The Estate of Robert Day—July 29 & 30, 2025 | John Moran Auctioneers by johnmoranauctioneers

The Estate of Robert Day

SINCE 1969 July 29 & 30, 2025

AUCTIONEERS & APPRAISERS

The Estate of Robert Day

July 29 & 30, 2025 | 10am PDT

Sale 329

The Estate of Robert Day - Day 1: Tuesday, July 29, 2025 | 10am PDT (Lots 1-413)

The Estate of Robert Day - Day 2 Online: Wednesday, July 30, 2025 | 10am PDT Lots in this session to be offered at No Reserve (Lots 1001-1359)

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

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Meet the Team

Jennifer Kurtz Head of Sale Specialist / Department Manager, Decorative Arts j.kurtz@johnmoran.com

Anne Spink Senior Cataloguer, Fine Art a.spink@johnmoran.com

145 East Walnut Avenue, Monrovia CA 91016 Client Services

Mario Esquivel Office Manager m.esquivel@johnmoran.com

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

1969

Ella Fountain Client Services e.fountain@johnmoran.com

Robert generous arts. founded leading by supporting Day’s McKenna, for and and accomplishment. into

Robert

Robert Addison Day (1943-2023)

Robert Addison Day was a pioneering investor, influential philanthropist, and generous civic leader who left an indelible mark on education, science, and the arts. A native Angeleno and 1965 graduate of Claremont McKenna College, Day founded Trust Company of the West in 1971, building it into one of the world’s leading asset management firms. He later led the W. M. Keck Foundation (founded his grandfather) where, as Chairman and CEO, he oversaw over $2 billion in grants supporting groundbreaking science, medicine, and education across the nation.

Day’s legacy includes major contributions to USC, Caltech, UCLA, and Claremont McKenna, where his $200 million gift created the Robert Day Scholars Program. Known his intellect and generosity, he mentored students, shaped institutions like LACMA and the Keck School of Medicine, and led ventures in real estate, private equity, and conservation. Robert Day’s estate reflects a life of refined taste, purpose, and accomplishment. As Mr. Day’s collection now comes to auction, it offers a rare glimpse into the world of the visionary investor and transformative civic leader.

A set of twelve Tiffany & Co. sterling silver bread plates

Early/mid-20th century; Directorship of John C. Moore (1907-1947)

Each marked: Tiffany & Co. / Makers / Sterling Silver / 925-1000 / M; numbered: 20198 / 6851

12 pieces

Each: 6.125” Dia.

64.8 oz. troy approximately

$1,200-1,800

2

A Continental .800 silver drinks set

Late 19th/early 20th century

Each with indistinct hallmarks and marked: 800

Comprising a vessel in the form of a wine cask and a pair of cask-form cups with gilt interiors

3 pieces

Cask: 7.75” H x 5” Dia.; Each cup: 3.25” H x 3.125” Dia.

Total weight: 29 oz. troy approximately

$700-900

A large Mexican sterling silver footed oval center bowl Mid-20th century

Marked to underside: Sterling / 0.925 / Lafayette; further marked with an eagle in a cartouche With opposed handles, raised on a rectangular foot

7” H x 28.5” W x 10.5” D

113.1 oz. troy approximately

$2,000-3,000

A pair of George IV sterling silver entrée dishes and covers 1823

Each marked for Sheffield, sterling, and with date mark; with indistinct maker’s mark Of rectangular form, with gadrooned edges with shell-form motifs, and four engraved armorials and crests on each cover

2 pieces

Each: 6” H x 12.25” W x 9.25” D

Total weight: 111.7 oz. troy approximately

$2,000-3,000

An Asprey & Co. sterling silver elephant-form desk ornament 1990

Marked: Asprey / Sterling / London

4.5” H x 3” W x 6.25” D 27 oz. troy approximately

$800-1,200

Provenance:

Sold: Bonhams, Los Angeles, CA, “Collection of William M. Keck II,” December 9, 2014, lot 1821 From the Collection of Robert A. Day

Two sterling silver and silver-plated Early 20th century

Sterling marked: RC / 925; silver-plated marked: Comprising a sterling silver footed box and hinged lid with repoussé decoration depicting 2 pieces

Sterling: 5.5” H x 12” W x 8.5” D; Plated:

$3,000-4,000

silver-plated footed jewelry boxes

marked: Walker & Hall / Sheffield and a silver-plated copper footed box with locking hinged lid, each with depicting putti in a garden landscape, opening to reveal a lined interior

Plated: 6” H x 12” W x 8.5” D

7

A large group of silver-plated candelabra and candlesticks Late 19th/20th century

Four candlesticks with impressed marks for William Hutton & Sons and numbered: 5836; one pair of candlesticks with mark of Martin Hall & Co.

Comprising a pair of Neoclassical-style five-light candelabra, a set of four Neoclassical-style columnar candlesticks, another pair of Neoclassical-style columnar candlesticks, one pair of Martin Hall & Co. candlesticks, another pair of English candlesticks, and a pair of Alpaca silver-plated candlesticks, together with a group of seven silver-plated candle snuffers including two with antler handles, three with mother-of-pearl handles, and two with silver-plated handles 21 pieces

Each candelabrum: 18.5” H x 19.5” Dia.; Candlesticks from 9.5” H to 12.75” H

$500-800

A Tiffany & Co. sterling silver ‘Olympian’ center bowl

Late 19th/early 20th century; Directorship of Charles L. Tiffany (1891-1902)

Marked: Tiffany & Co. / Makers / Sterling Silver / 925-1000 / T; numbered: 7816 / 2657 With a band of putti picking grapes around the rim, the round foot decorated with flowers and acanthus leaves

7” H x 12.125” Dia.

56.1 oz. troy approximately

$2,500-3,500

An Asprey silver plate-mounted antler-handled flatware service 20th century

The knife blades stenciled: ASPREY LONDON

Comprising 12 forks and two sets of 12 steak knives, personalized 36 pieces

$1,000-1,500

A Victorian sterling silver round footed tray 1884

Marked for sterling, for London, and date marked; maker’s mark: R & S Garrard [James Garrard]

The tray raised on scrolled feet, featuring a chased foliate medallion and scalloped rim

1.5” H x 15” Dia.

49.5 oz. troy approximately

$3,000-4,000

A large Victorian-style sterling silver footed center bowl 19th century

Marked indistinctly for maker and: 925

With chased and repoussé foliate motifs, featuring garland swags and opposed lion head masks in high relief, raised on paw feet

10.25” H x 21” W x 14” D

77.4 oz. troy approximately

$1,500-2,000

A Tiffany & Co. sterling silver ‘English King’ flatware service

Each marked for Tiffany & Co.

Comprising 17 dinner forks, 12 salad forks, 12 pastry forks, 12 cocktail forks, 18 dinner knives, 12 butter knives, 12 soup spoons, 12 round soup spoons, 24 teaspoons, and 8 serving pieces, personalized 139 pieces

Largest serving piece: 10.25” L

Weighable sterling: 223.445 oz. troy approximately

$7,000-9,000

A Tiffany & Co. sterling silver ‘Chrysanthemum’ punch bowl

Late 19th/early 20th century; Directorship of Charles L. Tiffany (1891-1902)

Marked to underside: Tiffany & Co. / Makers / Sterling Silver / 925-1000 / T; numbered: 12331 / 9322

The lobed bowl with inverted rim and floral motifs throughout, raised on a four-footed base

9” H x 17.5” Dia.

119.3 oz. troy approximately

$10,000-15,000

A Dutch sterling silver figure of a stork Late 19th century

With British import marks for London, date marked, and further marked: 930 With inset red glass eyes and hinged wings, standing on an oval base decorated with foliage, mounted on an ebonized plinth 13” H x 5.5” W x 10.5” D

$800-1,200

Provenance:

Sold: John Moran Auctioneers, Monrovia, CA, “Estate of Ernest A. Bryant III,” November 12, 2013, lot 5

From the Collection of Robert A. Day

A large Tiffany & Co. sterling silver Revere-style bowl

Mid/late 20th century

Marked to underside: Tiffany & Co. / Makers / Sterling Silver / 925

Encircled with two moldings, one at the rim and the other 2 inches below, leaving an area for engraving should one choose

8.75” H x 14” Dia.

111.8 oz. troy approximately

$3,000-5,000

Two English silver-plated soup tureens 19th century

One with Sheffield marks

Comprising two footed covered tureens, one with shell-form handles, the other with foliate-form handles, each lid with gadrooned rim

2 pieces

Larger: 11” H x 15” W x 10.5” D; Smaller: 9” H x 11” W x 7.5” D

$300-400

17

A German .800 silver pierced footed bowl 19th/early 20th century

With German hallmarks and marked: 800 Decorated with repoussé swags and birds, with a glass liner 6.875” H x 11” Dia.

Weighable sterling: 31.7 oz. troy approximately

$500-800

A Tiffany & Co. gilt sterling silver ‘Chrysanthemum’ flatware service

Each marked: Tiffany & Co. / Sterling

Comprising 12 dinner forks, 11 salad forks, 12 cocktail forks, 12 dinner knives, 12 butter knives, 12 soup spoons, 12 teaspoons, 12 iced tea spoons, and 8 demitasse spoons, together with 1 demitasse spoon in the ‘Audubon’ pattern

104 pieces

Largest: 10.25” L

Weighable sterling: 151.2 oz. troy approximately

$10,000-15,000

A Howard & Co. sterling silver square tray 1894; New York

Marked: Howard & Co. / Sterling / New York / 1894 / 172

With scroll decoration around the edge, personalized

0.5” H x 10” W x 10” D

24.2 oz. troy approximately

$500-700

A pair of George II sterling silver candlesticks

1757

Each marked for sterling, for London, and date marked; with indistinct maker’s mark possibly reading: WC

2 pieces

Each: 8.5” H x 5.5” Dia.

33.1 oz. troy approximately

$2,000-4,000

Two pairs of German .800 silver salt cellars and pepper casters

Late 19th/early 20th century

Each with German hallmarks for 800 silver

Each with figures of putti and pierced foot

4 pieces

Each caster: 8.625” H x 2.5” Dia.; Each salt: 6” H x 3.5” Dia.

Total weight: 25.2 oz. troy approximately

$1,000-1,500

Mark of Alfred Dunhill The metal cutter mounted

$1,200-1,800

22

A Dominick & Haff gilt sterling silver ‘Labors of Cupid’ flatware service Early/mid-20th century

Each marked for Dominick & Haff and for sterling Designed 1900, comprising 12 dinner forks, 10 dinner knives, and 11 soup spoons

33 pieces

Largest: 8” L

Weighable sterling: 66.1 oz. troy approximately

$1,200-1,800

14K gold-mounted cigar cutter

Dunhill & Sons, London, and date marked; further marked: 14 / 585 mounted with textured gold panels on each side

A German .800 silver tea and coffee service

19th/early 20th century

With Hanau hallmarks and: 800; maker’s mark for Weinranck & Schmidt

Comprising a hot water kettle with stand and burner (14.75” H x 10” W x 9” D), a coffee pot (11.75” H x 10” W x 5.75” D), a teapot (9.5” H x 9.5” W x 6.625” D), a covered sugar (6.75” H x 7” W x 5.25” D), and a creamer (6.5” H x 5” W x 4.25” D), all set on a tray (1.5” H x 18” W x 24.25” D)

6 pieces

Total weight: 183 oz. troy approximately

$4,000-6,000

A Gorham sterling silver ‘Mythologique’ flatware service 20th century

Each marked for sterling and for Gorham Mfg. Co.

Comprising 12 dinner forks, 12 luncheon forks, 8 salad forks, 12 dessert forks, 12 dinner knives, 12 luncheon knives, 10 fruit knives, 12 soup spoons, 12 round soup spoons, 12 bouillon spoons, 24 teaspoons, 1 sugar spoon, 1 slotted serving spoon, 1 serving fork, 1 master butter knife, 1 carving fork, and 1 carving knife, personalized

144 pieces

Largest: 9.875” L

Weighable sterling: 180.9 oz. troy approximately

$3,000-5,000

An English Sheffield silver-plated tureen 18th century With the mark of Matthew Boulton Of oval form, with gadrooning and shell decoration, the cover bearing an engraved armorial 10” H x 16.5” W x 10” D

$500-700

A pair of Italian sterling silver figures of pheasants

Late 19th/20th century

Each appears unmarked

Comprising one rooster and one hen

2 pieces

Larger: 13” H x 29” W x 6” D; Smaller: 10.5” H x 18” W x 6.5” D

Total weight: 84.7 oz. troy approximately

$1,000-1,500

A Christofle silver-plated ‘Rubans’ flatware service

Late 20th/early 21st century

Each marked for Christofle

Comprising 23 dinner forks, 23 salad forks, 22 dessert forks, 23 cheese forks, 20 dinner knives, 23 butter knives, 22 cheese knives, 24 fish knives, 24 table spoons, 23 bouillon spoons, and 14 cocktail picks 241 pieces

$1,500-2,500

A Tiffany & Co. sterling silver ‘Audubon’ punch ladle

Late 20th/early 21st century

Marked: Tiffany & Co. / Sterling / 925

Designed 1871 by Edward C . Moore, with a double-lipped bowl

12.75” L

8.8 oz. troy approximately

$800-1,200

A group of Neoclassical-style silver-plated chargers

20th century

Each with indistinct marks

Comprising a set of 10 and a set of 37 silver-plated chargers, each with gadrooned edges, nine of the ten smaller plates bearing an engraved sea monster armorial

47 pieces

Larger: 12.25” Dia.; Smaller: 11.25” Dia.

$300-500

Edgar Alwin Payne (1883-1947)

From the sparkling waters of France and Italy and deserts of the American Southwest, American painter United States’ preeminent Impressionist painters.

Born in Missouri, Payne dreamed of becoming an South and Midwest, painting murals and stage sets, artists of his time, Payne became bored with the worked and lived as an artistic nomad, moving between in 1912, marrying fellow artist Elsie Philippa Palmer.

In 1918, the couple settled in Laguna Beach, California, there. Payne helped found the Laguna Beach Art in Southern California, Payne ventured out into the Nevada and other ranges. Payne took on numerous

Commissions began to wane after the stock market primary subject matter. He spent an excessive amount of the Sierra Nevada was unrivaled and even produced Payne passed away in 1947, leaving behind a legacy

Edgar Payne’s works are included in the collections of California Art, the Crocker Art Museum, Sacramento, in his honor.

and the snow-swept peaks of the Swiss Alps to the rolling hills of California and sun-kissed painter Edgar Alwin Payne captured it all on canvas in an illustrious career as one of the painters.

an artist from the age of fourteen. In his late teens, he traveled throughout the American sets, before briefly studying at the Chicago Art Institute in 1907. Like many expressive rigid structure of academic art institutions and became a self-taught artist. Payne between California and Chicago, taking commissions, working on large-scale murals, and, Palmer.

California, becoming an integral part of the burgeoning art community that was taking root Art Association in 1918 and became the organization’s first president. From his home base the California mountains, painting striking scenes of the peaks and valleys of the Sierra numerous commissions and exhibited throughout the Mid- and Western United States.

market crash of 1929, and from 1930 onwards, Payne made painting the Sierra Nevada his amount of time finding the perfect angle, the perfect lighting, to put on canvas. His love produced a documentary film, “Sierra Journey.” Diagnosed with cancer in 1942, Edgar legacy of American landscape painting.

collections of numerous institutions, including the Laguna Art Museum, the Pasadena Museum Sacramento, and the Indianapolis Museum of Art. Payne Lake in the Sierra Nevada is named

31

Edgar Alwin Payne (1883-1947)

“San Gabriel Mountains - Jones Peak, Sierra Madre” Oil on canvas

Signed lower right: Edgar Payne; titled on the frame plaque 28” H x 34” W

$20,000-30,000

Provenance:

Private Collection, Pasadena, CA

Sold: John Moran Auctioneers, Pasadena, CA, March 25, 2014, Lot 163 From the Collection of Robert A. Day

Hanson Duvall Puthuff (1875-1972)

“Monarch of the Malibu”

Oil on canvas laid to board

Estate stamp signature lower left: H. Puthuff; estate stamped again and indistinctly inscribed in pencil, all verso; titled by repute

12.125” H x 16” W

$3,000-5,000

Provenance:

Private Collection, Los Angeles, CA

Sold: Bonhams, Los Angeles, CA, “California & Western Paintings & Sculpture,” November 23, 2015, Lot 55

From the Collection of Robert A. Day

Orrin A. White (1883-1969)

“Topanga Canyon, Hillside landscape” Oil on canvas

Signed lower right: Orrin A. White; titled on a label affixed to the backing board 24.25” H x 22.25” W

$3,000-5,000

Provenance: Sold: Butterfield & Butterfield, Los Angeles and San Francisco, CA, March 7, 1993, Lot 177 From the Collection of Robert A. Day

Elmer

Wachtel

(1864-1929)

Baltimore, Maryland-born noted California plein of 18, following his brother, who had married Guy painting, Wachtel was a self-taught violinist and joined first violinist, and later played in A.J. Stamm’s Philharmonic

By 1900, after struggling to make a living as a musician, studied briefly at the Art Students’ League in New criticism from William Merritt Chase. He also spent Wilkinson, and the American sculptor Gutzon Borglum,

Returning to Los Angeles, he continued his work artist Marion Kavanagh, a skilled painter in her own artistic circles. Elmer exhibited widely with the California featured in major exhibitions across the state.

