques: The Gordon-Banks House in the Georgia Piedmont,” The Magazine Antiques, 102, no. 3 (September 1972): p. 444., and in Fairbanks, American Furniture 1620 to the Present (New York 1981) p. 266. A closely related pair of caryatid card tables attributed to Phyfe were formerly in the Westervelt-Warner Museum of American Art and the Warner Collection of Gulf States Paper Corporation, Tuscaloosa, Alabama, and were sold at Christie’s, New York, September 25, 2013, lot #101 for $255,000. One of these tables is illustrated in Peter Kenny, Duncan Phyfe: Master Cabinetmaker in New York, page 85, figure 95, with an attribution to Duncan Phyfe. However, the present table is distinguished by its expensive rosewood veneers and satinwood banding that are not found on the Westervelt pair.

Condition notes available in back of catalog

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36 Empire Gilt Bronze Swan Figural 12 Light Chandelier French, early 19th century, with leaf and floral crown, over faceted drops and streamers, central ring supporting four candle cups with column and scroll supports, and four wreath appliques, and set with eight swan figural candle arms, over a basket of faceted crystals and gilt bronze artichoke drop, 48 x 38 in.

Provenance: Arne Schlesch and Jose Juarez Garza Antiquaires, New York, purchased March 1969 for $4,200 (accompanied by annotated business card) Estimate: $8,000 - $12,000

37 Two Matching New York Federal Dining Chairs 1800-1810, comprising a matching mahogany armchair and side chair, each with reeded crest over X form back, turned and reeded legs, over the rail upholstery with brass tacking, 33-1/2 in. (overall height), 19 in. (seat height) Provenance: Israel Sack, New York, purchased June 1970 for $2,800 (accompanied by original receipt) Estimate: $800 - $1,200

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The Estate of William N. Banks, Jr.

38 Classical Carved Giltwood Pier Mirror, New York, circa 1825, rectangular form with four leaf carved applied corner decorations centering a two part mirror plate, 58 x 31-1/2 in.

Provenance: The Orem family, Baltimore, who owned Auchintoroly; Colwill McGeehee, Baltimore, purchased May 1990 for $3,750 (accompanied by original receipt) Estimate: $800 - $1,200

For a similar example labeled by Isaac Platt, see Classical America, 1815-1845, Newark Museum, no. 65.

39 Fine and Rare Tiger Maple Gilt and Vert Grecian Sofa New York, 1815-1820, fine richly grained figured maple throughout, with scrolled back and arms above eagle carved and gilt supports with feathers and leaf decoration, on fine hairy lion’s paw feet retaining original vert antique paint, on casters, set with a green tufted loose cushion and two bolsters, 30-1/4 x 79 x 24 in., (15-1/2 in. seat height to top of rail; 18-1/2 in. with upholstered cushion) Provenance: Originally from the family of Benjamin Huger Read and Mary Julia (Middleton) of Charleston Estimate: $20,000 - $30,000

Illustrated in Katherine Gross Farnham, “Living with Antiques: The Gordon-Banks House in the Georgia Piedmont,” The Magazine Antiques, 102, no. 3 (September 1972): p. 444. Also illustrated and discussed in McInnis and Leath, “Beautiful Specimens, Elegant Patterns: New York Furniture for the Charleston Market, 18101840” in American Furniture (Chipstone, 1996), p. 149. McInnis and Leath record the provenance and also reference “Middleton of South Carolina” in South Carolina Historical and Genealogical Magazine 1, no. 3 (July 1900) p. 248. A closely related Maple Grecian Sofa, with rosewood graining, is in the collections of the Museum of Fine Arts, Boston.

Condition notes available in back of catalog

27

40 Historical Louisiana Empire Bronze Mantel Clock French, early 19th century, white enamel dial marked “Leparte a Paris”, within gilt bronze case with double cornucopia mount and surmounted by urn and anchor, classical female figure with a dragonfly perched in hand and elaborate decorated oar on other side, rectangular base with cupid mount, 17-1/4 x 13 in.

Provenance: By family tradition, the clock was a gift from Emperor Napoleon to the French Governor of the Louisiana Territory upon his marriage; Peter Hill Antiques, Washington, D.C., October 1968, purchased for $582 (accompanied by original receipt) Estimate: $4,000 - $6,000

41 Fine Large Pair Engraved Brass Federal Andirons New York, 1790-1810, urn tops over cylindrical shafts, on square plinths engraved with basket and floral motifs and oval cartouches, cabriole legs with double spurs, ball and claw feet, 29-1/2 in. (height), 20-1/2 in. (depth) Provenance: Israel Sack, New York, purchased December 1969 (accompanied by original invoice) Estimate: $3,000 - $5,000 Illustrated in Katherine Gross Farnham, “Living with Antiques: The Gordon-Banks House in the Georgia Piedmont,” The Magazine Antiques, 102, no. 3 (September 1972): p. 435.

42 A King’s Story: The Memoirs of the Duke of Windsor, by Edward VIII, Duke of Windsor, New York: G.P. Putnam’s Sons, 1951, in full red morocco, five raised bands, spine ruled and lettered in gilt, with three Edward seals on the front board, inner gilt dentelles, moire endpapers, teg, number 321 of 350 copies, signed by Edward, housed in red cloth slipcase, scarce and attractive deluxe edition Estimate: $500 - $700

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43 Novels of Sir Walter Scott (Scottish, 1771-1832), Edinburgh/London: Archibald Constable and Co./Hurst, Robinson, and Co., 1815-1832, including Ivanhoe, (three volumes); Rob Roy, (three volumes); Waverley, (three volumes); and others, 73 volumes total, in fine leather with elaborately gilt decorated spines, front and back boards ruled in gilt, marbled endpapers Estimate: $500 - $800

The Estate of William N. Banks, Jr.

44 28 Leather Bound Art Books including: Bryan’s Dictionary of Painters and Engravers by Michael Bryan (English, 1757-1821), London: George Bell and Sons, 1904, ten volumes (complete), in an exceptionally fine binding; The Picturesque Mediterranean, London: Cassell, 1890, two volumes (complete); and others Estimate: $500 - $800

45 Fine New England Sheraton Desk and Bookcase Boston, 1800-1810, upper case with inlaid pediment and turned finials over two Gothic arched glazed doors, set with flame birch panels, opening to shelved interior, lower case with three drawers over fitted cylinder desk with pull out leather lined ratcheted writing board, over four additional drawers on turned legs, banded drawers with highly figured veneers, 91-1/2 x 39-3/4 x 22 in.

Provenance: Ginsburg & Levy, New York, purchased January 1969 for $8,500 (accompanied by original receipt) Estimate: $5,000 - $7,000

46 The Poetical Works of Robert Browning (English, 1812-1889), London: Smith, Elder, & Co., 1888, limited edition, one of 250 copies printed on hand made paper, in three quarter vellum over marbled boards, elaborately gilt decorated spines with morocco spine labels, teg, marbled endpapers, signed Bumpus binding Estimate: $500 - $800 According to Bernard Quaritch, “Bumpus had a reputation for handsome bindings but did not produce a single binding. They would outsource to Sangorski and Sutcliffe or Riviere.�

47 56 Fine Leather Bound Literature Books including: Life and Works of Charlotte Bronte and Her Sisters, London: Smith, Elder, & Co., 1899-1909, Haworth Edition, seven volumes (complete), in signed Riviere binding; The Works of George Meredith, Westminster: Constable, 18961911, The Memorial Edition, 39 volumes (complete), limited edition, one of 1025 numbered copies, initialed by Meredith (G.M.M.) in a signed Riviere binding; Byron (one volume), Wharton (six volumes), Gil Blas (three volumes) Estimate: $300 - $500

Condition notes available in back of catalog

29

48 Pair of Flight, Barr & Barr Worcester Potpourris British, 19th century, each lidded urn form decorated with leafy gilt flourishes and painted with an octagonal reserve of sea shells, coral, and aquatic plants, possibly by Samuel Smith, on a green fish egg ground, raised on tripod gilt dolphin supports, the pierced covers with gilt sphinx finials, each marked in script “Flight Barr & Barr / Royal Porcelain Works / Worcester” and London address on bases, 7-3/4 x 5 in.

Provenance: Otto M. Wasserman, Antiques and Works of Art, New York, purchased in 1969 for $2,250 (accompanied by original receipt) Estimate: $2,000 - $3,000

49 Chinese Enameled Porcelain Plate, Lotus Bowl iron red Guangxu reign mark, finely gilt and enamel decorated depicting peony blossoms, “CHINA” mark and early “Made in China” label to base, 7 in.; Chinese export bowl decorated with pink lotus petals and gilt foliate scrolls, the interior decorated with gilt floral designs and gilt spearhead border, 7 in.

Provenance: Elinor Gordon, Villanova, Pennsylvania (lotus bowl with label attached); Parke-Bernet Galleries, Inc., New York, purchased June 8, 1970 for $210 (lotus bowl, accompanied by original receipt) Estimate: $400 - $600

50 Chinese Famille Rose Lotus-Mouth Bottle Vase with remnants of an underglaze blue Jiaqing reign mark, brightly enamel and gilt decorated in the millefleur pattern, later mounted to lamp, accompanied by lamp parts with carved hardstone finial, 9 x 4-1/2 in. (vase) Estimate: $600 - $900

52 Pair of Jasperware and Gilt Bronze Storm Lights British, 18th/early 19th century, possibly Wedgwood, pale blue ground with white neoclassical cameo decoration, candle cups with pierced outer rim, with two glass storm shades with etched coat of arms decoration, 17 in. (overall), 7-1/2 in. (without shade) Provenance: purchased from Philip Suval, Inc., New York, December 9, 1968 for $660 (accompanied by original receipt) Estimate: $500 - $700

30

51 Chinese Famille Rose Eggshell Porcelain Bowl probably Republic period, with apocryphal underglaze blue four character Qianlong reign mark, finely enameled continuous scene of ladies in a garden setting, with calligraphic inscription, ruyi border and interior dragon decoration in grisaille, 3-1/4 x 7 in.

Estimate: $400 - $600

53 Set of Nine Chinese Export Porcelain Plates probably late 18th century, decorated with grisaille and gilt borders and basket of flowers in the center, all with retail labels for “Shreve / Crump & Lo Co / Boston”, 9-7/8 in.

Provenance: Shreve, Crump & Low Co., Boston (labels), purchased December 15, 1972 for $525 (accompanied by original receipt) Estimate: $300 - $500

The Estate of William N. Banks, Jr.

54 Creamware Cabbage Form Lidded Tureen British, 18th/19th century, possibly Staffordshire, cream interior, 7 x 13 in.

Provenance: purchased from S. Berges Antiques and Works of Art, New York, in June 1970 for $500 (accompanied by original receipt) Estimate: $200 - $400

55 Exceptional Pair of Classical Klismos Chairs Boston, 1815-1825, each with finely carved tablet back over lotus flower carved supports, scrolled and leaf carved rear stiles with rosettes, set on saber legs, period slip seats with pink upholstery, seat frames with applied ebonized molding, 34-1/2 in. (overall), 18 in. (seat height) Provenance: Anthony A.P. Stuempfig Antiques (accompanied by original invoice, correspondence, and transparencies) Estimate: $10,000 - $15,000 The attached label from Anthony Stuempfig describes these chairs as “A superlative pair of highly archaeological klismos side chairs.” It also indicates that “These impeccably carved, highly sophisticated klismos chairs have design derivatives referring directly to plates in Thomas Hope’s 1807 Household Furniture and Decoration.”

Condition notes available in back of catalog

31

56 Sanford Robinson Gifford (American, 1823-1880) Mt. Washington from the Saco River, signed and dated 1856, oil on canvas, 12 x 21 in.; reproduction carved gilt wood and composition frame, 18 x 26-1/4 in.

Provenance: Vose Galleries, Boston, Massachusetts (label verso) Estimate: $200,000 - $300,000 Vose Galleries label verso, shown as number 24413, n.d.

Gifford visited the White Mountains with a group of artist friends in 1854, and returned to this favorite locale many times until his death in 1880. No doubt the White Mountains were as inspiring a destination to the artist as Italy, Egypt, or the American West. With Mt. Chocorua’s profile easily recognizable in the distance, the rest of the scene serves to simply move the viewer through the very unspecific foreground and on into the warm, summer atmosphere and the still snow covered peak beyond.

The palette is very similar to another Mt. Chocorua scene, “Summer Afternoon” in the collection of The Newark Museum of Art and dated one year earlier.

Condition notes available in back of catalog

33

57 Alfred Thompson Bricher (American, 1837-1908) A Winding Stream, View of Mt. Chocorua, signed lower right “ATBricher”, oil on canvas, 15-1/4 x 12-1/4 in.; fine period carved gilt wood and composition frame, 24-1/2 x 21-1/2 in.

Provenance: Vose Galleries, Boston, Massachusetts (label verso), purchased March 1969 (as “A Winding Stream”) for $850 (accompanied by original receipt) Estimate: $8,000 - $12,000

58 Russell Smith (Scottish/America, 1812-1896) A Pair of New Hampshire Views; Mt. Washington, 1850, signed, titled and dated verso “Mt. Washington from The Ammonousuck (sic)/Russell Smith 1850”; Mt. Kearsarge, signed, titled verso “Kearsarge Mt./from Pequawket Pond/Russell Smith.../...painted for Mr Lefeur/39x26”, both oil on paper, both 7-1/2 x 11-1/2 in.; matching carved gilt wood frames, 14 x 18 in.

Provenance: Valdemar F. Jacobsen Antiques, Cold Spring Harbor, New York, purchased February 1993 for $15,000 (accompanied by original receipt) Estimate: $6,000 - $9,000

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The Estate of William N. Banks, Jr.

59 Frank Henry Shapleigh (American, 1842-1906) Mt. Washington from Ellis River Meadows, Jackson, New Hampshire, 1882, signed and dated lower right “F.H. Shapleigh 1882”, inscribed verso “Mr. Washington from Ellis river meadows, Jackson N.H./by/F.H. Shapleigh”, oil on canvas, 26 x 45 in.; reproduction carved gilt wood and composition frame, 32-1/4 x 52-1/2 in.

Estimate: $12,000 - $18,000

Exhibited: “Full of Facts and Sentiment: The Art of Frank H. Shapleigh”, a Loan Exhibition, New Hampshire Historical Society, Concord, New Hampshire, October 15 November 28, 1982, cat. no. 22, referred to in the catalog as “...one of Shapleigh’s most ambitious renderings of a scene he repeated many times.” p. 36.

60 Benjamin Champney (American, 1817-1907) New Hampshire Landscape, 1879, signed and dated lower left “B. Champney 79”, oil on board, 8 x 12 in.; period carved gilt wood and composition frame Provenance: John S. Walton, Inc., New York, NY, purchased in 1969 for $550 (accompanied by original receipt) Estimate: $5,000 - $7,000 Remnants of old label frame verso.

Condition notes available in back of catalog

35

36

The Estate of William N. Banks, Jr.

61 Asher Brown Durand (American, 1796-1886) Franconia Range from the South with Village of South Woodstock, New Hampshire, 1857, signed and dated lower left “A.B. Durand/1857”, oil on canvas, 36 x 54 in.; probably original fine period carved gilt wood and composition frame, 47 x 66 in.

Provenance: Purchased from the artist by Mr. and Mrs. A.A. Low, Brooklyn, New York; William G. Low (her son), until 1935; Hirschl & Adler Galleries, New York, NY, purchased January 6, 1973, for $150,000 for two paintings (accompanied by original receipt) Estimate: $300,000 - $500,000 The original owner, A.A. Low (1811-1893), was a merchant in the China Trade. This is probably the painting lent by Low in 1858 to the National Academy of Design, New York, as no. 431.

Small label of unknown origin attached verso “#26791/Picture”

Literature: Campbell, Catherine H. The White Mountains: Place and Perceptions. Hanover, N.H.: Published for the University Art Galleries, University of New Hampshire, Durham, by the University Press of New England, 1980. discussed p. 48, illustrated p. 51, fig. 58.

Exhibited: Hirschl & Adler Galleries, New York, Faces and Places, Changing Images of 19th Century America, December 5 1972-January 6, 1973, illus. page 26.

Condition notes available in back of catalog

37

62 Benjamin Champney (American, 1817-1907) Jackson, New Hampshire, signed lower left “B. Champney ‘76”, oil on canvas, 16 x 10 in.; reproduction carved gilt wood and composition frame, 22 x 16 in.

Provenance: Richard A. Bourne, Hyannis, Massachusetts, July 25, 1972, purchased for $600 (accompanied by original receipt) Estimate: $6,000 - $8,000

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The Estate of William N. Banks, Jr.

63 Jasper Francis Cropsey (American, 1823-1900) White Mountain Scenery, 1856, signed and dated lower right “J.F.Cropsey 1856”, also inscribed board verso “White Mountain Scenery/by J.F. Cropsey/ London-1856”, oil on board, 12-1/2 x 19-1/2 in.; reproduction carved gilt wood frame, 18-1/4 x 25-1/4 in.

Provenance: Sotheby’s Important American Paintings, December 4, 1986 sold for $51,700.00 (original catalog page accompanies this lot); Alexander Gallery, New York, NY, December 4, 1986, purchased for $58,200 (accompanied by original receipt) Estimate: $70,000 - $90,000 Remnants verso of unknown exhibition label.

Condition notes available in back of catalog

39

64 Three Paris Porcelain Figural Centerpieces French, early 19th century, all with blue and gilt trim, large navette shaped reticulated basket supported by two kneeling winged maiden bisque figures, base decorated with raised rosettes and acanthus borders, on four gilt paw feet, 13 x 14-1/2 in.; pair compotes with kneeling bisque cherubs on tasseled cushions and supporting reticulated baskets, paw feet, 10 in.

Estimate: $1,000 - $1,500

65 48 Pieces of Royal Crown Derby Imari Porcelain British, 19th/20th century, 46 piece service in matching traditional imari pattern with standard factory marks to base, including five dinner plates, 10-1/2 in.; six bread and butter plates, 6-1/4 in.; three flat cups; two footed cups; three saucers, 5-3/4 in.; six saucers, 5-1/2 in.; nine saucers, 5-3/4 in.; 11 bouillon cups; lidded soup tureen, 9-1/2 x 12-1/4 in.; together with two rim soup bowls decorated in the King’s imari pattern, with iron red mark of crown over crossed batons, 10-1/4 in.

Estimate: $800 - $1,200 66 101 Piece Paris Porcelain Dinner Service French, 19th century, decorated with pale blue rims and gilt geometric fretwork borders, gilt medallion to center, including 18 dinner plates, 9 in.; 12 rim soup bowls, 9 in.; 18 small shallow bowls, 7-1/2 in.; nine covered pots de creme; eight demitasse cups; six saucers; three molded shell form plates; three covered sauce boats with attached trays; two gravy boats; three gravy boat stands; three footed octagonal serving pieces; pair of round covered vegetable dishes; four square covered vegetable dishes; pair of two tiered dessert stands; round serving dish; seven oval serving dishes, 11 in. to 17-1/2 in.

Estimate: $2,000 - $4,000

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The Estate of William N. Banks, Jr.

67 Regency Mahogany Three Pedestal Dining Table British, early 19th century, rich dark brown color, finely grained solid mahogany tops, tilting over urn turned pedestal bases with molded legs and brass casters, 29 x 134-3/4 x 56-1/2 in.

Provenance: Riffemoore Antiques, Danville, Kentucky, purchased November 1969 for $6,075 (accompanied by original receipt), also accompanied by advertisement illustrating the table, probably from The Magazine Antiques Estimate: $5,000 - $7,000

68 Palace Size Needlework Carpet with Extra Panels, probably French, 19th century, wool field of octagonal medallions enclosing floral sprays on azure ground, later backing, 22 ft. 3 in. x 14 ft. 8 in.; together with 18 joined needlepoint panels in same pattern, 22 ft. x 4 ft. 9 in.

Provenance: Dildarian, Inc., New York; purchased 1979 for $24,000 (accompanied by original invoice) Estimate: $1,000 - $1,500

The invoice states that the rug was purchased in an auction in Paris and the buyer was told it came from a church.

69 Fine Set of Ten Sheraton Mahogany Dining Chairs probably British, circa 1810, comprising nine period chairs, together with a modern armchair made to match, each with inlaid tablet over pierced and scalloped slats, reeded and turned front legs, mahogany rails, 35 x 22 x 20 in.

Provenance: James Craig, Raleigh, North Carolina, purchased August 1968 for $4,500 (accompanied by original receipt) Estimate: $2,000 - $3,000

Condition notes available in back of catalog

41

70 Fine Giltwood and Eglomise Over Mantel Mirror British or American, 1805-1815, with ball and ribbon decorated top molding over a central gilt shell flanked by eglomise plates with geometric designs in red, white, and blue, over a three part mirror plate flanked by cluster column pilasters, 28-1/2 x 59 in.

Estimate: $2,500 - $3,500

71 Set of 12 Wedgwood Cobalt and Gilt Plates British, 20th century, 12 service plates, wide border of gilt floral decoration on cobalt ground, stamped verso with Wedgwood urn over “Wedgwood/Made in England” and red script “W1747”, 10-5/8 in.

Estimate: $300 - $500

72 Pair of Cut Glass Lidded Sweetmeat Dishes British, 19th/20th century, pear form with serrated rims, tiered prism lids, decagonal bases, 13 in.

Estimate: $400 - $600

74 Rare Signed, Dated New Hampshire Federal Sideboard bottom of one drawer signed “G. (S?)ims Keene N.H. July 23, 1817”, figured veneers with banded drawers, central drawer with bird’s eye maple, oval inset panel opening to a fitted desk interior, prospect door opening to three additional drawers, two cabinet doors with shelved interiors, two cellarette drawers with bottle dividers, finely crafted, white pine secondary throughout, 43 x 73-1/2 x 22-3/4 in.

Provenance: Edes Estate, Newport, New Hampshire; Richard Withington Auctions, purchased August 6th, 1968 (accompanied by original receipt and auction flier) Estimate: $2,500 - $3,500 The rare signature and date on this sideboard could refer to an early owner, but more likely refers to a previously unknown cabinetmaker working in the Keene area. A sideboard of related form, signed by the Portsmouth Firm of Judkins and Center, dated 1815, is illustrated in Jobe, Portsmouth Furniture: Masterworks from the New Hampshire Seacoast, catalog no. 37.

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The Estate of William N. Banks, Jr.

73 50 Piece Spode “Sutherland” Porcelain Service British, 20th century, cream ground, cobalt blue and gilt scalloped rim, including 18 dinner plates, 10-3/4 in.; 14 teacups; 18 saucers; all with Spode Copeland marks to base Estimate: $200 - $400

75 William James Bennett, Engraver (English/American, 1787-1844) West Point, From Above Washington Valley, after George Cooke (1793-1849), Parker & Clover, New York, publisher, 1834, hand colored aquatint on wove paper, sheet 19-5/8 x 26-1/4 in.; gilt wood frame, 26-1/2 x 32-1/2 in.

Provenance: Kennedy Galleries, Inc, New York (accompanied by original receipt) Estimate: $3,000 - $5,000

76 William James Bennett, Engraver (English/American, 1787-1844) City of Charleston, S Carolina, looking across Cooper’s River, first state, after painting by George Cook (1787-1844), L P Clover, New York, publisher, 1838, hand colored aquatint, 20-3/4 x 28 in.; modern wood frame, 26-1/2 x 33-3/4 in.

Provenance: Kennedy Galleries, New York Estimate: $4,000 - $6,000

77 Fine American Federal Mahogany Serving Table probably Baltimore or Philadelphia, circa 1815, tall narrow form with shaped top over figured and inlaid mahogany skirt, on leaf carved turned and reeded legs, 38-1/2 x 38 x 21 in.

Estimate: $5,000 - $7,000

Condition notes available in back of catalog

43

78 Severin Roesen (German/America, c. 1815-c. 1871) A Pair of Paintings: Still Life with Fruit and Still Life with Flowers, still life with fruit signed lower left “Roesen”, both oil on canvas, 26 x 21 in. ovals; fine reproduction carved gilt wood and composition frames and gilt wood spandrels, 33-3/4 x 27-3/4 in.

Provenance: James Graham & Sons, New York, NY (labels verso); Sotheby Parke-Bernet, New York, NY, Highly Important Eighteenth and Nineteenth Century American Paintings, October 25, 1973, purchased for $36,000 (accompanied by original receipt) Estimate: $40,000 - $60,000 Each painting in the pair also bears a small label frame verso that reads “Middendorf”.

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The Estate of William N. Banks, Jr.

79 Severin Roesen (German/America, c. 1815-c. 1871) Still Life with Fruit, signed lower right “Roesen�, oil on canvas, 16 x 20-1/4 in.; period carved gilt wood and composition frame, 21 x 25 in.

Provenance: Coe Kerr galleries, New York, NY (small gallery numbered label attached verso) Estimate: $20,000 - $30,000

Condition notes available in back of catalog

45

80 Large Chinese Export Porcelain Armorial Basin 18th century, enamel and gilt decorated, the center depicting the Banks coat of arms, quartered black shield with fleur de lis surmounted by a helmet, surrounded by white and red foliate scroll mantling, the rim decorated with three cartouche reserves of landscapes and seascapes, bianco-sopra-bianco floral sprays and Buddha’s hand citrons, gilt spearhead border, 3 x 16 in.

Provenance: Brannon Antiques, Inc. Georgia, purchased November 17, 1980 for $1,300 (accompanied by original receipt) Estimate: $1,000 - $1,500

81 Pair Chinese Export Porcelain Armorial Plates 18th century, each finely enamel decorated, the center in thin grisaille with the Banks coat of arms, quartered shield with fleur de lis surmounted by a helmet, surrounded by white and red foliate scroll mantling, the rim decorated with three cartouche reserves of landscapes and seascapes, bianco-sopra-bianco floral sprays and Buddha’s hand citrons, gilt spearhead border, 9 in. diameter Provenance: Sotheby’s, New York, ‘Important Americana’, Lot 371, purchased January 30, 1991 for $2,750 (accompanied by original receipt and catalog page) Estimate: $1,000 - $2,000

82 Pair of Regency Cut Glass Two Arm Candelabras British, early 19th century, in the Manner of John Blades, each with an elliptical cut glass pedestal foot supporting two foliate gilt metal arms with scalloped drip pans hung with drops and icicles, cut glass candle nozzles, one metal support stamped with letter “A”, 10-1/2 x 11 x 4-1/8 in.

Provenance: Philip Suval, Inc., Antiques ~ Objects of Art, New York, purchased January 20, 1969 for $1,675 (accompanied by original receipt) Estimate: $1,200 - $1,800

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83 Chinese Export Covered Tureen and Underplate late 18th century, octagonal covered tureen decorated with cobalt blue and gilt borders, oval spangled medallions centering a basket of flowers, with gilt boar mask handles, 9 x 13 x 9 in.; underplate in matching design, 2 x 14 x 10-1/2 in.

Estimate: $800 - $1,200

The Estate of William N. Banks, Jr.

84 Empire Gilt Bronze Ten Light Chandelier French, early 19th century, with anthemion and leaf decorated crown hung with faceted prisms, over faceted streamers, circular bronze ring decorated with 20 young male classical figures representing various allegories, ten scrolled candle arms, basket base with faceted crystals and central ball, interior of circular ring now fitted for electricity, 48 x 33 in.

Provenance: Charles Winston & Co., New York, purchased for $2,850 (accompanied by original receipt) Estimate: $8,000 - $12,000

85 Fine Jasperware Inset Over Mantel Mirror circa 1810, drapery and lattice carved top centering a blue and white jasperware plaque with three classical maidens, central mirror plate flanked by eglomise plates with vine and leaf decoration in gilt on white ground, flanked by reeded and leaf wrapped columns, 29 x 58 in.

