Sale 6338 | GARDEN PARTY: THE COLLECTION OF RENNY REYNOLDS by Freeman's

GARDEN PARTY: THE COLLECTION OF RENNY REYNOLDS

Sale 6338

September 21, 2025 | Philadelphia 12:00am ET | Live Lots 1-128

PREVIEW

2400 Market Street, Philadelphia, PA aveil@freemansauction.com

September 15-20 | 10:00–5:00pm September 21 | By Appointment

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Monday–Friday | 9:00am–4:00pm By appointment 312.280.1212

All property must be paid for within seven days and picked up within thirty days per our Conditions of Sale.

All lots in this catalogue with a lower estimate value of $5,000 and above are searched against the Art Loss Register database

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Alandscape architect by training, Renny Reynolds has been a life-long devotee to the rich beauty of gardens and the pleasures they impart, turning a career into a lifestyle. It all began in the 1960s when he opened his first shop in New York City, followed by fashion icon Bill Blass’s commission to design the terrace garden for his penthouse apartment. Over the decades, Reynolds’s client list grew to include the likes of Giorgio Armani, Diana Ross, Andy Warhol and others. He organized legendary soirees at Studio 54, including the launch of Yves Saint-Laurent’s Opium. He also orchestrated receptions at the White House for Presidents Ford, Nixon and Reagan, and for the Clintons following their tenure in Washington. He founded Renny Design for Entertaining, later Renny & Reed, in 1972 and published, in 1992, The Art of the Party, commonly known as “the party planner’s bible.” His illustrious career culminated in 2008 with the American Horticultural Society’s highest accolade, the “Great American Gardener” Award.

At his core, Reynolds is a steward of gardens and architectural treasures. Both his “Dogs and Frogs” estate, a 1780 farmhouse in the heart of Bucks County, and “Hortulus Farm,” an 18th-century homestead purchased with his partner Jack Staub (1951-2020) in 1980 and eventually turned into a foundation to publicly showcase its gardens and the couple’s private art collection, are testaments to such loving stewardship. Having cultivated and shared the special rewards gleaned from gardens and the rustic architecture of the region for decades, it is only natural that Reynolds should have developed a profound affinity for the Impressionist paintings of Bucks County. The collection offered here puts forth a vibrant pictorial language matching his own reverence for landscape, both in its raw and designed iterations.

In myriad ways, the paintings present a visual treatise on garden design, as they illustrate how an effective design relates natural beauty so closely with a dwelling that their cohabitation feels organic, each element an integral part of the other. Examples by Fern Coppedge, Samuel George Phillips, RAD Miller, or Lillian Montague all manifest this notion of a symbiotic relationship between the man-made and the natural. Quite poetically, the paintings emulate the process at work in a thoughtfully organized garden. Endless possibilities of creative expression, often latent in a landscape, are released through careful design. Various gradations of light and color stimulate and elicit moods. In winter nocturnes by Harry Leith-Ross and George Sotter, the mood is pensively quiet, while Robert Spencer’s muted depiction of a tenement row at dawn conveys a sense of still expectancy. And Daniel Garber’s bright, lyrical rendition of a charming corner of Bucks County contrasts with Edward Redfield’s moody, muscly extraction of beauty from the landscape.

The theme of cultivation runs through the entire collection as it articulates the organic bond between a landscape and human activity. Fittingly, the paintings are complemented by furnishings that blend traditional aesthetics with a relaxed, pared down sensibility. The boundary between indoors and outdoors is blurred, with the garden pervading every space. From majolica tablewares and beaded floral arrangements, to tinware lighting and garden seating accents, the verdant theme is realized through the combination of varied materials. Classic 18th-century furniture, including pieces made in Pennsylvania, contrast playfully with rustic pieces displaying patinated and richly painted surfaces. Finally, a collection of over 150 English and American titles on gardens, including their design, architecture, and maintenance, from Reynolds’ library, neatly rounds out the collection, featuring works by authors such as Humphry Repton, Gertrude Jekyll, Vita Sackville-West, William Robinson, and many more.

Freeman’s | Hindman is pleased to bring this exceptional collection to market, and is grateful to Renny Reynolds for entrusting us with its sale.

William Langson Lathrop (American, 1859-1938)

Beehives, c. 1930s oil on canvas

signed W. L. LATHROP (lower right) 12 x 14 in.

Provenance: Ingham Springs Antiques, Inc., New Hope, Pennsylvania. The Coryell Gallery, Lambertville, New Jersey. Acquired directly from the above.

Thomas B. Kyle, New Hope, Pennsylvania, June 1986.

$5,000 - 8,000

William Langson Lathrop (American, 1859-1938)

Naushon Pasture oil on canvas

signed W. L. LATHROP (lower right); also titled in pencil (stretcher) 12 1/8 x 16 1/8 in.

Provenance: Freeman’s, Philadelphia, Sale of December 5, 2004, Lot 121.

Acquired directly from the above sale.

$3,000 - 5,000

$15,000 - 25,000

3 Charles Rosen (American, 1878-1950) Late Sunlight, 1907 oil on canvas signed CHARLES ROSEN and dated (lower right) 32 1/4 x 40 1/4 in.

Daniel Garber (American, 1880-1958)

Sycamore and Elm, 1932 oil on canvas signed Daniel Garber (lower right); also signed and titled (on the reverse) 20 x 18 in.

Housed in a signed Raymond Vanselous (New Hope, Pennsylvania) frame.

Provenance: The Artist.

Acquired directly from the above.

Martha Hallowell, Meadowbrook, Pennsylvania, after 1949. By descent to Ralph Hallowell, Delaware. Jim’s of Lambertville, Lambertville, New Jersey.

Literature:

Artist’s Record Book I, page 49, line 7.

Letter from Martha Hallowell to Daniel Garber, June 17, 1949. Lance Humphries, Daniel Garber: Catalogue Raisonné, Hollis Taggart Galleries, New York, 2006. vol. II, p. 221, P610 (illustrated).

Exhibited: Dayton, The Dayton Art Institute (probably Circulating Gallery), 1933-34. Philadelphia, Pennsylvania Academy of the Fine Arts, 1945, no. 96. New Hope, Phillips’ Mill Community Association, “Invitational Retrospective Exhibition,” June 18 – July 17, 2005, no. 626.

Daniel Garber, an esteemed figure in the New Hope art community, was known for his softly lyrical use of color, poetic arrangement of picturesque elements, especially trees, and cheerfully haphazard application of brushstrokes. Sycamore and Elm illustrates Garber’s idiosyncratic method within the broader Pennsylvania Impressionist movement, emphasizing a quietly expressive technique over the pictorial bravado sometimes evident in the work of fellow Bucks County artists.

Like his colleagues, Garber adhered to the en plein air tenet of Impressionism, drawing inspiration directly from his surroundings to design landscapes on his canvas. Far from merely copying nature, Garber’s work is thoughtfully crafted. In Sycamore and Elm, the sinuous trees frame the composition, in the manner of an arched entryway, offering a glimpse of the barns and grassy expanses in the distance. The branches, akin to fingers pointing the way, draw the eye into the heart of the landscape, turning it into an immersive experience.

Here, Garber puts emphasis on the locus in order to derive a sense of familiarity. The two trees in the foreground are recognizable—an elm and a sycamore specifically, as stated in the title—endowing the scene with veracity. While to many viewers the exact location depicted here might not be clear, the scene feels authentic. Garber’s Sycamore and Elm both intrigues and comforts, eliciting familiar feelings of peace, delight and curiosity typically found in a picturesque setting.

$50,000 - 80,000

Robert A. Darrah (RAD) Miller (American, 1905-1966)

Sunset oil on canvas

signed R. A. Darrah Miller (lower left) 21 x 27 3/4 in.

Robert Alexander Darrah Miller, commonly called RAD by his peers, held a peculiar position among the Pennsylvania Impressionists. A well-known figure in New Hope and a regular exhibitor at the Phillips’ Mill, he nonetheless showed a reluctance to strictly abide by the tenets of the time and region. An emphasis on bold color coupled with softly contoured draftsmanship reveals a tendency towards the forward-thinking tenets of modernism, an influence subtly running through the work of the Pennsylvania Impressionists, though often resisted, but particularly evident in Miller’s paintings.

In Sunset, a rich shade of yellow covering the facades and spilling over into the pond, lawn and towering tree galvanizes the senses. It is ambiguous whether the mesmerizing yellow hue is paint, a reflection of the brilliant sunset, or both. As it blurs the line between the natural and the artificial, it conjures a feeling of wholeness, suggesting a symbiotic relationship between the landscape and the man-made additions in its midst. Miller thus professes in equal measure an impressionistic reverence to natural beauty and a modernist belief in the materiality and artificiality of art.

$5,000 - 8,000

Bernard Badura (American, 1896-1986)

Summer Haystacks oil on board

inscribed B. Badura / #124 (on the reverse) 14 1/8 x 16 1/4 in.

$2,000 - 3,000

Bernard Badura (American, 1896-1986)

Summer Pasture oil on board

inscribed B. Badura / #112 (on the reverse) 14 1/8 x 16 1/4 in.

$1,500 - 2,500

8 Melville F. Stark (American, 1903-1987) Feeding the Birds oil on canvas

signed M STARK and inscribed D.S. (lower right); with estate stamp (stretcher)

25 x 30 in.

$1,500 - 2,500

9 Arthur Meltzer (American, 1893-1989) Beyond the Snow Fence oil on canvasboard

signed Arthur Meltzer (lower left); also titled (on the reverse) 8 x 10 in.

$2,000 - 3,000

Robert Spencer (American, 1879-1931)

Waterloo Row, 1917 oil on canvas

signed Robert Spencer (lower left) 25 x 30 in.

Provenance:

Collection of Amy and Robert Charles.

Literature:

Brian H. Peterson, The Cities, the Towns, the Crowds: The Paintings of Robert Spencer, Philadelphia, 2004, pg. 60, pl. 25 (illustrated).

Robert Spencer held a prominent position among the Pennsylvania Impressionists working in Bucks County, where he rubbed elbows with fellow artists Charles Rosen, Daniel Garber, William Lathrop and others. A leading figure of the New Hope art colony, his aesthetic was nonetheless quite different from that of his peers, as it mostly eschewed the charming and picturesque qualities of the rural surroundings, focusing instead on the grit and tedium of early 20th century industrial subjects in and around New Hope. Through and through, Spencer was indeed a painter of the working people, whom he portrayed with both candor and compassion.