Wachtel was renowned for his luminous, atmospheric than adhering strictly to realism, Wachtel prioritized warmth of inland valleys or the soft, overcast tones of light, the shifting seasons, and the gentle rhythm

More than mere representations of place, Wachtel’s paintings offer a glimpse into a California that, even significant but historically poignant. Today, Wachtel

air artist Elmer Wachtel arrived in the San Gabriel area of Southern California at the age Guy Rose’s sister and worked managing the Rose family ranch. Before turning his focus to joined the Los Angeles Philharmonic Orchestra conducted by Adolph Wilhartitz as their Philharmonic Orchestra.

musician, Wachtel turned his focus to painting. Though he was largely self-taught, he New York but did not like the formal teaching methodologies, and also privately received spent a year in London, where he worked alongside English illustrators, Fred and Tom Borglum, and attended instruction at the Lambeth School.

as a violinist and painter and began teaching as well. In 1904, Wachtel married fellow own right. Together, they traveled, painted, and became active figures in the region’s California Art Club and the Laguna Beach Art Association, and his works were regularly

atmospheric landscapes that quietly celebrate the natural beauty of Southern California. Rather prioritized mood and feeling, using a harmonious, often muted palette to evoke the dusty tones of coastal mornings. His brushwork, loose yet deliberate, captured the fleeting effects rhythm of California’s hillsides and canyons.

Wachtel’s landscapes serve as meditations on the harmony between land and light. His even during his lifetime, was rapidly changing—making his work not only artistically Wachtel is regarded as one of the foundational voices of California plein air.

Elmer Wachtel (1864-1929)

“View from the Arroyo Seco” Oil on canvas laid to waxed canvas

Signed and with the artist’s device lower left: Wachtel; titled by repute 24” H x 32” W

$12,000-18,000

Provenance:

Private Collection, Southern California

Sold: Bonhams, Los Angeles, CA, “California and Western,” August 5, 2014, Lot 88

From the Collection of Robert A. Day

Charles Reiffel (1862-1942) Autumn landscape Crayon on paper

Signed lower left: Charles Reiffel Sight: 9.25” H x 9.75” W

$800-1,200

Provenance: Sold: John Moran Auctioneers, Pasadena, CA, October 22, 1996, Lot 12 From the Collection of Robert A. Day

Franz Xavier Bergmann (1861-1936)

A pair of Viennese cold-painted bronze figures of pheasants, early 20th century

Each marked with B in an urn; male figure impressed: GESCH. 5724; the other stamped: MADE IN AUSTRIA

2 pieces

Larger: 7” H x 18” W x 2.5” D

$800-1,200

Provenance:

Sold: John Moran Auctioneers, Monrovia, CA, “Estate of Ernest A. Bryant III,” November 12, 2013, lot 12

From the Collection of Robert A. Day

Four Japanese Imari-style porcelain vessels

Late 20th century

Each unmarked

Comprising a lidded lobed jar on a bronze base, a bowl, and two brush pots, one covered and one on a gilt-metal stand

4 pieces

Bowl: 4.375” H x 12.5” Dia.; Tallest: 15.25” H x 6.75” Dia.

$200-300

Two pairs of tapestry upholstered pillows

Tapestries 18th/19th century

Each with passementerie trim, comprising one pair depicting animal figures and another pair depicting child figures 4 pieces

Animal pair: 20” H x 20” W x 8” D; Child pair: 20” H x 21” W x 8.5” D $400-600

A group of nine wood walking sticks 20th century

Comprising four metal-mounted sticks, one with a carved wood parrot head, another carved dog head, and other carved wood canes 9 pieces

Longest: 36.75” L

$300-500

An Italian Renaissance carved walnut cabinet 17th century

The case with wrought-iron hardware, fitted with a single locking drawer above a hinged cabinet carved with a diamond pattern, opening to reveal a single shelf with later moiré lining 36” H x 27” W x 19” D

$800-1,200

A set of twenty Lalique glass ‘Ange’ champagne flutes

Late 20th/early 21st century

Each etched: Lalique ® France

20 pieces

Each: 8.125” H

$1,500-2,000

Three Herend porcelain service items 20th century

Each marked: Herend / Hungary / Handpainted; with blue printed factory marks above shape and pattern code Comprising a ‘Chinese Bouquet’ cachepot, shape 7303 (4.5” H x 7” W x 6” D), a ‘Queen Victoria’ sauce boat with fixed stand, shape 234 (4” H x 9.5” W x 7” D), and a ‘Queen Victoria’ leaf-form dish, shape 200 (9.25” W x 8” D) 3 pieces

$400-600

43

A Continental framed needlework panel 17th/18th century

Depicting an allegorical scene from the biblical book of Revelation, in an elaborate giltwood openwork frame

Sight: 25” H x 34.75” W

$800-1,200

A Regency carved giltwood convex mirror Early 19th century

The circular plate within an ebonized slip, surmounted by an eagle, with foliate ornament below

38” H x 25” W x 8” D

$400-600

A Hutschenreuther porcelain part dinner service Early 20th century

Each with red printed factory mark above black printed retailer, green painted C.11026/276732/27, some with impressed factory marks

Retailed by P. Raddatz & Co., comprising forty-nine 10” dinner plates, thirteen 8.25” salad plates, seventeen 6.25” bread & butter plates and nine 10” soup bowls 88 pieces

$700-900

A suite of Steuben glass stemware

20th century

Etched: Steuben

Each featuring air twist stems, comprising sixteen 5.75” water goblets and sixteen 3.875” cordials

32 pieces

$1,500-2,000

A pair of eglomisé glass campana urn-form table lamps 20th century

Each urn with armorial inscribed ‘Sola Virtus Invicta,’ with sections of gilt turned wood, on square wood and glass bases, with pleated fabric shades, electrified 2 pieces

Overall 39” H; Height to top of urn: 23” H

$300-500

A Continental marquetry-inlaid walnut blanket chest 18th century

The lidded chest with bands of marquetry, with iron mounts, revealing an interior fitted with a small compartment or ‘till’, the interior later lined in a moiré fabric 23” H x 69.5” W x 22” D

$1,000-1,500

A set of eleven Royal Doulton porcelain dinner plates

Date codes for 1908-09

Each stamped to underside: Royal Doulton / England; further marked with puce-printed factory mark, impressed date codes, and painted pattern: HB6778/E4637

Each with pebbled gilt rims on white ground

11 pieces

Each: 10.5” Dia.

$300-500

Two Baccarat glass ‘Diane’ vases

Late 20th/early 21st century

Each with Baccarat stencil mark

2 pieces

Each: 12” H x 6.5” W x 6.5” D

$300-500

Two Continental patinated bronze sculptures 20th century

Comprising a bust of Bacchus and a model of a recumbent lion raised on a black plinth base

2 pieces

Bacchus: 12.25” H x 6” W x 6.75” D; Lion overall: 9.5” H x 13.5” W x 6.5” D

$400-600

A Victorian carved oak library table Late 19th/early 20th century

The molded rectangular top with ogee border above a heavily carved apron fitted with two drawers, each drawer interior with later moiré lining, supported by seven barley-twist cluster columns above a platform stretcher, all on four scrolled feet

30” H x 84” W x 40” D

$1,500-2,500

A Steuben wheel-engraved celeste blue glassware service Circa 1930

Some pieces with etched factory mark

Each piece engraved with fruit and floral sprays on a pale blue ground, the knot baluster stem decorated with applied prunts, comprising twenty-six 6.875” dessert plates, twenty-three bowls (2.25” H x 4.5” Dia.), twentyseven 6.5” white wine glasses, and twenty-one 7.875” red wine glasses

97 pieces

$1,500-2,000

Provenance: Sold: Bonhams & Butterfields, Brookline, Larz Anderson Auto Museum, “American and European Furniture, Decorative Arts and Paintings,” April 22, 2007, lots 2272 & 2273

From the Collection of Robert A. Day

A Steuben 18K gold and glass unicorn sculpture Late 20th century

Etched to underside: Steuben; the horn stamped: 18K S Model 1004, Designed by James Houston, model introduced 1965, with original fitted box Figure: 7” H x 6” W x 2” D; Box: 5.5” H x 11.75” W x 7.625” D

$800-1,200

A George IV-style leather upholstered mahogany low chair 20th century

The chair upholstered in green leather with flared armrests and brass tacking, raised on turned legs

29” H x 35” W x 24” D

$200-300

Tobias Smollett (1721-1771)

“The Works of Tobias Smollett,” 1899

Hardcover books in 12 volumes

Smollett, Tobias. “The Works of Tobias Smollett.” Westminster and New York: Archibald Constable and Co. and Chas. Scribner’s Sons: 1899

Each 8vo bound by Zaehnsdorf in half blue morocco with gilt-stamped spine, marbled boards and endpapers, raised bands, and gilt upper page edges

12 pieces

Each: 9” H x 6.25” W; Overall: 15.5” D

$300-500

Provenance: Hugh Hopkins, Glasgow, Scotland

From the Collection of Robert A. Day

A suite of Saint-Louis ‘Thistle’ glassware

20th century

Each with etched factory marks

Comprising twelve 7.5” water goblets, twelve 7.5” champagne flutes, seven 6.25” white wine glasses, two 5.5” champagne coupes, and twelve 3.5” old-fashioned glasses

45 pieces

$3,000-5,000

A Royal Crown Derby porcelain ‘Olde Avesbury’ part dinner service Date codes for 1939-2000

With various puce or red printed factory marks above pattern name, number (A.73), and date codes; some impressed above date code: DERBY; with red painted pattern number

Comprising twenty-four 10” or 10.5” dinner plates, eighteen 8.5” salad plates, eighteen 6.375” bread and butter plates, eighteen 9” dessert plates with scalloped rims, eighteen 8.5” soup bowls, eighteen large two-handled soup bowls with fourteen saucers, and twelve small two-handled soup bowls 140 pieces

$4,000-6,000

A pair of Spanish Baroque-style wrought iron torchères 19th/20th century

Each on a tripod leaf-form base issuing a partial twisted standard, surmounted by a leaf-form bobèche

2 pieces

Each: 87” H x 20” Dia.

$300-500

John Marshall Gamble (1863-1957)

John Marshall Gamble is best known for his vibrant Morristown, New Jersey, Gamble’s father worked Panama City route. In the late 1870s, Gamble’s family move to California in 1883, when the artist was 20.

Gamble trained at the San Francisco School of Design Julian in Paris, where he studied under Jean-Paul and developed a deep appreciation for Impressionism, European art traditions gave him a unique perspective

After finishing his training, Gamble returned to San adopted city for the rest of his career, except for devastating loss, Gamble had initially decided to Barbara en route, where he witnessed the wildflower he restarted his career, exploring the local landscape,

In Santa Barbara, Gamble became a key figure in was an active member of the California Impressionist School of the Arts, and was a color consultant for

Today, Gamble is best known for flower-focused California coast. Although celebrated for his wildflower didn’t even think of them as flowers while I was painting. themselves across the field.” (Santa Barbara News

vibrant depictions of California’s wildflowers and coastal landscapes. Born in 1863 in worked for the Pacific Mail Steamship Company, which carried U.S. mail via the San Franciscofamily moved to Auckland, New Zealand, for a few years before making a permanent 20.

Design under Virgil Williams and Emil Carlsen and later at the prestigious Académie

Jean-Paul Laurens and Jean-Joseph Benjamin-Constant. In Paris, Gamble refined his technique Impressionism, particularly the work of Claude Monet. His early exposure to both American and perspective that would later influence his distinctive California plein air style.

San Francisco, where he opened a studio. It’s likely he would have remained in his the catastrophic 1906 earthquake and fire, in which his studio burned. Following his to join his friend and fellow artist Elmer Wachtel in Los Angeles, but stopped in Santa wildflower bloom for the first time. Gamble opted to stay in Santa Barbara permanently, where landscape, coast, and mountains as subject and turning to an increasingly vibrant palette.

in the region’s art scene, serving as president of the Santa Barbara Art Association, and Impressionist movement. He also taught and was President of the Board of the Santa Barbara for the Santa Barbara Board of Architectural Review for twenty-five years.

landscapes, especially the vivid poppy fields and lupine-covered hillsides of the Central wildflower field subjects, he once commented, “I never painted them as flowers at all. I painting. They were just color patches to me. I simply liked the way they designed News Press, April 3, 1956)

John Marshall Gamble (1863-1957)

“Wildflowers” Oil on canvas laid to canvas

Signed lower right: John M. Gamble; titled by repute 16” H x 20” W

$10,000-15,000

Provenance:

Sold: Christie’s, Los Angeles, CA, “California, Western and American Paintings, Drawings and Sculpture,” April 25, 2007, Lot 58

William A. Karges Fine Art, Los Angeles, CA

From the Collection of Robert A. Day

William Wendt (1865-1946)

There is something deeply meditative in William Wendt’s after spending time in it. His work isn’t just about capturing particular, feel less like views from a distance and more like His brushwork, palette, and even the way his compositions looked.

William Wendt was born in Germany on February 20, 1865. staff artist. It was during his spare time that he began to develop particularly after relocating to California, to feature broad,

Though often grouped with movements like French or California a distinct style. He was largely self-taught and his paintings doing. The paint sits confidently on the surface, building pulled from the air and soil themselves. What he created by observation, consistency, and a kind of quiet devotion.

Painting trips with his friend and fellow artist George Gardner sculptress Julia Bracken in 1906, the couple moved permanently Wendt co-founded the California Art Club in 1911 and served Academy in 1912, the same year he built his Laguna Beach

In 1926, William Wendt was given his first solo exhibition his work from the early 1920s. Critics praised Wendt’s paintings groves managed to evoke a quiet permanence in a rapidly most resonant reflections on Wendt’s work: “He builds the beyond criticism from any source. Yet Wendt would tell you where he stands in relation to life, he must see the world about Wendt: that his strength lay not just in technique, but

Like many California artists, Wendt sought fresh, naturalistic endeavored to paint the landscape exactly how it was, in was also deeply philosophical, reflecting his interest in Theosophy. As art critic Sonia Wolfson wrote in her review of Wendt’s ingrained in mankind. He may be no prophet, but he is a theosophical beliefs, many of Wendt’s major paintings emphasize His art suggests a quiet reverence for something larger than

Wendt’s paintings, it’s a quiet intensity, not in the way of spectacle, but in the way a landscape settles into you capturing trees, hills, and light; it’s about forming a relationship with a place. Wendt’s California scenes, in like moments of divine connection. He wasn’t trying to impress with grandeur, he was paying attention. compositions hold space all suggest someone who believed the natural world could teach you something if you

1865. After immigrating to the United States, he settled in Chicago, where he worked as a commercial develop his style of easel painting that began with a gentler, feathery touch but evolved over time, broad, bold brushstrokes and naturalistic earth tones in increasingly balanced and complex compositions.