Provenance: John Walton Antiques, New York, purchased November, 1968 for $2,400 (accompanied by original receipt) Estimate: $3,000 - $5,000

Condition notes available in back of catalog

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86 Very Fine Rare Set of Six Lyre Back Klismos Chairs attributed to Duncan Phyfe, New York, circa 1815, each with scrolled back with figured mahogany tablet crest over a very finely carved lyre form splat, upholstered slip seats, ash secondary, on leaf carved saber front legs with carved and gilt hairy paw feet, appear to retain period slip seats, 32-1/2 in. (overall); 17-1/2 in. (seat height); 16 in. (seat width) Provenance: Some chairs with early jelly labels inscribed “bequest of Miss. N. Rosalie Creighton, Sept. 1931”; purchased from Israel Sack, New York, October 1971 for $24,000 (original invoice accompanies lot). The Sack receipt records “These chairs were given to the Newport Historical Society in 1931 by Miss Elizabeth Creighton of Newport in memory of her mother, Elizabeth Coffin Creighton of Charleston, South Carolina.

This set of chairs was acquired by us from the Newport Historical Society and are presumed to be part of the set which belonged to the Middleton family and is shown in the Middleton home in Bristol, Rhode Island “Hey Bonnie Hall.”

Estimate: $60,000 - $90,000

While made in New York, this remarkable set of chairs was made for the Middleton family of Charleston, South Carolina, and likely started life in the Nathaniel Russell House in that city. The chairs apparently descended in the Russell and Middleton families, ultimately becoming part of the furnishings of “Hey Bonnie Hall”, the Middleton family home in Bristol, Rhode Island, and the city where Nathaniel Russell was born.

Nathaniel Russell’s daughter, Alicia Hopton, married Arthur Middleton, whose son was Nathaniel Russell Middleton, who married Anna DeWolf, daughter of William DeWolf, builder of “Hey Bonnie Hall”. Two chairs apparently from this set are pictured in early photographs of “Hey Bonnie Hall”. It is interesting to note that the architecture of “Hey Bonnie Hall” is markedly similar to the Gordon-Banks house, a detail that William undoubtedly noted and enjoyed. For a discussion of these chairs and of Charlestonians’ taste for New York furniture in the period, see McInnis and Leath, “Beautiful Specimens, Elegant Patterns: New York Furniture for the Charleston market, 1810-1840” (Chipstone, 1996) pp. 137-174. One from the Banks set is illustrated as figure 6, and McInnis and Leath note that the set “(Represents) the very best of Phyfe’s work.”Duncan Phyfe’s design for lyre back chairs of this type is documented in his pencil sketch done for the Bancker family, circa 1815. They were expensive in their day, with “stuffed” seats costing a bit more than caned seats at $23 per chair. This rare surviving set of six is distinguished from the other known published examples by its very finely detailed leaf and rosette carving on the lyre backs, quite distinct from the leaf carving typically found on Phyfe chairs of this period. Two other chairs with this distinctive carving, and probably from the same set, are in the collection of Winterthur Museum (see Montgomery, American Furniture, The Federal Period (New York, 1966). Examples from the Banks set are widely published, including in Wendy Cooper, In Praise of America, catalog no. 294, in Jonathan Fairbanks, American Furniture 1620 to the Present (New York 1981) p. 259, and in Katherine Gross Farnham, “Living with Antiques: The Gordon-Banks House in the Georgia Piedmont,” The Magazine Antiques, 102, no. 3 (September 1972): p. 444. Peter Kenny illustrates two closely related lyre back chairs in Duncan Phyfe: Master Cabinetmaker in New York, plates 17 and 20. Other closely related examples include a set made for the family of William Livingston, Governor of New Jersey, one of which is illustrated in 19th century America, Metropolitan Museum of Art, 1970, catalog 27.

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The Estate of William N. Banks, Jr.

Condition notes available in back of catalog

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The Estate of William N. Banks, Jr.

87 George Henry Durrie (American, 1820-1863) Gathering Wood for Winter, New Haven, 1855, signed and dated lower left 1855, oil on canvas, 26 x 36 in.; fine reproduction carved gilt wood and composition frame, 32 x 42 in.

Provenance: The Estate of Norman B. Woolworth, Winthrop, Maine, 1959; Coe Kerr Gallery, New York, NY, purchased March 23, 1972, for $55,000.(accompanied by original receipt) Estimate: $150,000 - $250,000 Illustrated: American Art Review, 2, no. 1, 1975, 72; Hutson, Martha Young. George Henry Durrie (1820-1863): American Winter Landscapist : Renowned Through Currier and Ives. Chester, CT: Globe Pequot Press, 1977, fig. 106, p. 103, cat. #159.; The Magazine Antiques, “Living with Antiques”, by Katherine Gross Farnham, September 1972, p. 445., pl. IX. Exhibited: Coe Kerr Gallery, New York, 1970; “The Beckoning Land”, The High Museum of Art, Atlanta, Georgia, April -June 1971, (lent by Coe Kerr Gallery, New York, NY), cat. no. 32, illustrated p. 54, (label verso); Hirschl & Adler Galleries, New York, NY, 1971.; “Georgia Collects”, The High Museum of Art, January - March, 1989 (label verso).

Condition notes available in back of catalog

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88 Alexander Helwig Wyant (American, 1836-1892) Sunset, 1868, signed and dated in sgraffito lower right’ “A. H. Wyant 1868”, oil on canvas, 5 x 9 in.; reproduction carved gilt wood and composition frame, 7-3/4 x 11-3/4 in.

Estimate: $3,000 - $4,000

89 Robert Salmon (American/Scottish, 1775–1844) Diamond Cove, West Highlands, signed lower right “R. S. 1841”, inscribed verso “No. 15” oil on paper board with colourman label for “Charles Robeson & Compy...

London”, 8 x 10 in.; gilt wood frame stamped by Vose Galleries, 13-3/4 x 15-3/4 in.

Provenance: The Parker Gallery, London; Collection of Prof. John Wilmerding, Jr.; Vose Galleries, Boston, Massachusetts, purchased in 1970 for $3,500 (accompanied by original receipt) Estimate: $3,000 - $5,000 Literature: The Peabody Museum, Salem, Massachusetts, “A Selection of Paintings

by Robert Salmon, 19 Century Marine Artist”, The American Neptune Supplement XI, 1969, ill. Plate XXX https://archive.org/details/americanneptune1120unse/ page/n5/mode/2up. This lot is also accompanied by the book, Wilmerding, John, Robert Salmon: Painter of Ship & Shore, Peabody Museum of Salem and the Boston Public Library, 1971

Exhibited: DeCordova Museum, Lincoln, Massachusetts, “Robert Salmon: The First Major Exhibition”, March 26 - April 30, 1967, No. 66 (label verso) and accompanied by the exhibition catalog

90 William Trost Richards (American, 1833-1905) Pastoral Landscape, c. 1878-1880, watercolor on buff paper, 8-1/2 x 11-1/2 in.; reproduction carved gilt wood and composition frame, 16 x 19 in.; together with White Mountains, 1872, unsigned, pencil on buff paper, 8-1/4 x 12-1/2 in.; carved gilt wood frame. 14 x 18-1/4 in.

Provenance: (watercolor) The Estate of the artist; Thomas Richards (the artist’s brother); C. Nelson Richards, III (great nephew of the artist); the Estate of C. Nelson Richards, III; Ira Spanierman, New York, 1966; Mr. and Mrs. Ralph Spencer, New York, 1966; Spanierman Gallery, New York, NY, sold c. 1990s (accompanied by Spanierman Gallery research binder); (drawing) Washburn Gallery, New York, NY., purchased March 1973 for $337.50 (accompanied by original receipt) Estimate: $7,000 - $9,000

Watercolor Exhibited: “Eighteenth and Nineteenth Century American Art from Private Collections”, The Whitney Museum of American Art, New York, June 27 September 11, 1972, no. 59; “The Spencer Collection of American Art”, Spanierman Gallery, New York, June 13 - 29, 1990, exhibition catalog no. 20, p. 42 (color illus. p. 43). Accompanying this lot is a binder of research material regarding this watercolor, which accompanied its purchase from Spanierman Gallery, New York in .

In it are an essay on the artist in general by Spanierman Gallery’s research staff, as well as an essay on this specific work written by the well known American Art historian Barbara Dayer Gallati. At the time of writing, Dr. Gallati was Associate Curator, American Painting and Sculpture, at the Brooklyn Museum of Art. Drawing Exhibited: “William Trost Richards”, Washburn Gallery, New York, NY, June-July 1972.

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The Estate of William N. Banks, Jr.

91 Joshua Shaw (English/America, 1776-1861) Battle Scene in Georgia Near the Florida Line, c. 1838, signed and inscribed stretcher verso “A Scene in Georgia near the Florida Line. A battle fought betwixt Indians and U.S. Troops under Gen Andrew Jackson/J. Shaw”, oil on canvas, 10 x 14 in.; carved gilt wood and composition frame, 15-3/4 x 19-1/4 in.

Provenance: Dr. Hugh Brinton, Chapel Hill, North Carolina, inherited from his great grandfather in Philadelphia; The Old Print Shop, New York, NY, sold 1968; Hirschl & Adler, New York, NY, sold in the 1970s Estimate: $40,000 - $60,000

A nearly identical, unfinished version of this same scene is in the permanent collection of the Brigham Young University Museum of Art, and is titled “Reedy River Massacre”, although the historical veracity of the scene and the title are debatable.

It is also speculated that Shaw’s travels in the south were in preparation for a second volume of engravings of “Picturesque Views of American Scenery”, but in the end such a volume was never printed. The Greenville Museum of Art has a collection of Shaw’s South Carolina paintings, and The Newark Museum has a larger Shaw of similar composition with Indians in the middle ground titled “American Forest Scenery”. These were clearly a subject and a composition that were important to Shaw, as he painted them numerous times, and certainly drama and romanticism took precedence for the artist over both historic facts and topographic veracity.

Condition notes available in back of catalog

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92 Thomas Doughty (American, 1793-1856) Hudson River Highlands, 1836, signed and dated lower center “T. Doughty/1836”, oil on canvas, 14 x 17 in.; period carved gilt wood frame, 17 x 20 in.

Provenance: Coe Kerr Gallery, New York, NY, (small gallery number labels attached verso), accompanied by black and white photo bearing Coe Kerr Gallery stamp Estimate: $18,000 - $22,000 Labels and notes verso: Illegible label frame verso with artist’s name and illegible title; inscribed on linen lining verso: “Gertrude Louise Ashforth, 11 East 63rd Street, New York City”; small matching number frames on frame and stretcher “No. 222 Frame” and “No. 222 Picture”.

93 William Hart (Scottish/America, 1823-1894) Craigy Barns, 1850, signed and inscribed lower left “Craigy Barns 1850 WM Hart”, oil on canvas, 10-3/4 x 14-1/2 in.; period carved gilt wood frame, 16 x 19-3/4 in.

Provenance: Christie’s, New York, NY, September 23, 1992, purchased for $3,300 (accompanied by original receipt and catalog page) Estimate: $3,000 - $5,000

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The Estate of William N. Banks, Jr.

94 David Johnson (American, 1827-1908) A Mountain Landscape, signed with monogram lower left “DJ”, oil on canvas, 10 x 16 in.; period carved gilt wood and composition frame, 18-1/4 x 24-1/4 in.

Provenance: Vose Galleries, Boston, Massachusetts (label verso), purchased December 19, 1972 for $5,000 (accompanied by original receipt) Estimate: $12,000 - $18,000 Inscribed frame verso “Mrs. Buffington”.

95 William Hart (Scottish/America, 1823-1894) A Windy Day in October, 1873, signed and dated lower right “Wm Hart 1873”, also inscribed in pencil verso, oil on panel, 9 x 14-1/4 in.; reproduction carved gilt wood and composition frame, 14 x 19-1/4 in.

Estimate: $3,000 - $5,000

Condition notes available in back of catalog

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96 Eastman Johnson (American, 1824-1906) Confidence and Admiration 1859, A study from Negro Life at the South, (Old Kentucky Home), signed lower left “E. Johnson 1859”, oil on canvas, 14 x 12 in.; 18-3/4 x 16-3/4 in.

Provenance: Parke-Bernet, New York, sale 2355, November 1971; (accompanied by original catalog); Israel Sack, Inc., New York, NY (purchased for Mr. Banks and accompanied by original receipt for $28,000) Estimate: $150,000 - $250,000

This work is a study for Johnson’s iconic painting, Negro Life at the South (1859) that depicts the private life of African Americans in Washington D.C. (owned by the New York Public Library and on permanent loan at the New York Historical Society). It became popularly known as “Old Kentucky Home.” Johnson also painted a smaller version for use in the creation of a chromolithograph in the 1870’s, now owned by the High Museum in Atlanta, Georgia.

It was with the wide acclaim of Negro Life at the South that Johnson was admitted to the National Academy of Design.

That painting was favorably reviewed by critics for its technical accomplishments: composition, color palette, and precise brushwork. They admired the work because the distinct figural groups conveyed several narratives of black life simultaneously. The work being offered is one of two known renditions of this detail. The other is in the collection of the Mead Art Museum at Amherst College.

Literature: Patricia Hills Eastman Johnson, The Whitney Museum of American Art, New York, 1972, p.30-34 To be included in Patricia Hills’s forthcoming Catalogue Raisonne of the work of Eastman Johnson

Eastman Johnson, Negro Life at the South (1859) Courtesy, New-York Historical Society

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The Estate of William N. Banks, Jr.

Condition notes available in back of catalog

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The Estate of William N. Banks, Jr.

97 John Frederick Kensett (American, 1816-1872) Beacon Rock, Newport, 1856, signed and dated with initials lower left “JFK ‘56”, oil on canvas, 10 x 18-1/2 in.; period carved gilt wood and composition frame, 19-1/2 x 27-1/4 in.

Provenance: Mr. and Mrs. Maurice Glickman, (label verso) n.d.; Alexander Gallery, New York, NY, December 14, 1982, purchased for $65,000.00 (accompanied by original receipt) Estimate: $250,000 - $350,000

Exhibited: 18th and 19th Century Paintings From Private Collections, The Whitney Museum of American Art, New York, June 27th-September 11, 1972, catalog #41 (label verso); Sanford R. Gifford and John F. Kensett, Alexander Gallery, New York, November 3-December 5, 1982. ` Newport was one of Kensett’s favorite subjects, painting it time and again from the 1850s on, and related paintings hang in many important public institutions such as the Metropolitan Museum of Art and The National Gallery of Art. The Beacon Rock, Newport Harbor in the National Gallery is essentially a larger version of this scene, painted one year later and almost exactly twice as large. The Cummer Museum has a slightly larger version still, painted in 1864. He was still returning to this favorite subject the year he died, when he painted the Beacon Rock in the collection of the Dallas Museum of Art, as well as The Metropolitan Museum of Art’s 1872 painting of Newport Rocks, which is a dreamy view almost completely devoid of anything but the the luminist necessities of light and atmosphere.

Condition notes available in back of catalog

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98 George Henry Hall (New York/New Hampshire, 1825-1913) Raspberries on a Leaf, 1861, signed and dated lower left “G.H. Hall ‘61”, oil on board, 12-3/4 x 15-3/4 in.; reproduction carved gilt wood and composition frame, 17 x 20 in.

Provenance: Paul Magriel, New York, NY (label verso); Coe Kerr Galleries, New York, NY, purchased November 19, 1971 for $5,400 (accompanied by original receipt) Estimate: $8,000 - $10,000 Labels verso: “Paul Magriel Collection/American Still Lifes” n.d.; small Coe Kerr number label “No. 727”; “Loan to Brooklyn Museum/from/Wm. Banks/TL1985.130”; “Museum Art Exchange, Inc., 154 Newbury Street/Boston, Massachusetts/433 East 80th Street, New York, NY”, with cataloging information, n.d.

99 George Henry Hall (New York/New Hampshire, 1825-1913) Bunch of Green Grapes, 1881, signed and dated lower right “Geo. H. Hall 1881”, oil on board, 7 x 10 in.; fine period carved gilt wood and composition frame, 14-1/4 x 17-1/4 in.

Provenance: Bernard & S. Dean Levy, New York, NY, (label verso), purchased June 28, 1976, for $2,750 (accompanied by original receipt) Estimate: $3,000 - $5,000

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100 George Henry Hall (New York/New Hampshire, 1825-1913) Bunch of Hanging Grapes, 1863, signed and dated lower left “G.H. Hall 1863”, oil on canvas, 12 x 10 in. (painted oval); carved gilt wood frame, 16-1/2 x 14-1/2 Estimate: $3,000 - $5,000

The Estate of William N. Banks, Jr.

101 Raphaelle Peale (American 1774-1825) Still Life with Peaches and Grapes, 1822, signed lower right “Raphael Peale”, and inscribed in unattributed hand on a paper label verso “Painted by Raphael Peale/for TR Peale/1822”, oil on panel, 14-1/4 x 18-3/4 in.; period carved gilt wood and composition frame, 20-1/2 x 25-1/4 in.

Provenance: Mrs. Titian R. Peale (sister-in-law of the artist); Caroline Girard (Mrs. Franklin) Peale (her sister-in-law), until 1875; Florence Clark (Mrs. Charles Henry) Gibson (her niece), until 1929; Florence Gibson (Mrs. Walter Croker) Poole (her daughter) until 1957: Hirschl & Adler Galleries, New York, NY, purchased January 6, 1973 for $150,000 (for two paintings) (accompanied by original receipt) Estimate: $200,000 - $300,000 A letter from Dr. Lance Humphries accompanies the lot, confirming its’ authenticity and discussing this work by Raphaelle Peale in relation to Peale’s own works, and those of his family.

Exhibited: (presumably) Pennsylvania Academy of the Fine Arts, Philadelphia, Pennsylvania, 1822, no. 423 (as “Yellow Peaches and Grapes”); “Faces and Places, Changing Images of 19th Century America”, Hirschl and Adler Galleries, New York, NY, December 1972-January 6, 1973, no. 73, Illustrated.

Condition notes available in back of catalog

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102 Set of Four Continental Silver Candelabra possibly German, early 20th century, four arm, five cup, scroll and shell decoration, marked 800 and partial mark, weighted bases, 17-1/2 x 10 x 10 in.

Estimate: $1,000 - $2,000

103 Sterling Chrysanthemum Asparagus Tray American, 20th century, rectangular with chrysanthemum decoration, no monograms, marks for Dominick & Haff, “Boston”, “1028”, 53.52 oz. T., 2-1/2 x 17-1/2 x 13 in.

Estimate: $1,000 - $1,500

104 Pair of Francis I Bowls and Ten Sterling Plates American, 20th century, ten round bread plates, monogram, marks for Gorham, “5750” 38.34 oz.

T., 6-1/4 in.; two Francis I bowls, marks for Reed & Barton, “X599”, 19.33 oz. T., 1-1/2 x 8 in.

Estimate: $700 - $900

105 Regency English Silver Creamer and Sugar London, 1820, gadroon, shell and foliate border, winged paw feet, no monogram, probably Edward Farrell, .925 fine, 23.68 oz. T., open sugar 4-1/2 x 8-3/4 x 5-1/4 in. and creamer 4 x 7-1/2 x 4 in.

Estimate: $300 - $400

106 Federal Mahogany Cumberland Action Dining Table Boston, early 19th century, dense solid mahogany top with two drop leaves, on hinged turned reeded and saber legs with brass paw casters, 28-1/4 x 14-1/2 x 65-1/2 in. (closed) Estimate: $4,000 - $6,000

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The Estate of William N. Banks, Jr.

107 Classical Carved Mahogany Barrel Back Tub Chair probably American, 1815-1825, scarce barrel back form with tufted tan upholstery, carved and turned front legs with brass casters, 45 in. (overall), 18 in. (seat height) Estimate: $500 - $700

108 Carved Marble Head of Woman on Stand probably Roman, exact age unknown, woman with parted hair wearing cloak or headscarf, drilled hole to base for mounting to stand, carved and black painted wood stand with metal rod for mounting, 5-1/2 in. (head only), 8-3/4 in. (on stand) Estimate: $500 - $700

109 American Classical Mahogany Marble Top Center Table probably New York, 1820-1840, with variegated black “Egyptian” marble top, pedestal base with scrolled feet, highly figured veneers throughout, poplar and cherry secondary woods, set on casters, 29 x 42 in.

Provenance: Christie’s, New York, January 26, 1995, lot 146, sold for $4,025 (accompanied by copy of receipt) Estimate: $2,000 - $3,000 Tables of this form were made by a number of New York and Philadelphia makers, including J. & J.W. Meeks. For a Labeled example by Deming and Bulkley, see McInnis and Leath, “Beautiful Specimens, Elegant Patterns: New York Furniture for the Charleston Market, 1810-1840” in American Furniture (Chipstone, 1994) p. 166, fig. 36.

110◉ Rare Philadelphia Egyptian Revival Pier Table circa 1825-1829, possibly shop of Anthony Quervelle, figured rosewood veneers, marble top over a frieze drawer, on parcel gilt tapered column supports with rosette and lotus leaf ornaments, mirror back with gilt frame, on gilt and vert antique paw feet, 38-1/2 x 44-3/4 x 18-1/2 in.

Provenance: R. T. Trump & Co., Philadelphia, purchased September 1969 for $2,850 (accompanied by original receipt) Estimate: $3,000 - $5,000

The Trump receipt notes that “this is a unique expression of the French influence, Egyptian style, and is most probably the work of Anthony G. Quervelle. The animal paw foot is virtually identical to that on the labeled secretary bookcase, Pl. 56 in Classical America by Tracy...

Pier Tables were supplied to the White House

by Quervelle in 1829 when Louis Veron supplied lamps and ormolu medallions for the room’s frieze as well as window curtains.”

Condition notes available in back of catalog

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111 New England Federal Inlaid Mahogany Server early 19th century, tiger maple, cherry with mahogany veneers, with two central inlaid doors, flanked by cellarette drawers, over three long drawers, inlaid skirt and turned legs, 44-1/2 x 45 x 23 in.

Provenance: Collection of Gilbert M. Brewer, Shoreholm, Appletree Point, Burlington, Vermont; sold Richard Withington Auctions, January 1969 (accompanied by original receipt and copy of auction flier) Estimate: $1,200 - $1,800

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112 Assembled Set of Six Classical Swan Carved Dining Chairs probably New York, circa 1820, five with figured mahogany veneered crest over a double swan carved slat, green upholstered slip seats, on saber legs, together with a similar armchair, 34 in. (overall), 19 in. (seat height) Estimate: $800 - $1,200

113 Classical Mahogany Lyre Decorated Writing Table early 19th century, bookmatched veneered top, single drawer with finely fitted satinwood lined interior, with two divided removable trays and hinged pincushion, inlaid shield form escutcheon, trestle form base with lyre supports and scrolled legs, 30-3/4 x 25-1/4 x 17-1/2 in.

Estimate: $300 - $500

114 27 Piece Minton, Tiffany & Co. Porcelain Service British, 20th century, green and gilt borders with fruit and arabesque reserves, including 12 dinner plates, 10-1/4 in.; 11 luncheon plates, 8-3/4 in.; four dessert plates, 7-3/4 in.; marked Estimate: $800 - $1,200

115 Pair Classical Style Swan Carved Armchairs 20th century, each with shaped back and upholstered arms, with stylized swan carved supports, on turned legs with brass casters, 41-1/2 in. (overall), 17-1/2 in. (seat height) Estimate: $300 - $500

116 39 Pieces of Monogrammed Limoges Dinnerware French, late 19th/early 20th century, scalloped gilt borders and monogram “EWB”, marks for “Haviland/France”, “Cordon & Co./Atlanta”, and others, comprising: seven dessert plates, eight dinner plates, 12 salad plates, 12 handled soup bowls, largest 9-5/8 in.

Estimate: $200 - $400

117 Paris Porcelain Three Tiered Compote French, 19th century, three graduated plates with salmon and gilt decorated scalloped rims, trifid base with gilt sides, 17-3/4 x 10 in.

Provenance: Ginsburg & Levy, New York, (label attached) Estimate: $400 - $600

118 Ten Piece British Creamware Dessert Service 19th century, molded grape vines, sepia colored image transfers after Adam Buck, including two serving dishes; eight plates, 7-7/8 in.

Provenance: Kenneth E. Snow & Sons, Massachusetts Estimate: $200 - $400

The Estate of William N. Banks, Jr.

119 Attributed to Charles Burton Barber (British, 1845-1894) Beauty and the Beast, unsigned, old label attached verso, oil on canvas, 8 x 10 in.; wood frame, 9-7/8 x 11-5/8 in.

Provenance: Ruth Troiani, Farmington, Connecticut, purchased in 1984 (with original receipt) Estimate: $800 - $1,200

This composition is possibly a study for the painting of a similar subject held by the Reading Museum and Town Hall, Reading, England.

120 American School Theorem (Burlington, Vermont, 19th century) Two Swans, circa 1840, stencilled with graphite accents surrounded by a floral garland of violas, dianthus, roses, bleeding hearts and sweet peas, watercolor, 15-7/8 x 19-3/8 in.

Provenance: The Old Print Shop, New York (label verso); Sotheby’s Parke-Bernet, April, 27-29, 1978, lot 504 (accompanied by a copy of the catalog page and a facsimile of the original receipt) Estimate: $500 - $700

121 Fine New England Federal Carved Mahogany Dresser Salem, circa 1815, attributed to William Hook (1777-1867) with hinged mirror on lyre form supports with leaf and rosette carving, over three small drawers, lower section with four drawers flanked by reeded columns with leaf and punch work carved tops, turned and reeded legs, white pine secondary, 71 x 40 x 23 in.

Provenance: Richard Withington Auctions, Hillsborough, New Hampshire, August 1968 (accompanied by auction flier illustrating the dresser) Estimate: $1,500 - $2,500

122 Rare Pair Classical Swan Carved Side Chairs signed “Brower”, New York, circa 1810, each with paneled crest rail above a slat centering an urn flanked by facing swans, 32-1/2 in. (overall), 18 in. (seat height) Provenance: Rebecca Warner Swift, wife of Henry Swift; Mary Messler Swift, wife of Charles Wells Swift, son; Elma D. Swift, daughter; Theodore V. K. Swift, nephew; Christie’s, New York, June 4, 1988, lot 217, sold for $6,600 (accompanied by original receipt) Estimate: $1,500 - $2,500

The Christie’s catalog records that “each chair is inscribed on the bottom of the front rail “L.L.? Brower maker 181 Chamber St., New York”. There were a number of craftsmen named Brower working in the furniture trades listed in the New York City directories in the early 19th century. This signature, which is difficult to read, may be that of John L. Brower, who kept a “cabinet-warehouse” at various addresses at that time.”

Condition notes available in back of catalog

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123 Two Similar Eagle and Lyre Carved Side Chairs New York, possibly shop of Honore Lannuier, 1810-1820, both with tablet crest over eagles head and lyre carved splat, upholstered slip seats, on molded legs, one with leaf carved stile terminals, 34-3/4 in. (overall) Provenance: one with probable receipt from Ronald de Silva, New York, purchased January 1976 for $1,500 (accompanied by original receipt, with an attribution to Lannuier) Estimate: $5,000 - $7,000

A related set of chairs with carved lyre backs attributed to Honore Lannuier are discussed in Kenny, Honore Lannuier: Cabinetmaker from Paris, plates 36-41. The French flavor of the two chairs offered here suggests a link to an émigré craftsman. Closely related animal heads are found on silver by émigré silversmiths. See, for instance, the silver punch pot by Simon Chaudron of Philadelphia in the collections of the Metropolitan Museum of Art, illustrated in 19th Century America by Barry Tracy, 1970, catalog no. 38. One of these chairs is illustrated in Katherine Gross Farnham, “Living with Antiques: The GordonBanks House in the Georgia Piedmont,” The Magazine Antiques, 102, no. 3 (September 1972): p. 444.