In Waterloo Row, Spencer used his distinctive muted palette and broken brushstrokes to depict a row of tenements in the town of New Hope. The scene, commonplace and rather unsentimental, is rendered through a plain composition of horizontal layers—the sky, roofs, facades, road and band of vegetation—intersected by the frail yet piercing vertical lines of three bare trees. Thus, the painting, in its grid-like structure, devoid of excessive flourishes, exudes an unnerving sense of penury, casting the tenement row in a dreary light, as if to reflect the harsh living and working conditions that are likely afflicting its inhabitants.

But beyond these geometric constraints, a certain spontaneity emerges. The lone figure and subtly warming sky suggest that the scene takes place shortly after dawn, just before the rising bustle. The white blotches of paint on the façades, the grasses dancing in the wind, and the curvy branches all contrast with the erect tree trunks and neatly rectangular windows and chimneys. They convey a gentle motion stirring in the stillness, the faint sounds of the early hours auguring the busy day of toiling to come, a budding liveliness at odds with the seemingly dull composition.

Spencer’s ambition was to draw attention to the ordinary squalor that characterized tenements and industrial settings. Far from minimizing the indigence he witnessed, he sought to highlight the dignity and verve evident in the midst of destitution. Waterloo Row, an unvarnished rendition of working-class living quarters, was executed in 1917, at the heart of a pivotal decade for the advancement of workers’ rights in the United States.

$60,000 - 100,000

John Fulton Folinsbee (American, 1892-1972)

Study for Lock Keeper’s House, New Hope, 1925 oil on board 8 1/4 x 10 1/4 in.

Accessible on the Artist’s online Catalogue Raisonné at https://www.johnfolinsbee.org, no. JFF.975.

Provenance: The Artist. Estate of the Artist.

John F. Folinsbee Art Trust. Avery Galleries, Philadelphia, Pennsylvania.

Exhibited: Philadelphia, Newman Galleries, John F. Folinsbee: Following His Own Course, March 2 –April 7, 1990, no. 32.

$4,000 - 6,000

Clarence Raymond Johnson (American, 1894-1981)

The Waning Year oil on board signed C R JOHNSON (lower center); also signed and titled in pencil (on the reverse) 10 x 13 in.

Provenance: Freeman’s, Philadelphia, Sale of December 5, 2004, Lot 167 (as River in a Wooded Landscape). Acquired directly from the above sale.

$2,500 - 4,000

Charles Rosen (American, 1878-1950)

Untitled (Snowed In), c. 1918-20 oil on canvas signed CHARLES ROSEN (lower right); also inscribed Hanging Branch / 12 (on the reverse) 16 x 20 1/8 in.

Housed in a signed Bernard Badura (New Hope, Pennsylvania) frame.

Provenance:

Collection of the Hortulus Farm Foundation Museum, Doylestown, Pennsylvania.

Literature:

Brian H. Peterson, Form Radiating Life: The Paintings of Charles Rosen, Philadelphia, 2006, pg. 114, pl. 36.

Exhibited:

Doylestown, Michener Art Museum, “Form Radiating Life: The Paintings of Charles Rosen,” October 13, 2006 – January 28, 2007 (traveling to Samuel Dorsky Museum of Art, New Paltz, New York).

$4,000 - 6,000

Clarence Raymond Johnson (American, 1894-1981)

House in Winter oil on canvas 25 x 30 1/4 in.

Exhibited:

Doylestown, Michener Art Museum, “The Painterly Voice: Bucks County’s Fertile Ground,” October 22, 2011 – April 1, 2022.

$6,000 - 10,000

Walter Emerson Schofield (American, 1867-1944)

January Day, c. 1906 oil on canvas

signed W. E. Schofield (lower right) 45 1/2 x 60 1/4 in.

Provenance:

Cincinnati Art Museum, Cincinnati, Ohio, 1907 (1907.192, deaccessioned 1945). Coleman Galleries, New York, New York. Babcock Galleries, New York, New York.

Literature:

“Art Notes,” St. Ives Weekly Summary, November 16, 1907 (as January Day).

Lorinda Munson Bryant, American Pictures and Their Painters, New York and London, 1917, fig. 149 (as January Day).

Rilla Evelyn Jackman, American Arts, New York and Chicago, 1928, pl. 89.

William Valerio, et al., Schofield: International Impressionist, an exhibition catalogue, Philadelphia, 2014, pp. 36 (illustrated) and 133-134.

Exhibited:

Chicago, Art Institute of Chicago, “19th Annual Exhibition of Oil Paintings and Sculpture by American Artists,” October 16 – November 29, 1906, no. 272 (as Cloud Shadows).

London, Royal Society of British Artists, “Winter Exhibition,” 1907, no. 223. Cincinnati, Cincinnati Art Museum, “14th Annual Exhibition,” May 18 – July 17, 1907.

Philadelphia, Woodmere Art Museum, “Schofield: International Impressionist,” September 18, 2014 – January 25, 2015.

Like his well-known rival Edward Redfield, Walter Emerson Schofield was an exponent of an outstepping and hearty aesthetic, one that prioritized candor—he only painted what he saw—and energy. He had a particular flair for extracting the raw beauty of American landscapes, as if he relished a confrontation with the elements, and such bluster is now often understood as an attempt to equate virility with Americanism in art.

Winter was his season of choice to depict the wonders to be found out of doors in all kinds of weather. The more challenging a setting appeared, the more intense its rendition proved. Here, Schofield ventured to a snowy wooded exterior, and the act of capturing it on canvas amounted to stranding the viewer in its midst. With no path or recognizable landmarks in sight, we are enveloped in subtly gradated shades of blue, grey, brown and green, a multi-sensory moment allowing us to experience the frigid air and howling winds likely felt and heard by the painter himself.

$25,000 - 40,000

Giovanni Martino (American, 1908-1997)

Study for Hilly Street; with Philadelphia Streetscape (A Double-Sided Work) oil on board signed Giovanni Martino (lower left); also inscribed with artist’s name, address and title on brown paper (on the reverse) 9 1/8 x 15 3/8 in.

$1,000 - 1,500

Harry Leith-Ross (American, 1886-1973)

12:24 (Emmy at Window), 1965 oil on Masonite signed Leith-Ross (lower left) 20 x 28 in.

Provenance:

Collection of the Hortulus Farm Foundation Museum, Doylestown, Pennsylvania.

Literature:

Erika Jaeger-Smith, Poetry in Design: The Art of Harry Leith-Ross, Philadelphia, 2006, pg. 91 (illustrated).

Exhibited:

Doylestown, Michener Art Museum, “Poetry in Design: The Art of Harry Leith-Ross,” May 12, 2006 – October 1, 2006.

Quiet winter scenes were among Pennsylvania Impressionist Harry Leith-Ross’s most favored subjects, as he sought to capture in subtle and suggestive ways the serenity emanating from snow-covered rural landscapes. 12:24 (Emmy at Window), a gentle rendition of a winter night at once filled with chill and warmth, encapsulates Leith-Ross’s aesthetic, one that puts forth observations of nature through an eminently personal lens.

Here, we are let in on a rather intimate scene, even if from a distance. The view of the house is not frontal; we only get to see a side façade, unadorned, seemingly impenetrable, save for the one window in the top right corner that does not dwell in the dark, and where the gaze is immediately drawn. The red-clad figure in the window is Leith-Ross’s wife, Emmy. She appears to be sitting atop the couple’s bed or perhaps at a desk, possibly reading or writing. She is caught in a private moment–at a time of day usually quiet and deserted–but with a sensitivity that only her husband’s brush can afford.

12:24 (Emmy at Window) is equally a depiction of a peaceful wintry Pennsylvania landscape as one might generally think of it, as it is about how it is personally experienced and, arguably, enjoyed. The main source of light in the painting, the window, seems to diffuse its warmth throughout, as it reverberates into the porch, the softly slumbering sky above, and even the bright glistening snow below. And quite poetically, it also defuses any lingering frictions, such as the tension between the frigid outdoors and the cozy interior. Like the diaphanous curtain draping the window, it soothes and softens, blending conflicting sensations into one welcoming and perfectly arranged whole.

$10,000 - 15,000

George William Sotter (American, 1879-1953)

Roadside House oil on canvas signed G. W. Sotter (lower left) 13 1/2 x 16 in.

The three works by George Sotter in the Reynolds Collection offer the full array of the artist’s evocative Bucks County landscapes, engaging viewers on a deeper level, beyond mere description, calling forth the psyche of the place. Sotter conjured this psyche in atmospheric ways, by way of nocturnal scenes and expansive vistas in all seasons, subtly manifesting the locale by eliciting an emotional response from the beholder, one focused on feelings of familiarity and comfort.

Roadside House is a glistening winter nocturne, the kind that Sotter was expert at creating, in which light and dark interplay in soothing ways. At first glance, contrasting color schemes seem to vie for dominance. Indeed, just as the cottage is shrouded in thick darkness and framed by the silhouettes of skeletal trees, it is also softly cushioned by a vivid bed of snow. But far from jarring, the mood is peaceful. The cottage’s coziness prevails amidst these tenebrous and glacial conditions, suffusing the scene with improbable yet evident warmth. Comfort is to be found within, inside the glowing windows, and beyond, in the stars dotting the pitch-dark sky, perpetually casting their attentive light above.

Country Road at Twilight (Lot 20) is a masterful pictorial essay on darkness. There is only one, very faint, source of light, tucked away in a window, off center, threatened to be engulfed by dense vegetation climbing on the façade. With little counterbalance, darkness is made palpable through broken brushwork hopping from lighter to darker shades of green, blue and gray. And yet, its weight evaporates. Sotter gives it texture, thereby revealing its nuances. Here, darkness does not obscure everything; the path, the houses, the trees are still distinct, where they are expected to be found. And just like them, darkness becomes part of the familiar landscape. While total darkness may suggest remoteness or impenetrability, it also signifies complete quietude, one that the Bucks County locals know and cherish, and one that the viewer is invited to experience by following the unlit path with knowing eyes accustomed to the dark.

Windybush Valley (Lot 19) is a sprawling vista of Bucks County in winter, composed of interlocking shapes and shades, piecing together, in the fashion of a quilt, a landscape of rolling hills. The viewer stands atop one such hill, observing the sweeping landscape unfold. The immediate vicinity showcases relief, with the towering trees and the brush poking through the snow. But the landscape slowly flattens beyond, the work of the snow leveling the ground, and of perspective. It is however also suggestive of a geography that is deeply rooted in the locale, one that the gaze sweeps in one gesture and appropriates, like the mapping of an intimate survey of the landscape. The view from the top of the hill is grandiose, but it is also homey. As the gaze takes in the Bucks County region, it takes stock of both its vastness and familiar layout, like the patterns of a hand-quilted fabric passed down generation after generation.