California Impressionism, or labeled part of the so-called “Eucalyptus School,” Wendt always worked in paintings have a structural honesty to them, a kind of unpolished clarity that comes from learning through forms that feel weighty and real. His color choices, earthy ochres, sage greens, tempered blues, seem wasn’t a romanticized fantasy of the West, but something slower and more grounded: a vision shaped devotion.

Gardner Symons to the West Coast and Europe cemented his love of painting en Plein Air. After marrying permanently to Southern California, where they were active in the Laguna art colony and in Los Angeles. served as the second (1911-14) and fourth (1917-1918) President. He was elected to the National Beach studio, and became affectionately known as “the Dean of Southern California Artists.”

exhibition at the Stendhal Gallery in Los Angeles, a pivotal moment in his career that offered a sweeping view of paintings for their structural clarity and emotional restraint, noting how his scenes of rolling hills and oak rapidly changing world. Among the critics, Arthur Millier of the “Los Angeles Times” offered one of the the forms of his pictures with an almost faultless sense for composition....On this side of his art, he is you that composition is a matter of instinct. A man who can compose so surely and strongly has to know creation, a thing of inevitable laws and definite structures.” Millier’s words capture something essential but in the deeply held worldview that shaped his work.

naturalistic subject matter in hard-to-reach mountainous and rural places. He sought fidelity with nature, and in warm, rich colors and using the effects of light and shadow that he witnessed first-hand. Wendt’s work Theosophy. He was a devoted and active member of the Theosophical Society of Southern California. Wendt’s 1931 retrospective at the Stendhal Gallery, “In Wendt’s pictures may be traced the spirit of godliness a revealer. He points out anew the beauty of scenes dimmed by familiarity....” Influenced by his emphasize the juxtaposition between the immortality of the landscape and the mortality of its creator. than himself: a recognition of nature not just as subject matter, but as spiritual presence.

61

William Wendt (1865-1946)

“The Arroyo Sunland (Dry Arroyo),” 1914

Oil on canvas laid to cardboard

Signed and dated lower right: 1914 William Wendt; signed again and titled in pencil on the stretcher bar, verso; alternatively titled “Dry Arroyo” from the documents affixed to the frame’s backing board

25.25” H x 30.25” W

$12,000-18,000

Provenance:

Wallace L. DeWolf, Chicago, IL

Art Institute of Chicago, Chicago, IL, gifted from the above, 1918

Sold: Christie’s East, New York, NY, May 21, 1996, Lot 106

Sold: John Moran Auctioneers, Pasadena, CA, October 22, 1996, Lot 80

From the Collection of Robert A. Day

Exhibited:

Chicago, IL, Art Institute of Chicago, “31st Annual Exhibition of American Paintings & Sculpture,” November 7, 1918-January 1, 1919, no. 200 Chicago, IL, Art Institute of Chicago, “50th Annual Exhibition of American Paintings & Sculpture,” November 16, 1939-January 7, 1941, no. 174

Literature:

John Alan Walker, “William Wendt, 1865-1946,” “Southwest Art Magazine,” June 1974, p. 43, illustrated

John Alan Walker, “Documents on the Life and Art of William Wendt (18651946), California’s Painter Laureate of the Paysage Moralisé” (Big Pine: John Alan Walker, Bookseller, 1992) p. 142, no. 170

62

Edgar Alwin Payne (1883-1947)

“Chioggia Boats, Italy” Oil on canvas laid to board

Signed lower left: Edgar Payne; signed again and titled verso 12” H x 9.5” W

$6,000-8,000

Note:

Edgar and Elise Payne made frequent trips to Europe, painting in the harbors of Brittany, France, and in and around Venice, Italy. As an impressionist painter concerned with capturing light, the clear waters, red sails, and Mediterranean architecture provided ample inspiration for the Paynes. Sottomarina is a small “frazione” - a section of the district of Chioggia that makes up the municipality of Venice. Chioggia was one of the many “farm islands” that supplied the city with food and other goods, and in the case of Chioggia, wine. The many shallow-draft boats depicted in Payne’s Italian works transported wine from Sottomarina to Venice proper. Payne’s exquisite Italian paintings capture the light and energy of one of the most beautiful cities in the world.

Edgar Alwin Payne (1883-1947)

“Sailing Boats”

Pencil on paper

Appears unsigned; inscribed “1288” in pencil on the verso of the lower left edge; titled on a gallery label affixed to the frame’s backing paper

Sheet: 8.5” H x 10.875” W

$1,500-2,500

Armin Carl Hansen (1886-1957)

Pier at Monterey, 1916

Charcoal on paper

Signed and dated in charcoal lower right: Armin C. Hansen / ‘16

Sheet: 16.5” H x 24.625” W

$3,000-5,000

Provenance:

Sold: Butterfield & Butterfield, Los Angeles and San Francisco, CA, December 8, 1993, Lot 3391

From the Collection of Robert A. Day

A George III brass-bound mahogany bucket

Late 18th/early 19th century

With opposed ring handles 13.5” H x 16.5” W x 14.5” D

$200-300

A Steuben glass bud vase

Late 20th/early 21st century

Etched: Steuben

The heavy faceted body with a teardrop-form reservoir, in factory box

Glass: 7” H x 5” W; Box: 6” H x 8” W x 10.375” D

$200-300

67

An Italian Baroque-style inlaid walnut commodino Mid-19th century

With three drawers and brass hardware, the uppermost with locking mechanism, each drawer interior with later moiré lining, raised on bun feet

30.5” H x 26” W x 19” D

$400-600

A pair of reverse-decorated glass lamps

20th century

Each baluster-form vase with Japanese-style decoration mounted as a single-light table lamp set on a polychrome-painted round wood base with floral motifs, surmounted by a pleated fabric shade, electrified 2 pieces

Each lamp without harp or shade: 23.75” H x 10.5” Dia.; Each shade: 12.75” H x 18.25” Dia.

$200-300

A Mason’s Ironstone baluster-form covered vase Late 19th century

With blue printed factory mark above: England; red painted: 1976 Decorated in the Chinese style with floral motifs, flanked by dragon-form handles and lid finial

27.5” H x 11” Dia.

$200-300

A pair of Spanish Colonial gilt and carved wood altar sticks 19th century

Each of three-sided form, the front side is gilt

2 pieces

Each: 27.25” H x 6.25” Dia.

$400-600

71

A Louis XV carved walnut commode

Mid-18th century

The top of the arc-en-arbalète outline above three short and two long drawers with later replaced pulls and escutcheons, with shell and foliate apron below, raised on cabriole legs ending in ball and claw feet

34” H x 51” W x 27.5” D

$2,000-3,000

Provenance:

Sold: Bonham’s, Los Angeles, CA, “Collection of William M. Keck II,” December 9, 2014, lot 1662

From the Collection of Robert A. Day

72

Three decalcomania-style glass urn-form table lamps 20th/21st century

Comprising a pair of baluster-form vases and a reverse-baluster vase, the pair decorated with various fruit, and the larger single decorated with birds and insects, all on a pale yellow ground, each with giltwood mounts and pleated fabric shades, electrified 3 pieces

Pair overall: 27.5” H x 19.5” Dia.; Single overall: 28.5” H x 18” Dia

$500-800

73

A miniature Dutch stained wood secretary 19th century

With a repeating serpentine front and a locking two-door cupboard above a slant front opening to reveal a fitted interior, above six drawers and a molded base, all raised on bun feet 35” H x 25” W x 14” D

$500-800

A Baccarat glass owl sculpture Circa 1970s

With etched Baccarat factory marks; signed: RRIGOT; numbered: 144/250 Designed by Robert Rigot, modeled with one outstretched wing, contained within original fitted factory box

Figure: 7.5” H x 9.5” W x 4” D; Box: 5.25” H x 14” W x 11.75” D

$500-700

A Mahal rug

Circa 1920; West Persia

The wool on wool foundation rug with brick red field with an allover stylized floral trellis within an indigo palmette vinery border 10’ 8” L x 7’ 6” W

$3,000-4,000

A pair of Neoclassical-style patinated bronze urns 19th century

Each of campana form, cast with ribbon tied swags and trophies, flanked by handles and raised on a square base

2 pieces

Each: 23” H x 17” Dia.

$600-800

Two Flemish verdure tapestries 18th century

The larger panel depicting a wooded landscape within a border of flowers and birds, and the smaller tapestry depicting a couple holding hands beneath a tree 2 pieces

Larger: 98” H x 50” W; Smaller: 91” H x 45” W

$700-900

78

A Regency parcel-gilt rosewood and satinwood cabinet

Early 19th century, in the manner of Henry Holland

Of breakfront outline, surmounted by a later green marble top, enclosed by three inlaid paneled doors with oval satinwood panels, the middle door opening to a single shelf, all between projecting reeded tapered columns, on turned tapered spool feet

33” H x 60” W x 18” D

$1,500-2,000

A Japanese black and gilt lacquer tea box 20th century

The box with hinged lid depicting dragons and figural city scenes

5.5” H x 11.5” W x 8.5” D

$400-600

A Spode porcelain ‘Harvard’ part dinner service Late 20th century

Each with various printed factory marks above pattern number Y8493 and name

Comprising twelve 10.625” dinner plates, twelve 9.25” salad plates, twelve 6.25” bread & butter plates, twelve 9.375” soup bowls, one oval 13.25” platter, one oval 9.5” serving bowl, one covered vegetable dish, a sauce boat and underplate, a covered tea pot, a covered sugar, a cream jug, and twelve demitasse cups with twelve saucers 80 pieces

$1,200-1,500

A set of eleven Bavarian porcelain dinner plates 20th century

Each stamped to underside: K & A / Krautheim / Selb Bavaria

Each with gilt and cranberry rim

11 pieces

Each: 10.875” Dia.

$300-500

Two Italian Baroque-style carved giltwood mirrors 19th century

The wall mirror decorated with leaves, scrolls, florets, and a mask; the table mirror a Baroque-style monstrance now fitted with a mirror, with faux marble accents

2 pieces

Wall: 33” H x 19.5” W; Table: 19” H x 10.5” W x 8” D

$300-500

A William IV rosewood tilt-top breakfast table

Early 19th century

The circular tilt-top raised on a central column and tripartite base on bun feet

28.5” H x 48” Dia.

$800-1,200

A Baroque-style carved giltwood floor lamp 20th century

The two-light lamp with fluted standard raised on four legs set on a tiered rounded base, surmounted by a paper shade, electrified Overall: 71” H; Shade: 12” H x 22.25” Dia.

$300-500

A Continental carved wood wall plaque 20th century

Depicting game birds in high relief

42” H x 24” W x 7” D

$300-500

A late Regency inlaid rosewood breakfast table

Early-mid 19th century

The circular tilt-top with inlaid central floral medallion centering a conforming border, raised on a hexagonal standard and tripartite base terminating in scroll feet 30” H x 49” Dia.

$700-900

A Chinese porcelain fish bowl 20th century

The exterior depicting courtly figural scenes on a yellow ground, the interior decorated with fish 15.75” H x 18.25” Dia.

$300-500

Three Contemporary colored glass table items

Late 20th/early 21st century

Two etched: Lalique ® France [post-1978]; one with partial factory paper label number 1183

Comprising a Lalique lavender glass nude maiden ‘Floreal’ figure (3.125” H x 1.75” Dia.), a Lalique blue-green glass nautilus-form paperweight (1.5” H x 3.5” W x 3” D), and a silver plate-mounted olive green blown glass bud vase (4.25” H x 2.25” Dia.)

3 pieces

$100-200

Three sets of tapestry upholstered pillows

Tapestries 18th/19th century

Each with passementerie trim, comprising one set with animal figures within a garland swap border, and two sets of floral patterns

6 pieces

Largest: 21” H x 123” W x 10.5” D; Smallest: 12” H x 18.5” W x 6.5” D

$500-700

A George II-style burl walnut bachelor’s chest 19th century

The folding top above two short and three long drawers, on bracket feet 28” H x 24” W x 13” D

$500-700

A large George III Provincial-style walnut sideboard 20th century

With four drawers with brass pulls above four cupboard doors, each revealing a continuous open cavity

34.5” H x 110” W x 22” D

$1,200-1,800

A Louis XVI grey-painted and carved giltwood mirror

Late 18th century

Labeled verso: Estcourt / Antiquaire / Le Touquet, France

The frame with ribbon, laurel and musical instruments on the pediment

Overall: 35.5” H x 24” W x 3” D

$1,000-1,500

A group of sterling silver-mounted walking sticks 20th century

Each marked for sterling; at least four with English hallmarks

Comprising one natural wood, two ebonized wood, three carved wood, and one bamboo cane, each with a sterling-mounted accent or handle

7 pieces

Longest: 36.75” L

$400-600

An Old Modern Handicrafts model of HMS Victory Late 20th century

With metal stand: HMS Victory / 1805

The wood model with canvas sails

60” H x 83” W x 16” D approximately

$300-500

Notes: This lot is accompanied by a Certificate of Authenticity from Master Builder “Francisco,” stating total build time of 475 hours, HIN: TO32-08-14-005/06.

Montague

Dawson (1890-1973)

Montague Dawson was a prominent British maritime naval scenes. Born in Chiswick, London, Dawson two marine painting relatives, grandfather Henry commercial art studio where he developed skills artistic direction. Serving with the Royal Navy, Dawson magazine, gaining him national recognition. When entire issue of “The Sphere” to commemorate the

After the war, Dawson fully devoted himself to marine is notable for its meticulous attention and accuracy subjects a sense of movement and vitality. Through subject and then complete oil studies prior to commencing vessels represented and accurate views of ocean

Dawson became one of the most celebrated marine included U.S. Presidents Dwight D. Eisenhower and

Dawson continued painting well into his later years, popularity. Though he largely avoided modernism, circles. Today, Montague Dawson’s works are prized capturing the spirit and grandeur of the age of sail.

The Black Ball Line of Trans-Atlantic Packets, established scheduled transatlantic shipping service between with no fixed schedule. The Black Ball Line revolutionized of cargo or passenger load. This innovation not only into a major global port and gateway for immigration

maritime painter, renowned for his detailed and dramatic depictions of sailing ships and was exposed to the sea from an early age through his father, an avid yachtsman, and Dawson and uncle Henry Alfred Dawson. In his early career, Dawson worked for a as an illustrator and draftsman, but it was World War I that significantly shaped his Dawson created illustrations of naval engagements, which were published in “The Sphere” When the German fleet surrendered in 1918, Dawson was commissioned to illustrate an the historic event.

marine painting, specializing in 18th and 19th century clipper ships and warships. His work accuracy of detail, atmospheric ocean settings, and dynamic compositions, which give his Through a thorough and exacting artistic process, Dawson would extensively research his commencing the larger, finished version. This method led to faithful representations of the ocean behavior.

marine artists of his time and regularly exhibited at the Royal Academy. Prominent patrons and Lyndon B. Johnson.

years, remaining faithful to the traditions of maritime art even as modern styles gained modernism, his technical skill and romantic vision earned him admiration beyond traditional art prized by collectors and continue to be displayed in galleries and museums, celebrated for sail. His legacy endures as one of the last great masters of British marine painting.

established in 1817 by a group of New York Quaker merchants, was the first regularly between New York and Liverpool. Before its founding, ships crossed the Atlantic only when full, revolutionized maritime travel and commerce by committing to sail on set dates, regardless only increased reliability in international trade but also helped transform New York City immigration throughout the 19th century.

95

Montague Dawson (1890-1973)

“The Atlantic Packet Albion of the Black Ball Line,” 1947 Oil on canvas

Signed lower left: Montague Dawson; titled in pencil on the upper stretcher; titled again on the frame plaque; dated by repute 24” H x 44” W

$40,000-60,000

Provenance:

Frost & Reed, Ltd., Bristol and London, England, stock no. 5276

Sold: Bonhams, New York, NY, “Fine Maritime Paintings and Decorative Arts,” January 24, 2014, Lot 139

From the Collection of Robert A. Day

Notes:

According to Charles Kinzett, the work was executed in 1947.