125 Rare Edmund Currier Parcel Gilt Lyre Wall Clock, Salem, Massachusetts, circa 1830, lyre form mahogany case with molded parcel gilt cover centering an eglomise panel, lower hinged door with eglomise panel inscribed “E. Currier Salem”, white painted dial with Roman numerals, reverse of dial with indistinct scratched number or initials, carved gilt eagle finial and drop pediment, 39-1/2 x 11 in.

Provenance: Sotheby’s Parke Bernet, New York, Sale 4004, June 9,10, 1977, purchased for $3,500 (accompanied by catalog page) Estimate: $2,000 - $3,000 124 Fine Classical Figured Mahogany Lyre Base Table Philadelphia, 1815-1820, case set with turned outset corners centering two finely dovetailed drawers, with mahogany and poplar secondary, upper drawer fitted with sliding tray, lyre form pedestal base with leaf carved and scrolled legs on paw feet with casters, probably original brass and glass drawer pulls, 30 x 21-1/2 x 15-1/2 in.

Provenance: Israel Sack, New York, purchased October 1968 for $2,800 (accompanied by original receipt) Estimate: $2,500 - $3,500

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Edmund Currier (1793-1853) originally trained in Hopkinsville, New Hampshire and moved to Salem, Massachusetts in 1825, where he established his business as a clockmaker. This clock likely dates prior to 1831 since Currier went into business with George Foster from 1831 to 1835 and clocks from this period are signed “Currier & Foster”. Please see Christie’s, New York, Sale 2821, February 1920, 2014, lot 496 for a similar example signed “E Currier Salem”.

The Estate of William N. Banks, Jr.

126 Fine Rare Classical Stenciled Marble Top Pier Table attributed to J. & J.W. Meeks, New York, circa 1830, with “Egyptian” black marble top and columns, stenciled decoration, the front support in the form of a pair of giltwood swans centering metal lyre strings, the back set with a mirror plate flanked by stenciled pilasters, on lion’s paw feet, leaf and fruit carved gilt appliques, 37-1/2 x 44 x 18 in.

Provenance: Sotheby’s, New York, June 1987, lot 188, $33,000 (accompanied by original receipt) Estimate: $15,000 - $25,000

The Sotheby’s catalog indicates that “the carved capitals above the columns on this pier table are virtually identical to those of a secretary bookcase attributed to Meeks in the Metropolitan Museum of Art and illustrated in 19th Century America (New York, 1970), no. 70. A similar swan and lyre design appears as a stencil on a labeled Meeks pier table illustrated in the same catalog, no. 68.” A nearly identical pier table, possibly the mate to this table, is in the collections of the Kaufman Americana Collection. See Wendy Cooper, Classical Taste in America, 1800-1840, catalog no. 102.

Condition notes available in back of catalog

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127◉ Fine Federal Brass Mounted Mahogany Pianoforte the works by John Geib & Son, New York, case attributed to the workshop of Duncan Phyfe, New York, circa 1805, case with hinged front opening to a keyboard, with blind fretwork and tiger maple panels, floral painted decoration centering the maker’s name, lower section with two dovetailed drawers flanked by two carved rosettes, on turned, reeded, and parcel gilt legs with brass casters, 35 x 66 x 24-1/2 in.

Provenance: Mr. Moses Phillips, Phillipsburg, New York; Mrs. Emily Marsh, Goshen, New York; Mr. Clinton Fancher, Goshen, New York; Mr. John A. Staples, Newburgh, New York; sold Sotheby’s, New York, January 28, 1988, lot 1891 for $9,900 (accompanied by documents relating to the provenance and page from the Sotheby’s catalog) Estimate: $3,000 - $5,000 128 Classical Dolphin Carved Adjustable Piano Stool New York, early 19th century, green upholstered seat with dolphin carved sides, adjustable base with leaf carved knees, paw feet, 22-1/2 in. (at lowest setting) Provenance: David Stockwell Antiques, Wilmington, Delaware, purchased August, 1969 (accompanied by original receipt) Estimate: $600 - $900

129 Rare Signed Boston Classical Sewing Table, Boston, Massachusetts, 1820-1830, top drawer with stenciled label “Rufus Pierce Furniture Ware-House No. 17 Market St. Boston”, highly figured veneers, top with two drop leaves over two fitted drawers and a bag drawer frame, trestle form base with leaf and rosette lyre form supports, on leaf carved front legs with brass casters, 28-1/2 x 19 x 19 in., opens to 35-1/2 in.

Provenance: Israel Sack, New York, purchased April 1969 for $2,400 (accompanied by original receipt) Estimate: $2,000 - $3,000

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130 Fine Classical Figured Mahogany Marble Top Cabinet probably Boston, 1820-1830, with variegated “Egyptian” marble top over two dovetailed frieze drawers, over two paneled doors opening to a divided and shelved interior, flanked by scrolled and lotus leaf carved supports, 35-1/4 x 41-1/4 x 19 in.

Estimate: $1,200 - $1,800 A nearly identical example is illustrated in Stuart Feld, Boston in the Age of Neoclassicism 1810-1840 (Hirschl & Adler Galleries, 1999), cat. no. 25.

The Estate of William N. Banks, Jr.

131 R. Bliss Renaissance Revival Style Dollhouse American, circa 1900, constructed of paper covered pressed wood, hinged openings on each side, 18-1/2 x 10 x 16-1/2 in.

Provenance: James & Nancy Glazer, Philadelphia, Pennsylvania, purchased 1986 for $950 (lot accompanied by original receipt) Estimate: $400 - $600

132 Large Musical Automaton of a Violin Musician, Continental, probably early 20th century, bisque head figure with fixed glass eyes, dressed in fine 18th century style attire, holding a carved and painted wood violin, 14 in.

Estimate: $1,000 - $1,500 Repaired and cleaned in 1975 by Rita Ford, Inc., New York (accompanied by original receipt)

133 Automaton Clown Figure with Cymbals, probably German, possibly Zinner, Gottlieb und Söhne, late 19th/ early 20th century, bisque head with fixed glass eyes, figure of boy in clown attire with cymbals, on velvet covered box when pushed downward causing the figure to clash cymbals, back of head with impressed “7_14”, 8 in.

Provenance: Repaired by Rita Ford Inc. Antique Music Boxes, New York, May 1975, purchased $200 (accompanied by copy of receipt) Estimate: $600 - $900 Boy with cymbals without markings but perhaps manufactured for Zinner, Gottlief & Sohne in Germany.

134 Robert E. Lee Rocking Toy American, late 19th century, figure in Confederate uniform on horseback, wood and papier mache, wind up mechanism below, 8-3/4 in.

Provenance: Brunk Auctions, Lot 102, November 14, 2010 Estimate: $500 - $700

135 French Musical Carousel with Children on Rabbits early 20th century, fanciful carousel automaton, four bisque head figures with glass eyes and finely dressed in silk, satin and lace, three are riding rabbits and one riding a pony, center mirror pedestal under a red and white striped awning with gilt metallic thread fringe and ormolu border, winder and pull for mechanism on satin covered base, approximately 18 x 14 in., with plexi-glass vitrine Provenance: Alexander Gallery, New York, May, 1986, purchased for $6,500 (accompanied by original receipt) Estimate: $1,000 - $2,000

Condition notes available in back of catalog

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137 Set of Six Classical Figured Mahogany Chairs New York, possibly J.&J.W. Meeks, circa 1835-1840, each with highly figured mahogany veneers, scrolled and lyre form backs, one arm and five side chairs, striped upholstered period slip seats, 34-1/2 in. (armchair height), 19 in. (seat height) Estimate: $800 - $1,200 A nearly identical side chair is illustrated in Classical America, 1815-1845, Newark Museum, 1963, catalog no. 80. The catalog entry indicates that “lyre splat and continuous stile and rail back seen in the Joseph Meeks and John Hall designs based on the plates of George Smith’s Household Furniture, London, 1826, and the designs of the French restoration.”

136 Pair Empire Patinated Bronze Figural Candelabra French, 19th century, each with patinated bronze winged female supporting four scrolling candle branches terminating in eagles masks and centering an eagle finial, standing on a sphere with a griffin mount, above a canted square base with flaming torches and classical ormolu mounts on sides, 30-1/2 in.

Estimate: $2,000 - $3,000

138 Classical Cornucopia Carved Mahogany Window Bench probably late 19th century, with cornucopia arms, on boldly gadrooned seat frame, hairy paw feet with winged returns, 27-1/2 x 47 x 18-1/2 in.

Estimate: $500 - $700

139 Fine Pair Boston Classical Mahogany Armchairs Massachusetts, circa 1815, upholstered backs with horizontal headrests, scrolled arms, dense mahogany throughout, original slip seats, poplar secondary, 46-1/2 x 22 x 24 in. (overall), 20 in. (seat height) Provenance: Israel Sack, New York, purchased November 1972 for $2,500 (accompanied by original receipt) Estimate: $3,000 - $5,000 For a closely related caned example, see Stuart Feld, Boston in the Age of Neoclassicism (Hirschl & Adler Galleries, 1999-2000) cat. no. 28.

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The Estate of William N. Banks, Jr.

140 Fine Assembled Pair Federal Trick Leg Card Tables possibly shop of Duncan Phyfe, 1805-1815, each with highly figured mahogany veneers, treble elliptic tops, over fine leaf carved urn supports, on leaf carved and reeded legs with brass paw casters, rear legs both with trick mechanism hinging back to support the fold over leaf, figured and paneled skirts with gilt lower bead, 29 x 35-3/4 x 17-3/4 in.

Provenance: Ginsburg & Levy, New York, purchased October 1968 for $17,500 (accompanied by original receipt). The receipt indicates that one table descended in the Iselin family of New York; the other belonged to Jacob Delaplaine (1765-1835) of New Rochelle, who married Phila Pell of Pelham Manor Estimate: $15,000 - $20,000

While these tables have different family histories, they are very closely matched and nearly identical in every detail; even the central panels on the skirts have matching designs with astragal corners on the inset veneer panels. Each is finely constructed with thick, heavy mahogany framing. There is a very slight variation to the carved element at the base of each urn. A trick leg table of similar form is illustrated in Peter Kenny, Duncan Phyfe: Master Cabinetmaker in New York, plate 11.

Kenny notes that tables of this form were made by Phyfe as well as by Michael Allison, John Dolan, George Woodruff, and Steven and Moses Young.

Condition notes available in back of catalog

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141 Impressive Flame Birch Inlaid Bookcase Cabinet attributed to Albany, New York area, 1810-1815, upper case with Gothic arched glazed doors set with highly figured bookmatched flame birch panels, opening to adjustable shelved interior, lower case with inlaid figured mahogany doors opening to shelved interior, turned and reeded columns and legs, carved spread wing eagle and urn finials, 101 x 75 x 25 in.

Provenance: Peter Hill, Washington, D.C., purchased June 1968 for $1,100 (accompanied by original invoice) Estimate: $2,000 - $4,000 In the 1968 receipt, Peter Hill notes the attribution to Albany, New York as “place of origin.” This attribution may be based on retrieval history of the bookcase.

142 Nine 20th Century Literature Titles including a first edition of Ernest Hemingway’s The Sun Also Rises, New York: Charles Scribner’s Sons, 1926, and two First American editions of Ian Fleming’s Goldfinger, New York: Macmillan Company, 1959, in dust jacket and Dr. No, New York, Macmillan, 1958, in dust jacket; and others Estimate: $600 - $900 143 32 Leather Bound Books including The Private Life of Marie Antoinette, London: Bentley, 1883, two volumes (complete), bound in three quarter leather over marbled boards, marbled endpapers, and five raised bands with elaborately gilt decorated spine, teg; with 30 other hardcovers Estimate: $300 - $500

144 Pair American Federal Steeple Top Brass Andirons, early 19th century, with faceted tops, arched and spurred legs with ball feet, ball form log stops, together with similar tongs and shovel, 22 x 11 x 21 in.

Estimate: $200 - $400

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145 Classical Mahogany Lyre Carved Canterbury British or American, early 19th century, each side with lyre and scroll carving, single dovetailed drawer, turned legs with brass casters, mahogany throughout, 21-1/2 x 19 x 15-1/2 in.

Estimate: $200 - $400

The Estate of William N. Banks, Jr.

146 Sheraton Carved Mahogany and Caned Open Armchair, British, early 19th century, caned back with satinwood inset tablet, scrolled arms and caned seat, striped silk loose cushion, 33-1/2 in. (overall), 18 in. (seat height with cushion) Provenance: Stair & Co., Williamsburg, Virginia, purchased September 1968 for $695 (accompanied by original receipt) Estimate: $200 - $300

147 Félix Ziem (French, 1821-1911) Grand Canal, Venice, signed lower right “Ziem 1864”, oil on canvas, 23 x 36-7/8 in.; gilt wood and composition cove molding frame with anthemion corner decoration, 29-1/8 x 43-1/8 in.

Provenance: Boussod Valadon et Cie, Paris: Collection of Emile Chouanard, Paris; M. Knoedler & Co., New York 1915; Collection of Francis Ralston Welsh, sold by Parke-Bernet Galleries, Inc., May 25-27, 1938 Estimate: $30,000 - $50,000

The Association Félix Ziem, represented by Mr. Mathias Ary Jan, David Pluskwa and Gérard Fabre, has confirmed the authenticity of this work. The lot is accompanied by the certificate.

148 - No Lot

Condition notes available in back of catalog

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149 Rare John Trumbull Signed Drawing (New York/Connecticut , 1756-1843) The Tempest, 1784, signed and inscribed in the artist’s hand verso “J. Trumbull/London - 15th Nov. 1784/Justum a tenecum propositi virum/ non fulminatis magna munus Jovis munte quatil solida./ Ti priutus inhabitor Orbis./Imavidum foriul ruiner., pen, brown and black ink and ink wash on laid paper, 5-7/8 x 4-7/8 in.; gilt wood frame, 13-3/4 x 12-3/4 in.

Provenance: John Trumbull; Collection of Benjamin Silliman, Esq,; By descent in family; Silliman Sale, Philadelphia, Pennsylvania, December 17, 1896, lot no.124 (accompanied by partial facsimile copy of the catalog); Collection of Charles Allen Munn, 1896; By descent in family then gifted to Mrs. Percy Chubb, Chester, New Jersey, circa 1940; L. Caldecot Chubb consigned to The Old Print Shop, New York (label and tag); William Reese Company, New Haven, Connecticut, purchased 1999, $16,000 (accompanied by original receipt) Estimate: $6,000 - $9,000 Contemplating John Trumbull’s title for this drawing leads one to draw parallels to Shakespeare’s, Prospero in The Tempest. The lone subject alludes to the banished dictator who used magic to control the weather on his island. Shakespeare allows his audience to see his forgiving heart and his greater intentions to show other corrupt politicians the error of their ways away from their political systems.

If Trumbull is referencing Shakespeare’s writings, then this would be one of only two known drawings to do so.

As one turns over the sheet the translation of the Latin inscription states,”It is a just proposition that man should not rail against the great hand of Jove, for in doing so one risks the ruination of the world,” illuminates the purpose of the composition. It seemed to be a subject of interest to paint “The Deluge” in the late 18th/early 19th century as part of a trend to use Biblical subjects as a sensationalist and intellectual exercise. Trumbull possibly suggests the allegorical man facing the wrath of “Jove” in reference to the Roman god, the supreme ruler of heaven and earth who often manifested himself atmospherically. This drawing predates one of Trumbull’s last paintings titled The Last Family to Perish in the Deluge (Yale University Art Gallery) by fifty years, having been painted in 1838.

150 Rare American Carved Mahogany Terrestrial Globe New York, globe signed “Charles Copley, New York, 1852”, tilting and turning globe with engraved brass ring and printed surround, surround printed “Copley’s Improved Globe, New York”, “sold by E & G.W. Blunt”, New York, also inscribed “constructed by Charles Copley, hydrographer, New York”, on a carved pineapple support over scrolling leaf carved legs, 44 x 20 in.

Provenance: David Stockwell, Wilmington, Delaware, purchased July 1976 for $4,500 (accompa`nied by original receipt) Estimate: $3,000 - $5,000

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The Estate of William N. Banks, Jr.

151 John Ferguson Weir (American, 1841-1926) The Studio, 1864, signed and dated lower right “J.F. Weir 1864”, oil on paper, 20 x 14 in.; period carved gilt wood and composition frame, 32 x 25-3/4 in.

Provenance: Cardinal William O’Connell; Bernard and S. Dean Levy Inc., New York, NY, (label verso), purchased September 1976 for $7,125 (accompanied by original receipt) Estimate: $6,000 - $9,000 Remnants of label bearing title and artist’s name , frame verso, also illegible paper label.

152 Extremely Rare Figured Mahogany Table Desk attributed to the shop of Duncan Phyfe, New York, 1810-1820, very finely crafted, with figured solid mahogany top, over three dovetailed frieze drawers, over two paneled cabinet doors opening to shelved interiors, on leaf carved lion’s paw feet, 32-1/2 x 47 x 22-3/4 in.

Provenance: former Collection of William Jacobs, Newtonville, Massachusetts; Peter Hill, New Hampshire, purchased April 1977 for $9,000 (accompanied by original receipt and extensive correspondence from Peter Hill regarding the attribution of the desk and rarity of the form) Estimate: $6,000 - $9,000 Flat top desks are an exceptionally rare form in New York Classical furniture. The correspondence from Peter Hill notes that this is the only example he is aware of. A related desk with bookcase top is in the collections of the New York Historical Society and descended in the family of Colonel Henry Rutgers (1735-1840). A photo of the New York Historical Society piece accompanies the lot.

Condition notes available in back of catalog

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153 Georgia Illustrated in a Series of Views,.. ..Embracing Natural Scenery and Public Edifices, engraved on steel by Rawdon, Wright, Hatch, and Smillie, from sketches by T. Addison Richards (American, 18201900), edited by William C. Richards, Penfield: W. & W.C. Richards, 1842, rebound with original spine laid down, with gilt decorated front board, aeg, illustrated with 12 engraved plates and engraved title page (complete), Sabin 70963, Howes R-252 Provenance: Sondley Reference Library, Asheville, North Carolina (bookplate); William Reese Company, New Haven, Connecticut, purchased May 19, 2003 for $1,500 (accompanied by original receipt) Estimate: $1,000 - $2,000

154 35 Books on American Art including four inscribed to William Banks: Augustus Saint-Gaudens..; George Henry Durrie..; The Boston Athenaeum..; American Master Drawings..; with 31 others Provenance: a gift from the Metropolitan Museum of Art, 1986 (Augustus Saint-Gaudens) Estimate: $400 - $600

157 Four Important Georgia Architecture Books including Brooks of Honey and Butter by William H. Davidson; inscribed copy of The Early Architecture of Georgia by Frederick Doveton Nichols; The Architecture of Georgia by Frederick Doveton Nichols; Ghosts of Grandeur by Michael W. Kitchens, with letter from the author Estimate: $400 - $600

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155 16 Books on Architecture six of which are signed or inscribed including: Building the Getty, by Richard Meier, 1997; Calatrava Public Buildings, 1998; Richard Meier, by Philip Jodidio, 1991; I.M. Pei, by Carter Wiseman, 1990; and others, all hardcover Estimate: $400 - $600

158 18 Books on Georgia Art and Architecture including three inscribed to William Banks: The Dot Man.. inscribed by Benny Andrews, son of The Dot Man; J. Neel Reid Architect..; Classic Atlanta..; and 15 others Estimate: $300 - $500

The Estate of William N. Banks, Jr.

156 Three Important Photography Books including: The Decisive Moment by Henri CartierBresson (French, 1908-2004), with captions booklet laid in, boards and dust jacket designed by Henri Matisse; Moments Preserved by Irving Penn (American, 1917-2009); Observations by Richard Avedon (American, 1923-2004) Estimate: $400 - $600

159 Six Books on Decorative Arts including an inscribed copy of Honoré Lannuier, Cabinetmaker from Paris: The Life and Work of a French Ébéniste in Federal New York by Peter M. Kenny: The Metropolitan Museum of Art, 1998, with dust jacket, inscribed “To Bill Banks./With best regards./Peter M. Kenny”; with five other hardcovers Estimate: $100 - $300

160 American School Painting (19th Century) Capitol Building, said to be Frankfort, Kentucky, unsigned, oil on canvas, 10 x 12-1/2 in.; gilt wood frame, 14-1/4 x 163/4 in.

Provenance: Henry Clay; Hon. John Janney of Leesburg, Virginia (Clay’s Campaign Chairman in Virginia when Clay ran for the presidency), gift from Henry Clay; The Painting descended to a niece of Janney from whom it was acquired; Private Collection, Chevy Chase, Maryland; Hirschl & Adler Galleries, New York (1969); 1971

by William N. Banks, Jr. Estimate: $3,000 - $6,000

There is some thought that this may be a depiction of Gideon Shryock’s proposal for the Tennessee capitol at Nashville, which was not built. The building he designed for the statehouse in Frankfort, Kentucky was completed and Shryock also prepared plans for the Arkansas Territory capitol which was erected and still stands. See article: The Magazine Antiques, October 1974, Collector’s notes “Capitol mistake?”, p. 602

161 Thomas Addison Richards (American, 1820-1900) Three Southern Views: Tranquilla and Outbuildings at Penfield, South Carolina, 1847; Woodlands, South Carolina, the home of W. Gilmore Simms, Feb 12, 1852; Accabee - Ashley River near Charleston, South Carolina, Feb. 24, 1852, graphite on paper, the largest 5-1/2 x 7-3/4 (site); matching gilt frames, 9-3/4 x 12-1/4 in.

Provenance: Washburn Gallery, 820 Madison Avenue, New York Estimate: $1,000 - $1,500

In the 1850’s, Thomas Addison Richards developed a number of articles on famous authors and their homes. In 1952 a drawing of Woodlands (the home of William Gilmore Simms) appeared in Homes of American Authors, along with three wood engravings also from Richard’s sketches.

Addison’s sister, Catherine married Charles DuBose at Tranquilla on June 20, 1848, suggesting that the house was the residence of Rev. William Richards and his family. See: Georgia Museum of Art, Richards/Romance of American Landscape, 2013.

162 Thomas Addison Richards (American, 1820-1900) Three framed pencil sketches: Idlewild, October 1854; Headley, August 1855; J.K. Paulding, Placentia, September 1855, graphite on paper, the largest 7-1/4 x 9-5/8 in.; 20th century gilt wood frames, 8-1/4 x 10-3/4 in.

Provenance: Washburn Gallery, 820 Madison Ave, New York (label verso) Estimate: $1,000 - $1,500

Condition notes available in back of catalog

77

163 Alexander Jackson Davis Rural Residences.. ..Etc. Consisting of Designs, Original and Selected, for Cottages, Farm-Houses, Villas, and Village Churches, New York: To Be Had of the Architect, at the New York University, 1837, with title page and 17 loose sheets laid into original two wrappers, two of the plates have been altered, probably by Davis himself, with two extra plates laid into custom paper clamshell folios (10 plates total), a restored copy of a scarce book, all housed in a custom made clamshell case with leather spine and black morocco spine label Provenance: Charles B. Wood III, Antiquarian Bookseller, Boston, Massachusetts, purchased November 1988 for $6,500 (accompanied by original receipt) Estimate: $3,000 - $5,000

“This is without doubt one of the dozen or so rarest and most important American architectural books and as such is a cornerstone to any serious collector.”

Charles Wood.

17 loose sheets: advertisement, “Cottage Orne designed for David Codwise, Esquire”; “Villa, Designed for Dav. Codwise, Esq. by A.J. Davis, Arct.” (plate); “Farmer’s House” (plate); “Villa in the English Collegiate Style”; “A Residence in the English Collegiate Style by A.J. Davis” (plate); “Villa Church”; “Design for a Village Church” (plate); “Gatehouse in the Rustic Cottage Style”; “Gatehouse in the Rustic Cottage Style” (plate); “Villa in the Oriental Style”; “Villa in the Oriental Style” (plate); “American House”; “American Cottage” (plate); “Village School-House”; “Design for a Model School House” (plate); “Section from A to B” (plate). Two extra plates: “Residence of C. C. Alger, Esq.”; “Winyah”

164 Five Asher Benjamin Books on Architecture Asher, Benjamin (American, 1773-1845), including The American Builder’s Companion; or A New System of Architecture, Boston: Etheridge and Bliss, 1806, in contemporary full leather with gilt lettered title, Hitchcock 99; Rudiments of Architecture, Boston: R.P. & C. Williams, 1820, second edition, rebound in marbled boards and leather spine, Hitchcock 144; American Builder’s Companion; or A New System of Architecture, Boston: R.P. & C. Williams, 1826, fifth edition, in contemporary full leather with gilt lettered title, morocco spine label, Hitchcock 103; The Architect, or Practical House Carpenter, Boston: Benjamin B. Mussey & Co., 1848, rebound in marbled paper boards and leather spine with gilt lettered morocco spine label, Hitchcock 128; Practice of Architecture, Boston: Benjamin B. Mussey & Co., 1851, seventh edition, rebound in leather, full calf with two morocco spine labels, Hitchcock 135 Provenance: Charles B. Wood III, South Woodstock, Connecticut, purchased 1973-1979, (each book accompanied by original receipt) Estimate: $800 - $1,200

165 Two 19th Century Architectural Books Villas and Cottages by Calvert Vaux, New York: Harper & Brothers, 1857; The Economic Cottage Builder by Charles P. Dyer, Buffalo: Wanzer McKim & Co., 1856 Provenance: Charles B. Wood III, South Woodstock, CT, purchased 1982 for $160 (Villas accompanied by original receipt) Estimate: $400 - $600

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166 16 Books on Georgia History including History of Georgia by Clark Howell, Chicago: The S. J. Clarke Publishing Co., 1926, four volumes (complete), bound in original green sturdy cloth, with marbled endpapers, all edges marbled, with four raised bands and gilt lettering to spine; with 12 other hardcovers Estimate: $400 - $600

The Estate of William N. Banks, Jr.

167 Two Peter Nicholson Books (Scottish, 1765-1844), The Carpenter’s New Guide.., 1830, Hitchcock 832; The Practical Cabinet-Maker.., 1826, some plates with hand coloring Estimate: $200 - $400

168 William James Bennett, Engraver (American/English, 1787-1844) Richmond from the Hill above the Waterworks, after George Cooke (1793-1849), Parker & Clover, New York, publisher, 1834, hand colored aquatint on wove paper, image 17-3/4 x 25-1/4 in.; gilt wood frame, 26-1/4 x 32-1/2 in.

Estimate: $6,000 - $8,000 The James River and Kanawha Canal provided vital transportation and water power for the development of Richmond, Virginia. It was one of the first canals in the United States to operate using locks. The canal provided a means of transport as well as water power to fuel Richmond’s thriving industries including mills and iron works. The James River Company was founded in 1785 and George Washington served as its first president. He was the prime mover behind building the canal.

170 After Joshua Shaw (English/American, 1777-1860) Burning of Savannah, by John Hill, engraver, Picturesque Views of America, M. Carey & Son, Philadelphia, publisher, 1819-1821, aquatint, image 9-3/4 x 13-1/2 in.; gilt wood frame, 17-3/4 x 24 in.