$30,000 - 50,000

George William Sotter (American, 1879-1953) Windybush Valley oil on canvas 26 x 32 in.

Provenance: Pedersen Gallery, Lambertville, New Jersey. Acquired directly from the above.

$30,000 - 50,000

George William Sotter (American, 1879-1953) Country Road at Twilight, 1916 oil on canvas

signed George Sotter and dated (lower right) 22 x 26 in.

Provenance: Collection of the Hortulus Farm Foundation Museum, Doylestown, Pennsylvania.

Literature: Valerie Ann Leeds, George Sotter: Light and Shadow, an exhibition catalogue, Doylestown, 2017, pg. 40, pl. 22.

Exhibited:

Doylestown, Michener Art Museum, “The Painterly Voice: Bucks County’s Fertile Ground,” October 22, 2011 – April 1, 2012. Doylestown, Michener Art Museum, “George Sotter: Light and Shadow,” July 29 –December 31, 2017.

$40,000 - 60,000

21

John Fulton Folinsbee (American, 1892-1972)

A New Hope Cottage oil on canvasboard 12 1/2 x 10 in.

This lot is accompanied by a letter from the artist’s daughter, Joan Folinsbee Cook (November 8, 1995), confirming its authenticity.

$3,000 - 5,000

22

Samuel George Phillips (American, 1890-1965)

Point Pleasant Home–Bucks County, Pennsylvania oil on canvas signed S. George Phillips (lower right) 25 x 30 in.

Provenance: Private Collection, Bucks County, Pennsylvania. Gratz Gallery, New Hope, Pennsylvania, July 2005.

$10,000 - 15,000

Samuel George Phillips (American, 1890-1965)

Summer Shade oil on canvas signed S. George Phillips (lower left) 24 x 43 in.

Housed in a signed Thomas Hugo Williams (Philadelphia, Pennsylvania) frame.

Exhibited:

Doylestown, Michener Art Museum, “The Painterly Voice: Bucks County’s Fertile Ground,” October 22, 2011 - April 1, 2012.

Though well regarded during his lifetime for his commissioned portraits, landscape painting was really what Samuel George Phillips relished the most. He described his weekends spent in the Bucks County countryside as relaxing, but they also proved productive, yielding an important output of quaint Impressionist views. In Point Pleasant Home–Bucks County, Pennsylvania and Summer Shade, Phillips showcases rural Pennsylvania through a bright, refreshing palette, keen draftsmanship, and a clever composition.

Point Pleasant Home–Bucks County, Pennsylvania and Summer Shade are works of both overt and concealed charm. A majestic tree takes up most of the composition, spreading its branches towards all four corners of the painting, but behind it, tucked in its shade, a cottage is revealed. In a similar gesture in Point Pleasant Home slowly narrows as it winds and disappears into the wooded scenery, withdrawing from the viewer its likely idyllic destination.

The paintings thus morph into a playful escapade, a quest for enchantment, suggesting through subtle interplays of light and shade, of conspicuous and obstructed details, that a seemingly ordinary landscape is replete with beauty, if one is curious or attentive enough to discern the hidden charm in its folds.

$6,000 - 10,000

Fern Isabel Coppedge (American, 1883-1951)

In Full Bloom oil on canvas signed F Coppedge. (lower right) 16 1/4 x 20 in.

One of the Philadelphia Ten, Fern Coppedge was a familiar figure in Bucks County, where she ventured outdoors in all seasons and weather to capture, en plein air, the beauty of the surroundings. Sometimes described as a colorist, she is known for her inventive use of vibrant colors, yielded striking, often expansive vistas. In Full Bloom, however, offers a different take on landscape painting, one that is more intimate, showcasing a cottage that is not simply a part, among others, of the landscape, but rather constitutive of it.

Here, Coppedge’s palette, an array of subdued greens, is leaner. The scale of the painting is more modest, as it homes in on the cottage, its bright white façade standing out amidst the abundant foliage. Coppedge adeptly cropped the scene around the enveloped cottage to suggest lush, overflowing nature, rather than explicitly show it. The cottage, subtly framed by the tree branch above and the verdant vegetation all around, becomes the heart of the landscape, from where luxuriance radiates.

$15,000 - 25,000

Lillian Amy Montague (American, 1868-1946)

Village Street, Bucks County oil on canvas signed Lilian A. Montague (lower right); also titled on label (stretcher) 18 x 20 in.

Provenance:

Plymouth Meeting Gallery, Plymouth Meeting, Pennsylvania.

Acquired directly from the above, 1995.

$4,000 - 6,000

Kenneth R. Nunamaker (American, 1890-1957)

Barn by the Brook (Glenside) oil on canvas

signed K R NUNAMAKER (lower left); also signed and titled in pencil (stretcher) 28 x 32 in.

Housed in a signed Thomas Hugo Williams (Philadelphia, Pennsylvania) frame.

Closely associated with Edward Redfield and Daniel Garber in New Hope and Center Bridge, Pennsylvania, Kenneth Nunamaker equally borrowed from the former’s blustery brushwork and the latter’s lyrical touch. Through a profuse palette and thick application of paint, Nunamaker draws attention to the materiality of his paintings, a visual echo to the palpable richness of the landscapes they depict, surging back to life after winter. Flowing waters and fleshy greenery fill Barn by the Brook (Glenside) and Early Spring (Lot 27) with overwhelming charm.

In both works, the gaze follows winding paths and streams receding into the distance or beyond the confines of the paintings. Nunamaker portrays the Bucks County countryside as a site of meandering and continuous observation. In doing so, he elevates representation beyond the pictorial, suggesting a mood, a state of mind. The carefree stroll morphs into a stream of consciousness, an alluring liberation from the rigid tethers of everyday life.

Both paintings display markers of human life, such as barns and cottages. Though they are explicitly part and parcel of each landscape, they also appear deserted—the shutters are closed—and they are strategically placed at a distance or off center, as if to suggest that the path to follow is around them, not to them. Nunamaker’s paintings serve as invitations to take in the present moment and let it flourish into a joyful and harmonious escapade.

$30,000 - 50,000

Kenneth R. Nunamaker (American, 1890-1957) Early Spring oil on canvas

signed K. NUNAMAKER (lower right)

28 1/8 x 32 1/8 in.

$30,000 - 50,000

Edward Willis Redfield (American, 1869-1965)

Spring Meadow oil on canvas signed E. W. Redfield (lower left) 21 1/2 x 25 3/4 in.

Edward Redfield, revered as the most American of the Pennsylvania Impressionists for his intrepid and individualistic spirit, honed a peculiar aesthetic, fast and free in an impressionist way, but also committed to a realistic appraisal of the natural world around him. Far from being bucolic, his paintings instead expressed nature’s magnificence by emphasizing its wild essence. Redfield viewed nature as a force to reckon with, a force in constant renewal and upheaval through seasonal cycles of growth and decay, but he never backed down from the challenge of confronting it, literally and pictorially.

Redfield is known to have braved the elements in all types of inclement weather to paint the Bucks County countryside. The bold, somewhat erratic brushwork evident in Spring Meadow mirrors his daring temperament. Here, artistry lies as much in the process as it does in the result. What is on full display, beyond the raw landscape awakening from harsh winter conditions, is Redfield’s vigorous manner capturing it on canvas. Throughout the seemingly deserted landscape, unmistakable energy resurfaces and surges in fits and starts, materialized by the forceful and broken brushstrokes. One can imagine sounds of flowing waters resonating, foliage freely humming in the wind, and a lingering hazy chill permeating the air.

Redfield’s aesthetic is honest, portraying the sometimes-gruff quality of nature in blatant, unsubtle terms. Not so much untamable—man does alter his environment, and Redfield’s paintings account for such alterations—nature is revealed in its deeply ungraspable quality. Redfield, as an artist, recognized the force that nature represents, one that he couldn’t possibly entirely translate, much less fathom. At the heart of his brazen style—an attempt to seize the rawness of nature, but also a surrender to it—lies profound humility.

$25,000 - 40,000

Walter Elmer Schofield (American, 1867-1944)

Woodland Vista oil on panel signed Schofield (lower left) 26 x 30 in.

This lot is accompanied by a letter from Dr. Thomas Folk (December 17, 2000) confirming its provenance and authenticity.

Provenance: The Artist.

Seymour Schofield, the Artist’s son.

Enid Schofield, his wife (the Artist’s daughter-in-law). By descent to Martin Hart (the Artist’s grandson). Acquired directly from the above.

Dr. Thomas Folk, New Jersey. Gratz Gallery, Doylestown, Pennsylvania.

$10,000 - 15,000

30 Harry Leith-Ross (American, 1886-1973) Rain in Winter watercolor on paper signed Leith-Ross (lower right) 18 x 26 1/2 in.

Exhibited: Doylestown, Michener Art Museum, “Poetry in Design: The Art of Harry Leith-Ross,” May 12, 2006 – October 1, 2006.

$1,000 - 1,500

William Langson Lathrop (American, 1859-1938) Painesville Farm, c. 1884 oil on board signed LATHROP (lower right) 8 3/4 x 13 1/2 in.

This lot is accompanied by a letter from the Artist’s great-grandson, Patrick Lathrop Bauhan (November 30, 2001).

$2,000 - 3,000

William Langson Lathrop (American, 1859-1938)

Stream Bed with Rocks ink wash on paper 5 3/4 x 3 1/2 in.

Provenance: Gratz Gallery, New Hope, Pennsylvania.

$600 - 1,000

William Langson Lathrop (American, 1859-1938)

Double Vision ink wash on paper 6 1/4 x 3 3/4 in.

Provenance: Gratz Gallery, New Hope, Pennsylvania.

$500 - 800

1880-1958)

etching

$600 - 1,000

Daniel Garber (American, 1880-1958) Barnyard drypoint and etching on cream paper

Provenance: Gratz Gallery, New Hope, Pennsylvania.

$600 - 1,000

Karl Blossfeldt (German, 1865-1932)

A Set of 8 Botanical Prints photogravures plate number stamped in lower right margin under mat (each) Image size: 10 1/2 x 7 3/4 in. (each, approx.)

$500 - 700

Daniel Garber (American,

Lumberville Cottage drypoint and

on cream paper

37 A Queen Anne Walnut Three-Drawer Work Table Southeastern Pennsylvania, Circa 1760

with pinned rectangular top, over three short drawers, on tapered legs ending in stockinged feet.

Height 30 x width 57 7/8 x depth 35 inches.