Theodor Victor Carl Valenkamph (1868-1924)

A square rigger on the open seas Oil on canvas

Signed lower right: T.V.C. Valenkamph 24” H x 36” W

$1,500-2,500

Provenance: Sold: Bonhams & Butterfields, Los Angeles and San Francisco, CA, August 8, 2005, Lot 34 From the Collection of Robert A. Day

Christopher Mayger (1919-1994)

“Ships in Battle (Navarra)”

Watercolor and gouache on paper

Signed lower left: Chris Mayger; titled by repute

Sight: 15.25” H x 21.5” W

$1,200-1,800

Christopher Mayger (1919-1994)

“Ships in Battle (Lysander)”

Watercolor and gouache on paper

Signed lower left: Chris Mayger; titled by repute

Sight: 15.25” H x 21.5” W

$1,200-1,800

Henry Bayley Snell (1858-1943)

“The Old Windjammer” Oil on canvas laid to canvas

Signed lower right: Henry B. Snell; titled by repute 34” H x 44” W

$4,000-6,000

Provenance:

William P. Harrison Collection, no. 809

Sold: Butterfield & Butterfield, Los Angeles and San Francisco, CA, June 12, 1996, Lot 1111

From the Collection of Robert A. Day

100

Joe Duncan Gleason (1881-1959)

“Fitting out the S.S. Chapas, Craig Shipyard, Long Beach, Cal.” Oil on canvas

Signed lower right: Duncan Gleason; titled in pencil on the stretcher bar

16.25” H x 20.25” W

$4,000-6,000

Provenance:

Sold: John Moran Auctioneers, Pasadena, CA, “California & American Paintings,” February 20, 2007, Lot 24

From the Collection of Robert A. Day

101 Ferdinand Kaufmann (1864-1942)

“San Pedro Harbor” (Carriers of Commerce, Los Angeles Harbor) Oil on canvas laid to waxed canvas

Signed lower right: F. Kaufmann; titled by repute 25” H x 30” W

$4,000-6,000

Provenance:

Sold: Butterfield & Butterfield, Los Angeles and San Francisco, CA, March 7, 1993, Lot 175

From the Collection of Robert A. Day

102

A French gilt-bronze encrier

Late 19th century

Cast with two shell-form bowls, a lidded scalloped well, and coral branches to support a pen, fitted with three lidded glass bottles and a seal with a turtle-form finial 4” H x 10” W x 8” D

$700-900

103

Two pairs of tapestry upholstered pillows

Tapestries 18th century

Each with passementerie trim and depicting floral motifs

4 pieces

Larger pair: 16.5” H x 22” W x 7” D; Smaller pair: 15.5” H x 18” W x 7” D

$400-600

A Spanish wrought-iron and carved walnut fratino table 18th century

With a single-panel top supported by lyre-form legs and feet joined by wrought-iron curvilinear X-form stretchers

30.5” H x 45” W x 26” D

$700-900

105

A set of eight Hutschenreuther porcelain dinner plates Early/mid-20th century

Green printed Crown Lion Ivory factory marks

Each with wide gilt embossed rims, floral swags, and a central gilt medallion on cream ground

8 pieces

Each: 10.875” Dia.

$400-600

106

A pair of Chinese gilt-metal-mounted bronze table lamps Late 20th century

Each single-light baluster-form vessel in the form of an oil lamp, with applied figures of dragons wrapped around the necks, each surmounted by a pleated fabric shade, electrified 2 pieces

Each lamp without harp or shade: 22.5” H x 6” Dia.; Each shade: 10.75” H x 14.5” Dia.

$700-900

107

A Dutch floral marquetry table 19th century

The William and Mary-style form veneered with floral motifs, the rectangular top above a single frieze drawer, the interior with later moiré lining, raised on tapering square legs joined by a wavy X-form stretcher, on bun feet

30” H x 42.5” W x 36.5” D

$1,500-2,000

108

Five tapestry upholstered pillows

Tapestries 18th/19th century

Each with passementerie trim, depicting various floral or fruit motifs

5 pieces

Largest: 15” H x 19” W x 7” D; Smallest: 22” L

$400-600

109

A Royal Crown Derby porcelain ‘Red Aves’ part dinner service

Date codes for 1977-94

Each with various red printed factory mark above pattern name an, number (A.74), and date code

Comprising thirteen 10.5” dinner plates, eleven 8.5” salad plates, fourteen 6.25” bread and butter plates, and four 8.5” soup bowls

42 pieces

$1,000-1,500

110

A group of ten walking sticks 20th century

Comprising six ebonized metal-mounted wood sticks, some silver-toned and some gold-toned, one with faux jewels, two other wood canes, and two glass canes 10 pieces

Longest: 36.5” L

$300-500

111

A Nancy Corzine upholstered painted wood ‘Moliere’ bench 20th century

With scrolled ends, upholstered in a cream fabric embroidered with vines and insects, with passementerie trim, raised on fluted legs 32” H x 62” W x 23” D

$400-600

112

Winston Churchill (1874-1965)

“The River War,” 1899

Hardcover books in 2 volumes

Churchill, Winston. “The River War: An Historical Account of the Reconquest of the Soudan.” London, New York, and Bombay: Longman’s, Green, and Co., 1899 First Edition, First Printing

Each large 8vo bound by Bayntun-Rivière of Bath in full red morocco leather, featuring giltstamped spine, board edges, and dentelles, with gilt page edges, raised bands, and marbled endpapers, housed in a red cloth slipcase

2 pieces

Each: 8.625” H x 6.25” W; Overall in slipcase: 9” H x 6.25” W x 4.25” D

$1,000-1,500

113

A set of ten Steuben glass flared and footed goblets

Late 20th century

Each etched: Steuben

Each with small teardrops to the bottom of the stems

10 pieces

Each: 7” H

$400-600

114

A George II Provincial oak low dresser Mid-18th century

The rectangular top with molded edge fitted with seven drawers with later brass hardware surrounding a central enclosed cupboard, raised on bracket feet

33.5” H x 76” W x 20.5” D

$2,000-3,000

Provenance:

Sold: Bonhams, Los Angeles, CA, “Collection of William M. Keck II,” December 9, 2014, lot 1635 From the Collection of Robert A. Day

115

William Shakespeare (1564-1616)

“The Plays of William Shakespeare,” 1793

Hardcover books in 15 volumes

Shakespeare, William. “The Plays of William Shakespeare. In Fifteen Volumes. with the Corrections and Illustrations of Various Commentators. To Which are Added, Notes by Samuel Johnson and George Steevens.” London: 1793

Fourth Edition, revised and augmented

Each 8vo rebound by C. Kalthoeber, with binder’s ticket, in full marbled leather with gilt-stamped borders, spines, and dentelles, with marbled endpapers

Each volume: 9” H x 6.125” W; Overall: 23.75” D

15 pieces

Together with:

Vincent, John. “Fowling, A Poem (In Five Books) Descriptive of Grouse, Partridge, Pheasant, Woodcock, Duck, and Snipe Shooting” London: T. Cadell and W. Davies, 1808

First Edition, ex-libris Schwerdt, with his bookplate to front pastedown

The 8vo bound by Sotheran, with binder’s ticket, in full calf leather with gilt-stamped spine, raised bands, and marbled endpapers

7.25” H x 4.5” W x 0.625” D

16 pieces total

$400-600

Provenance:

Fowling:

Ursus Books and Prints, Ltd., New York, NY

From the Collection of Robert A. Day

116

An Irish George IV mahogany cellarette Early 19th century; Dublin Stamped: GILLINGTONS; numbered: 6089

With a fitted interior, flanked by carrying handles and raised on turned reeded legs and brass cappings and casters

23” H x 23” W x 14.5” D

$700-900

A Louis XV-style carved giltwood mirror 19th century

The ornate frame with scroll and acanthus leaf motifs, with outer mirror border

56.5” H x 39.5” W x 2.5” D

$800-1,200

118

A Baker Collector’s Edition George III-style mahogany dining table Early 21st century

With two metal tags reading: Baker Furniture / Collector’s Edition by Baker

The triple pedestal table raised on three turned standards, each issuing four fluted splayed legs terminating in brass sabots with casters

3 pieces

Overall: 29” H x 144” W x 50” D

$800-1,200

119

A Directoire-style carved mixed wood bergère 20th century

With yellow silk damask fabric upholstery

36” H x 26” W x 25” D

$300-500

120

Five tapestry upholstered pillows

19th/20th century

Comprising four tapestry pillows and a satin fabric neck pillow, each with passementerie trim

5 pieces

Largest: 15” H x 22” W x 9” D; Smallest: 20.5” L

$300-500

121

A pair of Chinese Famille Jaune porcelain ginger jars and footbath 20th century

Each bearing a red apocryphal reign mark to underside; each jar with sticker: C P C / Made in Macau

Comprising a pair of lidded ginger jars set on carved wood stands, and a footbath, each decorated in floral motifs

3 pieces

Each jar: 9.5” H x 9.5” Dia.; Footbath: 5.75” H x 17.5” W x 11.25” D

$300-500

122

A William IV parcel-gilt mahogany games table

Early-mid 20th century, Benjamin Taylor; London

Paper label to interior inscribed B. TAYLOR, / FURNITURE

WAREHOUSE / Great Dover-street, / BOROUGH

The folding mahogany top with a mottled green playing surface, mounted on a parcel-gilt pedestal base with scrolling brackets and feet

30” H x 36” W x 19” D

$700-900

Notes:

Benjamin Taylor & Sons is recorded at locations in Great Dover Street from 1821-1871.

123

A George II-style walnut armchair

20th century

Upholstered in a floral pattern fabric with brass tacking, together with two conforming small pillows

3 pieces

Chair: 38.5” H x 28.5” W x 30” D

$300-500

124

A set of ten Simon Pearce glass beer mugs

Late 20th/early 21st century

Etched above signature pontil mark: Simon Pearce

Each with folded rim and foot and applied handle 10 pieces

Each: 5” H

$300-500

125

A set of twelve Royal Crown Derby porcelain ‘Gold Aves’ dinner plates 1973-1991

Each with various red printed factory marks above pattern name, number (A.1235), and date code 12 pieces

Each: 10.5” Dia.

$1,500-2,000

126

A suite of Steuben glass stemware 20th century

Etched: Steuben

Each featuring air twist stems, comprising two 5.25” wine glasses, three 3.75” cocktail glasses, eighteen 3.875” cordial glasses, and 2 others (5.125” H and 4.375” H) 25 pieces

$600-800

127

A pair of Renaissance-style carved walnut panels

Late 19th/early 20th century

Each depicting a classical female figure in an archway

2 pieces

Each: 23.5” H x 12.5” W x 1.5” D

$200-300

128

A Val Saint Lambert ‘Danse de Flore’ glassware service 20th century

The vases etched: Val St. Lambert

Each centered by a frosted band decorated in gilt with a procession of classical figures, comprising fifteen 6.75” wine glasses, eight 4.625” champagne coupes of one design, seven 4.625” champagne coupes of another design, fifteen 5” cordials, twelve 4.5” finger bowls, and a pair of 8.75” vases

59 pieces

$2,500-3,500

A near-pair of Continental repoussé copper figural panels

Late 19th/early 20th century

Each Classical female figure modeled recumbent in a flowing robe, mounted on plywood 2 pieces

Each: 35.5” H x 40.5” W x 2.5” D

$400-600

130

A Kerman rug Circa 1910; Southeast Persia

The wool on cotton foundation rug having a claret field with an allover palmette trellis within a similar claret floral vinery border 20’ 3” L x 16’ 8” W

$6,000-8,000

A group of Contemporary glass candlesticks

Late 20th/early 21st century

Baccarat with stencil mark; one VSL with script mark, the other with stencil mark: Val St. Lambert / © / M; each Steuben with etched script mark

Comprising a pair of Val Saint Lambert candlesticks with teardrops encased in the stems (6” H x 4.5” Dia.), a single Val Saint Lambert candlestick (9.5” H x 4.5” Dia.), a pair of Baccarat candlesticks of quatrefoil form (6.75” H x 3” Dia.), a Steuben candlestick with an encased teardrop and a wide flared foot (8.75” H x 4.375” Dia.), and two similar Steuben glass candlesticks, each with encased bubbles (11.5” H x 3.375” Dia.) 8 pieces

$400-600

“Il Fascino Ferrari: A Monument to Italy’s Driving Force”

Allievi, Giuseppe (Pino), “Il Fascino Ferrari: A Monument to Italy’s Driving Force,” Cologne, Germany: Taschen, 2018

Softcover book in aluminum case Edition: 1028/1947

Signed to edition page: Piero Ferrari

The red leather-bound folio with silvered page edges, housed in an engine-form aluminum case designed by Marc Newsom, containing hundreds of photographs from the Ferrari archives and private collectors compiled between 1947-2017, chronicling the carmaker’s legacy

Case: 6.5” H x 22.75” W x 18.25” D; Book: 17.625” H x 13.5” W x 2.375” D

Together with:

Cancellieri, Gianni and Manuel Taboada, “Ferrari: All Victories 1947-2017,” Cologne, Germany: Taschen, 2018 Hardcover book

11” H x 8.75” W x 0.75” D

Raupp, Günther, “The Ferrari Book,” Krefeld, Germany: TeNeues, 2013

Hardcover book

14.875” H x 12.375” W x 1.25” D

3 pieces total

$5,000-7,000

A near-pair of English yew wood Windsor armchairs 19th century

Each with a hooped rail, eight spindles, and a pierced back splat, the arms extending from an arched lower back rail, raised on turned legs joined by stretchers

2 pieces

Each: 44” H x 25.25” W x 24” D

$300-500

134

A Japanese bronze vase mounted as a lamp Meiji Era (1868-1912), Circa 1890

The vase of bulbous form, with dragon figure handles to the sides, mounted as a singlelight table lamp on a wood base with an oval fabric shade, electrified Vase: 9.75” H x 14” Dia,; Shade: 12” H x 18.5” W x 14.25” D; Lamp without harp: 20.5” H

$800-1,200

135

Two Chinese red lacquered wood storage containers 20th century

Comprising one with a metal ring handle and another featuring carved and gilt-accented figures 2 pieces Figures: 8” H x 10” Dia.; Handle: 8.5” H x 24” Dia.

$1,500-2,000

136

A group of Steuben glass bowls and vases

20th century

Each with etched Steuben script mark; two personalized with inscriptions

Comprising a footed bowl, a footed bowl with applied prunts to the foot, a flared and footed vase with four feet, two footed vases with applied twist decorations to the feet, a flared bowl with applied ‘thumbprint’ decoration, and a flared and footed vase

7 pieces

Largest: 7” H x 9” Dia.; Smallest: 5” H x 7.125” Dia.

$800-1,200

A Daum pâte-de-verre ‘Bacchus’ candlestick

Late 20th/early 21st century

Signed and inscribed: Daum / France

The figural two-light candlestick depicting the head of Bacchus within the standard to front and reverse 7” H x 10.25” W x 4” D

$300-500

A Mitchell Gold leather upholstered club armchair and ottoman

Late 20th/early 21st century

Each with fabric tag

The burgundy leather chair and ottoman by Mitchell Gold and Bob Williams for Pottery Barn, each upholstered in burgundy leather with squared wood feet

2 pieces

Armchair: 33” H x 37” W x 41” D; Ottoman: 15.5” H x 26” W x 21” D

$300-500

139

A Steuben clear glass stemware service

Late 20th/early 21st century

Each etched: Steuben

Each of flared form with narrow teardrops encased in the stems, comprising four 8.5” wine glasses and eight 5” cordial glasses, together with a set of twelve similar Steuben-style 7.75” white wine glasses

24 pieces

$400-600

140

A Chinese porcelain fish bowl

20th century

Stamped to underside: UW / 1897

With red scrolling foliate decoration and painted to the interior with fishes, raised on a carved hardwood stand

Porcelain: 13.5” H x 17.5” Dia.; Stand: 8.25” H x 15” Dia.

$300-500

Percy Gray (1869-1952)

Percy Gray was an American painter celebrated Francisco and trained in New York, Gray began due to an allergy to oil paints.

His work focused on the gentle beauty of Northern scenes. Influenced by English Romanticism brushwork, and peaceful mood.

While modernist trends emerged around him, nature. He was active in the California art scene, Gray’s art captures an idealized, timeless California:

celebrated for his serene watercolor and oil landscapes of California. Born in San began his career as an illustrator before shifting to fine art, mainly watercolors, Northern California: rolling hills, oak trees, wildflowers, and misty coastal Romanticism and Tonalism, Gray’s paintings are known for their soft light, delicate him, Gray remained committed to realism and an emotional connection with scene, exhibiting widely and influencing the regional landscape tradition. California: quiet, harmonious, and lovingly observed.