Estimate: $800 - $1,200

169 Three Georgia, Alabama, and Vermont Maps David Hugh Burr (American, 1803-1875) and Thomas Illman (English, 18241858), Georgia, 1836, with hand colored highlights, sheet 15 x 12 in.; Map of the States of Alabama and Georgia, Simpkin & Marshall, London, circa 1830, with inset plan of Savannah, sheet 10-1/2 x 17-1/8 in.; Thomas Conder, New Hampshire, Vermont & c., London, circa 1777, engraving on laid paper, sheet 14-3/4 x 14 in.; all in modern carved wood frames, largest 11-3/4 x 18 in.

Estimate: $500 - $700

The English landscape painter Joshua Shaw traveled in Georgia as part of his East Coast sketching tour for his major print publication, Picturesque Views of American Scenery, the first series of printed views to be published in the United States. While traveling, Shaw sketched views and took subscriptions for prints that would be based on paintings he made after these sketches. Published in Philadelphia in 1819-21 by M. Carey and Son, the portfolio of nineteen prints comprised hand-colored aquatints made by London-born printmaker and publisher John Hill. Aquatints (engravings made with a powdery resin fused to the copper plates) were highly popular for their capacity to create the effects of watercolor and were numerous in England and in Europe during these years.

Reference: The New Georgia Encyclopedia, “Prints and Drawings of the Eighteenth and Nineteenth Centuries”

Condition notes available in back of catalog

79

171 American School (19th century) Virginia Springs, unsigned, oil on canvas, 22 x 30 in.; gilt wood and applied composition frame, 28-1/4 x 36-1/2 in.

Provenance: Hirschl & Adler Galleries Inc, New York, NY, purchased July 18, 1975 for $4,500 (accompanied by original receipt) Estimate: $5,000 - $7,000

172 Tennessee Civil War Sketch, 1864 The Headquarters of Major General Henry Warner Slocum, Com 12th Corps, Tullahoma Tenn, 1864; ink and watercolor on paper, 9 x 13 in.; giltwood frame, 13-1/2 x 17-3/4 in.

Estimate: $400 - $600 Henry Warner Slocum (1827-1894), was a Union general during the American Civil War. He was one of the youngest major generals in the Army and he fought numerous major battles in the Eastern Theater and in Georgia and the Carolinas. He later served in the United States House of Representatives from New York.

173 45 Leather Bound Books on Literature including The Works of Henrik Ibsen, New York: Brentano’s, 1911, six volumes (complete), bound in three quarter leather over blue cloth, with five raised bands and gilt decorated spine, teg; with 39 others Estimate: $500 - $800

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174 42 Fine Leather Bound Books including The Works of William Makepeace Thackeray, 1869, 24 volumes (complete); The Complete Works of William Shakespeare, 1880, fourth edition, 10 volumes (complete); with eight others Estimate: $500 - $800

The Estate of William N. Banks, Jr.

175 39 Leather Books on Literature including Tales of the Crusaders by Sir Walter Scott, Edinburgh: Constable, 1825, four volumes (complete), bound in three quarter leather over marbled boards, with five raised bands, and gilt decorated spines; with 35 others Estimate: $500 - $800

176 Pair of Classical Bronze Cornucopia Argand Lamps American, 1835-1845, stamped “Clark Coit & Cargill/N. York”, cornucopia supports and vertical burners, urn form oil reserves with petal finials, molded leaf and petal square bases on bun feet, etched glass shades with floral and grape bunch decoration, wired for electricity, 12 in. (overall) Provenance: sold Skinner, Boston, Massachusetts, sale 1350, October 27, 1990 for $1,600 Estimate: $600 - $900

177 Classical Mahogany Upholstered Swivel Chair attributed to New York, circa 1820, boldly carved, with anthemion and leaf back, column form arm supports, scrolled and leaf carved pedestal base with lion’s paw feet on casters, 31 in. (overall), 19 in. (seat height) Provenance: Craig and Tarlton, Raleigh, North Carolina, purchased November, 1976 for $2,800 (accompanied by original receipt, also accompanied by Craig and Tarlton advertisement in The Magazine Antiques illustrating the chair) Estimate: $500 - $800

179 Classical Gilt Bronze Sinumbra Lamp American/Continental, 19th century, fluted column form stem surmounted by pierced leaf form burner, branching three arm support to metal reservoir, on stepped square marble and gilt bronze base, with tinted frosted glass shade with etched leaf and grape bunch decoration, wired for electricity, 29 in. (overall), 22 in. (to socket) Estimate: $800 - $1,200

178 Rare Classical Mahogany Collector’s Cabinet attributed to Boston, circa 1820, collector’s or artifact cabinet, upper section with two glazed doors opening to a divided ratcheted interior for shelves, lower section with two frieze drawers over two paneled cabinet doors, opening to 22 artifact drawers, finely constructed, mahogany and pine secondary, paneled case sides, base fitted with two additional drawers, 73-1/2 x 44 x 20 in.

Provenance: Skinner, purchased October 27, 1990, lot 169 for $3,400 (accompanied by catalog page) Estimate: $3,000 - $5,000

180 Ornamental Architecture in the Gothic.. ..Chinese, and Modern Taste by Charles Over (British, active 1760s), London: Printed for Robert Sayer, 1758, rebound in marbled bards and leather spine with four raised bands, morocco spine label Estimate: $500 - $700

Condition notes available in back of catalog

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182 Alonzo Chappel (New York, 1828-1887) The Ages of Man, unsigned, oil on board en grisaille, 12-1/4 x 9-1/4 in.; reproduction carved gilt wood and composition frame, 15-1/2 x 12-3/4 in.

Provenance: Spanierman Gallery, New York, (label verso), purchased October 1995, for $1,000 (accompanied by copy of original receipt) Estimate: $1,200 - $1,800

181 John La Farge (American, 1835-1910) The Resurrection, c. 1888, unsigned, inscribed extensively (see note) lower center and margins by Henry Adams, friend of the artist, watercolor and pencil on paper, 12 x 5 in. (sight); 12-3/4 x 7-1/2 in. (sheet); carved gilt wood frame, 15-1/12 x 8-1/2 in.

Provenance: Acquired directly from the artist; Henry Adams, Washington, DC (owned until 1910); Aileen Tone, New York, NY (owned until 1969); Perry D. Trafford, Bedford, NY (owned until 1972); with Hirschl & Adler, New York, NY (1971-1972); Whitney Museum of American Art, New York, Gift of Mrs. Perry D. Trafford (72.139); Sotheby’s New York, May 27, 1998, purchased for $7,475 (accompanied by copy of receipt) Estimate: $6,000 - $9,000

According to research provided to William Banks at the time of his purchase, this La Farge is a study for the Stephen Vanderburg Harkness Memorial Window in Calvary Presbyterian Church, Cleveland, Ohio, although quite different than the finished window. Harkness was a financier and an early partner of John D. Rockefeller. Exhibited: Loan Exhibition of Paintings by John La Farge and his Descendants, Wildenstein and Company, New York, NY, March 1931, cat. no. 17.

Literature: Whitney Museum of American Art. Catalogue of the Collection. 197374, #178.; Mabel Hooper La Farge, “John La Farge: The Artist, Commonweal 22, pub. May 3, 1935.

183 Alonzo Chappel (New York, 1828-1887) Classical Warriors, Hannibal Crossing the Alps, unsigned, oil on board en grisaille, 5-3/4 x 7-3/4 in.; reproduction carved gilt wood and composition frame, 7-3/4 x 9-3/4 in.

Provenance: Spanierman Gallery, New York, (label verso), purchased October 1995, for $1,000 (accompanied by copy of original receipt) Estimate: $1,200 - $1,800

184 John Frederick Kensett (American, 1816-1872) Italian Costumed Figures, a Pair of Paintings; Standing Female Figure, 1846, signed and inscribed lower right “Cervaro/ ROME 1846/J.F.K.”; Seated Male Figure with a Staff, 1846, inscribed lower right “SUBIACO/Rome/1846”, both watercolor and pencil on light grey paper, 13-3/4 x 9-3/4 in.; matching carved gilt wood and composition frames, 16-3/4 x 13-1/4 in.

Provenance: Babcock Galleries, New York, NY, (labels verso), purchased December 1978 for $6,000 (accompanied by copy of receipt) Estimate: $3,000 - $5,000 Literature: Driscoll, John Paul, and Babcock Galleries. John F. Kensett Drawings. University Park, Pa: The Museum, 1978., cat. nos. 13 & 24.

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The Estate of William N. Banks, Jr.

185 George Esten Cooke (American, 1793-1849) Bacchanalian group from a fictive vase, illustration for Thomas Hope, Costumes of the Greeks and Romans, New York: Dover Publications, 1812, plate 127, ink on laid paper, 7-1/2 x 9 in.; gilt wood frame, 12-3/4 x 14-1/4 in.

Estimate: $400 - $600

186 Two Grand Tour Bronzes Continental, 19th century, Napoleon standing with arms folded, on Sienna marble base; Colonne Vendome with Napoleon in military dress atop, on shallow black marble base, tallest 12 in.

Estimate: $500 - $700

188 Matched Pair of Wedgwood Black Basalt Figures British, William Shakespeare and John Milton, each leaning on books atop a rectangular plinth, each with selected verse in gilt on exposed scroll, marks on reverse, approximately 16 in.

Estimate: $800 - $1,200

190 George III Carved Gilt Wood Bracket British, 18th/19th century, scroll and acanthus leaf design, 15 in.

Provenance: Thomas Schwenke Inc., Ridgefield, Connecticut, purchased February 1996 for $2,550 (accompanied by original receipt) Estimate: $400 - $600

187 Wedgwood Library Bust of Homer British, late 19th century, black basalt, mounted on socle, 13 in.

Provenance: purchased from Seal Simons, Philadelphia, in July 1973 for $1,600 (accompanied by copy of receipt) Estimate: $600 - $900

189 Achille Collas (French, 1794–1859) A pair of classical bronze sculptures: Diana de Gabies with cachet “Réduction Mecanique a Collas Brevete” and Aphrodite of Fréjus (Venus Genetrix), both after the antiques and possibly mid 19th century, lacking Foundry stamp, 13-1/2 in.; matching slate plinths, 7-1/8 x 6-1/2 x 6-1/2 in.

Estimate: $1,000 - $2,000

191 Pair Grand Tour Egyptianate Black Marble Obelisks, Continental, 19th century, carved black and variegated marble on rectangular wood bases, in five pieces with central threaded dowel support, incised silver and gilt hieroglyphs and figures, 19 in.

Estimate: $500 - $700

Condition notes available in back of catalog

192 Three Black Basalt Wall Decorations British, gilt wall brackets holding black basalt figures, one nude female holding asp; one putto contemplative, 17 in.; black basalt medallion of form in Greek dress with cymbals, oval gilt frame, 10-3/4 in.

Estimate: $500 - $700

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193 Russell Smith (Scottish/America, 1812-1896) Four European Views, 1852; The Baths of Carracalla From the Palatine, unsigned, 8 x 11-3/4 in.; The Port of Leghorn, unsigned, 8 x 11-3/4 in.; The Top of the Bristinstock Alps, signed and titled verso “Top of the Bristinstock Alps/Russell Smith 1852”, 7-3/4 x 11-3/4 in.; Lake Lugano Looking North, signed and titled verso “Lake Lugano Looking North/Russell Smith 1852”, 8 x 12 in.; all oil on paper, matching reproduction carved gilt wood frames, 10-1/2 x 14-1/3 (3); 11 x 14-3/4 in. (1) Provenance: Vose Galleries, Boston, Massachusetts, February 13, 1981, purchased for $8,000 (accompanied by original receipt and exhibition catalog) Estimate: $7,000 - $9,000

Exhibited: “Russell Smith, Views of Europe 1851-1852 and Later”, Vose Galleries, Boston, Massachusetts, February, 1981, cat. nos. 257, 260, 292, 294. Vose Gallery labels verso on 257,260, 294.

194 Alfred Jacob Miller (American, 1810-1874) The Fountain, signed lower left “AJ Miller”, inscribed lower right “Roma 1833”, oil on board, 9-1/4 x 11-1/2 in.; reproduction carved gilt wood and composition frame, 15 x 17-1/2 in.

Provenance: Decatur H. Miller, the artist’s great nephew; Sotheby’s, September 28, 1995, sold for $8,050 (accompanied by original receipt) Estimate: $4,000 - $6,000

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The Estate of William N. Banks, Jr.

195 George Inness (American, 1825-1894) Perugia, c. 1873-1880, signed lower right “G. Inness”, oil on canvas, 18 x 15 in.; reproduction carved gilt wood and composition frame, 23-1/2 x 20-1/4 in.

Provenance: Elizabeth Hart Inness, widow of the artist, sold in her estate sale at Fifth Avenue Art Galleries, New York, NY, February 1904, no. 122 (as “Milton”); Dr. S.C.G. Watkins, Montclair, New Jersey; sold at Clark’s Art Rooms, the Watkins Estate sale, February, 1911, no. 68 (as “Milton on the Hudson”); Henry Reinhardt, New York, NY; Schneider-Gabriel Galleries, New York by 1952; Macbeth Gallery, New York, NY Estimate: $25,000 - $35,000

Literature: Quick, Michael. George Inness: A Catalogue Raisonné. New Brunswick, N.J.: Rutgers University Press, 2007., cat. no. 444, page 413; Ireland, LeRoy, and George Inness. The Works of George Inness: an Illustrated Catalogue Raisonné; Compiled with an Introduction by LeRoy Ireland. Austin (Tx.), London: published in cooperation with the University Art Museum of the University of Texas [by] Texas University Press, 1965, cat. no. 921, page 228.

Exhibited: “Italian Landscapes by George Inness”, Macbeth Gallery, New York, NY, 1952, no. 8, as “Perugia”, lent by Albert K. Schneider (label verso); also exhibited: “Masterpieces in Georgia Collections”, c. 1960s, Telfair Museum, Savannah, Georgia.

This lot is accompanied by a copy of the Inness Catalogue Raisonne :Quick, Michael. George Inness: A Catalogue Raisonné. New Brunswick, N.J.: Rutgers University Press, 2007

Condition notes available in back of catalog

85

196 American Federal Mahogany Wing Chair New England, early 19th century, with arched crest and scrolled wings, turned and reeded front legs, sage green upholstery, with loose cushion, 47 x 25 x 29 in.

Estimate: $1,500 - $2,500

197 Classical Gilt Bronze Painted Metal Sinumbra Lamp, probably American, 19th century, possibly by William Carleton, stem in the form of four columns surmounted by pierced urn form burner, two arm branching support to white painted metal reservoir, on stepped square base with gilt bronze appliques, frosted glass shade with etched floral decoration, wired for electricity, 28-1/2 in. (overall), 20 in. (to socket) Provenance: with possible receipt from Woldman & Woldman, Alexandria, Virginia dated March 29th, 1993 for $3,100 Estimate: $800 - $1,200

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198 Pair of Baltimore Federal Mahogany Side Chairs Maryland, 1800-1810, each with reeded frame and front legs, plaid upholstered balloon seats, 32 x 18 in. (overall), 17-1/2 in. (seat height) Provenance: John Ridgely, Hampton, Baltimore; Peter Hill Antiques, Washington, D.C, purchased December 1968 for $800 (accompanied by original receipt) Estimate: $600 - $900

199 Seven Small Framed Plaques British/Continental, 19th/20th century, four Wedgwood emperor portraits; bisque portrait; two gilt relief plaques; largest 5 x 4-3/4 in.

Provenance: James II Galleries LTD., New York, purchased April 12, 1974 for $402.30 (four emperor plaques), (accompanied by original receipt) Estimate: $800 - $1,200

200 Pair French Gilt Bronze Mounted Moderator Lamps, late 19th/early 20th century, each stamped “Brevete d’Invention/Hadrot Lampiste/Rue des Fosses Montmartre/No. 14 a Paris”, cylindrical form with gilt bronze scrollwork and leaf mounts, reticulated burner segments, wired for electricity, 21-1/2 in. (overall) Estimate: $500 - $700

201 Pair Gilt Bronze Signed Argand Lamps British, 19th century, fluted urn form reservoirs with Greek key design bands on cylindrical base, single arms connected to burners with plates marked “I.H. BEHENNA/ PATENT/ 69 JERMYN ST.”, wired for electricity, cut glass frosted shades, 17-1/2 in.

Estimate: $800 - $1,200

202 Three Classical Gilt Wall Brackets Continental, comprising a pair of 19th/20th century examples and one reproduction made to match, rectangular black painted shelves above fluted and paneled bracket supports, 4-1/2 x 6-1/4 x 5-3/4 in.

Provenance: purchased from Needham’s Antiques, Inc., New York, in April 1969 for $515 (accompanied by original receipt) Estimate: $400 - $600

203 Classical Gilt Bronze and Frosted Glass Oil Lamp American/Continental, 19th century, segmented column form stem on square base, inverted bell form top with attached ring shade support, frosted glass shade with etched floral design, wired for electricity, 21-1/2 in. (overall), 14-1/2 in. (to socket) Estimate: $400 - $600

The Estate of William N. Banks, Jr.

204 Pair Charles X Gilt Bronze Four Light Candelabra Continental, circa 1825, reeded stems on circular bases with leaf decoration, central spherical arm support, scrolled arms with dolphin terminals, urn form candle cups with circular drip pans, 20-1/4 in.

Estimate: $1,000 - $1,500

205 Pair Jasperware Candlesticks Converted to Lamps, British, 19th century, possibly Wedgwood, matte blue jasperware plinths decorated in cameo style relief with floral swags and the coat of arms of the city of London, with Latin motto “Domine dirige nos”, surmounted by a gilt bronze spread wing eagle, proper right wings each inscribed “T. L.” to wing interior, later electrified, 17-1/4 in. (to socket) Estimate: $800 - $1,200

206 Pair of Gilt Bronze Single Light Argand Lamps 19th century, urn form oil reserves on segmented supports, single arms with vertical burners, floral and leaf decoration, lion’s head appliques, triangular bases with scrollwork on lion’s paw feet, frosted glass shades, wired for electricity, 16 in. (overall) Estimate: $800 - $1,200

207 Charles X Gilt Bronze Figural Mantel Clock, French, 19th century, 3 in. dial with Roman numerals and gilt border within a rock form surround, surmounted by an equestrian figure, possibly Louis XVI, rectangular base with leaf and berry borders, on four scrolled feet, works stamped “PC”, “492”, and “61”, with pendulum and winder key, 18 x 11-3/4 x 4 in.

Estimate: $1,000 - $1,500 208 Two Staffordshire Pearlware Busts British, each after model by Enoch Wood, William Shakespeare, wearing brown patterned yellow waistcoat, lavender coat and blue cloak trimmed in yellow and brown; John Milton, wearing red waistcoat, russet coat and yellow fringed light blue cloak, each on flaring stepped rectangular plinth, tallest 11-1/2 in.

Provenance: Sotheby’s, New York, The Late Reverend Benjamin J. Lake, D.D. Collection of Staffordshire Figures, Lot 382, January 29, 1987 (stickers on verso of each bust and accompanied by copy of receipt for $1,100 and original Sotheby’s catalog complete with Prices Realized List) Estimate: $800 - $1,200

209 Pair Directoire Style Painted Swan Figural Stools 20th century, iron vanity stools of tripod form with swan’s head terminals, the seats fitted with upholstered yellow cushions, gold and white paint, 23-1/2 in. (overall) Estimate: $200 - $300

210 Italian Neoclassical Carved and Gilt Console Continental, 19th century elements, marble top over cream painted frame with carved gilt leaf, rosette, and bellflower ornaments, on tapered square legs, 34-1/2 x 49 x 12 in.

Estimate: $600 - $900

Condition notes available in back of catalog

211 Set of Four Neoclassical Style Wall Brackets Continental, 19th/20th century, rectangular shelves with green painted tops above fluted and scalloped supports, acorn pendants, lion’s head mask appliques, 5-3/4 x 6-1/2 in.

Estimate: $800 - $1,200

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212 Pair Fine Parcel Gilt Mahogany Klismos Chairs Philadelphia, 1810-1820, each in dense, richly colored mahogany, scrolled backs with gilt rosettes, gilt rosettes at front leg attachments, period slip seats with green silk upholstery, frames marked “VII” and “XII”, slip seats marked “VII” and “II”, 33 x 19 x 22 in.

Provenance: Woldman & Woldman, Alexandria, Virginia, purchased October 1996 for $7,500 (accompanied by original receipt) Estimate: $800 - $1,200

The Woldman receipt records that “these chairs are of an identical design to a set in the collection of the George Reed II house in Newcastle, Delaware. There is a nearly identical set of ten chairs in the collection of the diplomatic reception rooms at the U.S. Department of State.”

214 American Federal Mahogany Canterbury New York, 1800-1810, with brass caps and turned supports, single dovetailed drawer, white pine and mahogany secondary, 20 x 18-1/2 x 14-1/2 in.

Provenance: R. T. Trump & Co., Philadelphia, Pennsylvania, purchased November 17, 1971 for $1,750 with attribution to workshop of Duncan Phyfe (accompanied by original receipt) Estimate: $400 - $600

217 Two William Pain Books (British, c.1730–c.1790), including The Practical House Carpenter, 1796, Hitchcock 898, Evans 32628; The Practical Builder, or Workman’s General Assistant, 1774 Estimate: $400 - $600

88

215 Pair Boston Retailed Messenger & Sons Argand Lamps, British, 19th century, each burner stamped “Messenger & Sons/63 Hatton Garden London/& Birmingham/Manufactured for/Alfred Welles/ Boston”, cylindrical reserves on segmented supports, single arms with vertical burners, pierced ring shade supports, circular bases, pear form frosted glass shades, wired for electricity, 13-3/4 in. (overall) Estimate: $400 - $600

218 Five Architectural Titles including The Builder’s Guide by Chester Hills; The Model Architect by Samuel Sloan, two volumes (complete); and others Provenance: The Model Architect accompanied by original bank check and endorsement document dated May 6th, 1876, signed by Samuel Sloan Estimate: $600 - $900

The Estate of William N. Banks, Jr.

213 Regency Brass Mounted Mahogany Library Steps, British, 19th century, cylindrical folding form, rungs with brass ferrules, leather clad feet with tacking, 80 x 11-1/2 x 3 in. (open) Estimate: $300 - $500

216 Four 19th Century Architecture Titles Sloan’s Homestead Architecture by Samuel Sloan, 1867; Old Homes Made New by William M. Woollett, 1879; Civil Architecture by Edward Shaw, 1832; The Homes of the New World by Fredrika Bremer, 1854 Estimate: $500 - $700

219 Three Minard Lafever Architectural Titles The Young Builder’s General Instructor; The Modern Builder’s Guide; The Beauties of Modern Architecture Provenance: Charles B. Wood, South Woodstock, Connecticut, purchased February 1976 for $500 (Beauties of Modern Architecture only, accompanied by original receipt) Estimate: $600 - $800

220 Pair Cast Aluminum Wall Sconces American or European, mid-20th century, with stylish scroll motif, each with seven arms supporting candle holders and glass hurricanes, 42 in. tall, 55 in. wide at bottom Estimate: $700 - $900

Courtesy of The Magazine Antiques

223 Wrought Iron Garden Console Table American or European, early 20th century, 28 x 64 x 20 in.

Estimate: $400 - $600

221 Cast Aluminum Garden Suite American or European, mid-20th century, comprised of nine chairs and a coffee table, with stylish scroll motif, shell decorated knees, chairs with open lattice woven seats, 30-1/4 in. tall at backs; table 16-1/2 x 38 x 16 Estimate: $700 - $900

222 Two Wrought Iron Garden Chaises American or European, mid-20th century, each with two wheels, adjustable back, slatted seats and back, back with cushion hangers, approx. 66 in. long, 36 in. with back at full height Estimate: $500 - $700

224 Wrought Iron Garden Bench American or European, early 20th century, park bench style with wrought iron slats and paw feet at front, 37 x 54-1/2 in.

Estimate: $300 - $500

Condition notes available in back of catalog

89

225 Pair of Vintage French Garden Settes late 19th/early 20th century, wrought iron, each with scrolled back and arms, grille work seat, 34 x 40 x 16-1/2 in.

Estimate: $500 - $700

227 Neoclassical Style Cast Stone Garden Statue, American or European, late 19th/ early 20th century, in the form of a robed woman carrying a bundle of wheat, tree trunk support, on integral circular base, 59 in.

Estimate: $800 - $1,200

226 Vintage French Garden Suite late 19th/early 20th century, wrought iron, comprising two chairs and a side table, chairs 33 in. high at back Estimate: $500 - $700

228 Three Wrought Iron Garden Chairs possibly French, early/mid 20th century wrought iron, foliate motif, continuous arms and slat seats, 34-3/4 in. tall Estimate: $500 - $700 Illustrated: Mattox, Polly McLeod, Helen Mattox Bost, and Erica George Dines.

Private Gardens of Georgia. 2008, p.52.

229 The Four Seasons Garden Statues American or European, late 19th/early 20th century, four cast stone statues depicting each of the four seasons on plinths, figures approx. 38 in.; plinths 14-1/2 in.

Estimate: $800 - $1,200 Illustrated: Mattox, Polly McLeod, Helen Mattox Bost, and Erica George Dines. Private Gardens of Georgia. 2008, p.52.

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The Estate of William N. Banks, Jr.

230 Fine Marble Garden Statue Italian, mid to late 19th century, carved marble in the form of a robed woman wearing flower crown carrying a bunch of flowers, with tree form support and integral circular base, 59-1/2 x 17-1/2 in.

Estimate: $3,000 - $5,000 Illustrated: Mattox, Polly McLeod, Helen Mattox Bost, and Erica George Dines.

Private Gardens of Georgia. 2008, p.53.

231 Vintage Garden Fountain of Triton French, c. 1855-1867, stamped “Barbezat et Cie/Val d’Osne” on base, in the form of Triton with blowing horn flanked by turtle, after a model by Hubert Lavigne (French, 1818-1882), on integral square plinth, 31-1/2 x 13-1/4 x 13-1/2 in.

Estimate: $1,500 - $2,500

Condition notes available in back of catalog

91

232 Gossin Freres Terra Cotta Lions French, c. 1880, stamped on integral bases “Gossin Freres Paris�, depicting a proper pair of lions with one paw supported by an orb, 27 x 26 x 13-1/2 in.

Estimate: $2,500 - $3,500 Illustrated: Mattox, Polly McLeod, Helen Mattox Bost, and Erica George Dines.

Private Gardens of Georgia. 2008, p.53.

234 Pair of Classical Cast Iron Garden Urns probably American, late 19th/early 20th century, large handled urn form planters on hexagonal plinths and circular bases, all bolted together as made, with drainage holes, 41-1/2 x 20 in.

Estimate: $800 - $1,200

92

233 Pair Faux Bois Garden Seats early/mid-20th century, possibly French, cast stone, pierced cylindrical forms, old brown paint, flat circular tops, 19-1/4 in.

Estimate: $600 - $900

Referenced: Mattox, Polly McLeod, Helen Mattox Bost, and Erica George Dines.

Private Gardens of Georgia. 2008, p.52.

235 Pair British Porcelain Cachepots, Three Others 19th century, possibly Worcester Flight Barr & Barr, cachepots in peach ground, the rim decorated with roses against a black ground border, with pedestal bases, 7-1/2 x 5-1/2 in.; pair of metal planters; earthenware planter with underplate, 6-3/4 x 8 in.

Provenance: The Art Exchange, Antique English Porcelain, New York (cachepots, label attached) Estimate: $300 - $500

236 Pair of Regency Gilt Bronze Hurrican Lamps British, 19th century, greek key borders, leaf tiered supports, square bases with scrollwork feet, with two glass storm shades with cut diamond bands, 17 in.

Provenance: purchased from Ginsburg & Levy, New York, January 9, 1969 for $1,900 (accompanied by original receipt) Estimate: $800 - $1,200

Literature: for a discussion of similar urns with identical pedestals see; Israel, Barbara, and Michael Hales. Antique Garden Ornament: Two Centuries of American Taste. New York: Harry N. Abrams, 1999. p. 67, fig. 51.