$2,000 - 3,000

38 A George III Style Carved Mahogany Stool with Needlepoint Upholstery

English, Probably 19th Century

of rectangular form, with gadrooned moldings, on cabriole legs with shell-carved knees, ball-and-claw feet, the needlepoint upholstery with floral motifs.

Height 20 1/2 x width 25 x depth 19 1/2 inches.

$500 - 800

A Queen Anne Walnut High Chest of Drawers Philadelphia, Pennsylvania, Circa 1750

in two parts, the upper section with flat molded cornice, over a series of three short drawers with evidence of Quaker spring locks (the upper right-most drawer retaining a spring lock), over two short drawers, over three long drawers, the lower section with waist molding above three short drawers over two short drawers, shaped apron on cabriole legs ending in snake feet, the left upper-most drawer to lower section with faint chalk inscription to drawer side.

Height 76 x width 45 x depth 25 1/2 inches.

Provenance:

This high chest of drawers was purportedly passed down through the Wainwright, Bowman, and Comly Families of Lower Merion and Byberry Township, Pennsylvania, including Sarah R. Wainwright and John Wainwright, of Lower Merion, Pennsylvania, possibly by descent to John Bowman (1806-1860) and Ann Comly (1806-1872), thence by descent to Sarah Rowland Bowman (1836-1911), thence by descent to Charles C. French (1861-1936?), thence by descent to Helen Chambers Comly (1872-1958), thence by descent, Acquired by Philip Bradley Antiques, Downingtown, Pennsylvania in 1997, The present consignor (acquired from above).

This lot includes two detached metal plaques engraved with assumed line of descent: “Sarah R. Wainwright/ Sarah Rowland Bowman/ Charles C. French.” It is most probable that these plaques were made during Charles’ ownership of the high chest. The direct connection between Sarah R. Wainwright and Sarah Rowland Bowman remains uncertain, although Sarah Wainwright’s husband, John Wainwright, acquired a parcel of land in Lower Merion, Pennsylvania, belonging to Joshua Bowman, which John named Elm Hall. Like this example, there is evidence of repeated property transfers between the Wainwright and Bowman Family, so it is not improbable that the chest was acquired through a similar exchange.

John Comly (1773-1850), the father of Ann Comly (1806-1872), was best known as a Quaker minister who served as a leader of the Hicksite sect in Philadelphia. He was also a skilled surveyor and agriculturalist, as well as a schoolmaster. He married Rebecca Budd, of Mount Holly, New Jersey, who was also a schoolmaster, and together they ran Pleasant Hill Boarding School out of their Byberry home, from 1804-1815. An advocate for proper grammar and spelling, he authored English Grammar Made Easy to the Teacher and Pupil. In his daily life, he exemplified pacifism in all forms, even maintaining a strict vegetarian diet.

This lot is accompanied by a typed appraisal of the estate of Charles C. French, located at 3202-3204 Hamilton Street, Philadelphia, Pennsylvania, executed by Samuel T. Freeman & Co., on July 27th, 1936, a typed family tree, a copy of George Norwood Comly’s book, Comly Family in America (Philadelphia: Under Supervision by J.B. Lippincott Co., 1939), six cabinet card photographs, two depicting the house at Pleasant Hill, Byberry, Pennsylvania, and four depicting members of the Comly Family, including Charles C. French, as well as his sister and her family: Anna Dora (French Palmer), her husband Edwin L. Palmer, and their daughter Elizabeth Comly Palmer at two years, the couple identified verso and dated, “1895”, and the child identified and dated, “Dec. 1904.”

$4,000 - 6,000

A Comb-Back Windsor Armchair Southeastern Pennsylvania, Late 18th Century

Height 48 x width 24 x depth 20 1/4 inches.

Provenance: H. & R. Sandor, Inc., New Hope, Pennsylvania.

$2,000 - 3,000

A Queen Anne Cherry Tilt-Top Candlestand Philadelphia, Pennsylvania, Circa 1760

Height 28 1/4 x diameter 20 1/2 inches.

$2,000 - 3,000

with round dished top, on birdcage mechanism, turned support with suppressed ball, on three cabriole legs with pad feet.

A Comb-Back Windsor Side Chair Philadelphia, Pennsylvania, Late 18th Century with scrolled ears.

Height 36 5/8 x width 24 3/8 x depth 19 inches.

$400 - 600

43 A Chippendale Pine Corner Cupboard

Southeastern Pennsylvania, late 18th Century

Height 82 1/2 x width 54 1/2 x depth 30 inches.

$1,500 - 2,500

An English Majolica Covered Salmon Tureen George Jones, England, Registry Mark for 1871

the underside of tureen with impressed registry mark and inscribed numerals, “2765.”

Height 4 1/2 x width 19 1/2 x depth 8 1/2 inches.

$800 - 1,200

An English Majolica Covered Mackerel Server Thomas Forester, Phoenix Works, Longton, England, Circa 1880

Height 4 1/2 x width 12 3/4 x depth 5 inches.

$300 - 500

A Collection of Seven Majolica Pitchers

Various Makers, Late 19th Century

two with molded product codes to underside, one also marked “Made in England.”

Height 8 1/4 x width 7 1/2 x depth 6 inches (tallest).

47

A Collection of Ten Small Majolica Pitchers

Various Makers, Most English or American, Late 19th Century

most apparently unmarked, but some with inscribed numerals to underside, and including one “fish” pitcher impressed, “BP1”, to underside.

Height 7 3/8 x width 6 1/4 x depth 5 inches (tallest).

$600 - 800

48

A Collection of Ten Large Majolica Pitchers

Various Makers, Most English and American, Late 19th Century

most apparently unmarked, but including one “fern” pitcher by Griffen, Smith and Hill (18801889), Phoenixville, Pennsylvania, circa 1885, with impressed “GSH” cipher mark to underside; and another pitcher with molded product code and “Made in England” to underside.

Height 10 x width 8 1/2 x depth 6 1/4 inches.

$800 - 1,200

49 A Majolica Bird Dish

Probably English, Late 19th Century apparently unmarked.

Height 4 3/4 x width 9 7/8 x depth 10 1/4 inches.

$300 - 500

A Collection of Eight Majolica Leaf-Form Dishes

Various Makers, Late 19th Century

including one by James Wardle, bearing impressed registry mark and “Woodbound/ B&D” mark, and bearing old collection label, “Margaret Parshall Collection”; another dish, with impressed mark, “Made in England”; and the others apparently unmarked.

12 1/2 x 9 inches (largest).

Provenance:

One dish: Margaret Parshall Collection. $600 - 800

51 A Set of Six English “Strawberry Blossom” Majolica Plates with Cobalt Ground George Jones, England, Circa 1870

some with impressed two-digit code to underside, “8A”, “9A”, and others, and with handwritten numerals, “3454/ T”, “3454/ 3”, “3454/ 111”, “3454/ T”, and “3454/ 2.”

Diameter 8 1/2 inches.

Provenance: John Rosselli Antiques, New York, New York.

$800 - 1,200

An English Majolica Covered Game Pie Tureen George Jones, England, Registry Mark for 1870

the sides decorated with rabbits, the lid with quail-form finial, with interior liner, the underside of tureen bearing impressed George Jones mark, registry mark, and inscribed with numerals, “3416/ 4.”

Height 7 x width 13 x depth 8 1/2 inches.

$800 - 1,200

An Assorted Collection of Thirteen Majolica Teawares

Various Makers, English and American, Second Half 19th Century

most items unmarked, comprising a teapot in the form of nesting bird; a coffeepot with petunia motifs; a three-piece Japanesque tea service with prunus against yellow ground; a matching “Chinoiserie” teapot and covered sugar dish, by Thomas Forester, Phoenix Works, Longton, England, circa 1880, with bamboo-form handles and spouts, bird on branch motif, and figural finials; a small fish-form creamer, attributed to Daniel Sutherland & Sons; a “fan and crane” creamer and mustache cup, by Wardle & Co., with English registry marks to underside; a small “wild rose” creamer, by Griffen, Smith & Hill, Phoenixville, Pennsylvania, 1880-1889, apparently unmarked; and a small creamer and beaker vase, the vase with English registry marks to underside.

Height 8 x width 8 x depth 6 inches (tallest).

$800 - 1,200

A French Majolica Humidor in the Form of Monkey Playing the Piano, Mounted as a Lamp Sarreguemines, France, Circa 1880

Height 9 x width 9 3/4 x depth 5 1/4 inchesl (humidor only),

Height 25 x width 10 1/2 x depth 6 inches (overall).

$300 - 500

A “Bow-Tie” Hooked Rug Modern

120 x 96 inches. $500 - 800

Two Tole-Decorated Tinware Trays 19th / 20th Century

comprising a large octagonal tray painted with bird and fruit, 19th century; and a scalloped tray painted with flowers, 20th century.

22 x 32 inches (largest).

$300 - 500

A Tole-Decorated Tinware Tray on Later Painted Wood Base

The Tray 19th Century

the tray top patterned with solid-colored reserves bearing floral motifs, with raised and beaded rim.

Height 19 1/4 x diameter 27 1/4 inches.

$600 - 800

A Pair of Hanging Pierced Tinware and Glass Lanterns 19th Century

Height 16 x width 8 1/4 x depth 5 1/2 inches (not including chain), Height 28 7/8 inches (height including chain).

$1,000 - 2,000 58

A Tinware Six-Light Chandelier Delaware Valley, Late 18th / Early 19th Century

Height 38 1/2 x diameter 30 inches.

Provenance: George Schoellkopf Antiques, New York, New York.

$2,000 - 3,000

$800 - 1,200

A Pair of Tin Three-arm Wall Sconces 19th / 20th Century

with detachable candle arms; sold together with a Baroque style brass candlestick, by Metropolitan Museum of Art reproductions, 1987, stamped to underside, “C. MMA 1987.”

Height 13 x width 10 x depth 7 1/2 inches (sconces), Height 10 x diameter 6 5/8 inches (candlestick, overall).

$800 - 1,200

A Set of Four Comb-Back Windsor Side Chairs Philadelphia, Pennsylvania, Late 18th Century

Height 36 x width 23 x depth 16 1/2 inches.

Late 19th Century

A Large Baroque Style Oak Drop-Leaf Dining Table

with demilune leaves and bowed ends, shaped end aprons, on boldly turned legs.

$2,000 - 3,000

Height 28 3/4 x width 81 1/2 x 83 3/4 inches (when opened).

A William & Mary Walnut and Oak Stretcher Table

Early 18th Century

Height 27 1/2 x width 60 1/4 x depth 34 1/2 inches.