141

Percy Gray (1869-1952)

Eucalyptus by the footpath

Watercolor on paperboard

Signed lower right: Percy Gray

20” H x 28” W

$10,000-15,000

Provenance:

Sold: Butterfield & Butterfield, Los Angeles and San Francisco, CA, February 12, 1992, Lot 405 From the Collection of Robert A. Day

142

Percy Gray (1869-1952)

“Lone Cypress”

Watercolor on paper

Signed lower right: Percy Gray; titled by repute

10.125” H x 14” W

$4,000-6,000

Provenance: Sold: Butterfield & Butterfield, Los Angeles and San Francisco, CA, March 7, 1993, Lot 79 From the Collection of Robert A. Day

143

Percy Gray (1869-1952)

“Folding Hills”

Watercolor on paper

Signed lower left: Percy Gray; titled in blue pencil, verso Sheet: 12.125” H x 16.25” W

$4,000-6,000

Provenance:

Sold: Butterfields, San Francisco, CA, June 17, 1999, Lot 1390 From the Collection of Robert A. Day

144

William Louis Otte (1871-1957)

Eucalyptus grove in morning light Gouache and pastel on canvas laid to board

Signed and dated lower right: William Louis Otte Sight: 21.75” H x 40” W

$3,000-5,000

Provenance: Sold: Butterfield & Butterfield, Los Angeles and From the Collection of Robert A. Day

and San Francisco, June 25, 1998, Lot 5389

Otte 1920

145

Giuseppe Cadenasso (1858-1918)

Sunset on the marsh

Pastel on beige paper

Signed lower left: G. Cadenasso; inscribed “Giuseppe Cadenasso” in pencil, in another hand, verso Sight: 10.5” H x 13.5” W

$800-1,200

Provenance:

Sold: Butterfield & Butterfield, Los Angeles and San Francisco, CA, October 4, 1992, Lot 40 From the Collection of Robert A. Day

146

Gordon Brown (b. 1962)

Cypress tree with water in distance Oil on panel

Signed lower right: Gordon Brown 16” H x 14” W

$600-800

147

A Royal Crown Derby porcelain ‘Red Aves’ part dinner service

Date codes for 1958-94

Each with various red printed factory mark above pattern name and number (A.74), and date code

Comprising twelve 10.5” dinner plates, twelve 8.5” salad plates, twelve 6.25” bread and butter plates, twelve 8.5” soup bowls, ten oversized cups with ten saucers, and six breakfast cups with four dished saucers 78 pieces

$2,000-3,000

148

A large William Yeoward glass ‘Oceania’ vase Early 21st century With stencil mark to underside: William Yeoward The vase with flared neck 14” H x 8.5” Dia.

$300-500

149

An English oak blanket chest 18th century

Carved recto: NT 1719

With a hinged locking lift-top opening to reveal an interior till and later moiré lining, above a single drawer, with boot jack-style sides, legs, and feet

23.5” H x 50.5” W x 15” D

$700-900

150

A William IV walnut tilt-top breakfast table 19th century

The circular top raised on a fluted standard and tripartite base with scrolled accents Open: 31” H x 45” Dia.

$1,000-1,500

151

Three English wood boxes 19th century

Comprising two Regency tea caddies, one rosewood, one mahogany and a brass-mounted mahogany hinged box with velvet interior fitted for a pistol 3 pieces

Largest: 4” H x 14.5” W x 6.5” D; Smallest: 5.75” H x 8.625” W x 5.25” D

$300-500

152

A pair of Neoclassical-style polychromed tole table lamps

19th century with later elements

Of urn form with red ground, later mounted as single-light lamps, each painted with swags and leaf tips on the body and musical trophies on the square plinth bases, electrified

2 pieces

To top of urn: 21.75” H; Each overall: 29.5” H x 7.5” Dia.

$400-600

153

A George I walnut open armchair

Early 18th century

With a fiddle-back splat, shepherd’s crook curvilinear armrests, and a green upholstered seat, raised on front cabriole legs ending in pad feet 39” H x 26” W x 21” D

$300-500

154

A Continental Baroque-style carved giltwood and gesso library table 19th century, with later elements With two drawers, the interiors with later moiré lining, and Corinthian capitals above twisted legs joined by two opposing Y-form stretchers with a central carved pineapple finial 30.5” H x 58” W x 27.5” D

$700-900

155

A pair of Continental molded glass three-light candelabra 20th century

The drip pans hung with facet cut prisms

2 pieces

Each: 15.5” H x 16” W

$300-500

156

A Louis XV Provincial carved oak buffet a deux corps 18th century

Surmounted by a molded cornice, the upper section enclosed by a pair of paneled doors opening to reveal three later shelves; the lower section enclosed by a pair of doors opening to four locking drawers with brass butterfly-form pulls, all with shell and floral carved decorations

95” H x 55.5” W x 24” D

$1,000-1,500

157

A set of twenty-six Royal Crown Derby porcelain ‘Olde Avesbury’ dinner plates

Date codes for 1939-1952

Each with puce-printed factory marks above pattern and date codes, some with red painted pattern number A.73; a few also impressed above date code: DERBY 26 pieces

Each: 10” Dia. or 10.5” Dia.

$1,500-2,000

158

A Royal Crown Derby porcelain ‘Gold Aves’ part dinner service

Date codes for 1967-92

Each with various red printed factory marks above pattern name, number (A.1235), and date code

Comprising twenty 10.625” dinner plates, five 8.5” salad plates, nineteen 6.25” bread & butter plates, nineteen 8.875” crescent plates, eight 8.125” soup bowls, twenty-nine two handled soup bowls with twenty 6.375” saucers, two 15” oval platters, and two 13” oval platters

124 pieces

$3,000-5,000

159

Two Lalique glass vases

Late 20th century

Each etched: Lalique ® France [post-1978]

Comprising a pale blue frosted glass ‘Bougainvillea’ vase (6.875” H x 2.5” Dia.) and a clear and frosted glass ‘Femme Fleurs’ bud vase (4.5” H x 2.25” Dia.)

2 pieces

$250-350

160

A Tiffany & Co. sterling silver footed bowl

Mid/late 20th century

Marked: Tiffany & Co. / Makers / Sterling Silver / 23843 With scalloped rim

3.125” H x 9” Dia.

20.5 oz. troy approximately

$400-600

161

A collection of silvered seashells

20th/21st century

One marked on applied button: Verdura / Made in Italy

Comprising various shells including conch and snail, twelve with sterling silver plating and five with nickel-copper plating

17 pieces

Largest: 8” H x 10.5” W x 9” D; Smallest: 1.5” H x 2” W x 3” D

$1,200-1,800

162

A pair of large English Etruscan-style silver-plated centerpieces

1929

With mark of Elkington & Co. and date mark; numbered: 29274

Retailed by J. Lyons & Co., Ltd., each with a shallow oval bowl resting on a stand with four winged sphinxes and lion monopodium supports, joined by scrolled stretchers centered by a pineapple finial, all on a coved square base

2 pieces

Each: 20” H x 22” W x 16” D

$1,500-2,000

163

A pair of Mexican .900 silver shallow bowls Mid-20th century

Each with mark of Ortega and numbered respectively: 3875 / 3890

Each with scalloped rim

2 pieces

Each: 2.125” H x 13.25” Dia. 72.4 oz. troy approximately

$1,500-2,000

164

The Vanderbilt Candelabra: A Pair of Monumental 15-Light Tiffany & Co. Sterling Silver Candelabra Circa 1883; Directorship of Edward C. Moore (1873-1891)

Each marked to underside of foot: Tiffany & Co. Makers / Sterling Silver / 925-1000 / M; and numbered: 7353 / 8887

Design attributed to Charles T. Grosjean

Each fifteen-light candelabrum profusely decorated with swirling acanthus leaves, shells, seaweed, and stylized dolphin’s masks, on six lion’s-paw feet

Each: 31.5” H x 23” Dia.

Total weight: 764 oz. troy approximately

$100,000-150,000

Provenance:

Cornelius Vanderbilt II (1843-1899) or William K. Vanderbilt (1849-1920) of New York

Property of a Southern Private Collector

Sold: Sotheby’s, New York, “Important Americana,” January 21, 2000, lot 98

M.S. Rau, New Orleans, LA

From the Collection of Robert A. Day

Literature:

John Loring, “Magnificent Tiffany Silver,” (New York: Harry N. Abrams, Inc., 2001.), pp. 142-143, illustrated, where Grosjean is posited as the designer

Notes:

These magnificent large-scale candelabra, custom made for the Vanderbilt family, evoke not only America’s Gilded Age but also Tiffany & Co.’s own greatest period under the design directorship of Edward C. Moore from 1873 to 1891.

Charles Grosjean, designer and silversmith at Tiffany’s, worked closely with Moore in this period, and the pair are credited with internationallyacclaimed designs, from the “Indian” style Mackay Service of 1878 to the famous Chrysanthemum pattern of the 1880s to the “Japanese” and “Turkish” objects of the same decade. On a parallel track with these exotic designs were objects inspired by ancient Roman motifs, such as the pair of “Roman” candelabra on stands recently acquired by the Metropolitan Museum of Art, commissioned from Tiffany’s by Moore’s great patron, Mary Jane Morgan, in 1884. Both the Vanderbilt candelabra and the Morgan candelabra employ ancient Roman motifs such as acanthus leaves and lion’s-paw feet, but in their innovative overall shape and swirling movement both pairs firmly belong to Tiffany’s distinctive Aesthetic Movement style that flowered under Moore and Grosjean in the 1880s.

It seems fitting that the great families of the Gilded Age gravitated toward Tiffany’s “Roman” styles, given that their new mansions in New York drew on a Classical vocabulary. When William K. Vanderbilt and Cornelius Vanderbilt II built dueling mansions on upper Fifth Avenue in 1882 and 1883, respectively, Charles Grosjean designed custom flatware patterns of a rich design for both households. These candelabra were ordered at the same time, but whether they belonged to Cornelius and his formidable wife Alice or William and his even more formidable wife Alva is unknown.

We are grateful to Jeanne Sloane for her assistance in researching and cataloguing the above lot.

165

A set of eighteen Baroque-style silver-plated large goblets 20th century

Each unmarked With gilt interiors and applied cast shell and scroll decoration 18 pieces

Each: 9” H x 4” Dia.

$200-300

166

A Garrard & Co. gilt sterling silver ‘Chased Pierced Vine’ flatware service 1970s

Each marked for Garrard & Co., for sterling, and for London, with date marks

Each with pierced and interwoven grape and leaf vines, comprising 12 dinner forks, 12 salad forks, 12 dessert forks, 12 cocktail forks, 12 dinner knives, 12 salad knives, 11 soup spoons, 12 round soup spoons, 12 fruit spoons, 4 serving spoons, and 2 ladles

113 pieces

Largest: 10.25” L

Total weight: 198.8 oz. troy approximately

$8,000-12,000

Notes:

The Chased and Pierced Vine pattern was created by Francis Higgins and first produced for The Great Exhibition of 1851.

167

A Reed & Barton sterling silver shallow bowl

Early/mid-20th century

Mark of Reed & Barton, numbered: X251

The round bowl with scalloped rim

2” H x 15” Dia.

34.1 oz. troy approximately

$700-900

168

Two Italian bird-form table ornaments

Mid/late 20th century

Shore bird marked for maker and sterling

Comprising an .800 silver Buccellati-style silver ‘furry’ figure of a cockatoo, depicted perched on a silver branch, and a Romeo Miracoli & Figlio sterling silver figure of a shore bird

2 pieces

Furry: 6.25” H x 3” W x 5” D; Shore: 5.375” H x 8.875” W x 3.5” D

Total weight: 35 oz. troy approximately

$700-900

169

Three Sanborns sterling silver trays Mid-20th century; Mexico City, Mexico

Each stamped to underside: [Three owls] / Sanborns Mexico / Sterling

Comprising a graduated pair of oval serving trays and a sauce boat stand 3 pieces

Largest tray: 1” H x 24.5” W x 17.25” D; Sauce tray: 0.75” H x 10.25” W x 6.625” D

Total weight: 171.3 oz. troy approximately

$600-800

170

A Gorham sterling silver ‘Mythologique’ flatware service 20th century

Each marked for sterling and for Gorham Mfg. Co.

Comprising 24 dinner forks, 24 luncheon forks, 24 salad forks, 24 ice cream forks, 24 dessert forks, 24 dinner knives, 24 luncheon knives, 24 butter knives, 24 soup spoons, 24 round soup spoons, 24 bouillon spoons, 24 fruit spoons, 24 teaspoons, 39 five o’clock teaspoons, 24 demitasse spoons, 1 gravy ladle, 2 serving forks, 1 master butter knife, 1 carving fork, 1 carving knife, and 1 sharpening rod, personalized 382 pieces

Largest: 14.5” L

Weighable sterling: 466.6 oz. troy approximately

$10,000-15,000

171

An Italian sterling silver-mounted glass duck-form decanter 20th century

Marked: 925

The silver components with polychrome painted hues

10.5” H x 4.5” W x 10” D

$1,200-1,800

172

A Victorian sterling silver footed tray 1892

Marked for sterling, for Sheffield, and date marked; maker’s mark for Albert Henry Thompson With gadrooned edge and bright cut engraving, on four ball and claw feet

1” H x 12.5” Dia.

31 oz. troy approximately

$1,200-1,800

173

Four large silver-plated handled oval serving trays

Late 19th/20th century

Two with Sheffield plate marks; one marked: Gorham EPNS / Y1107; another marked: T & A

Each handled tray with central chased scroll decoration and ornate rim with various motifs such as egg and dart, fruits, or foliate motifs

4 pieces

Largest: 33.5” W x 21.5” D; Smallest: 28.25” W x 17” D

$300-500

174

A George IV sterling silver salver 1828

Marked for sterling, for London, and date marked; maker’s mark: IW [Joseph Wilson or John Wakefield] With a shell-decorated edge and an engraved plume armorial, on three scroll feet

1” H x 9” Dia.

14.4 oz. troy approximately

$800-1,200

175

Four Mexican sterling silver table items Mid-20th century

Each marked for sterling; tripartite marked for CLS; graduated marked for maker R. Rodriguez; bowl marked for maker Febres

Comprising a leaf-form three-section serving dish (4” H x 10.75” W x 11.5” D), a graduated pair of abstract leaf-form dishes in the Danish style (Larger: 1.5” H x 9” W x 6” D), and a footed bowl with chased kiva step and swirling motifs, featuring a bird figure mounted to rim (3.75” H x 6” W x 4.625” D)

Total weight: 38 oz. troy approximately

$800-1,000

176

A group of silver plate-mounted antler-handled steak knives and serving utensils

20th century

Most variously marked for maker

Comprising a set of 6 Scully & Scully steak knives, a set of 10 George Butler & Co. steak knives, a set of 12 Rehwappen steak knives, a group of 16 carving utensils, including forks, knives, sharpening rods, and shears, and a group of 9 serving utensils primarily for cheese, together with a sterling silver-mounted antler-handled cake knife and an antler-handled corkscrew 55 pieces

$1,000-1,500

177

A George III sterling silver salver and footed cup Mid/late 18th century

Each marked for sterling and for London; cup date marked for 1764 and maker William Priest & James Priest; salver date marked for 1786 and maker William Peaston

Comprising a two-handled footed cup with repoussé floral and foliate motifs (5.5” H x 7.75” W x 4.5” D), and a footed salver with engraved armorial (1” H x 7” Dia.) 2 pieces

Total weight: 22 oz. troy approximately

$600-800

178

A Shreve & Co. sterling silver entrée dish and cover Early 20th century

Dish marked: Shreve & Co. / Sterling / 805

Of oval form, with scroll and shell decoration around the edge of the dish and the top of the cover, personalized 5” H x 13.25” W x 9.875” D 27.7 oz. troy approximately

$500-700

179

A set of twelve Gorham sterling silver service plates

Early/mid-20th century

Each marked for Gorham and for sterling

Retailed by Grogan Company, each rim with foliate swags and suspended flowerheads within a Vitruvian scroll rim, personalized 12 pieces

Each: 11” Dia. 253 oz. troy approximately

$5,000-7,000

Provenance:

Sold: Bonhams & Butterfields, Brookline, Larz Anderson Auto Museum, “American and European Furniture, Decorative Arts and Paintings,” April 22, 2007, lot 2105

From the Collection of Robert A. Day

180

A Christofle silver-plated ‘Rubans’ flatware service

Late 20th/early 21st century

Each marked for Christofle

Comprising 24 of each: dinner forks, salad forks, dessert forks, cheese forks, dinner knives, butter knives, cheese knives, fish knives, table spoons, bouillon spoons, and cocktail picks 264 pieces

$1,500-2,500

181

A George II sterling silver tankard 1743

Marked for London, sterling, and date marked; maker’s mark for John Swift; with winged lion armorial

The footed tankard with scrolled handle and foliate-form accent, personalized

4.75” H x 5” W x 3.375” D

10.4 oz. troy approximately

$500-700

182

A Gorham sterling silver ‘Mythologique’ assembled part flatware service 20th century

Each marked for sterling and for Gorham Mfg. Co.