The Estate of William N. Banks, Jr.

237 Two Scarce 19th Century Flower Garden Books A Treatise of the Cultivation of Ornamental Flowers

by Roland Green, 1828; The Florist’s Manual or Hints... by Maria Elizabeth Jackson, 1827 Provenance: Charles B. Wood III, Boston, MA, purchased 1989 for $950 (Treatise accompanied by original receipt) Estimate: $400 - $600

240 Three A.J. Downing Books (American, 1815-1852), including A Treatise on the Theory and Practice of Landscape Gardening, Adapted to North America, 1841; Cottage Residences, 1853; The Architecture of Country Houses, 1856 Estimate: $400 - $600

238 Five Books on English Gardening including On the Making of Gardens, by Sir George Sitwell with an Introduction by Sir Osbert Sitwell and Decorations by John Piper, London: The Dropmore Press, 1949, one of 100 numbered copies, signed

by Osbert Sitwell and John Piper, in original green leather and gilt decorated covers, teg, yapped edges and paper slipcase; and others Estimate: $400 - $600

241 Three Books by John Claudius Loudon (Scottish, 1783-1843), including Hints of the Formation of Gardens and Pleasure Grounds, 1813, with 20 plates; The Suburban Gardener and Villa Companion, 1838; The Villa Gardener: Comprising the Choice of a Suburban Villa Residence, 1850, second edition, edited by Mrs. Loudon Estimate: $700 - $1,000

A.J. Downing is considered to be a founder of American landscape architecture.

His book A Treatise on the Theory and Practice of Landscape Gardening.. was the first published book on landscape gardening in the United States.

242 12 Books on Italian Gardens including The Art of Garden Design in Italy by Inigo Triggs (English, 1876-1923), London: Longmans, Green, and Co., 1906; and others, 11 hardcovers, one paperback Estimate: $300 - $500

239 British Phaenogamous Botany by William Baxter (British, 1787-1836), Oxford: Published by the Author, 1834-1843, in three quarter leather over moire cloth boards, with elaborately gilt decorated spines, black morocco spine labels, hand-colored plates in volumes I and II Estimate: $400 - $600

John C. Loudon was the first to use the term “arboretum” in writing, when referencing a garden or collection of plants.

243 29 Southern Architecture and Garden Books including six that are signed: Gardens of Historic Charleston by James R. Cothran, 1995; Look Away: Reality and Sentiment in Southern Art by Estille Curtis Pennington, 1989; Louisiana: A Treasure of Plantation Homes, by Wesley Cooper, 1961; and others Estimate: $300 - $500

Condition notes available in back of catalog

244 19 Garden Books including four inscribed to Banks: Antique Garden Ornament by Barbara Israel; Earth on Her Hands by Starr Ockenga; Frederick Law Olmsted by Charles E. Beveridge and Paul Rocheleau; Garden Ornament by George Plumptre; others Estimate: $300 - $500

93

“...the art can only be advanced and perfected by the united powers of the landscape painter and the practical gardener. The former must conceive a plan, which the latter must execute...yet the luxuriant imagination of the painter must be subjected to the gardener’s practical knowledge in painting, digging and moving earth.”

-Humphry Repton, explaning the term Landscape Gardening in his introduction to Sketches and Hints on Landscape Gardening.

245 Humphry Repton Landscape Gardening, 1795 (1752-1818), Sketches and Hints on Landscape Gardening, London: W. Bulmer and Co., for J.& J. Boydell, 1795, first edition, half title, 16 aquatints (complete), some of these double page, of which ten hand colored and ten with movable overslips, wood engraved tail piece, in a signed Brentano’s full grained leather with ruled and decorated spine, later gilt crest on the front and back covers, inner gilt dentelles, marbled endpapers, Abbey Scenery, 388; Tooley 210 Estimate: $15,000 - $20,000

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The Estate of William N. Banks, Jr.

246 Humphry Repton, Observations, 1803 Repton, Humphry (1752-1818), Observations on the Theory and Practice of Landscape Gardening Including Some Remarks on Grecian and Gothic Architecture, London: Printed by T. Bensley, Bolt Court, for J. Taylor, at the Architectural Library, High Holborn, 1803, first edition, rebound in three quarter leather over marbled boards with morocco spine label, gilt ruled and decorated spine and covers, aeg, 27 plates (complete) including 22 aquatints, of which one is double-page, one is folding, 15 are hand-colored or tinted, and 12 have movable overslips, Abbey Scenery 390; Tooley 399.

Estimate: $4,000 - $6,000 Illustrations: Portrait frontispiece; engraved portrait by W. Holl after S. Shelley; 27 plates (22 aquatints, 5 etchings and engravings); with 11 smaller aquatints and 15 wood engravings in the text (2 have overslips).

“I believe that a well-preserved neoclassical house from the 1820s deserves a Reptonian landscape.�

-William N. Banks

Courtesy of The Magazine Antiques

247 Two Humphry Repton Books Observations on the Theory and Practice of Landscape Gardening by Humphry Repton (English, 1752-1818), Oxford: Phaidon Press Limited, facsimile reprint, one of 445 numbered copies, in original cloth boards, leatherette spine with five raised bands, morocco spine label, teg, with original matching slipcase, some plates with flaps like original edition; Humphry Repton by Stephen Daniels, London/New Haven: Yale University Press, 1999 Estimate: $200 - $400

248 Fine Classical Ebonized and Parcel Gilt Dresser, Philadelphia or New York, 1820-1830, the ebonized and stencil gilt mirror supported by mahogany columns with stenciled and gilt turned finials, case fitted with six dovetailed drawers, on scrolled, leaf carved, and parcel gilt legs, turned feet with brass casters, poplar and white pine secondary, 84 x 38 x 19-3/4 in.

Provenance: Peter Hill, United States Antiques, purchased April 1974 for $1,500 (accompanied by original receipt, correspondence, and photograph) Estimate: $2,000 - $3,000

250 Fine Pair Sevres Coral Ground and Grisaille Urns French, early 19th century, each with two grisaille hand painted panels depicting scenes with herding animals and travelers on one side and landscapes verso, coral ground speckled with yellow, gilt handles and borders, mounted on flat square marbleized bases, each signed on marble “Sevres R.F”, one indistinctly incised “SDvguc” (?), 14 in.

Provenance: Sotheby Parke Bernet, New York, Sale 3338, Lot 289, April 4, 1972, purchased for $800 (accompanied by original catalog page and price list) Estimate: $1,000 - $2,000

252 Classical Mahogany Mirror Depicting Mt. Vernon American, 19th century, with blind fretwork frieze depicting stylized dragons centering an urn, over a watercolor depiction of Mount Vernon, above distressed rectangular mirror plate, 50 x 28-1/4 in.

Estimate: $200 - $300

96

249 Assembled Set of Fine Classical Window Valances each with double leaf crest and leaf and fruit end carved appliques, hung with green and gold drapery swags with beaded fringes and peach silk backing, largest 99 x 30 x 5 in.

Provenance: David Dunton, Woodbury, Connecticut, purchased August 1994 for $2,400 (one pair, accompanied by original receipt), separate receipt for two pairs made to order for $1,200 Estimate: $800 - $1,200

251 Four Empire Gilt Bronze Dresser Pieces Continental, 19th century, consisting of two mirrors, one with stylized Egyptian handle; ink well with bee decoration; micromosaic dresser box, largest 11-1/2 in.

Estimate: $500 - $700

253 Pair of Classical Carved Giltwood Wall Brackets 19th century, circular shelves on scrolling leaf form brackets, carved leaf and berry garland decoration, iron rings for mounting verso, 14-1/2 x 10-1/4 in. (overall), 7-3/4 in. (shelf diameter) Estimate: $400 - $600

The Estate of William N. Banks, Jr.

254 Pair American Federal Lemon Top Brass Andirons early 19th century, double lemon tops on faceted supports, spurred legs and ball feet, stepped billet bars, 22-1/2 x 12 x 19 in.

Estimate: $200 - $400

255 Fine Empire Mahogany and Ormolu Mounted Bedstead probably French, circa 1815, figured mahogany frame with finely cast gilt bronze swan figural mounts, column capitals and bases, primary rail with leaf and flower and figural mounts, highly figured veneers throughout, oak and other mixed secondary woods, together with a rare and important cabinetmaker’s receipt signed by Duncan Phyfe for Livingston Family Furnishings including a bedstead, historically associated with the bed offered here, 42 x 61 x 80 in.

Estimate: $8,000 - $12,000 While the rare Duncan Phyfe receipt for the Livingston bed has long been associated with this bedstead, the presence of oak as a secondary wood is unusual in a New York context, and suggests the possibility that the bed is of French origin and that the Phyfe bill refers to a different bedstead.

The bedstead remains a striking example of the empire form, and the original Phyfe bill of sale a great rarity. Exhibited Classical America 1815-1845 at the Newark Museum, illustrated in the accompanying catalog along with the Phyfe receipt as catalog number 17, page 17.

257 William James Bennett, Engraver (American/English, 1787-1844) City of Washington/From Beyond the Navy Yard, after George Cooke (17931849), Lewis P. Clover, New York, publisher, 1834, collector’s stamp verso “R.W.T.”, hand colored aquatint on wove paper, sheet 21-1/2 x 26 in.; gilt wood frame, 25-1/2 x 31-5/8 in.

Provenance: H. Wunderlich, New York (label verso print at and over edge) Estimate: $3,000 - $6,000

256 Fine Neoclassical George Washington Mantel Clock French, early 19th century, patinated bronze bust of Washington à l’antique on block case with laurel wreath mounts on sides and applied ormolu acanthus leaves above plinth base, white enamel dial with ormolu bezel, signed “Ls. Mallet/ H. DE M.D.D’Orleans”, 18-1/2 x 7-5/8 x 7-5/8 in.

Provenance: Israel Sack, Inc, New York, purchased 1975 for $1,650 (accompanied by original receipt) Estimate: $7,000 - $10,000 For other examples of bronze ormolu clocks with the busts or full length statuettes of George Washington that were made abroad but for the American market, please see: Feld, Elizabeth, and Stuart P. Feld. Of the Newest Fashion: Masterpieces of American Neo-Classical Decorative Arts : an Exhibition Commemorating the Fiftieth Anniversary of Hirschl & Adler Galleries. New York: Hirschl & Adler Galleries, 2001, pages 74-77.

Christie’s, New York, Sale 1096, May 29, 2002, lot 187, an almost identical clock signed L.S. Mallet brought $41,820.

259 Empire Bronze Mounted Mahogany Bedside Commode, marble top over a single frieze drawer, figured veneers with gilt bronze mounts, veneered and bronze mounted back, cabinet door opens to a shelved interior, 32-1/2 x 17 x 15-1/2 in.

Provenance: Boxwood Cottage Antiques, Marietta, Georgia, purchased May 1970 for $550 (accompanied by original receipt) Estimate: $300 - $500

98

260 Pair of Empire Gilt Bronze Candlestick Lamps Continental, 19th century, reeded stems surmounted by three classical busts, urn-form candle cups with basketweave decoration and leaf borders, circular bases with scrollwork and floral decoration, fitted for electricity, 22 in. (overall), 16 in. (to socket) Estimate: $500 - $700

The Estate of William N. Banks, Jr.

258 Fine Classical Figured Mahogany Dresser attributed to Boston, 18101820, figured mahogany with gilt brass finials, pulls, and mounts, rotating mirror over four graduated long drawers, flanked by columns, large leaf and flower decorated drawer pulls, dovetailed construction with white pine secondary, 75 x 47 x 22 in.

Estimate: $1,200 - $1,800

261 Pair Carved Gilt Shell Decorated Wall Brackets attributed to Philadelphia, circa 1825, each with “D” shaped shelf on scroll form base, 12-1/2 x 9 in.

Provenance: purchased November 1971 from R.T. Trump & Company for $750 (accompanied by receipt) Estimate: $500 - $700 The R.T. Trump gives attribution to “Philadelphia, circa 1825” and lists the wood as “tulip” (poplar)

262 Attributed to Victor De Grailly (French/America, 1804-1889) Two Views of Mt. Vernon: Washington’s House, unsigned, oil on canvas, 16 x 21 in.; Washington’s Tomb, unsigned, oil on canvas, 16 x 21 in.; similar reproduction carved gilt wood frames, 22-1/2 x 27-1/2 in.

Provenance: Washington’s House: Parke-Bernet Galleries, New York, November 1972, purchased for $1300 (original purchase receipt accompanies this lot); Washington’s Tomb: Artemis Gallery, North Salem, New York, June 1984, purchased for $5,000 (original purchase receipt accompanies this lot) Estimate: $8,000 - $10,000

Illustrated: The Magazine Antiques, “The French painter Victor De Grailly and the production of nineteenth-century American views”, July 1974, by William N. Banks, Jr., ill. pgs. 86 & 90.`

"A flock of sheep...adds a bucolic touch. In his interpretation of the scene, De Grailly characteristically introduced a stylish couple on an afternoon stroll and exaggerated the scale of the sailboats in relation to the mountains, thus transforming a wild stretch of the Hudson River into an Arcadian Park".

-William N. Banks Courtesy of The Magazine Antiques, July 1974

264 After Victor De Grailly (French/America, 1804-1889) Koskiusco Monument at West Point, unsigned, oil on canvas, 24 x 28 in.; original period carved gilt wood frame, 28 x 33 in.

Provenance: The Old Print Shop, New York, NY, purchased April, 1972, for $1,750 (original purchase receipt accompanies this lot) Estimate: $2,000 - $3,000

263 After Victor De Grailly (French/America, 1804-1889) East Point of Passamaguoddy Bay, unsigned, oil on canvas, 20 x 24; period carved gilt wood and composition frame, 23-3/4 x 27-3/4 in.

Estimate: $2,000 - $3,000

William purchased this painting in the Spring of 1972 as a Victor De Grailly. Not long after, he began his extensive research on De Grailly in preparation for an article he wrote for The Magazine Antiques. At some point during his research he made the determination that this was not the hand of the artist, because accompanying the original sales receipt is a note in William’s hand attached to the original Old Print Shop label that reads “Purchased from Old Print Shop.

Not by De Grailly, attributed to Garnier.” He was referring to Hippolyte-Louis Garnier, a less well-known contemporary of De Grailly. Much confusion still surrounds the work of De Grailly and Garnier and their relationship to William Henry Bartlett and his published engravings, although no further explanation on this attribution was found among William’s research.

Condition notes available in back of catalog

99

266 Tucker Factory Gilt Decorated Porcelain Pitcher attributed to William Ellis Tucker, Philadelphia, circa 1830, vase shaped pitcher decorated with gilt floral sprays on each side, leaf molded spout and handle terminal, unsigned, 9-3/8 x 5-1/2 x 7-3/4 in.

Provenance: Hirschl & Adler Galleries, Inc., New York, purchased January 25, 1990 for $4,500 (accompanied by original receipt) Estimate: $800 - $1,200

265 Fine Federal Inlaid Mahogany Lolling Chair New England, probably Boston, circa 1800, tall back with deeply shaped serpentine crest rail, line inlaid arm supports over inset flame birch panels, turned and reeded legs, peach and green striped silk upholstery, 44-3/4 in. (overall), 17 in. (seat height) Provenance: John Walton, New York, purchased November 1968 for $4,500 (accompanied by original receipt) Estimate: $6,000 - $9,000

267 Victorian Carved Mahogany Lift Top Sewing Table, American, mid 19th century, hinged sarcophagus lid opening to a mirrored and satinwood lined divided interior, over single drawer, similarly fitted, above a carved and dovetailed work drawer, 31 x 20 x 14-3/4 in. (top) Estimate: $200 - $300

269 Swansea Attributed Floral Porcelain Vase British, early 19th century, ovoid form with center floral band on mauve ground, gilt sphinx form handles, on square base, 10-3/4 in.

Provenance: Stair & Company, New York, New York, May, 1969, purchased for $525 (accompanied by original invoice) Estimate: $500 - $700

270 Paris Porcelain Rose Pompadour Cache Pot French, early 19th century, trumpet form with central gilt panel depicting shield and pansy, banner below inscribed “A qui/ Joure M”, 5-1/2 in.

Provenance: John M. Davis, Inc., Harwinton, Connecticut, November 1986, purchased for $787 (accompanied by original receipt) Estimate: $400 - $600

268 Chinese Export Lacquered and Gilt Pedestal Table, 19th century, with circular mirrored top over a lacquered and gilt base with lion’s paw feet, 251/2 x 18-1/4 in.

Estimate: $100 - $200

100

The Estate of William N. Banks, Jr.

271 Fine New York Classical Mahogany French Press possibly shop of Honore Lannuier, circa 1815, French press or linen press, removable cornice with pitch pediment and fluted corners, over two highly figured double paneled doors, flanked by stop fluted columns, the finely fitted interior with six linen slides and five drawers, drawers set with original gilt brass federal eagle decorated pulls, resting on carved lion’s paw feet, paneled back and sides, panels with gilt surrounds, doors with brass and steel locking mechanism, bolt stamped “W Pye”, illegible pencil inscription to interior bottom board, 93 x 58 x 26 in.

Provenance: This press is illustrated in an advertisement for Fred J. Johnston Antiques in Kingston, New York, probably from The Magazine Antiques, date unknown (ad accompanies lot) Estimate: $12,000 - $18,000

A nearly identical French press, probably the mate to this example, is in the collections of the Metropolitan Museum of Art. See Peter Kenny, Honore Lannuier: Cabinetmaker from Paris, page 72, figure 33. The example offered here is illustrated in Katherine Gross Farnham, “Living with Antiques: The Gordon-Banks House in the Georgia Piedmont,” The Magazine Antiques, 102, no. 3 (September 1972): p. 438.

272 Pair American Federal Lemon Top Brass Andirons early 19th century, double lemon tops over faceted plinths, arched and spurred legs with ball feet, stepped iron billet bars, 23-1/2 x 10 x 20 in.

Estimate: $200 - $400

273 Aubusson Carpet Continental, early 19th century, composed of six floral wreathes enclosing floral sprays and elongated foliate designs on salmon field, floral border, later backing, 10 ft. 9 in. x 9 ft. 10 in.

Provenance: Parke Bernet Galleries, Inc. New York, Sale No. 3005, March 14, 1970, purchased for $2,000 (accompanied by original invoice) Estimate: $800 - $1,200

Condition notes available in back of catalog

274 Georgian Mahogany Side Lock Chest British, 19th century, six dovetailed drawers with mahogany linings, side locking cabinet, 43 x 19 x 13-3/4 in.

Estimate: $300 - $500

101

275 Robert Walter Weir (New York, 1803-1889) Mother’s Lessons, Amalfi, 1857, signed and dated lower right “Robt. W. Weir/1857”, oil on panel, 16 x 12 in.; fine reproduction carved gilt wood and composition frame, 24-1/2 x 20-1/2 in.

Provenance: Christie’s New York, September 22, 1994, purchased for $18,000 (label verso) Estimate: $6,000 - $8,000 Label remnant panel verso bearing artists name.

276 George Esten Cooke (Louisiana, 1793-1849) The Transfiguration, 1829, after the work by Raphael held by the Musei Vaticani, Rome, not apparently signed, oil on canvas, 57-5/8 x 38-5/8 in.; fine gilt wood and composition frame, 70 x 51 in.

Provenance: James Robb (per Boston Athenaeum Catalogue, 1854) Estimate: $2,000 - $4,000

Exhibition: Charleston, S.C., Thayer’s Room, 79 Broad St., 1836; Apollo Association, Oct. 1838, No. 238; Pennsylvania Academy of Fine Arts: 1852, No. 307, 1853, No.345, 1854, No.56; Boston Athenaeum, 1854

102

The Estate of William N. Banks, Jr.

277 Henry Byrd (Louisiana/Arkansas, 1805-1884) Portrait of Ann Haris Eason James, aged 16, of Huntsville, Alabama, circa 1845, oil on canvas laid on board, 89 x 62 in.; cove molding gilt wood frame with applied decoration, 105 x 88 in.

Provenance: Carolyn Eason McGowan, Ft.Smith, Arkansas; New Orleans Auction Galleries, New Orleans, Louisiana, 1994, as by George E. Cooke for $26,000 Estimate: $10,000 - $20,000

The attribution to Henry Byrd is based on the history from the consignor that an article in an antebellum Huntsville paper (estimated to be 1835-1840) that proved that Henry Byrd, a well known portrait artist of the period, was in Huntsville with a commission to paint Ann Elizabeth Harris before her marriage (b. 22 March 1818, d. 30 Jan 1908). The consignor could not find the article as of 2012. This lot is accompanied by a significant research file including genealogies, personal correspondence and historical documents

278 Thomas Sully, with Thomas Sully Jr. (Pennsylvania/Britain, 1783-1872) Portrait of Mrs. Rotch, Susan Ridgway Rotch Barton (circa 1797-1885), wife of Thomas Rotch, signed lower right “TS 1832”, oil on canvas, 191/4 x 15-1/4 in.; gilt wood cove molding frame, 26 x 22-1/4 in.

Provenance: Childs Gallery, Boston, Massachusetts, purchased in 1974 for $12,600, as Elizabeth Rotch (accompanied by the original receipt) Estimate: $2,000 - $3,000

Thomas Sully and his son, Thomas Sully Jr., both worked on various portraits of a “Miss” or a “Mrs. Rotch” (or Roach), listing a total of seven.

It is likely this portrait is number 1513 on Sully’s inventory in Biddle and Fielding, The Life and Works of Thomas Sully 1783-1872. It is described as a “copy of [a] former portrait by Sully, commenced by Thomas, Jr., and finished by Sully, begun May 2nd, finished June 13, 1832. Head./ Price $60.00”. There is also a listing (Charles Henry Hart, 1908) for No. 1416 described as “Roach Mrs., copy from my portrait. Head 1832, and thought to be a reference to the same painting with a different spelling.

Condition notes available in back of catalog

103

280 Large Chinese Export Famille Rose Punch Bowl late 18th century, porcelain bowl enamel decorated with four cartouche form reserves of pheasants and chickens in garden settings, and surrounded by bianco-sopra-bianco chrysanthemum blossoms, the rim decorated with alternating pink and blue lattice bands and floral reserves, the interior decorated with floral clusters and leafy branches, 6-1/2 x 15-1/2 in.; with a carved and painted stand Estimate: $800 - $1,200

279 Two Similar Venetian Blackamoor Pedestals Italian, 19th century, each depicting a crouching figure looking upwards and supporting a circular top, one figure clad in lion skin and with relief carved top, underside with label for “Besarel Freres, Venise”, 21 x 11 in. and 20 x 13-1/2 in.

Estimate: $800 - $1,200

282 Federal Mahogany One Drawer Stand British or American, early 19th century, mahogany throughout with single dovetailed drawer, on spiral turned legs with brass casters, 28-1/2 x 20-1/2 x 16 in.

Estimate: $200 - $400

104

281 Pair Clark Coit & Cargill Argand Lamps New York, circa 1830, patinated bronze single arm lamps, each with urn form oil reserve with bud shaped finial, removable foliate and mask decorated rim hung with prisms, cylindrical standard with square base resting on bun feet, burner plates labeled “Clark Coit & Cargill/ N.York”, frosted and clear glass shades, electrified, 16 in.

Estimate: $800 - $1,200

283 Pair of Boston Federal Brass Andirons attributed to John Molineux, Boston, early 19th century, each with lemon top over tapered column support on square plinth, spurred arched feet, brass log stops, 20 x 11-1/2 x 21 in.

Estimate: $300 - $500 A nearly identical pair of andirons signed by Molineux is illustrated in Fennimore, Metalwork in Early America, catalog no. 69.

The Estate of William N. Banks, Jr.

284 American Federal Mahogany Two Drawer Work Table, probably New England, early 19th century, solid mahogany top with two drop leaves, two dovetailed drawers with pine secondary, on spiral turned legs, 27-3/4 x 17-1/2 x 20 in.

Estimate: $200 - $400

285 Copeland Classical Parian Figure of Egeria British, 19th century, modeled by J.H. Foley (Irish, 1818-1874), impressed mark “J.H. Foley R.A./ Copyright Reserved/ Copeland/ U/ E”, and titled “Egeria”, 28-1/2 x 9-1/2 in.

Provenance: Charles & Rebekah Clark, Woodbury, Connecticut, March 1999, purchased for $4,200 (accompanied by receipt) Estimate: $500 - $700 Literature: Atterbury, Paul, and Maureen Batkin. The Parian Phenomenon: A Survey of Victorian Parian Porcelain Statuary Et Busts.

Shepton Beauchamp: Dennis, 1989, illustrated p. 147, figure 506.

287 Attributed to Chauncey Bradley Ives (New York/Connecticut, 1810-1894) Sarah Amelia Day Loder (1829-1902) of Mianus, Connecticut, circa 1850, unsigned, white carrera marble, with marble socle 22 x 15-1/2 x 8 in.

Provenance: W. M. Schwind, Jr. Antiques and Fine Art, Yarmouth, Maine, purchased in 1995 (accompanied by photographs presumably from the descendants home, letter and original receipt for $4,000.00) Estimate: $2,000 - $3,000

286 Six Prints of American Views (19th century) Four plates From N. P. Willis’s, American Scenery, three after W.H. Bartlett, Natural Bridge, Virginia, Pulpit Rock, The Tomb of Washington, Mount Vernon, one after T. Doughty, The Silver Cascade, George Virtue, London, publisher, 1839-1840, octavo, sight 9-3/4 x 6-5/8 in.; two lithographs, View of Daniel Pratt’s residence.., Former Residence of Edward Pratt, sight 5-3/8 x 6-1/2 in.; gilt wood frames, largest 10-7/8 x 12 in.

Estimate: $300 - $500

288 Francoise Gilot: Monograph 1940-2000 (French, born 1921), Acatos, 2000, in original glossy boards with dust jacket and matching slipcase, title page inscribed by Françoise Gilot and Mel Yoakum, who wrote the biography of Gilot and the analysis of the works Estimate: $200 - $400

This bust was commissioned by Cyrus W. Loder circa 1850 for $500.00 according to notes accompanying the lot. Interestingly, Cyrus Loder, a silk merchant, was one of the longest term commuters from Cos Cob (Mianus River), Connecticut to New York City each day from the years 1851 to 1909.

This bust exhibits some of the characteristics of Chauncey Bradley Ives’ portrait commissions. He was an extremely popular artist and received many portrait commissions from individuals such as Jeremiah Day, president of Yale College, Thomas Sully, and Lydia Sigourney, a popular singer. He was born near New Haven, Connecticut into a farming family. He suffered physically so he turned to sculpture. After studying in Italy, Ives worked almost exclusively in marble.

This portrait is an interesting combination of the realistic interpretation of the individual and features in the Neoclassical taste such as the bare breast and pupiless eyes of his more ideal subjects.

Reference: Gerdts, William H. “Chauncey Bradley Ives, American Sculptor”, The Magazine Antiques, November 1968, pp 714-718.

289 Wedgwood Three Color Jardiniere and Covered Urn, British, 19th/20th century, jardiniere, in green and mauve relief, 7 in.; two handled campana form urn, 12-1/2 in.

Provenance: Sotheby’s, Parke Bernet, NY, Sale 4297, November 3, 1979, lot 300, purchased jardiniere for $660 (lot accompanied by original catalog listing and receipt) Estimate: $600 - $900

Condition notes available in back of catalog

290 Four Continental Porcelain Figures 19th century, Meissen, white glazed, allegorical figure of America atop an alligator, holding cornucopia and parrot, 5-1/4 in.; Three Ludwigsburg Commedia Del’Arte figures, tallest 7-1/2 in., with case Provenance: Estimate: $300 - $500

105

291 Fine American Classical Dresser with Mirror New England, circa 1815, figured mahogany with white pine secondary throughout, hinged mirror on split lyre supports, over three drawers, chest with four graduated long drawers flanked by spiral turned columns, on turned feet, 73 x 43-1/2 x 20-1/2 in.