$1,000 - 2,000 63

A William & Mary Oak Joint Stool English, Early 18th Century with molded two-board top, on frame with turned legs.

Height 18 1/2 x width 17 x depth 10 1/2 inches.

Provenance:

Interior frame retaining label for Frank Bowles Antiques, New York, New York, inventory no: 17432.

$400 - 600

A George I Inlaid Oak Armchair English, First Half 18th Century

the back panel inlaid with tree motif, the slip seat upholstered with needlepoint coat-of-arms with bannerette bearing motto, “Promptus Et Fidelis” and date, “1952.”

Height 37 3/4 x width 23 x depth 21 inches.

$600 - 800

A Welsh George III Inlaid Oak Dresser Second Half 18th Century

in two parts, the upper section with molded and scalloped cornice, with three plate racks, flanked by scalloped sides and two small doors inlaid with sixpointed stars, the lower section with three drawers, above shaped apron, on turned legs connected by lower shelf, raised on bun feet.

Height 76 1/4 x width 76 3/4 x depth 18 1/2 inches.

$3,000 - 5,000

Late 19th / Early 20th Century

Height 30 x width 78 1/8 x depth 26 3/4 inches.

$800 - 1,200

A William &

Table First Quarter 18th Century with single drawer.

$1,500 - 2,500

Height 30 1/2 x width 54 1/2 x depth 43 3/4 inches (when opened).

A Baroque Style Stained Fruitwood Trestle Table

Mary Walnut Gateleg Dining

A Victorian Baroque Revival Tilt-Top Table with Needlework Top English, Mid-19th Century

$400 - 600

the octagonal top inset with needlepoint panel, on turned support with three scrolling legs and acanthuscarved feet.

Height 28 1/2 x width 33 3/4 x depth 27 1/4 inches.

A Louis XVI Style Carved and Giltwood Center Table with Breccia Capraia Dated, “1886” the marble top signed and dated to underside, “Sanchez Bustamante/ P.B.A./ 1886.”

Height 29 1/2 x width 60 x depth 35 1/4 inches.

$3,000 - 5,000

A Carved and Painted

Swan Decoy Probably Early 20th Century

Height 21 x width 35 x depth 11 inches.

$500 - 700

Wood

A Large Renaissance Revival Bronze Table Lamp

Height 36 3/4 x diameter 27 3/4 inches (overall).

George Subkoff Antiques, New York, New York.

$1,000 - 2,000 with Stained Glass Shade

A Mintons Majolica Lazy Susan Together with a Set of Four Miniature English Majolica Planters

The Planters by the Worcester Royal Porcelain Co. for Tiffany & Co., New York, New York, The Lazy Susan with Date Code for 1876

the underside of stand impressed, “Mintons”, “802” and with date code for 1876; the planters with stamped mark including, “For Tiffany & Co./ New York” and the impressed mark.

$500 - 700

Height 3 1/2 x diameter 18 1/2 inches (lazy susan), Height 2 3/8 x width 12 x depth 2 3/8 (planters, approx., along curve).

An English Majolica “Blackberry” Cheese Dome Joseph Holdcroft, Longton, Stoke-on-Trent, England, Circa 1875 the underside of base with impressed mark, “J. Holdcroft.”

Height 12 1/4 x diameter 11 inches (overall).

$800 - 1,200

An Assorted Collection of Six Majolica Tablewares

Various Makers, English and Austrian, Late 19th / Early 20th Century

comprising a covered asparagus dish, by Julius Dressler, Biela bei Bodenbach, Austria, 1910-1918, with stamped mark and impressed “Austria” to underside; a shell-form centerpiece bowl, apparently unmarked; a basket with bird and branch motif, by Thomas Forester, Phoenix Works, Longton, England, circa 1880, apparently unmarked; a basket, apparently unmarked; a faux bois basket, apparently unmarked; and a scalloped round tray holly sprig motifs, apparently unmarked.

Height 9 x width 15 x depth 8 1/2 inches (covered asparagus dish).

$800 - 1,200

A Collection of Ten Majolica Tablewares

Various Makers, English, German, and Likely American, Late 19th / Early 20th Century

the majority apparently unmarked, but including a dish by Wedgwood, date code for 1875, with impressed “Wedgwood” mark and date code, “HID”; a dish by Julius Dressler, Biela bei Bodenbach, Austria, 1910-1918, the underside with stamped mark, impressed “Austria” and “4607”, and inscribed, “544/ 32”; and a “Lily of the Valley” dish and covered sugar dish, the dish marked, “Cico/ Germany/ Hand Painted” and with impressed numerals, “4583.”

13 x 10 inches (largest).

$800 - 1,200

An Assorted Collection of Eighteen Majolica Plates

Various Makers, English, French, German, and American, Late 19th / Early 20th Century

Diameter 9 1/2 inches (largest).

$800 - 1,200

including one marked to underside, “Made in France/ PV”; a pair of plates, by Sarreguemines marked to underside with impressed “Sarreguemines” and stamped mark, “Made in Germany”; two plates by Griffen, Smith and Hill (1880-1889), Phoenixville, Pennsylvania, circa 1885, with impressed “GSH” cipher and “Etruscan Majolica” mark; and a plate by Wedgwood, with impressed “Wedgwood” mark and impressed code, as well as a stamped “Wedgwood/ Etruria-England” mark; and other plates bearing various impressed or inscribed numerals or digits.

A Group of Six Majolica Cake Stands or Footed Compotes

Various Makers, English, German, and American, Late 19th Century

comprising an assembled pair of cake stands by Griffen, Smith and Hill (18801889), Phoenixville, Pennsylvania, circa 1885, bearing impressed “GHS” cipher to underside; a pair of “dandelion” compotes by G.S. Zell, Baden, Germany, early 20th century, marked to underside with impressed “Y/ 722”; a single compote, by Joseph Roth, London, circa 1879-1881, with impressed mark to underside, “J.R/ L”, and a single oval compote, apparently unmarked.

Height 5 1/2 x diameter 9 1/2 inches (tallest).

79 A French Majolica Jardiniere on Stand Sarreguemines, France, Circa 1880

the exterior of the jardiniere molded with gargoyles, the rim of stand molded with masques, the underside of the vessel and stand both impressed, “Sarreguemines” and “426.”

Height 14 x diameter 15 1/4 inches (jardiniere on stand, overall).

$500 - 700

A Majolica Cachepot and Glazed Redware “Faux Bois” Covered Box Late 19th Century

Height 9 x width 11 x depth 9 inches (cachepot).

$300 - 500 80

Height 12 x width 10 x depth 6 inches (brown-glazed Spaniel).

$300 - 500

A Group of Four Ceramic Figures: Three Spaniels and a Frog Late 19th / 20th Century comprising a pair of Staffordshire gilt and enamel-decorated spaniels, a Rockingham-glazed spaniel, and a glazed stoneware frog, with an indistinct incised signature to underside.

A Painted Hutch Table Pennsylvania, Second Half 19th Century

with flip top, revealing seat, above two drawers with cast glass pulls, overall bearing painted decoration, including fylfot to top surface, the underside of top and sides with arched architectural reserves depicting urns issuing flowers, the reserves to underside of top initialed, “JE” and “GK,” and scrolling tulips and six-pointed stars to drawer fronts.

Height 29 x width 50 x depth 27 3/8 inches.

83 A Needlework Sampler

Worked by Frances Watson, Early 19th Century

worked with polychrome threads on a cotton ground, with alphabet over pious verse, above roses, floral urns, and peafowl, inscribed, “Frances Watsons sampler,” all surrounded by meandering strawberry border.

21 1/2 x 17 1/4 inches (sight), 25 1/2 x 21 1/2 inches (frame).

Provenance: By descent through the consignor’s family.

$400 - 600

20th Century

A Painted Terracotta Figure of a Dog

$400 - 600

Height 18 3/4 x width 16 x depth 8 inches.

A Collection of Eleven Cast and Painted Metal Dog Figures Most 20th Century

Height 10 x width 9 1/2 x depth 4 inches (tallest).

$600 - 800

A Collection of Twenty-Five Cast and Painted Metal Dog Figurines 19th / 20th Century

including a Scottie-form lighter, marked to underside, “Austria/ Patent Ang.”; another made of weighted sterling silver, marked “925” to underside; and another being a scent bottle with red glass eyes.

Height 5 1/4 inches (Scottie-form lighter).

$600 - 800

- 600

28 1/4 x width 26 1/4 x depth 17 1/4 inches.

27 1/2 x width 17 1/4 x depth 17 inches and Height 29 1/4 x 18 1/2 x 18 1/4 inches.

Two Federal Cherry Candlestands

Early 19th Century

Height

A Federal Tiger Maple Candlestand

Early 19th Century

Height

$400

A Federal Inlaid Cherry Tall Case Clock

Southeastern Pennsylvania, Late 18th Century

the hood with broken arch pediment centered by finial, the volutes inlaid with stars, the enamel face decorated with painted fruit, flowers, and stalks of wheat to arch and spandrels, the case with molded door and fluted quarter columns, waist apron above paneled base, on base molding with ogee feet, the interior of case retaining label for C. L. Prickett.

Height 92 3/4 x width 20 1/2 x depth 10 1/2 inches.

Provenance:

C. L. Prickett, Yardley, Pennsylvania.

$2,000 - 3,000

A Regency Inlaid Mahogany Wheel Barometer

A. Grego, London, First Quarter 19th Century

the silvered face engraved, “A. Grego/ 27 Leathr Lane Holbn/ London”, the case inlaid with rosettes and shells.

Height 38 1/2 x width 10 inches.

$300 - 500

A Federal Inlaid Mahogany and Eglomise Shelf Clock

Eli Terry (1772-1852), Plymouth, Connecticut, Early 19th Century with broken arch pediment, surmounted by three brass finials, enamel-decorated face, the spandrels with patriotic shields, the door with eglomise panel depicting a landscape with Classical house, two colonnettes, on shaped apron with feet, the interior retaining original Eli Terry label; accompanied by a modern wood shelf.

Height 29 x width 16 1/2 x depth 4 inches.

$500 - 800

Height 18 1/2 x width 16 1/2 x depth 10 inches.

$800 - 1,200

Height 30 1/4 x width 85 1/2 x depth 34 inches.

$800 - 1,200

A Pair of Mirrored Tinware Wall Sconces 19th Century

93 A Pine Trestle Table 19th Century

A Pair of Green-Painted and Decorated LadderBack Rush-Seat Side Chairs Probably Pennsylvania, 19th Century with turned “bamboo” stiles, legs, and front stretchers, arched splats, the crest-rail with painted floral garlands, accompanied by custom upholstered cushions.