Comprising 1 dinner fork, 22 luncheon forks, 14 dessert forks, 8 dinner knives, 21 luncheon knives, 3 butter knives, 1 dessert knife, 6 steak knives, 19 soup spoons, 2 round soup spoons, 23 bouillon spoons, 10 teaspoons, 1 sauce serving spoon, 1 melon marrow spoon, 1 master butter fish knife, 1 carving fork, and 1 carving knife, together with one dinner knife with separated handle and one luncheon knife blade with two separated handles, personalized 135 pieces

Largest: 9.75” L

Weighable sterling: 147.6 oz. troy approximately

$3,000-5,000

183

A Reed & Barton sterling silver ‘Newport’ oval tray 1951

Marked to underside: Reed & Barton Sterling / X596 / Newport; with date mark With scalloped rim

1” H x 17.75” W x 12” D 37 oz. troy approximately

$700-900

184

A set of eighteen Baroque-style silver-plated large goblets

20th century

Each unmarked

With gilt interiors and applied cast shell and scroll decoration 18 pieces

Each: 9” H x 4” Dia.

$200-300

185

A group of Christofle silver-plated utensils and bar items 20th century

Most marked for Christofle; cigar cutter with mark of Must de Cartier (round style)

Comprising 12 miscellaneous Christofle utensils, 11 Christofle iced tea spoons, and a group of 6 Christofle silver-plated items including a wine coaster, three rectangular trays, a corkscrew, and a bottle stopper; together with a parcel-gilt metal cigar cutter, a match safe, a flask frame, a cylindrical flask, and a toothpaste tube key, some pieces personalized 34 pieces

Cylindrical flask: 6” L; Match safe” 2.375” H x 1.875” W; Flask frame: 4” H x 3.125” Dia.

$600-800

186

A Gorham sterling silver ‘Chippendale’ tray

Early/mid-20th century

Marked for Gorham and for sterling; numbered: 42613/2

The round tray with scalloped rim and chased central foliate medallion for personalization

0.5” H x 14” Dia.

38.4 oz. troy approximately

$800-1,200

187

A Shreve & Co. sterling silver ‘Napoleonic’ flatware service

Earl/mid-20th century

Each marked for Shreve & Co. and for sterling

Designed 1905, comprising 12 dinner forks, 12 luncheon forks, 12 salad/dessert forks, 11 cocktail forks, 12 ice cream forks, 12 dinner knives, 12 luncheon knives, 6 fruit knives, 11 flat-handle butter knives, 12 soup spoons, 12 bouillon spoons, 24 teaspoons, 6 five oíclock teaspoons, 12 demitasse spoons, 6 iced tea spoons, 12 miscellaneous serving spoons, 16 miscellaneous serving pieces, 3 graduated carving forks, and 3 graduated carving knives, personalized 206 pieces

Largest: 14.75” L

Weighable sterling: 166.3 oz. troy approximately

$3,000-5,000

188

An International sterling silver ‘Royal Danish’ tray Early 20th century

Marked to underside: Royal Danish / U.S.A. / W412 / International Sterling With repoussé and pierced scrolled accents at corners

1.25” H x 18.25” W x 13.125” D

51.6 oz. troy approximately

$1,000-1,500

189

A Boucheron rock crystal jaybird sculpture Mid-20th century

With French assay marks and maker’s mark for Bondt; signed: Boucheron, No. 87417 / 250

The realistically carved jay with black onyx beak, cabochon ruby accent eyes, and gold feather crest and talons, perched on gold bamboo, the black onyx base with gold trim, mounted in 18K gold

Overall: 7.375” H x 4.75” W x 4.125” D

$8,000-12,000

Provenance:

Sold: Christie’s, New York City, NY, “The Di Portanova Collection,” October 25, 2000, lot 350 From the Collection of Robert A. Day

190

A Continental gilt-metal and enamel automaton singing bird box

Early 20th century

The brass box with blue and white enameled panels, the hinged lid opening when wound to reveal a chirping bird with articulated wings and beak

Open: 3” H x 4.125” W x 2.5” D

$1,500-2,000

Theodore Wores

(1859-1939)

Theodore Wores was an important post-Gold of subject matter that included Asian, particularly depictions of his native Northern California. Born and was a one of the first students to enroll in he studied under Virgil Williams. After a year Europe, he painted with other American expats

Returning to San Francisco in 1881, Wores sought and the late 1890s, Wores spent extended periods London, New York and Boston. The artist’s early unique style marked by bold colors and keen the emphasis on simplicity and nature.

Wores’s time in Japan had a profound effect on with exoticism, Wores approached his subjects portrayals of everyday life. After returning to the California and his art memberships included the Society of Japan. In his work and through his cross-cultural artistic exchange. In this period,

Between 1901 and 1903, Wores traveled to Hawaii natural beauty. Like his Japanese subjects, the

Wores was a unique art practitioner to come out and vivid portrayal of Eastern and Western subjects artistic legacy sensitively bridges continents and

post-Gold Rush expansion period California painter. He painted prolifically and in diversity particularly Japan, South Seas, focusing on Hawaii, the American Southwest, and Born in San Francisco in 1859, Wores began his formal artistic studies at age 12 in the newly formed San Francisco School of Design when it opened in 1874, where there, Wores continued his training at the Royal Academy in Munich. While in expats including James McNeill Whistler, Frank Duveneck and William Merritt Chase.

sought fresh subjects in the city’s Chinatown neighborhood. Between the mid-1880s periods travelling abroad including two trips to Japan, the first lasting three years, early work reflected European academic influences, but Wores soon developed a attention to cultural detail, deeply inspired by Japanese aesthetics, particularly on his artistic vision. Unlike many Western artists of the era who portrayed the East subjects with respect and authenticity, and his paintings show intimate and respectful the US in 1898, Wores became an active member of the growing art scene in the Bohemian Club, Salmagundi Club, San Francisco Art Association and the Art associations, Wores shared his experiences abroad and was a vocal contributor to period, he also began to further explore the California landscape and environs.

Hawaii and Samoa, where he continued to find inspiration in local cultures and the South Pacific works reflect a deep appreciation for island life and its peoples. out of California in this period, and his work stands out for its cultural sensitivity subjects at a time when such “exotic” themes could often be mishandled. Wores’s and culture.

191

Theodore Wores (1859-1939)

“Hollyhock garden” Oil on panel

Signed lower right: Theodore Wores; titled by repute 14” H x 18” W

$10,000-15,000

Provenance:

Sold: John Moran Auctioneers, Pasadena, CA, February 20, 2007, Lot 60 Orr’s Gallery, San Diego, CA

From the Collection of Robert A. Day

192

Joseph Eliot Enneking (1881-1942)

“Snow on the Mountain,” 1924

Oil on canvas laid to board

Signed lower right: J. Eliot Enneking; signed again, titled, dated, and inscribed “For Gloucester Society of Artists / Kearsarge, N.H. / May 1924,” verso; alternatively titled “Moat Mountain Range” (crossed out in three places), as well as “Moat Mountain, N.H.,” verso 8” H x 10.125” W

$1,000-1,500

Provenance: G. Ross Thomas From the Collection of Robert A. Day

Exhibited:

Gloucester, MA, Gloucester Society of Artists, 1926, possibly New York, NY, Salmagundi Club, “Thumb-box Exhibition,” n.d., no. 149

Colin Campbell Cooper (1856-1937)

Colin Campbell Cooper was a prominent American Born in Philadelphia, Cooper studied at the Pennsylvania by the French Impressionists. His early works reflect especially during a time when skyscrapers and urbanization

Cooper earned acclaim for his vibrant depictions among the first American painters to capture the interplay between sunlight and steel. These paintings to the modern urban experience. Cooper’s work of early 20th-century life.

Cooper travelled widely and also painted landscapes, California, and elsewhere. His versatility and dedication reputation as a key figure in American Impressionism. in the early 1900s and remains celebrated for blending

In summer 1915, Cooper made his only known trip year, Cooper and his artist-wife Emma Lampert Cooper participated in the Panama-Pacific International Exposition. Connecticut, Rhode Island, and Massachusetts, including permanently in Santa Barbara.

Of the period around 1915 to 1920, William H. Gerdts American artists in seeking out the more traditional with which he had become associated, concentrating only have received further motivation from America’s / West Coast and Beyond: Colin Campbell Cooper

The present painting’s charming view of the seaside Impressionist palette. The jewel-toned blue hues architecture, whether older and traditional like these

Cooper

American Impressionist painter best known for his architectural cityscapes and urban scenes. Pennsylvania Academy of the Fine Arts and later in Europe, where he was deeply influenced reflect his fascination with light, atmosphere, and the bustling life of modern cities, urbanization were reshaping the American landscape.

depictions of American and European cities, particularly New York, Chicago, and Paris. He was the vertical grandeur of skyscrapers using Impressionist techniques, skillfully portraying the paintings not only celebrated technological progress but also brought an artistic sensitivity often featured crowds, horse-drawn carriages, and iconic buildings, offering a snapshot landscapes, portraits, and travel scenes from Asia, the Middle East, the American South, dedication to capturing beauty in both natural and man-made environments cemented his Impressionism. As an educator and exhibitor, he contributed to the development of American art blending traditional Impressionist methods with a uniquely American subject matter.

trip to Martha’s Vineyard, where he painted the present work in Edgartown. Later that Cooper spent an enjoyable winter of 1915-16 in Southern California, where they both Exposition. Between 1918 and 1919, Cooper spent time working and exhibiting in including on Nantucket. After Emma’s death from tuberculosis in 1920, Cooper settled

Gerdts writes, “Cooper appears to have been joining Hassam and a good many other traditional aspects of American life, almost in contradistinction to the architectural ‘newness’ concentrating on the ‘old’ American rather than the modern, a nationalistic preference that could America’s entry into World War I” (William H. Gerdts and Deborah Epstein Solon, “East Coast Cooper - American Impressionist,” Laguna Art Museum, Laguna, CA, p. 62).

seaside homes, docks, and boats on Edgartown’s historic harbor is presented in a pure hues of the calm harbor are reflected in the bright sky, and Cooper’s steadfast interest in these homes, or cutting-edge city skyscrapers, is on display.

193

Colin Campbell Cooper (1856-1937)

“Edgartown Harbor - Edgartown, MA,” 1915

Oil on canvas laid to board

Signed and dated lower left: Colin Campbell Cooper 1915; titled on the frame plaque; alternatively titled “At Edgartown, Martha’s Vineyard” 29.25” H x 36.25” W

$20,000-30,000

Provenance:

Sold: Sotheby’s, New York, NY, March 15, 1995, Lot 113

From the Collection of Robert A. Day

194

Luigi Lucioni (1900-1988)

“Italian Garden,” 1955

Watercolor and ink on paper

Signed and dated lower right: Luigi Lucioni 1955; titled by repute Sight: 8.75” H x 11” W

$1,500-2,500

Provenance:

Sold: Butterfield & Butterfield, Los Angeles and San Francisco, CA, June 15, 1994, Lot 4498

From the Collection of Robert A. Day

195

John Jay Baumgartner (1865-1946)

“Silver and Green,” 1924

Gouache on paper

Signed and dated lower left: John Jay Baumgartner ‘24; titled on the verso according to previous sale information

Sight: 13.5” H x 9.5” W

$1,500-2,500

Provenance:

Sold: Christie’s, Los Angeles, CA, “California Western & American Paintings Drawings & Sculpture,” October 28, 1999, Lot 116 From the Collection of Robert A. Day

196

William Franklin Jackson (1850-1936)

“The Bathers” Oil on canvas laid to board

Signed lower right: W.F. Jackson; titled on a gallery label affixed to the frame’s verso 12.75” H x 9.25” W

$1,500-2,500

Provenance: Maureen Murphy Fine Arts, Santa Barbara, CA From the Collection of Robert A. Day

197

Lawton Parker (1868-1954)

Standing nude

Pastel on beige paper

Signed lower left: L. Parker

Sight: 21.5” H x 13.5” W

$800-1,200

Provenance:

Sold: Butterfield & Butterfield, Los Angeles and San Francisco, CA, July 12, 1990, Lot 2372

Estate of Gordon and Joan Spencer, Nordland, WA

Sold: John Moran Auctioneers, Monrovia, CA, “American and Western,” October 21, 2014, Lot 180

From the Collection of Robert A. Day

198

Alfred Seifert (1850-1901)

Portrait of a beauty in white with roses Oil on a cradled board

Signed lower right: A. Seifert 16” H x 12” W

$800-1,200

Provenance: Guarisco Gallery, Washington, D.C. From the Collection of Robert A. Day

199

Emil Carlsen (1853-1932)

Still life with game and radishes, 1892 Oil on canvas laid to canvas

Signed and dated lower left: Emil Carlsen 20.5” H x 30” W

$5,000-7,000

Provenance: Sold: Butterfield & Butterfield, Los Angeles From the Collection of Robert A. Day

Angeles and San Francisco, CA, June 15, 1995, Lot 4031

Carlsen 92

200

Alice Brown Chittenden (1859-1944)

“Bouquet of Zinnias” (Still life with zinnias in a blue pot)

Oil on canvas laid to canvas

Signed lower right: Alice B. Chittenden; titled in another hand on the frame’s backing board.

Canvas: 17.75” H x 13.75” W; Stretcher: 17.875” H x 14.25” W

$600-800

Provenance:

Sold: Butterfield & Butterfield, Los Angeles and San Francisco, CA, June 12, 1996, Lot 1137

From the Collection of Robert A. Day

201

Franz A. Bischoff (1864-1929)

Charger with magenta roses, 1901 Oil on porcelain

Signed and dated: Franz A. Bischoff; stamped verso: T&V / Limoges France

0.625” H x 11.5” Dia.

$2,500-3,500

Provenance:

Sold: Bonhams, Los Angeles, CA, “California & Western Paintings & Sculpture,” April 8, 2014, lot 127

From the Collection of Robert A. Day

202

Franz A. Bischoff (1864-1929)

Charger with roses Oil on porcelain plate

Signed: Franz A. Bischoff; stamped verso: J.P. / L. France

0.375” H x 14” Dia.

$3,000-5,000

Provenance:

Sold: Bonhams, Los Angeles, CA, “California & Western Paintings & Sculpture,” April 8, 2014, lot 126

From the Collection of Robert A. Day

203

A Royal Crown Derby porcelain ‘Gold Aves’ part dinner service

Date codes for 1968-92

Each with various red printed factory marks above pattern name, number (A.1235), and date code

Comprising twelve 10.625” dinner plates, twelve 8.5” salad plates, twelve 6.25” bread and butter plates, twelve 8.5” dessert plates with scalloped rims, twelve 8.875” crescent form-plates, twelve two-handled soup bowls with twelve 6.375” underplates, two 15” oval platters, two 13” oval platters, one covered vegetable dish, and one covered sauce tureen and underplate 91 pieces

$2,000-3,000

204

A set of twenty Lalique glass ‘Ange’ champagne flutes 20th century

Each etched: Lalique ® France [post-1978]

20 pieces

Each: 8.125” H

$1,500-2,000

205

A Daum pâte-de-verre center bowl

Late 20th/early 21st century

The bowl and the base each signed and inscribed: Daum / France

The fluted clear glass bowl set in a pâte-de-verre base depicting five figures of horses emerging from the sea

Overall: 5.875” H x 13” Dia.