Estimate: $1,500 - $2,500

293 The Novels of Jane Austen, 12 Volumes Winchester Edition, Edinburgh: John Grant, 1911, bound in ruled leather boards, with five raised bands and elaborately gilt decorated spines, binder label (Zaehnsdorf), inner gilt dentelles, teg Estimate: $1,000 - $2,000

295 First Edition of Eliot’s The Mill on the Floss Mary Ann Evans, known by her pen name George Eliot, (British, 1819-1880), Edinburgh and London: William Blackwood and Sons, 1860, three volumes, rebound in contemporary leather binding with ruled boards, five raised bands, morocco spine labels and elaborately gilt decorated spines, inner gilt dentelles Estimate: $500 - $800

106

292 George III Gilt and Mirror Framed Pier Mirror, British, probably late 18th century, gilt frame with mirrored border centering a rectangular mirror plate, 63 x 31 in.

Estimate: $800 - $1,200

294 Assorted Lot of Ten Books, The New Dixie Cookbook including: American Scenery by N.P. Willis (American, 1806-1867), Illustrated in a series of views by W.H. Bartlett, five volumes, plates with tissue guards (complete); together with receipt/scrapbook, two garden books, The New Dixie Cookbook, small receipt book Estimate: $400 - $600

296 Miniature Wellington Four Drawer Chest British, 19th century, banded mahogany chest with with four recessed drawers, movable right column to allow for drawers to pull out, round brass pulls, 16-1/4 x 16 x 11 in.

Provenance: M.Comer Decorations of London Inc,, purchased 1971 for $400 (accompanied by receipt) Estimate: $300 - $500

The Estate of William N. Banks, Jr.

297 American Classical Mahogany Marble Top Center Table, probably New York, 1820-1840, with original white marble top, on mahogany veneered pedestal base with octagonal pedestal and scrolled feet, 291/2 x 29-1/2 in.

Estimate: $400 - $600

298 William James Bennett, Engraver (English/American, 1787-1844) New Orleans, Taken from the opposite side a short distance above the middle of Picayune Ferry, after painting by W.J. Bennett (1787-1844) from a sketch by A Mondelli, Henry I. Megarey, New York, publisher, 1841, hand colored aquatint, 22 x 29-1/4 in.; gilt wood frame, 29-1/2 x 36 in.

Provenance: Donald A. Heald Rare Books & Fine Art, New York, purchased December 1994 for $7,000 (accompanied by original receipt) Estimate: $4,000 - $6,000

299 Fine Massachusetts Silk House Embroidery early 19th century, Federal two story house flanked by trees, meadow to left bordered by row of blueberry bushes with rocky outcrop and three sheep, painted blue sky, silk on silk, tacked to wood panel, 11-1/4 x 13 in.; probably original gilt wood frame and eglomise mat, signed “Polly White” in gilt lettering, old label verso “Burr and Smith Looking Glass Company, Pittsfield, Massachusetts” and smaller handwritten label “Mrs. H. J. Duicheart”, 13 x 15-1/2 in.

Estimate: $800 - $1,200

300 Two Rare Reverse Mounted Prints (British, early 19th century) The Fair Florist and Midsummer Holydays/With infant care combined with joy - she now beholds her darling Boy, P. Dawes Fox, Jr., London, publisher, 1810, engravings, sight 10 x 14-1/4 in.; original matching black painted frames, 11-3/4 x 15-7/8 in.

Estimate: $800 - $1,200

301 Historic Louisiana Federal Cherry Bedstead by descent in the Governor Jacques Dupre Family, 1810-1830, with period probably cypress canopy frame, over ring and baluster form posts, arched headboard, turned legs, 98-1/2 x 82-1/2 x 59-1/2 in.

Provenance: with extensive letters and documentation recording its descent through the Dupre family. Purchased from Ruth R. Fontenot, Opelousas, Louisiana, March 1974 for $5,000. Letters from Mrs. Fontenot record the history of the bed’s descent through the family of Governor Dupre. She writes “the bed came down to me from my mother, Mane Celeste Dupre (Mrs. Wm. Alex. Robertson) from her mother, Mane Celeste Garland (Mrs. Laurent Dupre). Laurent Dupre was the son of Lucius Jacques Dupre - a member of the Confederate Congress - his father was Cyprion Dupre, his grandfather, Jacques Dupre, Governor of Louisiana in 1830-1831. He was president pro tem of the State Senate, and succeeded when the Governor and Lt. Governor both died...”

Estimate: $2,000 - $3,000

Condition notes available in back of catalog

107

302 New England Federal Mahogany Bowfront Chest attributed to William Hook, Salem Massachusetts, circa 1810, D shaped drawers flanked by leaf carved and punchwork reeded columns, on turned and reeded legs, 42 x 23-1/4 x 24 in.

Estimate: $800 - $1,200

108

303 Auguste Gardanne (French, 1840-1890) A pair of Second Empire portraits: A French Lancer and A Carabiniere-Ă -Cheval, both signed lower left “A. Gardanneâ€?, oil on canvas, 10-3/4 x 8-1/2 in.; original gilt wood and composition Empire frames, 18-7/8 x 16-7/8 in.

Estimate: $800 - $1,200

304 Pair Chinese Export Ebonized Inlaid Footstools late Qing dynasty, with mother of pearl inlay, each with quilted upholstered top over inlaid shaped skirts and legs, 17-1/2 x 20 x 17 in. (seat) Provenance: Phillips Galleries, New York, purchased October 1969 for $1,351.50 (accompanied by original receipt and copy of advertisement) Estimate: $800 - $1,200

305 Classical Mahogany Eagle Back Side Chair New York, 1810-1820, possibly shop of Duncan Phyfe, 33-1/2 in. (overall height), 18 in. (seat) Provenance: Israel Sack, New York, purchased August 1971 for $1,800 (accompanied by original receipt) Estimate: $700 - $1,000

307 Pair Classical Mahogany and Marble Top Cabinets early 19th century, each circular top with inset white marble panel, single door opening to interior shelf, 29 x 15 in.

Estimate: $500 - $700

A chair of the same design, in American Furniture: The Federal Period by Montgomery, plate 76.

306 Two Chinese Vases Converted to Lamps late 18th century, famille rose porcelain vase depicting a songbird, wood cap and stand, 6-3/4 in. (vase); 18-1/4 in. (to finial); Chinese export vase with armorial decoration, 21 in. (to finial) Provenance: Sarah Potter Conover, Inc. New York, purchased June 1, 1969 for $350 (famille rose, accompanied by receipt) Estimate: $300 - $500

308 American Federal Mahogany Tilt Top Candle Stand, New England, circa 1810, figured mahogany banded octagonal top tilting over a baluster and urn turned support with leaf carving, tripod base, 28-1/2 x 21 x 20 in.

Estimate: $500 - $700

309 Federal Figured Mahogany Two Drawer Side Table, American, 1810-1820, with two dovetailed drawers with original brass pulls, turned and diapered legs, on brass casters, poplar and pine secondary, 31 x 21 x 17 in.

Estimate: $300 - $500

310 Pair of Ormolu and Crystal Curtain Tie Backs American, 19th century, scrollwork borders surrounding central stepped cut crystal panels with mirror backing, sunburst pattern, threaded ends, 7-1/4 in. (length), 4-1/2 in. (diameter) Provenance: purchased from Peter Hill - United States Antiques, Washington, D.C. in February 1969 for $105 (accompanied by original receipt) Estimate: $200 - $400

The Estate of William N. Banks, Jr.

311 Rare American Federal Carved and Painted Bedstead Massachusetts, 1790-1810, with reeded white painted canopy set with carved and gilt lion mask appliques, on fine leaf carved and reeded foot posts, tapered square head posts with arched headboard, original rails, 93-1/2 x 76 x 58 in.

Provenance: Ginsburg & Levy, New York, purchased January 1971 (accompanied by duplicate receipt and advertisement from 1968 Delaware Antiques Show catalog) Estimate: $6,000 - $9,000

Condition notes available in back of catalog

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312 Fine Set Eight Sheraton Style Dining Chairs, probably late 19th century, each with scrolled mahogany backs, inset with figured satinwood panels, turned and reeded legs, six with pale blue upholstered seats, two with pink upholstery, 35-1/2 in. (overall), 19 in. (seat height) Estimate: $800 - $1,200

These chairs are ultimately English in design, but this style was popularized in Boston by the cabinet and chair makers John and Thomas Seymour.

313 Mitchell Ray Nantucket Basket early to mid 20th century, Mitchell Ray (Nantucket, MA, 1870-1956), round form, single wrapped rim, opposing shaped handles, partial paper label on bottom, 12-1/2 in. including handles, 13-1/2 in. diameter Provenance: H.Coger, Ashly Falls, Massachusetts, purchased 1972 for $285 (lot accompanied by original receipt) Estimate: $300 - $500

314 Two Oak Split Basket with Swing Handles American, probably early 20th century, each with notch-carved handle stirrups with carved bentwood handles, wrapped rims, one with stained exterior, 9-1/2 x 13-1/2 in. and 10 x 13-1/2 in.

Estimate: $300 - $500

Mitchell Ray’s full labels read, “I was made in Nantucket,/I’m strong and I’m stout,/Don’t lose me or burn me,/And I’ll never wear out./ MADE BY MITCHELL RAY,/Nantucket, Mass.”

315 Pair of Boston Classical Brass Andirons stamped signature “Hunneman 493 Boston”, probably for William C. Hunneman (1769-1856), each with ball finials and stepped billet bars, 13-1/2 x 9 x 25-1/2 in.; together with period brass and iron fire tongs and shovel Estimate: $400 - $600

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316 American Classical Giltwood Pier Mirror second quarter 19th century, basket and rosette composition ornament, acorn frieze, two part mirror plate, 48 x 29 in.

Estimate: $400 - $600

The Estate of William N. Banks, Jr.

317 Pair of American Classical Brass Andirons 1820-1830, each with ball finial, stepped billet bars with log stops, 22 x 12 x 24 in.; together with two pairs of similar fire tongs Estimate: $200 - $400

318 Pair Empire Mahogany Marble Top Pedestal Tables probably Continental, 19th century, white marble top, tripod bases with column supports with gilt bronze bases and capitals, bases fitted with central urn stands, 35-3/4 x 15-1/2 in.

Provenance: probably former Collection of Winterthur (accession numbers 57.1431, top of one with label “Empire Hall 6th Floor Winterthur”) Estimate: $500 - $700

319 Pair Aubusson Carpets Continental, early 19th century, central medallion within diamond design, 6 ft.

10 in. x 10 ft. 4 in.; 6 ft. 6 in. x 9 ft. 10 in.

Estimate: $800 - $1,200

320 Labeled Georgia Classical Eagle Decorated Clock, label for “Patent Brass 8-Day Clocks Manufactured by Dyre, Wadsworth & Co., Augusta, Geo.”, circa 1830’s, triple decker clock with gilt spread wing eagle crest, gilt and ebonized wooden dial with mirror backing, over a mirrored central section, above an eglomise painted door opening to the labeled interior, mahogany with gilt columns and capitals, winder, pendulum, two period weights, 361/2 x 17 x 5-1/2 in.

Estimate: $400 - $600

321 New York Federal Mahogany Writing Table circa 1810, with banded mahogany and baize lined top, over two dovetailed frieze drawers, on reeded and turned legs with brass feet, 29-1/2 x 36 x 27-3/4 in.

Provenance: Ginsburg and Levy, Inc., New York, purchased February 1971 (accompanied by duplicate receipt) Estimate: $500 - $700

322 Federal Style Mahogany Twin Bedstead 20th century, with scrolled headboard and turned posts and legs, 44 x 81 x 44 in.

Estimate: $100 - $200

323 Classical Figured Mahogany Dresser American, circa 1840, figured veneers throughout, dovetailed drawers with white pine secondary, marble top, 47 x 42-1/2 x 40 in.

Estimate: $100 - $200

Condition notes available in back of catalog

324 Regency Carved Ebonized and Gilt Pedestal Table British, early 19th century, with circular top over a spiral turned base with leaf carved supports and animal paw feet, 25 x 18 in.

Provenance: Old World Weavers, New York, purchased April 1969 for $245 (accompanied by original receipt) Estimate: $300 - $500

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325 After Albert Bierstadt (American, 1830-1902) Mt. Washington, 1862, giclee reproduction, 36-1/4 x 58 in.; fine modern gilt fluted cove molding frame, 48-1/2 x 70 in.

Estimate: $2,000 - $4,000 This giclee reproduction was made after the work owned and sold by William N. Banks, Jr.. He paid approximately $7500 to have it made. The painting was appraised at $1,500,000.

326 Framed Decorative Print Two figures, offset reproduction of an Old Master drawing, overall with gilt wood frame 15 x 12-1/4 in. rabbet 12-1/8 x 9-1/2 in.

Estimate: $50 - $100

327 Conrad Wise Chapman (American, 1842-1910) Fifteen pages of preliminary studies for A Skating Scene, Paris, 1869, all unsigned, five in/with watercolor, others pencil on sketchbook paper sheets, largest 4-7/8 x 8-1/8 in.

Provenance: Collection from the Artist’s Studio; Deaccessioned from the Valentine Richmond History Center, Richmond, Virginia, sold at Northeast Auctions, November 6-7, 2004, lot 1220 for $4,830.00 (accompanied by the receipt and a copy of the catalog) Estimate: $1,000 - $2,000

Ben Bassham references these sketches (including lot 328) in his book, Conrad Wise Chapman Artist and Solider of the Confederacy. He states, “Early in February 1869, he began a series of studies for an elaborate, multifigured composition representing skaters on a large pond in Paris (in her memoirs Laura Seager Chapman mentioned that among her husband’s best works was a “beautiful view: Patineurs au bois de Boulogne,” no doubt the 1869 work or a replica). He tended to return repeatedly to favorite subjects, and there are indications that he painted A Skating Scene, Paris initially in 1869 and then based later replicas on a tracing of his first effort...” Five of the drawings offered here reference that the figures can be found on a tracing “No. 234” presumably from the same collection from his studio.

The Red Sleigh (lot 328) is mentioned as one of his more elaborate studies and illustrated. This subject matter marked the beginning of a more inspired period of painting after his repeated subjects in Rome that were done more out of necessity and loyalty to his family after leaving the war torn South.

Literature: Bassham, Ben. Conrad Wise Chapman Artist and Soldier of the Confederacy. 2013, pp 238-239

328 Conrad Wise Chapman (American, 1842-1910) The Red Sleigh, unsigned, watercolor, 5 x 5-1/4 in.; gilt wood frame with French mat, 11 x 14-1/4 in.

Provenance: Collection from the Artist’s Studio; Deaccessioned from the Valentine Richmond History Center, Richmond, Virginia, sold at Northeast Auctions, November 6-7, 2004, lot 1220 for $4,830.00 (accompanied by the receipt and a copy of the catalog) Estimate: $1,000 - $2,000 This capricious work of art was among William’s favorite works of art and hung in his bedroom.

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The Estate of William N. Banks, Jr.

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some handling grime, light foxing in water, album page with toning; frame with abrasions light toning and fading, foxing upper right, album page with handling grime, toning; frame with abrasions in excellent condition and retaining some areas of early varnish, minor bumps and edge wear, break and repair at one scroll at seat back, one seat frame set with two later braces, upholstery with stains and wear sticky clay on bottoms of bases (applied for stability), one with large repair to stem and reattached finial, scattered minor abrasions and surface grime one with breaks and repairs at three scrolled feet, with some distress and infill, otherwise generally good, with typical wear and abrasions, varnish layer with some added color, minor distress to veneer banding, one seat affixed with later screws, upholstery frames set with later risers period example with some restorations and later bracing to top ornaments, scattered flaking and gilding losses with some probably regilding, losses and gilding flaking at streamer leaves, probably original mirror plate (not removed for exam), typical scattered breaks and repairs to carved ornaments, other possible restorations obscured by gilding; reproduction example with breaks and repairs to central leaf ornaments, otherwise good with some surface distress and gilding flaws chips and cracks to glass drip pans at sockets, minor chips to prisms, pitting and areas of discoloration to brass, light abrasions to glass one glass globe oil broken off but present, one pierced drip loose, one shade broken, tarnish, polish residue to silver, minor losses and polish residue on jasperware hinges replaced, scattered edge losses with some associated retouch and repairs, typical minor warping and shrinkage cracks to panels, primary surfaces are largely intact but fragile with some cracking and cupping (see detailed photos), one panel with edge cracks, one panel with more substantial cracks at lower back excellent structural condition, each foot with central spline at underside (as made), stretchers supported at leg attachments by wrought iron threaded braces that appear to be original (with several replaced screws), extensive flaking and losses to paint and gilding with areas of retouch, original white marble top with extensive scratches, stains, and edge and corner chips surviving in a very good state of preservation, this table retains much of its bronzing and gilding, a detail lost on many of the other Quervelle pedestal tables; wear and substantial losses to

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bronzing and gilding at top, and typical cracks and scattered repairs to rosewood veneered banding at outer edge, minor shrinkage cracks to marble surround for top, some sun fading and cracks to skirt, pedestal base retains fine dry early surface, typical cracks and repairs with some areas of infill to pedestal base, feet, wings, and scrolls appear to retain much of their original surface, with some scattered edge chips and some areas of paint retouch, especially at tops and edges of scrolls, feet and interior of wings retain dark, vert antique paint, underside of pedestal with two later metal braces, marble top original with no apparent breaks (not removed for examination), top with some light wear and scratches excellent condition overall, top with repaired crack and minor warping, brasses likely replaced (or possibly just rosettes replaced, some shadows from previous rosettes), very minor crack to lower drawer facing, other scattered minor veneer flaws and some surface mildew, fabric bag with some minor tears and stains (not examined under upholstery) possibly later shades with cracks and chips at fitter, minor wear to gilt surfaces scattered veneer cracks, repairs and restoration throughout, repairs and one crack at top scrolls, minor cracks to legs (underside of legs with early iron braces, probably as made), repairs with some plugged screws or dowels at arm attachments, two toes restored at lamination, wear and fading to upholstery original marble top with old break and repair, typical scattered distress to veneer banding, some coloration and minor sun fading, probably original brass drawer pull with some corrosion, cracks and minor repairs to veneer banding on top, other typical minor veneer flaws overall very good condition, wear and abrasions to legs and feet, with additional tacking scars and infill where the legs join seat frame, one arm top with crack with plugged repair, minor patch and repair at one rear leg, upholstery heavily worn; back panel of upholstery was removed and the frame revealed appears to be in excellent condition with some fill and consolidation to tacking edges at lower seat frame; furthermore, the Israel Sack photography of the chair before upholstering shows the frame and appears to be very intact; reproduction chair is a very good match and in good condition stains and finish distress to top with typical veneer cracks and wear, central spline repair to top, brasses replaced, minor cracks to lyre supports (very minor repairs at lyre attachment to top frame), other scattered

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typical veneer cracks and repairs, legs in good condition (minor separations at attachments, one with later screw, no repairs found) good condition overall considering the fragile nature of the form, repairs and paint retouch at wing attachments of eagle and at some other crest elements, repairs and some later bracing and paint retouch at attachment of crest applique, typical cracks at laminations, with associated distress, retouch and flaking to gilding, especially to leaf appliques on candle arms and on ribbon crest, backboard replaced, old mirror plate likely original but not removed for exam lacking winder key and pendulum, chip to porcelain dial, some tiny flaws to mounts (as made), some gilt loss, patination, and scratches areas of discoloration and scattered areas of wear to gilt surfaces, some replaced prisms and chips to bottoms of prisms very good condition overall, replaced brasses and locks, scattered veneer cracks, minor losses and repairs, especially at base banding, upper drawer lacking fitted tray, some checking and finish distress to top, other scattered minor flaws one shade with chip of fitter, surface grime, minor wear visible frame in excellent condition with minor surface wear and finish flaws, some small abrasions and other typical anomalies, modern upholstery generally good with light wear and surface dust, upholstery was not removed to examine the frame, but photographs of the frame pre-upholstery suggest it is in very good condition hinged in, foxing, paper tape staining at edges, remnant paper tape verso top margin, slight waviness to paper, fugitive yellow and greens and or some fading, minor chip to edge of paper in right margin; frame with abrasions good overall, tacking scars to back panels, one with some later pins or plugged screws at crest rail attachment, back panel attachments with some possibly later plugged screws, scattered minor veneer patches and flaws, especially at seat rails, some later blocking for seat supports (each with plugged mortises from cross brace, now removed), upholstery with light wear and fading in very fine condition considering the fragile nature of the form, each with shrinkage crack at mirror surround, other typical scattered cracks and minor repairs to carved ornaments, restorations at some leaf tips, extensive silvering distress to original mirror plates, some flaking to gilding, especially at underside of bobeches wear and abrasion to surface, minimal small chips, small chip repairs to socle; pedestal base with surface dirt, abrasions,

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separations repairs to proper left shoulder; pedestal base with surface dirt, abrasions, separations working at time of inspection, scattered surface scratches, surface dirt layer, minor areas of dirt/residue accretion (especially to sockets and chimneys), metal mounts at neck loose, one spherical shade with loose collars, chimneys with wear to bases and minor anomalies (lips with uneven/warped area) stain at back of top, other wear and scratches to top, break and repair at one front leg, minor patches at one rear toe basin with some glaze inconsistencies and pinholes to red ground, some losses to iron red at basin floor, some areas of cold paint (as made), light scratches, some gilt loss, light wear to bases, partial labels to base surface dirt layer and accretion (especially to interiors), bronze mounts with discoloration and some oxidation, one urn with rim chip, one bronze rim/handle piece warped (does not sit flush with rim) with extensive fading and discoloration, selvage wear and losses, separations, tears, overall grime good structural condition, with extensive surface wear and polish residue, top of one example with extensive spotting and verdigris, typical wear from use Banks family members recall this table being “in the black” when William purchased it. A receipt in William Banks’ files records probable conservation work done on this table by Veleba and Hrouban of New York in May 1969, probably around the time of the purchase of the table. The receipt records restorations to gold leaf and brass hardware as well as repairing and refinishing. The table appears to retain some of its original painted surface, however, particularly the back legs and column supports.

There is some scattered pest damage to legs and supports with areas of flaking to paint and gilding and surface distress.

The ormolu mount to the skirt is apparently a replacement, as there are two unused holes in the skirt. There are veneer cracks to the rosewood top, a break and repair at the tip of one wing, minor sun fading and finish distress to the pedestal base, and fading and distress to the felt playing surface. formerly fitted for electricity (small holes in candle cups), some minor gilding wear, some crystals possibly associated, upper brass ring for basket likely later in date, some minor losses to crystals armchair with finish distress and losses, restoration at top of one arm support, patch and repair at one front leg attachment, break and repair at center of X form back; side chair with breaks and repairs at one front

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leg, crack at other front leg attachment, sun fading and finish distress good condition overall, with scattered minor cracks, small chips and surface wear to gilding, some paint retouch to apliques, original backboards (mirror plates not removed for exam) survives in a very fine state of preservation, frame with only minor shrinkage cracks and wear, warm patinated surface, feet appear to retain original gilding and vert antique paint, breaks and repairs with one small loss and some infill to one rear foot (losses to claws on same foot), other minor bumps and wear to feet, seat caning pushed through and will require repair, cracks and small loss where back rest joins rear stile, green tufted upholstered cushion in good condition. lacking back plate and pendulum, urn with losses to applied wreath, very minor discoloration to dial enamel at winder openings, minor scattered areas of corrosion and wear to ormolu surfaces wear and abrasions overall from use, polish wear and residue, splits and distress at bases of urn finials near fine condition, in a very good, slightly scuffed slipcase rebacked, very good overall with some rubbing to extremities, some with front or back boards starting all in good to very good condition, some with occasional wear at extremities very good condition overall, brasses replaced, finials probably replaced, upper doors formerly fitted with escutcheons, now removed near fine with very slight rubbing at extremities most volumes with bookplates and with significant water damage, otherwise very good condition one with repaired break to urn form (yellowing and flaking to interior), both with areas of gilt retouch at base of urn/top of stem, dolphin tails, and sphinx finials (possible repairs), one lid with crazing and faint hairline, some pinholes, one dolphin with anomaly to jaw (as made), and other possible flaws, light wear to bases plate with faded “CHINA” mark, light losses to enamel and gilt, some kiln debris; lotus bowl with extensive staining to interior (probable repairs) and other areas of retouch, hairline to rim, some pinholes, light losses to decoration drilled hole through reign mark, light enamel and gilt loss, other light scratches and wear good condition, tiny flaw to rim (as made), very minor enamel loss surface dirt layer, wax accretion, jasperware sections loose and with several small edge chips and losses, minor areas of

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discoloration and oxidation to bronze, shades with scattered surface scratches, one shade with dented metal attachment ring (does not completely conform to base) all with some areas of repair/retouch to rims (some yellowing), two with faint spider cracks to base, other faint hairlines, light losses to decoration, some scratches surface dirt layer, some scattered edge chips, lid with restoration to one “leaf” edge, interior with two hairline cracks to side, spider crack and area of possible retouch to underside excellent condition, minor checking and fading to backs of crests (one with two small plugged screws at joint to rear stiles), small face patch at back of one tablet, typical edge wear to front feet and legs, top of one front leg with plugged screw and very minor crack, other scattered minor flaws Recently conserved by Colin Post, Painting Conservation, Asheville, North Carolina. See conservation report online. wax and linen lined, surface dirt layer, wear at edges not visible under frame; frame with wear commensurate with age hinged in, scattered areas of re-touch, possibly yellowed varnish; frames with minimal wear and abrasions wax and linen lined, crackle, surface scratch sky upper right, areas of re-touch; frame with wear, abrasions, small areas of loss to gilt yellowed varnish, surface dirt layer; frame with wear, gilt possibly painted over with gold paint, duct tape frame verso obscuring old label wax and linen lined, area of possibly incomplete re-touch lower left, crackle; frame in good condition, some cracking and minimal wear commensurate with age, see full condition report by Painting Conservation, Asheville, North Carolina online crackle, surface dirt layer, canvas slightly loose; frame with minimal wear recently conserved by Colin Post, Painting Conservation, Asheville, North Carolina, see full condition report online large repair to reticulated basket on centerpiece, one winged maiden lacking foot, wear to gilt especially on surface where winged maidens are kneeling, one compote with repaired basket, some discoloration where cherubs are connected to pillow, overall gilt losses bread and butter plate with hairline; one saucer with small rim fleck; some bouillon cups and rim soup bowls with crazing; flat cup with spider crack to base, some staining, minor losses to decoration, light scratches and wear one dinner plate with two repaired breaks to rim, one with chip to rim, two with

hairlines; one small bowl with hairlines, one with spider crack; square vegetable lids with rough edges/kiln debris, do not sit flush; one pot de creme missing lid; one demitasse cup with small crack to base, some light kiln debris; one tiered stand with radiating hairlines to top tray, one tiered stand with repaired breaks to top tray (yellowing); one sauce boat lid with hairlines, faint firing cracks and stains around flanges; one shell form dish with spider crack; other minor nicks to edges, light scratches and gilt loss, wear to bases, light crazing, some variations in blue color borders, minor anomalies as made 67 in good condition with good integrity, tops with scratches and stains from decades of entertaining, very minor separations to joints in tops, pest damage and minor repairs at wooden hinges, losses and distress to leaf stands, cracks and distress to top of plinths, later added connection supports 68 large rug likely reduced, extensive fading especially on one side and on azure field, tears and losses on one border near corner, overall losses to wool especially to black wool details, remnant of needlepoint with bright color and overall good condition 69 These chairs are well used and loved from William Banks’ many memorable dinner parties. There are several breaks and repairs to the legs, some minor breaks and cracks at the backs, other minor veneer losses, surface wear and water spots, and stains and wear to upholstery. The receipt notes that at the time of purchase, the joints were tightened and there is some glue evidence of this along with later seat blocking. The period armchair has breaks and repairs at joints of arms to rear stiles, with some associated breaks and losses at central slat, and some repairs at attachments of arm supports to side rails. The modern armchair is finished in brown paint and lacking inlay on tablet.