Height 46 x width 18 3/4 x depth 16 1/2 inches.

$500 - 800

A Green-Painted and Decorated Windsor Bench Pennsylvania, First Half 19th Century

the shaped crest-rail and back-splat stenciled and decorated with flowers, butterflies, and fruit motifs, scrolled arms, accompanied by custom upholstered cushion and decorative throw pillows.

Height 35 x width 75 x depth 21 inches.

$1,000 - 1,500

96 A Green-Painted Stand 19th Century

$500 - 800

Height 30 x diameter 23 3/4 inches.

A French Brass Kerosene Pressure Lamp Unic Lumiere, Paris, Circa 1920-1930

the underside of shade marked, “Ste ‘Unic’ Lumiere/ 3, Impasse du Moulin Joly/ Paris,” presently electrified.

Height 27 x width 11 3/4 inches.

$400 - 600

A Collection of Twenty-One French Beaded and Glass Flower and Fruit Arrangements

Mid-20th Century

each contained in various glass, ceramic, or metal pots or containers, including a lemon tree, hyacinth, daisies, strawberries, and more.

Height 19 inches (lemon tree, as presently displayed).

$800 - 1,200

99

A Large Collection of Thirty-Seven Flower Frogs or Holders

Various Makers, 20th Century

comprising pieces made from various materials, including one blown glass example in the form a crown; ten glazed or enamel-decorated pottery examples, including a porcelain yellow flower example, hand-molded turtles, and a snail, incised, “Gramps/ From Lin + Lou”; four cast iron or metal animals including two frogs, a turtle, and a swan, one frog marked, “Made in Japan”, to underside, the turtle bearing Chinese characters; fifteen cast and worked metal wirework or cage examples, including pieces by the following makers: Dazey Flower Holder Co., Los Angeles, California, Blue Ribbon Flower Holder Co., Cuyahoga Falls, Ohio, Floralart Products, and others; four floral arm welded metal examples, and two plastic examples with metal clips, by Reynolds Mfg. Co., Sumner, Washington.

Height 4 3/4 x diameter 6 inches (blown metal crown).

$800 - 1,200

After Giambologna (Italian, 1524-1608), A Cast Zinc Statue of Mercury Late 19th / Early 20th Century including custom painted wood base.

Height 63 inches (approx., excluding base); Height 17 x width 20 x depth 18 1/4 inches (base).

$2,000 - 3,000

101

A French Three-Piece Wirework Garden Seating Suite Circa 1900

Height 34 1/2 x width 72 x depth 35 inches (bench, overall).

H: 37 W: 65 D: 40 approx (bench, overall)

$1,500 - 2,500

102

A Terracotta Garden Urn on Stand 20th Century

Height 41 1/2 x diameter 27 1/4 inches (overall).

$1,000 - 1,500

103

A Cast Iron Garden Jardiniere Stand

Late 19th / Early 20th Century

Height 33 3/4 x diameter 31 inches (overall).

H: 33 1/2 D: 34 (overall)

$800 - 1,200

104

A Pair of Curved Wrought Iron Tree Benches

Late 19th / Early 20th Century

can be used separately or installed together.

Height 31 x width 65 x depth 33 inches (each, overall).

H: 30 1/4 W: 61 1/2 D: 31

$1,500 - 2,500

A Cherry Joint Bench 19th Century

Height 19 1/4 x width 68 3/4 x depth 12 1/2 inches (overall). H: 19 3/ 4 W: 68 3/4 D: 6 3/4

$400 - 600 106 A Federal Country Painted Dry Sink Circa 1800

$400 - 600

Height 26 3/4 x width 42 x depth 20 inches.

An Assorted Collection of Thirty-One Metal and Wood Garden Tools 19th / Early 20th Century

comprising examples made primarily of iron and wood, including four long rakes; six hand rakes; a pitch fork; nine clippers or shears of various forms and sizes; two scythes, one with impressed mark to blade, “I. Christ”; an awl, the handle incised with monogram, “V.V.M.”; a hoe; two large shovels or diggers; three hand trowels; a hay cutting knife; and a handle.

Length 53 1/4 inches (longest).

$1,000 - 2,000

the top in two sections which connect via butterfly cleats.

Height 31 1/2 x width 106 x depth 77 inches.

$2,000 - 3,000

108

A Large Walnut Sawbuck Table 19th Century

Height 21 x width 16 x depth 5 1/4 inches (rooster, including base).

$400 - 600

109

Two Sheet Iron Weathervanes: Horse and Rooster 20th Century each mounted on wood base.

A Painted Tin and Wood Toy Barn Diorama First Quarter 20th Century

the barn composed of painted tin, with lift-off and lift-lid roofs and articulated doors, the ground is hinged and lifts off green-painted tin base, revealing storage compartment for individual figurines; accompanied by painted metal or plaster figures including two farmers, two horses, five pigs, two cows, a milkmaid, a goat, two chickens, a bail of hay, and feeding trough.

Height 15 3/4 x width 19 5/8 x depth 17 inches (overall).

$500 - 800

A Stained Pine Drop-Leaf Work Table 19th Century

with two drop leaves having large iron hinges, with single drawer to one end, the other end with iron strap hook, on flared straight legs connected by medial shelf.

Height 32 x width 41 3/4 x depth 36 inches.

$1,000 - 2,000

112

Including:

[Gardening] Robinson, W(illiam). Group of Four Works

Gleanings From French Gardens...

London: Frederick Warne and Co. 1868. First edition. 8vo. 291, (12) (ads) pp. Green pictorial cloth, stamped in gilt, lightly worn; violet endpapers; bookplate of Robert Weir Schultz on front paste-down; scattered foxing.

First edition of Robinson’s first book.

Hardy Flowers. Descriptions of Upwards of Thirteen Hundred of the Most Ornamental Flowers...

London: Frederick Warne and Co. 1871. 8vo. 341 pp. Green pictorial cloth, stamped in gilt; front board detached at gutter, worn; ownership signature on half-title; booksellers ticket at bottom of rear paste-down; scattered foxing.

The English Flower Garden and Home Grounds...

London: John Murray, 1900. Ninth edition. 4to. 892 pp. Dark blue cloth, stamped in gilt, worn; ownership signatures to front paste-down and fly leaf; scattered foxing.

Home Landscapes

$300 - 500

London: John Murray, 1920. Folio. 79 pp. Bound with Home Landscapes: Supplement. With photographic plates. Green cloth, stamped in gilt; all edges untrimmed.

113

Including:

Country Notes

[Gardening] West, Vita Sackville. Group of Eight Volumes

New York/London: Harper & Brothers, (1939). First edition. 4to. 219 pp. Cream buckram cloth, stamped in brown. Offsetting from plates. With a copy of the first American edition (New York: 1940).

The Garden

London: Michael Joseph Limited, (1946). 8vo. (135) pp. Maroon cloth, stamped in silver; pictorial endpapers; scattered foxing; in original dust-jacket, worn.

English Country Houses

London: Collins, 1947. 8vo. (49) pp. Green and white paper covered boards, prelims offset; in original dust-jacket.

In Your Garden Again

The Land

London: Michael Joseph, 1953. 8vo. (179) pp. Light green cloth, stamped in gilt; original dust-jacket, stamp of the British Book Centre inside front panel.

London: William Heinemann Ltd. (1955). 12mo. 107 pp. Red cloth, stamped in gilt; in original dust-jacket.

A Joy of Gardening

New York: Harper’s and Brothers, (1958). 8vo. 213 pp. Yellow and green cloth, stamped in gilt; top edge stained yellow, fore-edge untrimmed; original dust jacket, extremities worn and chipped.

V. Sackville-West’s Garden Book

$300 - 500

New York: Atheneum, 1979. 8vo. 251 pp. Light blue cloth, stamped in black; in original pictorial dust-jacket.

114

[Gardening] Jekyll, Gertrude. Group of 10 Works, One Signed

Wall & Water Gardens

(London): Country Life, (1901). First edition, presentation copy, inscribed on half-title “G. Duff Gordon with love from Gertrude Jekyll June 29 1901.” 4to. 177 pp. Blue-green cloth, stamped in gilt, boards soiled and extremities worn, front joint starting; prelims foxed; scattered light foxing.

Home and Garden...

London: Longmans, Green, and Co. 1901. New edition. 4to. 301 pp. Salmon colored cloth, stamped in gilt, front board and spine faded, soiled; all edges untrimmed; ownership signature on front paste-down; printed birthday card to Rennie Reynolds laid-in; prelims foxed.

Old West Surrey

London: Longmans, Green, and Co. 1904. 4to. 320 pp. Olive green cloth, stamped in gilt, spine faded, extremities worn; black endpapers; three gift inscriptions to half-title; light foxing to prelims.

Some English Gardens

London: Longmans, Green, and Co. 1905. Third edition. Folio. 131 pp. Blue cloth, stamped in gilt, worn; top edge gilt, other edges untrimmed; black endpapers; book-plate of Mary Clarke Thompson on front paste-down.

Colour in the Flower Garden (London): Country Life, 1908. 4to. 149, (10) pp. (ads). Light blue cloth, stamped in gilt, extremities worn; all edges untrimmed; prelims and text offset or foxed; scattered closed tears to pages.

Wood & Garden...

Longmans, Green, And Co. 1910. Eleventh impression. 4to. 286 pp. Blue cloth, stamped in gilt, extremities worn and soiled; all edges untrimmed; gift inscription on front free endpaper signed “E.J.” dated 1911; scattered foxing to prelims and text; printed birthday card to Rennie Reynolds laid-in.

Gardens for Small Country Houses...

London: Country Life, 1920. Fourth edition. Folio. 262 pp. Blue cloth, stamped in gilt; ownership signature to front free endpaper; original printed paper dust-jacket.

Garden Ornament

London: Country Life, (1927). Second edition. Double folio, 438 pp. Green cloth, stamped in gilt, extremities lightly worn; all edges gilt.

A Gardener’s Testament...

London: Country Life, 1937. 4to. 259 pp. Light green cloth, stamped in gilt; scattered foxing.

Annuals and Biennials...

London: Country Life, n.d. 4to. 149, (16) pp. (ads). Light green cloth, stamped in green and in gilt; book-plate of E. Cleveland Morgan on front paste-down.