$300-500

206

A pair of Continental brass candlestick lamps 19th century with later elements

Each with repoussé barley and grape motifs, raised on a tripartite base with paw feet, mounted as a single-light table lamp, surmounted by a pleated fabric shade, electrified 2 pieces

Each lamp without harp or shade: 22” H x 9” W.; Each shade: 12.75” H x 18.5” Dia.

$400-600

207

A pair of Neoclassical style plaster relief panels

Late 19th/early 20th century

Each signed and inscribed lower right: G. Beck SC In the manner of François? Duquesnoy, depicting nymphs and putti in relief

Sight of each: 39” H x 18.5” W

$800-1,200

208

A Heriz Rug

Early 20th century Wool on cotton foundation 14’ 6” L x 12’ 6” W

$3,000-5,000

209

A French Renaissance-style carved walnut buffet 18th/19th century

With two drawers above two locking cupboard doors carved with diamond-form panels with masks, revealing a single shelf, each drawer and shelf interior with later moiré lining, raised on bun feet

39.25” H x 50” W x 26.5” D

$1,500-2,000

210

A set of twelve Saint-Louis glass ‘Thistle’ water goblets

20th century

Each with etched factory marks

12 pieces

Each: 7.5” H

$2,000-3,000

211

A set of twelve Baccarat glass ‘Imperator’ double old-fashioned glasses

Late 20th/early 21st century

Etched factory marks

Each with gilt scrolled foliate decoration

12 pieces

Each: 4.875” H

$700-900

A Continental carved giltwood mirror

18th century with later elements

Labeled verso: Cantay / Hoppen

The frame decorated with shells, scrolls, and rocaille

Overall: 30” H x 20.75” W x 1.25” D

$500-700

213

An English walnut canterbury 19th century

With barley twist and turned standards above a single drawer, raised on lobed feet with casters

24” H x 28.5” W x 16.5” D

$500-700

214

A Regency style giltwood convex mirror 20th century

With beaded edge and four lion’s head masks 35” Dia. x 3” D

$800-1,200

215

A pair of Lalique glass ‘Versailles’ vases

Late 20th century

Each etched: Lalique ® France [post-1978]; further numbered variously: 956 / 966

Each clear and frosted glass urn-form vase, on a square foot, raised on associated clear glass base

4 pieces

Each: 13.5” H x 9” Dia.

$2,500-3,500

216

“Picturesque America”

Hardcover books in 2 volumes

Bryant, William Cullen (editor). “Picturesque America: or, The Land We Live In. A Delineation by pen and pencil of the Mountains, Rivers, Lakes, Forests, Water-falls, Shores, Cañons, Valleys, Cities, and Other Picturesque Features of Our Country.”

New York: D. Appleton & Co, 1872

Each large quarto bound in full tooled brown morocco leather with gilt and blindstamped lettering and decorations to spine, dentelles, and boards, with raised bands, marbled endpapers, and gilt page edges

2 pieces

Each: 13.125” H x 10.75” W; Overall: 5.25” D

$200-300

217

A suite of Saint-Louis glass ‘Thistle’ stemware 20th century

Each with etched factory marks

Comprising eight 7” champagne flutes and ten 5.75” dessert wine glasses

18 pieces

$2,000-3,000

219

A Bernardaud Limoges porcelain part dinner service

Late 20th century

Each with gilt-printed factory marks and bearing the Coalinga logo

Each with gilt-decorated green borders, comprising twenty-nine 10.25” dinner plates, thirty-three 8.5” salad plates, twenty-six 6.5” bread and butter plates, and twenty-six teacups with twenty-six 5.5” saucers

140 pieces

$1,500-2,000

Provenance:

Sold: Bonhams, Los Angeles, CA, “Collection of William M. Keck II,” December 9, 2014, lot 1678

From the Collection of Robert A. Day

218

A pair of small George I-style open armchairs 20th century

Each with fiddle back, ram’s head-form armrest terminals, and cabriole legs, the seat upholstered with gold, blue and brown patterned fabric 2 pieces

Each: 31” H x 25” W x 21” D

$200-300

220

A pair of Chinese Famille Jaune porcelain fish bowls 20th century

Each unmarked

Each exterior decorated with figural scenes in friezes within a yellow ground, the interiors with floral and fish motifs, set on a carved wood stand 4 pieces

Each porcelain: 21” H x 23” Dia.; Each stand: 17” H x 20” Dia.

$700-900

221

A pair of Baccarat glass ‘Harcourt’ vases

Late 20th/early 21st century

Each with etched factory marks

Of heavy octagonal form

2 pieces

Each: 12.5” H x 7” Dia.

$500-700

222

A pair of Baccarat cut glass bulbous vases

Late 20th/early 21st century

Each marked: Musée des Cristalleries de Baccarat 1821-1840 Reproduction

2 pieces

Each: 11.25” H x 6” Dia.

$600-800

223

Three Baccarat glass vases

Late 20th/early 21st century

Each with Baccarat stencil mark; Giverny vase additionally marked: RRigot

Comprising a ‘Nelly’ vase (7” H x 4.5” Dia.), a ‘Spirale’ vase (8” H x 4.5” Dia.), and a ‘Giverny’ vase (9.25” H x 5.5” Dia.)

3 pieces

$500-700

224

A Chinese polychrome porcelain jardinière 20th century

Decorated with birds, flowers, and butterflies on a turquoise ground

12.5” H x 14” Dia.

$200-300

226

A Baccarat glass ‘Pauline’ vase

Late 20th/early 21st century

With etched factory marks

The round vase with flared neck 15” H x 8.75” Dia.

$300-500

225

A Victorian carved mahogany canterbury

Mid-late 19th century

Featuring a single drawer with two wood knobs, raised on short scrolled legs and casters

22.5” H x 23” W x 15” D

$300-500

227

After Anna Zinkeisen

1901-1976

Sailing ship with figurehead and sea creatures, circa 1930s

Wool tapestry

Signed to the weave, a small panel depicting a stylized sailing ship with a mermaid figurehead holding a trident

46” H x 50” W

$700-900

Notes:

Anna Katrina Zinkeisen was a Scottish painter and artist. Born in Kilcreggan, Scotland, she later moved with her family to Middlesex, England in 1909. Anna and her sister, artist Doris Clare Zinkeisen, attended Harrow School of Art before they both won scholarships to the Royal Academy Schools. Anna studied sculpture between 1916 and 1921, winning silver and bronze medals, and first exhibited at the Royal Academy in 1919. She was later commissioned to design decorative plaques for the Wedgwood pottery company, and although these designs were awarded a silver medal at the Exposition des Art Decoratifs in Paris in 1925, Zinkeisen decided to specialize in portrait painting and mural work.

In 1935, the Zinkeisen sisters were commissioned by the Clydebank shipbuilders John Brown and Company to paint murals on the renowned ocean liner RMS “Queen Mary.” Some of their work can still be seen on the ship, now permanently moored in Long Beach, California. In 1940 both sisters also contributed murals to the liner RMS “Queen Elizabeth.”

During World War II, Anna and Doris Zinkelsen worked as war and medical artists; Anna also as a nursing auxiliary at St. Mary’s Hospital, Paddington, London. After completing a shift working on a ward as a casualty nurse, Anna is said to have used a disused operating theater as her studio to work on her paintings of scenes in the hospital and depictions of air-raid victims.

A portrait, figure, landscape, and mural painter, artist and book illustrator Anna Zinkeisen exhibited widely including at the Royal Academy 1921-1964; Royal Society of British Artists; Royal Hiber nian Academy; Royal Institute of Oil Painters; Society of Women Artists; Royal Scottish Academy; Redfern Gallery and abroad. Her selfportrait is on display in the National Portrait Gallery (London), and the NPG holds several 1930s photographs of Anna in the process of painting the murals of the RMS Queen Mary.

This small signed tapestry, in an Art Deco style echoing Anna Zinkeisen’s designs for the Queen Mary, depicts a wave’s-eye view of a stylized sailing ship plowing through the open water, guided by a helmeted Britannia-style mermaid figurehead with a trident and accompanied by denizens of the deep water and of the air, all impelled forward by Boreas/Aquilo or one of the cardinal winds.

228

An Art Deco-style iron and mesh fireplace screen Late 20th century

The gilt-iron screen set on two feet 30” H x 51.5” W x 9.5” D

$300-500

A Spanish Colonial carved wood figure of Saint Anthony 18th/19th century

The polychrome-painted figure depicted holding the Christ child, mounted on a later giltwood tiered base

Overall: 23” H x 8.75” W x 6.75” D

$500-700

230

A Steuben rhodium-plated sterling silver and glass ‘Arctic Fisherman’ sculpture Late 20th century

Etched to underside: Steuben; impressed to figure’s right foot: Ster S Model 1023, Designed by James Houston, model introduced 1970

Modeled as a cut and frosted block of ice, surmounted by a kneeling fisherman with his spear, an engraved fish and the hook of his spear on the base

6.5” H x 4.5” W x 2.5” D

$800-1,200

231

A Steuben 18K gold and glass ‘Trout and Fly’ sculpture

Late 20th/early 21st century

Etched: Steuben; the fly apparently unmarked

Model 1002, Designed by James Houston, model introduced 1966

Modeled with an 18K gold dry fly in its mouth

8.5” H x 6” W x 3.5” D

$300-500

232

A silver-mounted wood folding Quran stand 20th century

With Arabic inscriptions to the .890 silver panels

Open: 10” H x 16” W x 7.5” D

$200-300

233

A George II black lacquered tall case clock

Early/mid-18th century; London, England

Dial marked: Jn. [John] Crucefix / London

The brass arched dial with sun plaque to the arch, the chapter ring with Roman hours and Arabic minutes with subsidiary seconds dial and date aperture to the center, the three-train movement striking the quarters on eight bells and the hours on a single bell, housed in a chinoiserie gilt-decorated case depicting figures in a courtly rural scene, surmounted by three flame finials

109” H x 20.5” W x 10.5” D

$1,500-2,500

234

A George II-style mahogany partner’s desk 19th century

The top inset with a brown leather writing surface above a fretwork carved apron fitted with three drawers to either side, the interiors with later moiré lining, and a pull-out writing surface on each end, raised on cabriole legs with acanthus carved knees ending in ball and claw feet

30” H x 66.5” W x 42.5” D

$1,500-2,000

235

A large Chinese Famille Rose porcelain shallow bowl

19th century

Unmarked

The bowl decorated with peonies 3.5” H x 16.25” Dia.

$200-300

236

A suite of Steuben clear glass stemware

Late 20th/early 21st century

Each etched: Steuben

Comprising ten Steuben glass 5.25” water goblets and four Steuben glass 4.5” claret glasses

14 pieces

Each goblet: 5.25” H x 3.5” Dia.; Each claret: 4.5” H x 3.75” Dia.

$300-500

237

A pair of Louis XIII-style turned wood chairs

19th century

Each seat and seatback with verdure tapestry upholstery and brass tacking

2 pieces

Each: 41” H x 19.5” W x 22” D

$300-500

238

A George III mahogany sideboard

Late 18th century

Fitted with two locking drawers centering opposed locking cabinet doors, each with brass pulls, raised on square tapered legs

36.25” H x 48.25” W x 22” D

$300-500

239

A Daum pâte-de-verre bowl

Late 20th/early 21st century

Signed and inscribed: Daum / France

The clear glass bowl set in a green and yellow pâte-de-verre daffodil base

4.25” H x 12” Dia.

$400-600

240

A group of Contemporary glass decanters

Late 20th/early 21st century

Two with Saint-Louis stencil mark; three with Riedel stencil mark

Comprising a pair of Saint-Louis decanters with stoppers (11.5” H x 5.25” Dia.), a pair of large Riedel bulbous decanters, one with a stopper (With stopper: 14” H x 7” Dia.), a graduated pair of ribbed blown glass decanters with flag-form stoppers (Taller: 16.75” H x 4.5” Dia.), and a Riedel bulbous decanter (9.5” H x 7” Dia.)

7 pieces

$400-600

241

A pair of George II-style carved giltwood eagle console tables

Early/mid-19th century

Each associated green marble top above a Vitruvian scroll frieze supported on the wings and head of an eagle, raised on a faux green marble plinth base

2 pieces

Each: 34.5” H x 55” W x 24.5” D

$8,000-12,000

Provenance:

Estate of George Randolph Hearst, Sr. C. Mariani Antiques, through David Phoenix Interior Design From the Collection of Robert A. Day

Notes:

This lot is accompanied by a copy of a receipt David Phoenix Interior Design, and a copy of a letter guaranteeing authenticity of the provenance from C. Mariani Antiques, dated April 28, 2014.

242

A pair of Japanese gold and brown lacquered wood storage boxes 20th century

One with applied sticker: Japan

The lidded octagonal boxes, each with a melon-form finial on the cover 2 pieces

Each: 10” H x 11” W x 8.5” D

$800-1,200

243

A Baccarat glass ‘Harmonie’ vase

Late 20th/early 21st century

With Baccarat stencil mark

The cylindrical vase with fluted detailing 12” H x 4.75” Dia.

$300-500

244

A Kerman rug

Circa 1900; Southeast Persia

The wool on cotton foundation rug having an allover herati design on a midnight blue field within a rust palmette vinery border

14’ 10” L x 9’ 4” W

$4,000-6,000

245

A set of twelve Steuben glass water goblets 20th century

Etched: Steuben Pattern 8011, the bowls supported by air twist stems 12 pieces Each: 5.75” H

$800-1,200

247

246

A Correia amber and frosted glass vase 2003

Engraved to underside: Correia / With appreciation / Maria and Arnold / October 2003 / JAS 9.03.10

Depicting a row of California bears around the rim

9.75” H x 8.125” Dia.

$400-600

A set of eighteen Saint-Louis glass ‘Thistle’ old-fashioned glasses 20th century

Each with etched factory mark

One glass with slightly different variation of shape

18 pieces

Each: 3.5” H

$2,000-3,000

248

A pair of Empire-style parcel-gilt mahogany curule stools 20th century

Each with opposed gilt medallion accents and curved supports joined by a turned bar stretcher, upholstered in a black fabric with brass tacking 2 pieces

Each: 18.5” H x 20” W x 17.5” D

$200-300

249

A Steinway & Sons mahogany model ‘C’ grand piano

Circa 1893, serial number C 79591

Inscribed above the keyboard: Steinway & Sons Patent Grand. New York. London Hamburg; the harp with serial number

The 88-key piano housed in a mahogany case with three elaborately scrolled legs, together with an adjustable bench with burgundy velvet upholstery

2 pieces

Piano: 40” H x 59.5” W x 91” D; Bench: 20” H; 36” L; 14.5” D

$7,000-9,000

250

A palace-sized Tabriz rug Circa 1880; Northwest Persia

The wool on cotton foundation rug having a dense floral concentric medallion on a rust field within an ivory scrolling vinery and palmette main border

33’ 8” L x 22’ 3” W

$20,000-30,000

Provenance:

Mansour Gallery, Los Angeles, CA

From the Collection of Robert A. Day, acquired from the above, March 26, 2014

Notes:

This lot is accompanied by a purchase receipt from Mansour Gallery.

251

A 20th Century American School Triptych View into the Grand Canyon, 1929 Oil on canvas

Signed indistinctly and dated in the lower edge of the left panel: J D Knapp 29 Overall: 44” H x 65” W (irreg.)