70 scattered losses to gilding and composition ornaments including some cracks and losses to leaves and rosettes, central mirror appears old but with later backboards (not removed for exam), some distress to silvering on mirror plates, other distress to gilding with some retouch, including possible retouch at base molding, mirror plates have settled some with some separations at tops of gilt dividers 71 one plate with small crease above the Wedgwood mark, several with a few scattered blue specks verso, minor wear and losses to gilt decoration 72 surface dirt layer, scattered surface scratches and small edge chips, scattered air bubbles throughout, one lid with large chip to pointed tip, one lid with

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very small chip to pointed tip, one serrated tooth likely sanded down two teacups with repaired breaks to handles, one teacup with hairline and chip to rim, three saucers with faint hairlines, one saucer with crack to rim, one saucer with chip to rim, light wear to decorations, some crazing and stains, other possible losses legs restored, otherwise good condition, original brasses, scattered typical minor veneer cracks and repairs, including some checking to doors, the Withington receipt indicates restoration by Veleba & Hruban, New York toning, fugitive or faded yellow tones, foxing, hinged in at top, repaired tears in margins, 1 in. tear top right margin, some chipping at edges; frame with abrasions repair to left edge, loss on right edge and bottom right corner; toning and some color loss; slight foxing breaks and repairs at two legs, feet ended out 2 inches, top with typical veneer cracks and distress at laminations with two thin strips of infill both linen lined onto original stretchers, crackle, deformed areas on each signifying areas of old repair, areas of retouch scattered throughout, areas of possible failed restoration; frame with minimal wear, see full condition report by Painting Conservation, Asheville, North Carolina, online wax and linen lined, areas of re-touch scattered throughout; frame with wear, especially at corners and edges, old repair at corners repairs and retouch throughout (yellowing) with large repaired break through center, some losses to gilt and enamel, scratches one with spider crack hairline to base, tiny hairline to left of arms; one with two small repairs to rim, small chip to foot; both with some tiny rim flecks, light scratches and losses to enamel and gilt decoration, some pinholes small crack to one base, pedestals with some flecks/chips to cut pattern, one candle cup with chip to base, and small crack to edge with small area of repair (scalloped rim slightly reduced), one candle cup with small area of repair (scalloped rim slightly reduced), scattered flecks to drops and icicles, finials sit slightly off center, gilt mounts slightly loose, some slight separations between drip pan and cup components, light gilt loss and patination light kiln debris, light scratches and losses to decoration, some pinholes and other minor flaws as made later electrification (candle cups also formerly electrified, each with hole), minor bending to crown mounts and areas of

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verdigris, typical restringing to crystals with some possibly associated, central band with two small unused holes (likely related to later electrification), other typical gilding wear, minor bending to mounts and other distress, some minor losses to crystals largely intact with scattered surface wear and losses to gilding, typical scattered cracks to ornaments, some gilding separations at joints, eglomise plates with some spotting, glazed plate with scratches and distress to silvering (plates appear to be original, backboards replaced and one missing), jasperware plaque with surface dirt but appears to be intact this set survives in a remarkably fine state of preservation, all chairs front feet formerly fitted with casters (now removed), scattered veneer cracks and checking to crest tablets, some wear and minor chips at knees, and other scattered minor surface flaws; Chair II: possible restoration at one front foot (lamination lines differ from the other chairs); Chair III: possible restoration at one front foot side lamination; Chair IV: break and repair at one front foot with glue residue at bottom, evidence of pin repair from back; Chair VII: minor cracks to one side of lyre, crack and repair at one rear foot, lacking one small rosette at side of crest; Chair X: crack at base of one lyre, break and repair at one foot, minor crack at one side rail; Chair XI: two tenon repairs at side rails, break and repair at one front foot wax and linen lined, metal strip lining, crackle: frame with wear and some losses to gilt, stamped verso: Conserved by Bernard Rabin, Newark, New Jersey, September 1969, see full condition report by Painting Conservation, Asheville, North Carolina, online laid on board, laid on Masonite, yellowed varnish, surface abrasions/anomalies upper left, crackle; frame with wear and losses to gilt board with slight convexity, crackle, edges taped, areas of retouch in sky; frame with abrasions neither examined out of frame, slight toning, crease visible at lower right corner of watercolor, drawing with slight foxing; frames with wear at corners and edges see full condition report by Painting Conservation, Asheville, North Carolina, online linen lined on probably original stretchers, crackle, wear at lower edge from frame, not visible under frame; frame with wear, cracking and losses to gilt linen lined, probably yellowed varnish; frame with wear, some losses to gilt and decoration wax and linen lined, crackle, yellowed varnish, small vertical line of retouch canvas

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right; frame with wear, possibly re-gilt, small areas of loss to decoration, cracking crackle; frame with some wear see full condition report by Painting Conservation, Asheville, Noth Carolina, online canvas lined, crackle; frame with wear commensurate with age, see full condition report by Painting Conservation, Asheville, North Carolina, online crackle, slight surface mildew upper background, surface dirt layer; frame with wear especially at corners and edges slight surface mildew, board rough at edges, probable yellowed varnish; frame with minimal wear considering age canvas lined, crackle, stretcher marks; frame with abrasions and wear at edges areas of in-paint scattered throughout, evidence of checking panel recto right side, three corresponding dutchman repairs panel verso; frame in overall good condition, some wear commensurate with age no bobeches, several cups and drip plates losses, all with wear and damage lacking pierced tray, dents and wear three plates with pitting, other wise average wear; bowls with heavy tarnish` dents and wear top with corrected warping or resized (three boards with butterfly patches at back), stains, wear, and finish losses to top, other scattered surface distress, slight warping to leaves minor crack and repair at one rear leg, small patch at one rear foot, other typical minor wear and abrasions at legs, modern upholstery with light wear (not examined under upholstery) surface dirt layer and areas of accretion, some erosion and loss to nose, unknown substance accretion at bridge of nose excellent structural condition with typical scattered veneer chips, cracks, and minor repairs, especially at edges, one larger chip to veneer at scrolled foot, some finish distress and minor fading, especially to surround for top, some scratches and wear to marble top and minor edge flaws marble top replaced, some regilding and paint retouch to front feet, one rear foot ended out 2 inches, other veneer patches and repairs, mirror plate possibly original (not removed for exam), minor cracks and finish distress at lower shelf refinished, legs probably restored, brasses replaced, scattered repairs including butterfly patches to interior of case side, patches at door escutcheons, other scattered repairs, the Withington receipt records restorations and repairs by Veleba & Rubon one side chair with badly broken rear leg and front leg with color retouch (very fragile), ve-

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neer patches and some chips at two crest rails, minor cracks and repairs to carved slats, some later seat blocking, associated armchair with one ended out rear leg, repairs at joint of front leg, minor stains to upholstery veneer losses and repairs at one foot, lacking one turned side rosette and one ball finial for lyre, other typical wear, abrasions, and minor veneer flaws one dinner plate with chip to rim, light scratches and minor losses to decoration, light wear to bases generally good with minor surface wear and abrasions, upholstery with light wear scattered surface scratches, surface dirt layer and residue accretion, losses to gilding throughout with areas of possible retouch, scattered minor edge chips; Hutschenreuther bowl of slightly different form; one soup bowl with break and loss to one handle, one bowl with break and repair to one handle, one bowl with spider crack to base and possible repair, one bowl with minor interior chip and repair to edge; most dinner plates with some edge chips, one with crack through plate edge plates are slightly skewed from center stem, overall wear to gilt decoration especially where center stem rests on plates square serving dish with stains, small flaw at center field; rectangular dish with 2 in. crack; crazing, small rim flecks, some glaze flecks and losses, light scratches, wear to bases lined, scattered light retouch lined with Japon nacre paper with repaired tears, fading, some toning, some handling grime; frame with abrasions generally good condition, brasses replaced, cracks and distress to mirror surround with distress to silvering on mirror plate, typical minor veneer patches, shrinkage cracks to top and sides, replaced molding strip above top drawers, lacking one small connector strip at underside of superstructure, other scattered minor repairs and flaws good condition overall, breaks and repairs at crest scrolls, one break and repair at swan attachment with later screw at underside, each chair with crack at one front leg, cracks and repairs at swans’ necks (one chair with later color at back of slat) leaf carved example frame marked “VII”, slip seat probably replaced, cracks and repairs at front leg attachments, interior of rails with several unused holes (presumably from braces for legs, now removed), minor crack at one eagles head; second chair with break and repair at one eagles neck, breaks and repairs at front leg attachments, one front leg with possible patch at back (lamination present), period slip seat, back of

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chair frame marked “XV”, stains and wear to upholstery very good condition overall, some restorations to laminations at sides of feet, legs attached with original iron braces, one minor veneer chip at base, other scattered minor edge wear and surface flaws areas of regilding, repairs to frame and eagle finial, interior tape backing to large eglomise panel, later wire support to interior, minor wear to dial, accompanied by original photographs documenting clock before restoration and conservation treatment report, report also indicates that repairs and cleaning of the movement were completed by a clock restorer very good condition overall, some fading, abrasions, and wear to stenciling and ebonized elements, scattered chips and surface losses to gilding and verdigris, shrinkage cracks and distress at lower shelf, backboards reset or replaced (mirror plate not removed for exam), original marble top with wear and scattered edge chips/flaws, stains, some flaking and losses to gilding including at back of swan figures extensive sun fading, especially at right side, some warping and minor stains to top, some very minor losses at blind fretwork, legs are somewhat loose and fragile at attachments (attached by threaded posts), minor discoloration to ivories, some small losses to brass edge mounts, other scattered minor repairs, surface wear, and flaws formerly fitted with casters (now removed), later gilding to legs, possible restoration at attachment of seat to pedestal (attachment board appears to be weathered), possible restoration to backrest and dolphin tails (joint at tail with color and surface variation), other fading and finish losses, modern upholstery is generally good breaks and poorly executed glue repairs at joints of front legs to trestle, lacking fabric bag, one minor banding loss between drawers, some small molding losses at bases marble top is a later replacement with light stains and wear, scattered losses to veneered banding on drawer facings, veneer patch with cracks at back of one case side, veneer loss at one side base molding, other scattered typical veneer cracks and scattered repairs lacking center chimney and lower set of steps, reattached grill to widow walk, losses to paper, fading, losses to faux brick foundation, separation between roof and house on left side, surface dirt, wear in working condition at time of examination, loss to thumb holding bow, wear and fading to clothes shattering to costume material, some discoloration around neck, hat is loose, wear to fabric

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Condition Notes - Please check website for updated condition notes on shoes, fading 134 scattered chips and losses to hat, horse missing both ears, cracking along horse’s front legs, rocking mechanism works (slowly) 135 carousel spins and plays music at time of examination, shattering to silk costumes, fading, wear and losses to all fabric surfaces 136 both with losses and breaks to the scrolled flourishes on the candle branches, minor dents to rims of candle cups, both figures with losses and wear to patination, minor verdigris in folds of gowns, wear to patination on bases 137 several chairs with laminations at lower legs (restorations or possibly as made), two chairs with ended out legs, one chair with patches and repairs at joint of crest to rear stiles, several repairs at rear leg attachments with some later screws and later bracing at seat rails, other scattered cracks and repairs to rear stiles, armchairs with breaks and repairs at joints of arms to rear stiles, one armchair with additional break and repair at one front leg, other veneer cracks and repairs, some sun fading, stains and distress to upholstery 138 frame generally good with some surface wear and abrasions, minor separations at foot laminations, fading and wear to upholstery 139 excellent condition overall, minor glue repair to one side seat rail, veneer patch at back of one leg (possibly as made), minor bumps and wear to frames, wear and stains to upholstery, one area of upholstery pulling away at back, one sprung seat needs rewebbing 140 surviving in fine condition with no structural repairs or breaks to legs found, both have significant shrinkage cracks to veneers on tops with resulting separations and some small areas of color retouch, repairs and restorations to veneer banding on tops, with some retouch and color variation, other scattered minor veneer distress, some light bumps and wear to legs, one table with early pencil inscription to underside “Mrs. J.W.?... Flushing, LI”, very minor patches at hinge attachments 141 eagle finial and pitch pediment backboard are associated, very minor warping to doors with typical veneer cracks, some distress to muntins, scratches and wear to top of lower case, typical shrinkage cracks to paneled doors with some infill and repairs, one door with breaks and repairs at hinges, shrinkage cracks to side panels, warping and cracks to right side of upper case, cracks, repairs and separations at upper right door hinges, one interior shelf replaced, urn finials original with some break and repairs, some breaks and repairs to legs 142 Sun Also Rises in very good

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condition with some staining at the bottom edge, bumped corners, wear to spine label, lacking the dust jacket, Goldfinger, very good in a very good clipped dust jacket with some edge wear, Dr. No very good in a good only dust jacket, others with minor wear very good condition with rubbing at the extremities and some wear typical wear and distress from use and some polish residue, wear to billet bars and other surface flaws minor warping and cracks at top, loss at tip of one lyre “string”, break and repair at one leg, one leg likely replaced (other three legs have good age and color but are not integral to the corner posts and therefore possibly old restorations) generally good condition, minor pest damage at seat rails, scattered bumps and abrasions, small patch at one arm top, other scattered flaws original stretcher, crackle, retouch in sky; frame with abrasions light toning, hinged in at top, some abraded ink at edges; frame with minor abrasions extensive fading and water damage to globe and printed surround, stains and `areas of losses to surround, minor separations and curling at seams of globe, stand with breaks and repairs at two legs with one associated patch, later metal braces at underside of leg attachments, mounted on board, probably aluminum honeycomb backed, areas of retouch scattered throughout, crackle; frame with wear and some losses to decoration good condition overall, rear molding of top replaced, veneer on one side of back replaced (veneer overall on back may be later in date, see Peter Hill’s notes), scratches, wear, and stains to top, minor sun fading, some very minor veneer chips at lower skirts, one lion mask brass pull probably original with three cast to match it, no foot repairs found with “Sondley Reference Library” Asheville, North Carolina bookplate on front pastedown, very good with some loss at the extremities, corners bumped, toning and foxing all in very good to near fine condition all are in near fine condition The Decisive Moment in very good condition, in original paper covered boards with some browning and wear at top and bottom of spine, in very good, somewhat browned dust jacket with some wear at top; Moments Preserved in near fine condition, in a near fine dust jacket and very good pictorial slip case with some foxing and wear at extremities; Observations in near fine condition,

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in original boards, one small puncture at the spine in a very good slipcase, a bit browned and with some wear at extremities all in very good to near fine condition all in very good to near fine condition all in near fine to fine condition canvas trimmed, lined and re-stretched; some retouch on facade of building; frame with abrasions foxing and toning, especially under mat, drawings hinged to interior mat board; frames with chips and losses Headley: drawing with additional perspective sketch verso, page folded and hinged to mat , some toning and light foxing; all frames with very light wear some repairs to wrappers (including rice paper backing), some minor repairs to sheets at interior margins, two of the plates have been altered, probably by Davis himself (as he did this to most of the known copies), some toning and foxing, minor creases and tears to edges American Builder’s 1806, hinge is tender, scuffing and wear at the extremities, scattered foxing, Rudiments near fine, American Builder’s hinge is tender but holding, (gutter cracked), first two preliminaries detached but present, overall rubbing, wear and some loss at the extremities, Architect, small ownership seal on title page, binding near fine, Practice of Architecture front hinge tender, scratches to the leather, wear at the extremities Vaux, very good, corners bumped, wear at the extremities and some loss, hinges are tender, Dyer, good, wear at the extremities and some loss, original endpapers are excised all in very good to near fine condition The Carpenter’s.. good, somewhat scuffed and worn leather, publishing date cut out, top of plate V is chipped; The Practical.. binding is near fine, plates with occasional darkening and foxing, some pages separating or loose, some tears, lacking three plates bright color, toning and minor foxing, minor chips from lower edge, two small pinholes; adhesive stain and tanning verso; Georgia with scattered light staining, one small hole at top right edge, pencil inscription “1836” lower right, small tear to lower right edge, mild creasing, some tape remains verso (previously hinged in); Map of the States of Alabama and Georgia joined at center, some light staining throughout, creasing at joined area; New Hampshire, Vermont & c. hinged in with archival tape, with scattered edge wear and small tears, some toning and staining throughout, two tears repaired with tape verso, left edge possibly

trimmed; frames with abrasions 170 toned with some foxing, some surface dirt in border areas, edges with some loss, tacking holes on top; frame with minor wear 171 canvas trimmed, lined and restretched, surface with crackle throughout, retouch especially at center left in trees and area of swing; frame with some loss to applied composition decoration 172 sheet is laid down on board, losses at corners and tacking holes, toning and foxing, tears, folds and pin holes; frame with some loss at lower edge 173 very good condition with some rubbing at the extremities 174 bookplates on the front pastedown, some water damage to a few volumes, some rubbing at the extremities, otherwise very good 175 very good condition with rubbing at the extremities and occasional wear 176 not tested for functionality, surface dirt layer, some areas of minor oxidation, some areas of dirt/residue accretion (one possibly with tape residue), some scratches and wear to edges, one with finial loose, one with burner rim slightly loose; shades with surface dirt layer, minor areas of accretion (especially to interiors) 177 very good condition overall, minor cracks to laminated back and one small glue repair, small loss at base of one column, legs and feet in good condition with typical wear at toes, vintage leather with cracks and wear especially at arm tops, seat with some scratches (seat upholstery a more modern replacement), frame appears to retain early possibly original surface, small loss at one scroll on knee 178 scattered veneer chips and losses, especially at cornice, otherwise generally very good condition, lacking interior shelves for upper case, some minor finish distress and sun fading 179 not tested for functionality, remains of old paint to reservoir (most worn away or flaking), surface dirt layer and accretion (especially to reservoir edge), possibly lacking drops (reservoir outer rim with unused holes, likely for hanging drops), losses to gilding, scattered surface scratches, marble base with some discoloration and minor edge wear and chips, some elements slightly loose on base;` shade with surface dirt layer and accretion, minor edge nicks 180 plate 51 is missing, plate 39 was torn and backed, light toning, scattered foxing to plates, binding fine 181 in good condition, hinged in at one side, slight toning, slight areas of pencil smudging at upper border, tiny area of foxing mid-right border; frame with minimal wear 182 surface dirt, yellowed varnish,

Condition Notes - Please check website for updated condition notes accretion sky upper right; frame with wear and abrasions 183 surface dirt layer, minor surface abrasions; frame with wear 184 tacking holes at corners, slight toning, foxing, slight wear at corners; frame with wear and losses to gilt at edges 185 paper with some smudges and toning, small tear center right edge where it was taped, crease lower right corner, small areas of loss and creases on bottom edge of page; frame with minor losses at corners. discoloration on upper edge, possibly from heat 186 overall good with typical abrasions, chip at back of marble on Napoleon standing, blade of Napoleon’s sword broken and not present, minor chipping to corners of both marble bases 187 excellent overall condition 188 excellent condition overall with no major evidence of wear 189 corrosion, accretion, wear; large chip on one plinth at base, other small chips 190 some cracking to wood, loss of gilt, flaking and surface abrasions 191 surface dirt layer and accretion, all pieces loose on central dowel, scattered small nicks and chips throughout (especially to edges and corners), one support piece with break and restoration to corner, losses to gilding and silvering 192 minor cracks to wall brackets, some loss of gilt throughout 193 all hinged in, slight warp to all papers, probable yellowed varnish; frames with minimal wear and abrasions 194 laid on a contemporary backing board, raised line of unknown origin running vertically up the left 1/3 of the board, and across the top of the board, areas of retouch throughout; frame with minimal wear 195 see full condition report by Painting Conservation, Asheville, North Carolina, online 196 break and repair at one front leg attachment, cracks at one foot with chip and indentation at leg, upholstery with stains and wear (not examined under upholstery) 197 wire end clipped (not currently functioning, no plug present), some elements loose on base, paint losses and flaking to reservoir, surface dirt layer and accretion, some losses to gilding, scattered surface scratches; shade with surface dirt layer and accretion, minor edge wear, scattered air bubbles throughout 198 breaks and repairs at front legs with some patches and scars from previous braces, now removed, some cracks and repinning to rear stiles, minor chip at one front foot 199 surface dirt layer, scattered light surface scratches; emperor portrait frames with surface dirt layer and accretion, losses to gilding, some cracks and separations throughout, minor wear to green silk backing; french

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medal style plaques not examined out of frames, some losses to gilding and discoloration, frames with light wear, some spotting and discoloration to gilt borders not tested for functionality, surface dirt layer and accretion, scattered losses to gilding, areas of discoloration and tarnishing, some dents and warping to metal shades probably later, wires are cut, extensive wear to gilt surfaces pair with scattered surface scratches and chips, areas of gilt loss and flaking throughout, surface dirt layer and accretion; reproduction a near match (slightly smaller - 4-1/2 x 5-7/8 x 5-1/4), surface dirt layer and accretion wire ending clipped (no plug present), surface dirt layer and accretion, some areas of discoloration and tarnishing, minor areas of oxidation (mostly at top/ring support edge), some areas of gilt loss, some minor warping to metal, sits slightly askew; shade with surface dirt layer, scattered scratches and edge nicks one sits slightly askew, surface dirt layer and accretion, wax accretion, some discoloration and areas of oxidation, some elements slightly loose, minor losses to gilding, one candle cup with some holes/losses to metal (see detailed photos), one with small loss to rim of central drip pan one with stain to shield cameo, one with tiny hairline and minute chip to swag cameo, mounts with minor flaws (as made), some gilt loss and patination, light scratches, some surface dirt, not tested working at time of inspection, surface dirt layer, some areas of discoloration, minor losses to gilding, one lamp with top section slightly loose on base; shades with surface dirt layer and some areas of residue accretion, wear to edges, one with large edge chip scattered surface scratches (especially to dial), surface dirt layer, some areas of discoloration and tarnish, back left foot loose, horse’s tail piece loose, one “strap” of horse’s breastplate broken off from nail attachment (still attached to horse’s underside, see detailed photos), some tape/adhesive residue, not tested for functionality chips and losses to corners and edges of both bases, Shakespeare with chip at facing left shoulder and restuck to base with visible glued repair, hair cracked and chipped surface wear, dirt and abrasions to paint decoration, scattered minor corrosion, seat upholstery with light wear and stains reconfigured using some early elements, top with later backboard and set with three large metal braces at underside,

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scattered wear and losses to paint and gilding especially at corners, lacking one rosette, one leg slightly loose at attachment scattered surface scratches and small chips, some accretion and staining, some areas of gilt loss and flaking, one with break and repair to one acorn pendant, one with small crack and separation to side excellent overall, gilding restored, minor crack at back of one rear style, one chair with very slight sun fading at back good condition overall, with surface wear and abrasions, some distress and dryness to leather good condition overall, patch and repair at one molding (from vertical slat breaking out), minor surface distress and fading, brass finials likely later replacements not tested for functionality, surface dirt layer and accretion, areas of discoloration and spotting, losses to gilding, some dents and warping to metal; shades with surface dirt layer and accretion, minor edge wear and nicks Sloan’s.. good, wear at the extremities and wear at the top and bottom of the spine, spine starting to separate, toning and foxing; Old Homes.. fragile, this copy is very good with some wear at the extremities and some damp to the back board, light toning; two others in poor condition, Civil Architecture.. with front board and two preliminaries detached but present, The Homes.. one spine label separating but holding The Practical House.. four plates have been replaced by plates from a different edition (28, 30, 44, 72), plate 69 is missing, front hinges cracked but holding, back board detached but present, corners bumped, light scratching and wear; The Practical Builder.. near fine condition, all plates present all in very good to near fine condition The Beauties of Modern Architecture near fine; The Modern Builder’s Guide probably rebacked, otherwise very good with wear and some losses at extremities; The Young Builder’s General Instructor very good with wear and some losses at extremities 11 glass hurricanes present, one missing candle support, layers of white paint peeling and chipping, wear commensurate with age and outdoor use seats intact, layers of peeling white paint, surface wear commensurate with age and outdoor use, table without glass top all slats intact, missing some wheel spokes, remnants of rubber tire on one wheel, layers of white paint, surface rust, corrosion and wear commensurate with age and outdoor use good condition overall, layers

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of old white paint with rust and surface wear commensurate with age and outdoor use, without glass top all slats intact, layers of white paint with rust and surface wear commensurate with age and outdoor use generally stable with some rust and corrosion (especially at edge of seat), some associated lifting at joint of arms to seats, one with two paint layers and more extensive flaking, other surface distress consistent with outside use seats and table top generally intact and stable with some rust and corrosion, old layers of white paint with surface distress, chips and wear commensurate with age and outdoor use Nicely patinated, scattered cracks throughout, wear and weathering consistent with age and use in outdoor setting overall good condition, layers of old white paint, seats intact, wear and weathering commensurate with age Nicely patinated, Autumn with repair at feet , small chips at corners and edges, wear commensurate with age and outdoor use Overall condition very good, nicely patinated, small old loss at top of drapery at back, scattered cracks throughout, wear and weathering consistent with age and use in outdoor setting layers of white paint, surface dirt layer and accretion, areas of discoloration, paint loss and flaking, spotting, corrosion, wear and weathering consistent with age and use in outdoor setting Numerous breaks and repairs, with pieces mostly present, weathering, separations, breaks, chips, orbs broken but present surface dirt layer and accretion, spotting, some areas of paint loss and flaking throughout, (especially to one top), scattered surface scratches, cracks, and nicks, wear and weathering commensurate with age and outdoor use good condition overall, rust and corrosion, scattered surface scratches, layers of old paint with loss and flaking, surface wear and discoloration, hardware inside appears original, wear consistent with age and use in outdoor setting one cachepot with hairlines and cracks to drainage hole, some losses to gilt and paint decoration, pedestals with some chips and flecks to edges, plant debris; metal planters with light wear, one with abrasion to rim and commensurate rust; earthenware planter and underplate with plant debris, light wear scattered surface scratches, surface dirt layer and accretion, some wax accretion, bronze with minor areas of discoloration and oxidation, shades with minute nicks and some popped air bubbles