$400 - 600

115

[Gardening] Jekyll, Gertrude. Group of Three Autograph Letters, signed, to artist William Nicholson

1. Munstead Wood, January 4, 1921. One sheet, two pages. 4 3/4 x 7 3/4 in. (121 x 197 mm) (sight). “Dear Mr. Nicholson, Many thanks for the private view cards - I shall hope to place them within- How I wish I could go myself to see others context... work besides the portrait which I should much have wished to see by daylight. I am so desperatelyno doubt quite foolishly- but there it is-shy about anything to do with personal publicity that I am asking Mr. Hudson not to put me in C.L. The gallery is quite enough, where it will be more when merged in other pictures. The Whistlers book out here get but I shall expect it tomorrow & will return it to you in London before long. I did enjoy all your kindness & capital good fellowship. Yrs. sincerely, Gertrude Jekyll.” Creasing from old folds. In mat and in frame, 10 x 13 in. (254 x 330 mm.) Unexamined out of frame.

2. Munstead Wood, January 6, 1921. One sheet, 4 1/2 x 7 1/2 in. (114 x 190 mm.) “Dear Mr. Nicholson, The Whistlers book safe this morning- Again I find one of these little brass screws that I can only suppose belongs to your lamp. This time it was on the floor, & I felt it under my foot like... the Roseleaf- Mr. Hudson wishes so kindly and privately about the portrait in Country Life, that I feel obliged to relent. Yrs Sincerely G. Jekyll.” White stain along top margin; creasing from old folds; in mat and in frame, 9 3/4 x 13 in. (248 x 330 mm.) Unexamined out of frame.

3. Munstead Wood, January 13, 1921. One sheet, 7 1/4 x 6 1/4 in. (184 x 159 mm). “Dear Mr. Nicholson, I send what Ned calls ‘peonies’ of praise of the picture. & am glad & proud, as your humble, passive auxiliary- If you... receive the press notices would you let me see any, that seem to you worth consideration? With many thanks I return your Whistlerthe letters were so familiar to me that I must have had them before, but the 10 o’clock was new and beautiful. I wonder why his signature is always called a butterfly. It is a mixture of a pansy and a little... devil. The pansy stands for his wonderful sense of colour; the little devil for some of the rest of him, and he is careful to remind you that he has a sting in his tail. Yrs Sincerely, G. Jekyll.” Creasing from old folds, white stains to left margin, in mat and in frame, 12 1/2 x 11 1/2 in. Unexamined out of frame. (318 x 292 mm).

Fine group of autograph letters by garden designer and author Gertrude Jekyll (1843-1932), to English artist William Nicholson (1872-1949). The portrait of Jekyll, completed in October 1920, is now in the National Portrait Gallery, London.

$600 - 900

116

[Gardening] Repton, H(umphry). An Enquiry Into The Changes of Taste in Landscape Gardening...

London: J. Taylor, 1806. First edition. 8vo. 174 pp. Three-quarter green morocco over marbled paper covered boards, stamped in gilt; top edge gilt, other edges trimmed; green endpapers; scattered foxing to text.

First edition of this important work by the last great designer of English landscape gardening, Humphry Repton (1752-1818).

$400 - 600

118

[Gardening] Maxwell, Herbert. A Garden Note-Book... with an A.L.s laid-in

Maclehose, Jackson & Co. 1923. First edition. 4to. (250) pp. Illustrated with 12 color plates; Brown cloth, stamped in gilt, lightly soiled, all edges untrimmed; autograph letter by the author to Lindsay Fleming tipped to front paste-down, original mailing envelope mounted; contemporary photograph of the author mounted to front free end-paper; prelims foxed;

The letter, dated January 1, 1937: “With greeting for the New Year let me thank you for the intersting note on your garden, and for the pamphlet on Goodwood. It must be fort years since I was there, for whereas I cared not for races and was keen for salmon fishing, I preferred Gordon Castle for a holiday. The 7th Duke was the same age as I, and we were schoolfellows. His G. Aunt Jane Duchess of Gordon being my g. great aunt. Your garden must be very interesting. It is near the chalk, but as your can grow Cliathes I suppose you are clear of it. Perhaps the enclosed photo of Euchryphia pinnatifoli as it was here in August may interest you. We have several of this species here, its peculiar merit being that if flowers with equal profusion every year. I am sincerely yours Herbert Maxwell”

$300 - 500

117

[Gardening] [Parrish, Maxfield] Wharton, Edith. Italian Villas and Their Gardens

New York: The Century Co. 1904. First edition. 4to. 370 pp. Featuring pictures by Maxfield Parrish, illustrated with 26 plates by him. Dark green pictorial cloth, stamped in gilt, extremities lightly worn; top edge gilt, other edges untrimmed; book-plate of Louis M. Ream.

Attractive copy of Edith Wharton’s work on Italian garden design, featuring lovely illustrations by Maxfield Parrish.

$300 - 500

119

[Gardening] Strabo, Wallafrid. Hortulus, or The Little Garden

(London): The Stanton Press, (1923). First and limited edition, #5/8 numbered copies on Japanese vellum (from a total edition of 132). 4to. (39) pp. Antique roan cloth, stamped in gilt, lightly soiled; top edge gilt other edges untrimmed; silk bookmark; original printed prospectus laid-in.

Very limited edition of Strabo’s famous 9th century poem on gardening, by the Stanton Press. One of only 8 copies printed as such.

$300 - 500

128

[Gardening] Olmsted, Frederick Law. Forty Years of Landscape Architecture...

New York: G.P. Putnam’s Sons, 1922, 1928. In two volumes. First edition. 8vo. 131, 575 pp. Volume II illustrated with black and white photographs, and large folding plate of Central Park. Green and blue cloth; ownership signature to front fly-leaf of Vol. I; both in publisher’s printed dust -jacket, Vol. II worn.

Scarce two-volume set of the professional papers of American landscape architect Frederick Law Olmsted (1822-1903)

$300 - 500

[Gardening]

Group of 16 Volumes Published by Country Life

London: Country Life. 1905-57. Conditions vary, some worn. Sold as a lot. Including:

Lutyens, E.L. Houses and Gardens; Tipping, H. Avray. English Gardens; Taylor, G.C. The Modern Garden; Stroud, Dorothy. Capability Brown; Tipping, H. Avray Gardens Old and New...; The Century Book of Gardening...; The Modern English Garden (2 copies); Taylor, G.C. Garden Making By Example; Jenkins, E.H. The Hardy Flower Books; Weaver, Lawrence. Lutyens Houses and Gardens; Gardens Old and New The Country House & Its Garden Environment (Vols. 1-3); The Garden Magazine (Vol. 2 only)

$400 - 600

122 [Gardening] Group of 25 American Works on Plants

Conditions vary. Sold as a lot. Including:

Parsons, Mary. The Wilds Flowers of California... San Francisco, 1930; Rockwell, F.F. The Book of Bulbs...New York: 1927; Blanchan, Neltje. The Book of Wild Flowers, New York: 1932; Wilder, Louise Beebe. The Fragrant Path...New York: 1932; Harding, Mrs. Edward. The Book of Peony, Philadelphia: 1917; Emerson, Arthur. Our Trees How to Know Them, Philadelphia: 1918; Rohde, Elenour. A Garden of Herbs, Boston: no date; House, Homer. Wild Flowers, New York: 1936; Sale, Edith. Historic Gardens of Virginia... Richmond: 1930; Francis, Mary. The Book of Grasses... New York: 1920; Wilson, Ernest. Plant Hunting (Vol. II only), New York: 1927; Britton, Nathaniel and Addison Brown. An Illustrated Flora of the Northern United States... (In Three Vols.), New York: 1913; Cloud, Katharine M.P. Practical Flower Gardening, New York: 1924; Blanchan, Neltje. Wild Flowers Worth Knowing, New York: 1919; Thomas, H.H. Round the Year in the Garden... New York: no date; Sedgwick, Mabel. The Garden Month by Month, New York: (1907); Wilder, Louise Beebe. The Garden in Color, New York: 1937; Blanchan, Neltje. Nature’s Garden An Aid to Knowledge... New York: 1908; Wilson, Ernest. More Aristocrats of the Garden, Boston: 1928; Parsons, Frances. How to Know the Ferns... New York: 1911; Henderson, Peter. Handbook of Plants and General Horticulture... New York: 1890; Rogers, Julia E. Trees Worth Knowing, New York: 1919; Teall, Gardner. A Little Garden the Year Round... New York: (1919); Wilson, Ernest. Aristocrats of the Garden, Boston: 1926;

$500 - 800

123

[Gardening] Group of 32 American Gardening Guides

Sizes and conditions vary. Sold as a lot. Including: Lomas, Charlotte. Garden Whimseys, New York: 1923; Rockwell, Frederick. Around the Year in the Garden, New York: 1915; American Country Homes and Their Gardens, Philadelphia: 1906; House & Garden’s Second Book of Gardens, New York: no date; House & Garden’s Book of Color Schemes, New York: no date; The Book of Gardens and Gardening, New York: 1924; Lowell, Guy. American Gardens, Boston: 1902; Biddle, Dorothy. Garden Gossip Chronicles of Sycamore Valley, New York: 1902; Lewis, Albert A. Boxwood Gardens Old and New, Richmond: 1924; Tricker, William. The Water Garden, New York: 1897; Schling, Max. Everyman’s Garden, New York: 1925. Lockwood, Alice. The Gardens of Colony and State, New York: 1924; Miller, Wilhelm. What England Can Teach Us About Gardening, New York: 1911; Taylor, Albert. The Complete Garden, New York: 1921; Rogers, W.S. Planning Your Garden, New York: 1929; Bush-Brown, Louise. Portraits of Philadelphia Gardens, Philadelphia: 1929; Ortloff, H. Stuart. Garden Maintenance, New York: 1932; King, Frances. The Well-Considered Garden, New York: 1915; Thomas Jefferson’s Garden Book..., Philadelphia: 1944; Sedgewick, Mabel: The Garden Month by Month..., New York: 1907; Wilder, Louise. Adventures in My Garden and Rock Garden, New York: 1923; Hutcheson, Martha. The Spirit of the Garden, Boston: 1923; Shelton, Louise. Continuous Bloom in America..., New York: 1915; Salisbury, E.J. The Living Garden, New York: 1936; Henderson, Peter. Gardening for a Profit, New York: 1867; Henderson, Charles. Henderson’s Picturesque Gardens, New York: 1901; Shelton, Louise. Beautiful Gardens in America, New York: 1924; Blanchan, Neltje. The American Flower Garden, New York: 1909; Capen, Oliver. Country Homes of Famous Americans, New York: 1905; Valcoulon Le Moyne, Louis. Country Residences in Europe and America, New York: 1921; Sedgwick, Mabel. The Garden Month by Month, New York: 1907; Clute, Eugene. English House Grounds, New York: 1924

$500 - 800

124

[Gardening] Group of 20 British Gardening Guides

Sizes and conditions vary. Sold as a lot. Including:

Thompson, Robert and William Watson. The Gardener’s Assistant...(In Six Vols.), London: no date; Phillips, G.A.R. Aristocrats of the Flower Border... London: (1948); Blomfield, Reginald. The Formal Garden in England, London: 1901; Hyatt, Alfred. A Book of Old-World Gardens, London: (1920); Cook, E.T. Gardens of England, London: 1911; Ward, F. Kingdon. The Romance of Gardening... London: (1935); Rohde, Eleanour. Gardens of Delight, London: (1934); Rohde, Eleanour. The Story of the Garden, London: (1933); Wilson, Ernest. If I Were to Make a Garden, Boston: (1931); Gilpin, William. Practical Hints Upon Landscape Gardening... London: 1835; The Suburban Horticulturalist... London: 1842; Johnson, George. The Gardener’s Dictionary, London: 1872; Cane, Percy. Modern Gardens British and Foreign, London: 1926; Pulbrook, Ernest. The English Countryside, London: no date; Pink, Alfred. Gardening for the Million, London: no date; Clark, H.F. The English Landscape Garden, London: 1948; Ward, Cyril. Royal Gardens, London: 1912; Holme, Charles. The Gardens of England in the Southern and Western Counties, and The Gardens of England in the Midland and Eastern Counties (2 Vols.), London: 1907-08; Loudon, Mrs. Gardening for Ladies, London: 1851.