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Condition Notes - Please check website for updated condition notes 237 Treatise: good only, wear and loss at the extremities, worming, tear and creases to ownership signature, Florist’s: very good, corners bumped, some loss at the extremities, water stains 238 Sitwell: very good in a good slipcase with wear at extremities, others very good 239 volumes I-IV in very good condition with some wear at extremities and some dampstaining; volume VI is in good, only dampstaining and some loss, loss to title spine label, water damage 240 A Treatise on.. some early restoration to the spine, top quarter of the front free endpaper is missing, wear at the extremities, some toning and foxing; Cottage.. front and rear hinges are tender (gutters cracked), wear at the extremities, some toning and foxing; The Architecture.. splitting at spine, spine with tape, evidence of plate removal on the back endpaper 241 Hints.. with some foxing and light toning, near fine binding; The Suburban.. with front board and nine pages detached but present, spine popped but holding, rubbing and some loss at the extremities; The Villa.. possibly rebound with original cloth binding, corners bumped, wear and some loss at the extremities 242 Triggs: very good with rubbing and occasional losses at extremities, some creasing to tissue guards 243 all in very good to fine condition 244 all near fine to fine condition 245 some dampstaining on the front and back boards, rubbing at the extremities and some loss, several moveable overslips with small tears in the upper borders at the page fold including plate XI, XII and XIV, otherwise very good 246 (plate Garden near Oporto, page 90) is missing, very good with some rubbing at the extremities, pages and plates have some foxing but near fine 247 Observations... in near fine condition in a lightly scratched, one bump, near fine slipcase, some creasing to tissue guards; Humphry Repton in very good condition in a very good lightly edgeworn dust jacket 248 excellent condition overall, some distress to early mirror plate, minor crack at one finial, minor cracks, stains, and wear to tops, one case side with minor sun fading, leaf carvings likely regilt, scattered veneer cracks to lower shelf, other wear and surface flaws consistent with age and use 249 In the reupholstering process, some carved and gilt elements were interchanged, but there are eight carved and period elements to complete two smaller valances; typical light wear and distress to gilding, fading to fabric, framework for all valances is modern

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250 one urn with chip and hairline cracks on stem just under ovoid body, likely repair or enforcement connecting vase to pedestal, 1/2 in. scratch under panel with animals, areas of glaze losses under and near handle, other urn likely repair or reinforced between body and pedestal, small glaze blemish under each panel, both with chips and repairs to marble base, wear and minor abrasions to gilt and glazed surfaces 251 one mirror with loss to silvering, some loss to gilt throughout, typical surface abrasions 252 watercolor is a 20th century replacement, two backboards possibly replaced (circular saw marks), some distress to silvering on mirror plate, losses at two lower moldings, probably original mirror plate (not removed for exam) 253 structurally fragile, one with one side element broken off (but present) and other side element loose at attachment point, scattered chips, losses to gilding, cracks and separations throughout, one with crack through shelf base with probable repair, some warping to wood, shelves sit slightly askew, surface dirt layer and accretion, both with drilled holes at leaf bottoms and backs, other typical distress and wear consistent with age and use 254 typical wear and distress consistent with use, some polish residue 255 scattered veneer chips and losses, finish distress, some separations at joints and some later nailing, central mount on primary rail lacking head 256 lacking pendulum and back plate, minor gilt wear, several scratches on each side under wreaths, abrasions to base 257 tears in margins taped with archival tape verso, toning, hinged in, lower right corner with crease, other small tears at edges; frame with abrasions 258 good condition overall, shrinkage cracks to top and sides with later braces at underside and some associated retouch and repair, probably original brasses, scattered minor veneer cracks and flaws, minor distress to silvering on mirror plate (possibly original, not removed for exam), other typical minor surface distress 259 extensive veneer distress, losses and repairs, some pest damage at secondary woods, bronze mounts likely associated, marble top a later replacement 260 not tested for functionality, surface dirt layer, some areas of discoloration and oxidation 261 good overall with typical marks and surface abrasions, each with glued repair to joint at scroll and shell, some loss to gilt 262 Washington’s House: canvas lined, lining verso with areas of mildew, significant retouch especially sky, crackle; Washington’s Tomb: wax and linen

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lined, crackle; frames with wear and abrasion, Washington’s House with loses to gilt original stretcher and tacking edge, American colourman stamp canvas verso, areas of mildew canvas verso, probable yellowed varnish, crackle; frame with wear commensurate with age, large crack at lower right edge canvas lined, bulls eye crackle, crackle; frame with wear commensurate with age excellent condition overall, upholstery partly removed for exam, crest rail appears to be intact (some consolidating linen glued in obscures some areas), minor cracks at one arm and one arm support, minor cracks at one foot small chip and hairline to spout, small hairline to interior wall, tiny fleck to base, some wear to gilt, light pin holes, sticker residue to base, other light wear old varnished surface with some veneer distress including crack and small chip at top, other drips and finish flaws, work drawer with two later metal braces (to repair crack) later top with breaks and distress at banded edge, pedestal base with extensive wear, losses, and surface dirt to lacquer, losses and distress to silvering on mirrored top small spot of glaze loss or chip to lower floral band, minor gilt loss and wear several areas of accretion at interior gold rim, a few minor scattered stains or glaze flaws to left of design, other minor wear to gilt and base some cracks and warping to door panels (interior quarter round panel moldings replaced), some minor patches and one area of infill to interior case sides, patched hole in one backboard and patched cuts in back of two drawers, top boards of case reset, repaired cracks to case sides with some finish distress and retouch, some small patches at door frames, scattered mildew, especially at interior, other scattered minor patches and small repairs, surface distress, some scratches and abrasions, gilt door escutcheons probably original surface wear and distress consistent with use, one with drip and area of verdigris, one with split at back of billet bar, one very slightly bent extensive fading especially to salmon ground, large repair on border near corner, areas of reweaving and smaller repairs, losses to weft especially on borders some drawer supports need resetting, somewhat loose in joints and construction, areas of finish distress, stains, and abrasions, shrinkage cracks at case side, brasses replaced small areas of retouch scattered throughout, surface scratch/ anomaly sky center, yellowed

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varnish; frame with cracking and minimal wear lined with wax and linen and restretched on original stretcher, vertical repaired tear at left with associated retouch, crackle, newly cleaned and varnished, lacking central stretcher bar; frame with cracks and losses to composition upper right and in egg and dart band painting has been capably restored with notable areas of retouch on arm and neck, canvas laid on board, crackle throughout surface, some losses; frame with crackle throughout, repainted in some areas, top right corner with loss lined, restretched, crackle, retouch, surface dirt, some mildew spotting on surface of varnish. labeled figure with break and repair to top, other scattered chips, three unused mounting holes, figure with scattered losses to carved edges including at figures rear toes and at one front knee, scattered cracks and separations, largely at laminations; second figure lacking secondary top (unused threaded hole for adjustable top now missing); otherwise generally good with scattered bumps and abrasions, scattered cracks and separations largely at laminations stains and light scratches to interior, some small rim flecks, light losses to enamel decoration, light wear to base; stand with breaks and repairs one lamp with repair to one foot, one petal on finial appears to be bent, replaced prisms, some with minor chips, minor wear to patination generally good with some surface distress and mildew, minor checking and bumps to legs, later stain to secondary surfaces surface wear and distress consistent with use, polish residue good structural condition with old dry varnish, lacking one small element of drawer beading, dust and mildew, some minor water spotting, other minor surface flaws approximately 3 in. black horizontal surface crack near base (does not appear to go through figure), several stray black line marks in lower folds of robe toning, not examined out of frames; frames with abrasions and losses some slight embedded grime condition is fine in a near fine dust jacket with a touch of darkening at the spine, near fine slipcase jardiniere with two small areas of tape residue on bottom, one area of accretion (tape residue?) on side between swags, scattered stains and surface grime, urn with stray black lines (pencil marks?) above and below handle “America” allegory with multiple losses including alligator tail, palm tree (at back), top half of cornucopia, repair to hand

Condition Notes - Please check website for updated condition notes

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holding parrot, blue crossed swords mark at bottom faint, some glue residue present throughout; three Commedia Del’Arte figures with losses at periphery to elements including hat and sword, fingers, typical scattered marks and abrasions, general wear to case very good overall, brasses replaced, backboard for mirror has been reset, old mirror plate with distress to silvering (probably original, not removed for exam), other typical minor veneer and surface flaws some distress to silvering on mirror plates (central plate likely replaced but not removed for exam), scattered typical gilding wear, losses and scattered retouch with some scattered minor losses to beaded moldings, backboards replaced (circular saw marks), near fine Zaehnsdorf binding, rubbing at the extremities American Scenery in very good condition, corners bumped, wear at extremities; others with scattered wear throughout, some with boards starting, losses to extremities very good with some rubbing at the extremities, front board of Volume I is starting, as is the rear board of Volume III, William Banks bookplates pastedown on front board of each volume, third volume does not include advertisements later feet, small gouge on front top molding, abrasions, bottom drawer lacking original marble top with stains, minor edge wear, and chips, base with extensive veneer distress and repairs, cracks and chips some toning and foxing; minor losses at corners have been restored large demilune area of loss upper right, probably original tacks and mount, uneven edges, fading, some changes to color at frame borders to to light exposure, surface wear to painting areas, losses and abrasions to frame, wear to most of gilt some lifting, toning; frames with abrasions, separations and losses top 16 inches of head and footposts replaced, otherwise generally good with shrinkage cracks to posts, one headboard scroll restored, other typical surface wear and flaws, canopy set with later corner braces shrinkage cracks and warping with some minor infill to top, brasses replaced original 19th century strainers, surface dirt, crackle; frames with some losses to composition break and repair at one leg and at one foot, scattered lacquer and inlay losses, other finish distress and edge wear breaks and repairs at crest scrolls (one repair is out of alignment), crack at one rear stile at joint with eagle slat, minor separation at one seat

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312

313

314

315

316

317

318

frame (dry glue), some finish distress famille rose example with repairs to neck, drilled base, light enamel and gilt loss, electrical cord lacking plug, possibly made as a lamp; armorial example with some losses to decoration, extensive repaired breaks throughout; other scratches and wear generally good condition, some stains to marble tops, one with shrinkage crack at top molding, one with later drilled hole at side, brass pulls are replaced, typical checking to veneers, with some very minor chips, finish wear, interior dust and mildew repair at one foot and at leg attachment, otherwise generally good, minor cracks to top and small area of infill at knot extensive water stains and fading to top, some paint drips, old varnished surface with edge wear and other scattered flaws, some minor corrosion and verdigris to brasses losses to gilding (especially to backs), areas of discoloration, some corrosion and surface flaking, threaded ends with some rust, scattered minor dents and scratches, one with warping to support bar (slightly bent and off center), one crystal panel with small air bubble period canopy frame with separations at corners, some paint flaking, some retouch to gilding on lion masks, top four inches and bottom three inches of head and footposts replaced, rails now set with modern iron mattress supports, rails with some interior plugged mortises, typical wear and abrasions to rails with some tacking scars, bolt covers reset or replaced good structural condition, old varnished surfaces with some distress and alligatoring and other distress, frames are sturdy and ready to use, modern upholstery generally good with minor wear and stains (note two colors of upholstery) one area of loose fiber on rim, abrasions and wear to bottom, losses to paper label, minor splits and breaks to weaving, minor split at curve to one handle stained basket with breaks to splits, losses to bottom interior, some surface grime, other basket with minor splits to curves of handles wear and polish residue throughout, minor separations at seams, corrosion and fire damage to iron bars, other distress from use surface with gold paint retouch, otherwise good condition, minor distress to mirror plates, other light surface wear generally good condition with surface wear and distress from use, minor dents at ball finials, other scattered flaws marble tops with stains and edge wear, one with drilled top (for lamp cord), one with

319

320

321

322

323 324

325 326 327

328

possible restorations at two feet (differences in construction), veneer losses, repairs, pest damage, and other surface distress throughout, lower urn stands have unfinished tops, one table fitted with later metal bracket at side of skirt one rug reduced and lacking border, both with extensive fading, stains, separations, tears and overall grime extensive cracks to eagle with scattered losses and gilding wear, some flaking and retouch to painted dial, distress to silvering on mirror plate, extensive distress and restoration to eglomise plate, stains and losses to interior label, other scattered gilding and veneer distress, feet replaced extensive distress to baize top, cracks and stains to veneer banding surround, with some chips and losses at corners, frame otherwise generally good, one front leg with some repinning and later color touch at side, other minor fading and surface flaws extensive sun fading to footposts, otherwise generally good with surface dust and mildew, lacking brackets for mattress support extensive surface distress with fading, veneer losses and repairs and other distress. top with fading and stains (probably later turned fitting at underside), extensive wear and losses to gilding and ebonizing, breaks and repairs at two legs (one with crude glue repair) good condition, unvarnished good condition toning, some with losses, stains, creases, paper tape and tears, all inscribed with accession number toning, not examined out of frame; frame with abrasions

119

Fine Art Index Abbott, John 1-2 American School 120, 160, 1710 Durand, Asher Brown 61 Barber, Charles, Attributed 119 Bennett, William James 24, 75, 76, 168, 257,

298 Bierstadt, Albert, After 325 Bricher, Alfred Thompson 57 Byrd, Henry 277 Caffieri, Jean-Jacques 28 Champney, Benjamin 60, 62 Chapman, Conrad Wise 327, 328 Chappel, Alonzo 182, 183 Collas , Achille 189 Cooke, George Esten 185, 276 Cropsey, Jasper Francis 63 De Grailly, Victor, After 263, 264 De Grailly, Victor, Attributed 262 Doughty, Thomas 92 Durrie, George Henry 87 Freres, Gossin 232 Gardanne, Auguste 303 Gifford, Sanford Robinson 56 Hall, George Henry 98-100 Hart, William 93, 95 Inness, George 195 Ives, Chauncey, Attributed 287 Johnson, David 94 Johnson, Eastman 96 Kensett, John Frederick 97, 184 La Farge, John 181 Merchi, Gaetano, Workshop 27 Miller, Alfred Jacob 194 Peale, Raphaelle, Attributed 101 Richards, Thomas Addison 161, 162 Richards, William Trost 90 Roesen, Severin 78, 79 Salmon , Robert 89 Shapleigh, Frank Henry 59 Shaw, Joshua 91 Shaw, Joshua, After 170 Smith, Russell 58, 193 Sully Jr., Thomas 278 Sully, Thomas 278 Trumbull, John 149 Weir, John Ferguson 151 Weir, Robert Walter 275 Wyant, Alexander Helwig 88 Ziem, FĂŠlix 147

120

Terms of Sale ۰ All items are sold as is, where is, with all faults. ۰ A buyer’s premium will be applied to the purchase price of all items: 23%....Cash, check or wire transfer 26%....Bidsquare with cash, check or wire transfer 28%....Liveauctioneers with cash, check or wire transfer 3% will be added to all MasterCard, Visa, Discover and American Express credit cards charges ۰ All purchases are subject to applicable state sales tax (state where purchased) unless the state Certificate of Resale tax form is fully and completely filled out and received prior to time of purchase. ۰ Items purchased from our Asheville auction facility not picked up within ten business days of the auction will be assessed a storage fee of $5.00 per day, per item.

1.

All items are sold as is, where is, with all faults. There are no warranties or representations of merchantability, of fitness, nor of any other kind, express or implied. All items are available for your examination prior to bidding. Your bidding will signify that you have examined the items as fully as you desire, or that you have chosen not to examine them.

Written and oral descriptions are our opinions and should in no way be construed as a guarantee of any kind as to age, condition, materials or any other feature of items being sold. Our goal is to provide prospective bidders with accurate and detailed information. We recommend prospective bidders examine all items in which they have an interest. If you require absolute certainty in all areas of authenticity, and the results of your evaluation leave uncertainty in your mind, we recommend you not bid on the item in question. We do not give refunds. All sales are final.

No statement written or oral made by the auctioneer shall be deemed a warranty or assumption of liability

by Brunk Auctions or by any seller represented by Brunk Auctions.

2.

Bidding will begin at a price appropriate in auctioneer’s discretion. The auctioneer always reserves the right to withdraw a lot for any reason he deems appropriate. At the auctioneer’s discretion, no bid of less than one half the low estimate will be accepted from any source: phone bidding, absentee bidding, internet bidding, or bidding in the gallery.

All lots in this catalog are offered subject to a reserve, which is the confidential minimum hammer price at which a lot will be sold. In executing a reserve, the auctioneer has the right to bid on behalf of the Consignor, whether by opening bidding or continuing bidding in response to other bidders until reaching the reserve. If the reserve is not met, the Auctioneer has the right to withdraw the item from the sale.

3.

Once we declare that an item is sold, we cannot reopen the bidding. It is the bidder’s responsibility to get our attention prior to our saying “sold”. We reserve the right to reject any bids deemed inappropriate or to withdraw any item(s) for lack of appropriate bids. If an item is withdrawn from the auction it will be offered again only at the auctioneer’s discretion.

4.

Payment must be made by cash, approved check, wire transfer, or MasterCard, Visa, Discover and American Express credit cards. We reserve the right to require bank checks for large purchases. Buyers not known to us who wish to write a check must provide a current letter of credit from their bank guaranteeing funds for that account. Credit arrangements must be made by the Friday prior to the day of auction so bank statements can be verified. We reserve the right to not issue a buyer’s number or to withhold merchandise if appropriate credit has not been established. We require wire transfers for international buyers. First time buyers will be required to pay by wire transfer or cashiers check.

5. Payment is expected at time of purchase. Payment for successful absentee, phone bids and online bids are required within five business days of the auction.

Bidding on an item indicates the client’s acceptance

of our Terms of Sale. Your signature on our Bid Form or acceptance of these terms through any online bidding platform constitutes permission to charge successful bids to credit cards if payment is not received within five days of the auction.

6.

We are pleased to offer absentee and phone bidding for prospective bidders who cannot be present at the auction. Please complete the Absentee Bid and/or Phone Reservation form. Absentee bids are executed competitively and confidentially.

All reservations for phone bidding are held in the strictest confidence and must be received by 5 pm the day before the auction. No additional phone bids can be accepted on the day of the auction including additions when speaking with a staff person on the phone. We can accept written absentee bids submitted on the Absentee Bid Form up to 30 lots before the item comes up for auction. Leaving an absentee or phone bid on a lot indicates your willingness to open the bidding at one half the printed low estimate, and gives the auctioneer the authority to open the bidding at that level. Brunk Auctions shall have the right to withdraw any item at any time for any reason and to default any sale in the event of an error or dispute.

7.

In the case of identical absentee bids, the bid received first will prevail. Bids left on liveauctioneers.com are not executed until the item is offered in the live auction and the order in which they are received is not a factor. We sell 70-100 lots per hour.

Following are general guidelines for bidding increments: $0-$100 .......................$25 increments $100-1,000...................$50 increments $1,000-2,000................$100 increments $2,000-3,000................$200 increments $3,000-5,000................$250 increments $5,000-10,000..............$500 increments $10,000-$20,000.........$1,000 increments $20,000-$50,000.........$2,000 increments $50,000-$100,000.......$5,000 increments above $100,000.........auctioneers discretion 8.

In our experience, cellular phones are not always dependable, and we recommend phone bidding reservations be made on land lines. We make every effort to honor all absentee and phone bid reservations, but we are not liable for any losses incurred as a result of failure to execute absentee bids or failed phone reservations. Submitting absentee bids or bidding by phone does not imply an extension of credit.

Please see numbers 4 and 5 above.

9.

Purchaser agrees that packing and shipping is done at the purchaser’s risk and that the purchaser will pay in advance all packing expenses, materials, carrier fees and insurance charges.

At our discretion, items will either be packed by an agent such as a packaging store or Brunk Auctions.

Please allow two weeks for shipping after payment is received. Shipment of large items is the responsibility of the purchaser. We are happy to provide names of carriers and shippers if a purchaser so requests. Brunk Auctions will have no liability for any loss or damage to shipped items.

10.

Note to internet absentee bidders. We do not accept cut bids, (bids less than the last interval) from the floor or from phone bidders, and we do not accept them from internet bidders. Thus it is possible that a lot could go to another bidder for less than your absentee bid. For example, if the bids are progressing in ten dollar increments, $50, $60, $70 and your absentee falls at $75, we will not take the bid since it is less than the $10 interval. We always encourage bidders to bid by phone or to leave absentee bids through our to avoid such a situation.

11.

All purchases are subject to applicable state sales tax (state where purchased) unless the state Certificate of Resale tax form is fully and completely filled out and received prior to time of purchase. Resale tax numbers from other states are accepted. International buyers are responsible for tariffs, taxes, or assessments of shipped items to the buyer’s country.

12.

Bidding on an item indicates your understanding and acceptance of these Terms of Sale.

If a purchaser breaches any of these Terms of Sale,

including the obligation to pay for purchased items, Brunk Auctions may seek all remedies under the law including canceling the sale and reoffering the property without reserve.

13.

A buyer’s premium will be applied to the purchase price of all items: 23%....Cash, check or wire transfer 26%....Bidsquare with cash, check or wire transfer 28%....Liveauctioneers with cash, check or wire transfer 3% will be added to all MasterCard, Visa, Discover and American Express credit cards charges 14.

Purchased items not picked up within ten business days of the auction will be assessed a storage fee of $5.00 per day, per item. You authorize us to re-sell on your behalf any item not picked up within sixty calendar days. The costs of storage, plus any other costs directly related to the item, and an auctioneer’s commission of 20%, will be subtracted from the proceeds unless other arrangements have been made with Brunk Auctions. The minimum charge will be $50. The net proceeds will be mailed to your address as stated herein in full and final settlement of our obligations to you.

15.

We are closed on Fridays the week following auctions. Please arrange appointments for other days.

16.

Export and Permits - It is the purchaser’s sole responsibility to identify and obtain any necessary export, import, firearm, endangered species or other permit for the lot. Any symbols or notices in the sale catalogue reflect Brunk Auctions’ reasonable opinion at the time of cataloguing and are for bidders’ general guidance only; Brunk Auctions and the Consignor make no representations or warranties as to whether any lot is or is not subject to export or import restrictions or any embargoes.

17. ◉Endangered Species - Certain property sold at auction, for example, items made of or incorporating plant or animal materials, irrespective of age or value, may require a license or certificate prior to exportation and additional licenses or certificates upon importation to another country. Brunk Auctions suggests that international buyers check on foreign governments’ wildlife import requirements prior to placing a bid. All buyers agree to comply with any and all domestic and international restrictions on the trade of endangered species as a condition of the sale. Please note that the ability to obtain an export license or certificate does not ensure the ability to obtain an import license or certificate in another country, and vice versa. It is the purchaser’s responsibility to obtain any export or import licenses and/ or certificates as well as any other required documentation. In the case of denial of any export or import license or of delay in the obtaining of such licenses, the purchaser is still responsible for making ontime payment of the total purchase price for the lot.

Although licenses can be obtained to export some types of endangered species, other types may not be exported at all, and other types may not be resold in the United States. Brunk Auctions is not able to assist the purchaser in attempting to obtain the appropriate licenses and/or certificates, and there is no assurance that an export license or certificate can be obtained.

Please check with our specialists if you are uncertain as to whether a lot is subject to these export/import license and certificate requirements, or any other restrictions on exportation.

Please note that bidders in New Jersey may not bid on any lots containing elephant ivory, mammoth ivory, or rhinoceros horn.

18.

Due to the embargo on Persian carpets, international shipping is not available.

19.

Brunk Auctions makes no warranty or guarantee whatsoever regarding the jewelry, its colored stones, diamonds, other gem materials, or `metals, or as to their status as natural, treated, “earth mined”, manmade or other. Appraisals, descriptions, photographs, are offered as a service and are not intended to be a complete analysis of the qualities and conditions of the jewelry. All identifications, information, weights, quality, cut, value and other estimates, are opinions, limited by examination and grading the mountings, the condition and cleanliness of the items.

All gems, colored stones, diamonds, “cultured or natural pearls, fresh water, south sea, Tahitian pearls”, and other materials used in jewelry, may be enhanced by a variety of treatments. Brunk Auctions makes no warranties or guaranties that any clock or watch is in working order.

20.

CONDITION OF FIREARMS: Brunk Auctions or its’ employees or consultants make no warranties or representations whatsoever concerning the operation of firing condition, safety to store or reliability of any firearm. Any firearm purchased is at the user’s risk. Brunk Auctions expressly disclaims any liability whatsoever for accident, injury or damage resulting to any person or property from the storage or use of any such lot.

21.

Online registration and bidding approval is done at the sole discretion of the auction house. We recommend that online bidders sign up at least 24 hours in advance of the auction to allow for time to complete the approval process. We make no guarantees that new online bidders who register within 24 hours of the sale will be approved for bidding. After signing up to bid, new online bidders may receive a message requesting additional information; we cannot approve any client without the requested information. First time participants bidding through any online platform will be limited to a maximum of

$25,000 total in cumulative bids. Parties who wish to bid on premium lots may be asked to submit a deposit by wire transfer. Correspondence between prospective clients and the Auction House must be established directly with Brunk Auctions through phone, fax, or one of the relevant email addresses. We make no guarantee that we can respond to requests submitted through third party messaging systems.

Due to the high volume of inquiries made within 24 hours of the sale, we make no guarantee that clients who contact us during this period will receive a response. Bids left on Live Auctioneers & Bidsquare are not executed until the item is offered in the live auction therefore the order in which those bids are received is not a factor. We will make every effort within reason to accept and process bids from online participants. Brunk Auctions will not accept liability for any bids missed due to clerking issues, operator error, equipment failure, connection delays, communication lapses, or technical malfunctions of any nature.

22.

Coin grading is subjective and more ‘art’ than ‘science.’ As such, any descriptive or numeric grades given are supplied as a guide to our bidders and should not be seen as a guarantee to any grade that might be received from a third-party grader or grading company. Our best effort has been put forth to give condition reports that are as accurate

as can reasonably be expected, however, first-hand inspection to formulate one’s own opinion is always recommended.

23. *Brunk Auctions strictly complies with all state and federal regulations pertaining to the sale, transfer, and transportation of firearms. It is the sole responsibility of the buyer to know and comply with all state firearms regulations prior to bidding. No persons associated with Brunk Auctions or their consignors warrant the safety or shootability of any firearm we sell. Buyers wishing to fire any weapon purchased from Brunk Auctions are strongly advised to have the weapon(s) examined by a competent gunsmith prior to use.

BA

Team

PRINCIPALS

Ready to serve you with exceptional results for your estate or collection.

Andrew Brunk

President, Auctioneer

Robert S. Brunk

President Emeritus

Lauren Brunk

Vice President, Museum Services, Auctioneer

Robin Rice

Vice President, Operations Manager

CONSIGNMENTS Jim Crowley

Consignment Manager, Auctioneer

Franklin Gunnells

Consignment Coordinator

SPECIALISTS

Founded by Robert Brunk in 1983, Brunk Auctions was built on the principles of integrity, transparency, and the accurate presentation of fine and decorative arts to the world market. With the confidence of both buyers and sellers we have grown over the years to become one of the most well-respected auction houses in the nation, and have been entrusted with the sale of important museum deaccessions, major estates, and private collections. From one item to an entire estate, we would love to work with you.

Andrew Brunk

Furniture, Folk Art

Lauren Brunk

Southern Fine Art and Collections

Greg Capps

Coins & Currency, Firearms

Laura Crockett

European and Modern Fine Arts, Prints

Jim Crowley

Head Specialist, Decorative Arts, Asian Arts

Libby Davis

Decorative Arts Cataloger

Franklin Gunnells

Cut Glass

Corey Jones

Southern Pottery, Firearms

Price Parker

Decorative Arts Cataloger

Michelle Parparian

Couture

Robin Rice

Silver

Katie Simonetti

Jewelry

Karen Swager

Decorative Arts, Textiles

Nan Zander

American Fine Art, Native American, Photography, Auctioneer

BUSINESS OFFICE Nan Zander

General Manager

Leah Krause

Administrative Manager, Accounts Receivable

Shannon Hallowell

Accounting, Human Resources

PHOTOGRAPHY Monica Scott

Director of Photography

Brooke Bennink

Photographer

Michael Traister

Photographer

MARKETING Monica Scott

Media Manager

Michelle Parparian

Marketing Coordinator

Robin Rice

Catalog Layout

Nan Zander

Exhibition Design

Liz Simmons

Special Projects

OPERATIONS

BrunkAuctions.com info@brunkauctions.com

Corey Jones

Logistics Manager, Property Management

Cliff O’Hara

Facilities Manager, Property Management

Bryce Alberghini

Property Management

Thomas Nixon

Property Management

Dustin Vanderbunt

Property Management

Michael Welch

Property Management

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