$500 - 800

125

[Gardening] Group of 17 British

Works on Plants

Sizes and conditions vary. Sold as a lot. Including:

Present-Day Gardening Series. (In 14 volumes, comprising: Lilies, Pansies Violas and Violets, Climbing Plants, Daffodils, Orchids, Dahlias, Chrysanthemums, Irises, The Rock Garden, Carnations and Pinks, Rhododendrons and Azaleas, Annuals Hardy and Half-Hardy, Roses, and Sweet Peas.) London: no date; Step, Edward. Wayside & Woodland Trees, London: no date; Sanders, T. W. The Flower Garden, London: no date; Cooke, Arthur. A Book of Dovecoats, London: (1920); Rhind, William. A History of the Vegetable Kingdom, Glasgow: no date.; Osborne, A. Shrubs and Trees for the Garden; London: no date; Thomas, H.H. Herbaceous Border Flowers, London: no date; Rohde, Eleanour. The Scented Garden, London: (1936); Garden Colour, London: 1905; Johns, C.A., Flowers of the Field, London: 1911; Rohde, Elenaour and Eric Parker, The Gardener’s Weed-End Book, London: no date; Flora and Sylva...(Vol. I only), London: 1903; Hibberd, Shirely. The Fern Garden How to Make, Keep, and Enjoy It... London: 1877; Thornton, John. A Family Herbal: or Familiar Account of the Medical Properties... London: 1814; Cameron, Katharine. The Flowers I Love... London: no date; Step, Edward. Favourite Flowers of Garden & Greenhouse... (Vols. 1-3 only), London: 1896-97; Gilmour, John. British Botanists, London: 1946.

$400 - 600

126

[Gardening] Group of 30 Miscellaneous Gardening Works

Sizes and conditions vary. Sold as a lot. Including:

Blomfield, Reginald. The Formal Garden in England, London: 1936; Stroud, Dorothy. Capability Brown, London: (1957); Holme, Charles. The Gardens of England in the Southern and Western Counties, London: 1907; Watson, William. The Gardener’s Assistant (Vols. II and VI only), London: no date; Blanchan, Neltje. Nature›s Garden An Aid to Knowledge New York: 1901; Rogers, Julia. Trees Worth Knowing, New York: 1934; Deland, Margaret (and Walter Crane), The Old Garden and Other Verses... Boston, 1893; (Hull, Thomas). First Garden Book being a Faithful Reprint... Illinois, 1939; Jekyll, Gertrude. Home and Garden... London: 1901; Jekyll, Getrude. Wall and Water Gardens, London: no date; (Repton, Humphrey) The Art of Landscape Gardening... London: 1907; Sale, Edith. Historic Gardens of Virginia, Richmond: (1923); Hutcheson, Martha. The Spirit of the Garden, Boston: (1923); House, Homer. Wild Flowers... New York, 1935; Blanchan, Neltjie. The American Flower Garden, New York: 1909; Clute, Eugene. English House Grounds, New York: 1924; Lowell, Guy. American Gardens, Boston: 1902; Miller, Wilhelm. What England Can Teach Us About Gardening, New York: 1913; Townsend, Reginald. The Book of Gardens and Gardening, New York: 1924; Tipping, H. Avray. English Gardens, London: 1925; Holme, Charles. The Gardens of England in the Midland and Eastern Counties, London: 1908; Holme, Charles: The Gardens of England in the Southern and Western Counties, London: 1907; Cane, Percy. Modern Gardens British and Foreign, London: 1926; Wilson, Ernest. If I Were to Make a Garden, Boston: 1931; Le Moyne, Louis Valcoulon. Country Residences in Europe and America, New York: 1921; Lockwood, Alice. Gardens of Colony and State (Two Vols.), New York: 1931; West, Vita Sackville. Country Notes, New York: 1940; Hubbard, Henry and Theodora Kimball. An Introduction to the Study of Landscape Design, Boston: 1967; Gilmour, John. British Botanists, London: 1946; Cran, Marion. Gardens in America, London: 1931.

$500 - 800

127

[Gardening] Group of Nine Works on Garden Architecture, Design, etc.

Hogg, Warrington

The Book of Old Sundials & Their Mottoes... Edinburgh: T.N. Foulis, (1922). 8vo. (103) pp. With eight color plates by Alfred Rawlings, as well as illustrations by the author. Pictorial paper covered boards, extremities worn; top edge trimmed; other edges untrimmed;

Scott, Frank J.

The Art of Beautifying Suburban Home Grounds...

New York: D. Appleton & Co. 1870. 4to. 618 pp. Illustrated with many engraved plates. Green-pebbled cloth, stamped in gilt, extremities worn; top edge gilt, other edges trimmed.

Shepherd, J.C., and G.A. Jellicoe Gardens & Design

London: Ernst Benn Limited, 1927. Folio. 248 pp. Three-quarter tan cloth over green paper covered boards, printed cover label, lightly soiled;

Eberlein, Harold and Cortlandt Hubbard

The Practical Book of Garden Structure & Design

Philadelphia: J.B. Lippincott Company, 1937. Folio. 97 pp. Orange cloth, stamped in gilt; top edge stained orange. bookseller’s ticket on rear paste-down

American Society of Landscape Architects Illustrations of Work of Members

New York: The House of Hayden Twiss, 1932-34. In three volumes. Folio. Blue cloth stamped in gilt; extremities worn.

Stoney, Samuel G.

Plantations of the Carolina Low Country

Charleston: Carolina Art Association, (1945). Folio. (242) pp. Brown cloth stamped in black; illustrated endpapers; dust-jacket remnants laid in; embossed ownership stamp of architect Stuart Barnette on title-page.

Elwood, P.H. Jr.

American Landscape Architecture

New York: Architectural Book Publishing, (1924). Folio. 193 pp. Brown cloth, stamped in gilt; top edge gilt; printed brown paper dust-jacket.

Monograph of the Work of Charles A. Platt

New York: Architectural Book Publishing, (1913). Folio. (183) pp. Brown cloth stamped in gilt, boards soiled; top edge gilt; ownership signature to front fly leaf; embossed ownership stamp on title-page.

Triggs, H. Inigo

The Art of Garden Design in Italy

London: Longmans, Green, and Co., 1906. Elephant folio, 135 pp. Orange cloth stamped in gilt, boards soiled; top edge gilt.

$400 - 600

128

[Gardening] Group of 7 titles on Landscape Gardening

Including:

Repton, Humphry

The Art of Landscape Gardening...

London: Archibald Constable & Co. 1907. 8vo. 252 pp. Orange cloth, stamped in gilt; in original paper dust-jacket and publisher’s slip case.

Kemp, Edward.

Landscape Gardening How to Lay Out a Garden

New York: John Wiley and Sons, 1911. 12mo. 292, (19) pp. Green cloth, stamped in gilt; black endpapers.

Hubbard, Henry Vincent and Kimball, Theodora

An Introduction to the Study of Landscape Design...

New York: Macmillan Company, 1917. Folio. 406 pp. Black cloth, stamped in gilt, boards soiled;

Landscape Garden Series

Davenport, Iowa: The Garden Press, 1921. In 10 volumes. 8vo. Pages and authors vary. Stiff printed gray wrappers, spines staples; scattered soiling or foxing; pink silk cloth tie.

Waugh, Frank A.

Book of Landscape Gardening...

New York: Orange Judd Publishing Company, 1926. 8vo. 236, (11) pp. Dark blue cloth stamped in yellow, joints and extremities lightly worn;

Cridland, Robert B.

Practical Landscape Gardening...

New York: A.T. De La Mare Company, 1929. 8vo. 280 pp. Green pictorial boards stamped in gilt, extremities lightly worn, prelims foxed; printed card addressed to Rennie Reynolds laid-in;

Coffin, Marian Cruger

Trees and Shrubs for Landscape Effects

New York: Charles Scribner’s Sons, 1940. 8vo. 169 pp. Gray cloth stamped in brown, boards lightly soiled. Remnants of printed dust-jacket laid-in.

$300 - 500

MONICA BROWN

Managing Director, Fine Art Head of Department, Prints and Multiples

720.739.5604 monicabrown @hindmanauctions.com

LYNDA CAIN

Vice President, Head of Department, American Furniture, Folk, and Decorative Art

267.977.9546

lcain @freemansauction.com

Sale 6338 | GARDEN PARTY: THE COLLECTION OF RENNY REYNOLDS

GARDEN

PARTY: THE COLLECTION OF RENNY REYNOLDS

GARDEN PARTY: THE COLLECTION OF RENNY REYNOLDS

21

22

47

A Collection of Ten Small Majolica Pitchers

48

A Collection of Ten Large Majolica Pitchers

An Assorted Collection of Thirteen Majolica Teawares

A Collection of Ten Majolica Tablewares

A Group of Six Majolica Cake Stands or Footed Compotes

83 A Needlework Sampler

99

Group of 16 Volumes Published by Country Life

122

[Gardening] Group of 25 American Works on Plants

124

Works on Plants

LEADERSHIP