$8,000-12,000

Provenance:

Private Collection, Southern California Bonhams, Los Angeles, CA, “California and Western Paintings and Sculpture,” November 23, 2015, Lot 98 From the Collection of Robert A. Day

252

Frederick Schafer (1839-1927)

“View of Mount Tamalpais,” 1880 Oil on canvas laid to canvas

Signed and dated lower right: F. Schafer 1880; titled by repute 30” H x 50” W

$3,000-5,000

Provenance: Sold: Butterfield & Butterfield, Los Angeles and San Francisco, CA, October 4, 1992, Lot 30 From the Collection of Robert A. Day

Edgar Alwin Payne (1883-1947)

“Redwoods,” circa 1930s Oil on canvas laid to board

Signed lower right: E. Payne; titled and dated in ink on a 1985 handwritten note by G.M. Hegion attached to a fragment of previous brown backing paper that is now affixed verso 16” H x 12” W

$6,000-8,000

Provenance:

Grace Maria King and Nona Lear, proprietors of King-Lear Lodges, received directly from the artist in lieu of payment for room and board, 1930s

By family descent

Sold: Christie’s, Los Angeles, CA, “California, Western and American Paintings, Drawings and Sculpture,” April 25, 2007, Lot 12

From the Collection of Robert A. Day

Notes:

According to the handwritten note affixed verso, Edgar Payne had stayed at the King-Lear Lodges and used his paintings as payment for room and board.

254

Edgar Alwin Payne (1883-1947)

“Mountain View” Oil on canvas laid to board

Signed lower right: Edgar Payne; titled on an authentication label signed in ink by Edward Goldfield, affixed verso

9.75” H x 12.125” W

$4,000-6,000

Provenance:

Estate of the artist

Goldfield Galleries, Los Angeles, CA

Sold: Butterfield & Butterfield, Los Angeles and San Francisco, CA, October 16, 1991, Lot 2473

From the Collection of Robert A. Day

255

Paul Grimm (1891-1974)

High Sierras Oil on canvas laid to board

Signed lower right: P. Grimm

Sight: 11.75” H x 8.75” W

$800-1,200

256

Lucia Kleinhans Mathews (1870-1955)

“Monterey Pines,” 1939 Watercolor on thick paper

Unsigned; titled and dated by repute Sheet: 20” H x 24” W

$8,000-12,000

Provenance:

Sold: Butterfield & Butterfield, Los Angeles and San Francisco, CA, February 12, 1992, Lot 447 From the Collection of Robert A. Day

Dennis M. Doheny (b. 1956)

Contemporary Santa Barbara-based landscape depictions of the natural world. Born and raised passion for art and the outdoors, which deeply mastery of classical techniques reminiscent of sensitivity to light and atmosphere. His paintings coastline, the Sierra Nevada mountains, and desert

Early in his career, Doheny worked as a commercial commercial background is evident in the technical the artist’s use of light, shadow, and texture that experience the sublime beauty of untouched emphasizing grandeur and tranquility over human art world dominated by abstraction and conceptualism

Over the years, Dennis Doheny has received numerous Prize” at the 2016 California Art Club’s 105th West exhibition; the Frederic Remington Award Museum’s Prix de West; and the Inaugural Purchase in both public and private collections, and he

landscape painter Dennis Doheny is renowned for his luminous and meticulously detailed raised in Los Angeles as a third-generation Californian, Doheny developed an early deeply influenced his artistic vision. Though largely self-taught, his style reflects a of the Hudson River School and early California Impressionists, with a modern paintings often feature dramatic vistas of the American West, particularly the California desert landscapes.

commercial artist before turning to fine art full time in the mid-1990s, and this technical precision of his work. Doheny’s paintings also have emotional resonance in that brings a sense of realism and serenity to his landscapes, inviting viewers to nature. Each composition reflects a deep reverence for the environment, often human presence. His dedication to traditional landscape painting in a contemporary conceptualism sets him apart.

numerous accolades, including prestigious awards such as “The Irvine Museum Annual Gold Medal Exhibition and the Autry Museum’s Masters of the American Award for “exceptional artistic merit” at the National Cowboy & Western Heritage Purchase Prize at the Eiteljorg Museum’s “Quest for the West.” His paintings are held continues to influence a new generation of realist landscape painters.

257

Dennis M. Doheny (b. 1956)

By the river’s edge, 2003

Oil on canvas

Signed and dated lower left: Dennis M. Doheny 2003

40” H x 50” W

$10,000-15,000

258

Dennis M. Doheny (b. 1956)

“Chalk Cliffs, Lake Cachuma,” 2005

Oil on canvas

Signed and dated lower left: Dennis M. Doheny 2005; titled on a label affixed to the canvas overlap

12” H x 16” W

$4,000-6,000

Provenance:

William A. Karges Fine Art, Beverly Hills, CA

Private Collection, Los Angeles, CA

Sold: Bonhams, Los Angeles, CA, “California & Western Paintings & Sculpture,” November 23, 2015, Lot 130

From the Collection of Robert A. Day

259

Duane Wakeham (b. 1931)

Riverbend landscape, 1980 Oil on canvas

Signed lower right: Wakeham; dated on a label affixed to the stretcher 36” H x 50” W

$800-1,200

260

A set of nine Lalique glass ‘Clos Vougeot’ wine goblets 20th century

Each etched: Lalique / France

The bowls raised on grape cluster stems 9 pieces

Each: 6.125” H x 4” Dia.

$600-800

261

A set of twenty-four Steuben glass cordials

20th century

Etched: Steuben

Each featuring air twist stems

24 pieces

Each: 3.875” H

$700-900

A Queen Anne-style black lacquered cabinet on stand 19th century with later elements

With three carved giltwood classical figures atop the arched structure, over two brass-mounted doors opening to reveal ten drawers, with gold lacquered chinoiserie decoration, raised on an associated gilt and ebonized wood stand 2 pieces

Cabinet: 63” H x 45” W x 21” D; Stand: 35” H x 42” W x 22” D

$1,200-1,800

263

Two sets of Heinrich & Co. porcelain ‘Edgerton’ dinner plates

20th century

Each with green printed: H & Co. / Selb Bavaria / Heinrich & Co. / Edgerton; impressed: 6304

Each with elaborate gilt decoration, comprising ten with pale yellow borders and twelve with pale green borders

22 pieces

Each: 10.875” Dia.

$800-1,200

A Steuben rhodium-plated sterling silver and glass ‘Ice Hunter’ sculpture Late 20th century Etched to underside: Steuben Model 1033, Designed by James Houston, model introduced 1972 Modeled as a solitary canoer beneath an arched ice formation, a seal below 5.75” H x 6.125” W x 3.75” D

$700-900

265

A group of Spanish silver-mounted ruby glass bird-form decanters

Mid/late 20th century

Each marked on metal mount: Spain

Comprising a pair of parcel-gilt silver-mounted glass eagle-form decanters, and a silver-mounted glass owl-form decanter with hinged lid and light orange eyes

3 pieces

The pair: 14.5” H; Owl: 11” H

$1,500-2,000

266

A Steuben clear glass stemware service

Late 20th/early 21st century

Each etched: Steuben

Each with bulbous stems with encased teardrops, comprising forty 6.75” wine glasses and five 5.625” wine glasses

45 pieces

$1,000-1,500

267

A group of Daum pâte-de-verre table items

Mid/late 20th century

Each signed and inscribed: Daum / France

Comprising a green dish featuring two figures of frogs with gilt-metal eyes (3.5” H x 6” W x 4.25” D), an amber frosted and clear glass figure of a perched eagle (8” H x 7” W x 7” D), a clear glass dish with a butterfly on the edge (3” H x 4.75” W x 3.25” D), a vide-poche in the form of a lily pad with frog (2” H x 6.25” W x 6” D), and an amber glass lion figure (1.5” H x 3.4” W x 1” D)

5 pieces

$400-600

A pair of Italian Grand Tour-style patinated bronze jardinière stands Late 19th/early 20th century

The athénienne-form stands after a table found at Pompeii, the frieze decorated with garlands and bovine masks raised on three supports, each headed by a winged sphinx and ending in paw feet, joined by a scrolled foliate stretcher and raised on a tripartite base 2 pieces

Each: 37” H x 22” Dia.

$1,200-1,800

269

A suite of Steuben clear glass stemware

Late 20th/early 21st century

Each etched to underside: Steuben

Comprising fourteen 5.75” water goblets and fourteen 3.875” cordials, each with air twist stems 28 pieces

$1,200-1,500

270

A Louis XV Provincial fruitwood buffet 19th century

The apron with inlaid vine-form accent centering two drawers, above two locking paneled cupboard doors, with carved vine top border, opening to reveal a single shelf

39.5” H x 52” W x 23” D

$800-1,200

271

A Continental Rococo-style walnut table 18th century

With a scalloped top above three front drawers and two side drawers with iron cotter pin drawer pulls, above an X-form stretcher joining legs with ball and claw feet 32” H x 46” W x 27.5” D

$300-500

272

Two Victorian brass-mounted mahogany writing boxes Late 19th century

Each brass-bound lidded box with fitted inner compartments and fold-out writing surfaces, one raised on a later brass stand, the other a later wood stand 2 pieces

Larger overall: 20” H x 25” W x 13” D; Smaller overall: 20” H x 16.5” W x 10” D

$700-900

273

A pair of Delft blue and white pottery garlic-head vases 19th century

Each with indistinct blue marking to underside

Each decorated with floral and scrolled motifs

2 pieces

Each: 13.5” H x 7” Dia.

$300-500

274

An Italian Neoclassical marquetry-inlaid walnut commodino Early 19th century

Fitted with two drawers with brass ring pulls, raised on fluted tapered legs, each drawer interior with later moiré lining

33.5” H x 17” W x 1.75” D

$300-500

275

A pair of Continental glass five-light candelabra 20th century

The drip pans hung with facet cut prisms

2 pieces

Each: 25” H x 18” W

$700-900

276

A pair of George III parcel-gilt walnut console tables Late 18th century with later elements

Each surmounted by a mottled marble top, with gilt accents to the carving, raised on cabriole legs terminating in claw-and-ball feet

2 pieces

Each overall: 32.5” H x 55” W x 26” D

$2,000-3,000

Provenance: Sold: Christie’s, sale JM744, n.d. From the Collection of Robert A. Day

277

An Italian carved walnut credenza 18th century

Fitted with two drawers above a pair of locking cupboard doors opening to reveal a single shelf, flanked by fluted columnar and roundel accents to the corners, raised on paw feet

38” H x 37.5” W x 18” D

$700-900

278

A Rosenthal for Versace assembled porcelain part dinner service Late 20th century

Each with black and gilt printed factory marks incorporating the pattern name

In the ‘Medusa’ pattern, comprising sixteen 12.25” chargers, twelve 10.75” dinner plates, twelve 7.25” bread plates, and a demitasse cup and saucer; in the ‘Barocco’ pattern, comprising fourteen 4.5” two-handled soup bowls, fourteen 7” saucers, and a demitasse cups and saucer

72 total pieces

$2,000-3,000

279

A Chinese Rose Medallion porcelain punch bowl

19th century

Unmarked

The bowl depicting alternating panels of figural scenes amidst floral and butterfly motifs

6.25” H x 18.5” Dia.

$500-700

280

A Queen Lace glassware service 20th century

Each etched in script: Queen Lace Decorated with animals and birds from the American and African Wildlife series, comprising eight 4.75” double old fashioned glasses, seven 8.875” burgundy glasses, four 8.5” red wine glasses, one 13.5” decanter and stopper and a vase (6” H x 6.375” W x 2.5” D) 21 pieces

$2,000-3,000

281

A pair of Chinese-style porcelain vases

20th century

Each marked to underside: Gump’s

Retailed by Gump’s, each baluster-form vase decorated with foliate and butterfly motifs

2 pieces

Each: 14.5” H x 7” W x 5.625” D

$200-300

282

A Napoleon III-style carved giltwood wall mirror 20th century

The frame with floral motifs throughout including flanking bellflowers, the upper and lower edges with laurel swags, and openwork corners

42.5” H x 55.5” W

$500-700

283

A set of eight Coalport porcelain dinner plates Early 20th century

Each with green printed factory mark: England / Coalport / AD 1750; painted pattern: 6523/C

Each with gilt and cobalt blue decoration and centered by an indistinct gilt monogram, personalized

8 pieces

Each: 10.375” Dia.

$200-300

284

Four Copeland Spode porcelain serving dishes

Late 19th century

Various factory marks and gilt printed retailer: Manufactured for Osler Designers, London; painted pattern: R2461

Each with raised gilt tooled decoration and cobalt blue rims

4 pieces

Two oval: 11.5” W; Two square: 8.5” W x 8.25” D

$300-500

285

A Lalique frosted glass model of a seated cat

Late 20th/early 21st century

Etched to underside: Lalique ® France [post-1978]; with factory paper label: 11603

8.5” H x 4” W x 6” D

$400-600

286

A Daum pâte-de-verre vase

Late 20th/early 21st century

Signed and inscribed: Daum / France

The clear glass vase with a pâte-de-verre base featuring butterflies and leaves

8.5” H

$300-500

A Louis XVI-style parcel-gilt bronze figural three-light candelabra 20th century

Mounted as a table lamp, the standard cast with two putti on a coved tripartite alabaster base, all raising a gilt decorated flaring circular tole shade, electrified Overall: 34.75” H x 15.5” Dia.

$300-500

A pair of George III-style carved wood panels 20th century

Each with ribboned musical trophy pendants

2 pieces

91.5” H x 18” W x 4” D

$700-900

289

A Continental fruitwood table

Late 18th/early 19th century

With a single drawer, raised on cabriole legs terminating in stylized hoof feet 29” H x 42” W x 26.5” D

$400-600

290

Three Lalique glass ‘Dampierre’ footed vases

Late 20th/early 21st century

Each etched: Lalique ® France [post-1978]

Designed 1948 by Marc Lalique (1900-1977), each clear and frosted glass vase featuring bird figures in high relief

3 pieces

Each: 5” H x 4.75” Dia.

$800-1,000

291

A Steuben gilt sterling silver and glass turtle sculpture Late 20th century

Etched to underside: Steuben; impressed to body: Steuben / STERLING Model 1016, Designed by Paul Schulze, model introduced 1969

Housed in original fitted box

Figure: 3” H x 5.5” W x 4” D; Box: 5.75” H x 7.75” W x 7.75” D

$1,000-1,500

292

A Victorian brass and copper fuel bin 19th century

Flanked by lion mask ring handles and raised on paw feet 15” H x 16” W x 17.5” D

$400-600

293

A pair of Louis XVI-style carved Early 20th century

Each with carved acanthus and terminals, upholstered in a light 2 pieces

Each: 33.5” H x 27.5” W x 28”

$300-500

carved wood bergères and floral medallion accents to support fronts and armrest light blue velvet fabric with passementerie trim

294

A Royal Crown Derby porcelain ‘Gold Aves’ part tea and coffee service Date codes for 1962-86

Each with various red printed factory marks above pattern name, number (A.1235), and date code

Comprising seventeen tea cups with twenty-one 5.75” saucers, ten demitasse cups with ten 4.75” saucers, one teapot, one coffee pot, one covered sugar, one cream jug, and thirteen 8.5” dessert plates with scalloped rims

75 pieces

$1,500-2,000

295

A Regency mahogany cellarette

Early 19th century

Of sarcophagus form, flanked by lion’s head ring handles, raised on paw feet with casters

21” H x 30” W x 18” D

$300-500

296

A pair of Italian Baroque wood candlestick lamps 18th century with later elements

Each carved gesso and painted wood candlestick with a tripartite base, later mounted as a single-light table lamp, with a pleated fabric shade, electrified 2 pieces

Overall 33.5” H; Candlestick without mounts 19.5”; Each shade: 12.5” H x 21” W x 15” D

$500-700

297

A French Provincial fruitwood commode 19th century and later

The three-drawer commode with serpentine front paneling and brass escutcheons, raised on scrolled front feet, each drawer interior with later moiré lining 33.25” H x 40” W x 22” D

$300-500

A Continental carved giltwood wall mirror 19th century

The frame with open scroll and foliate motifs filled in with mirror panels

67” H x 38” W x 3.25” D

$1,200-1,800

A Louis XV Provincial carved fruitwood armoire 18th/19th century with updated interior

With carved acanthus and shells, enclosed by a pair of paneled doors opening to reveal an updated interior of two shelves and six drawers, raised on bun feet

94” H x 62” W x 28” D

$700-900

300

Annie Leibovitz (b. 1949)

A large photography monograph from the “SUMO” series, 2014

Leibovitz, Annie. “Sumo.” Introduction by Steve Martin. Cologne, Germany: Taschen, 2014

Edition: 6,896/10,000 plus 300 artist’s proofs

Numbered and signed by the artist to title page

The over-sized folio hardcover book with the Keith Haring dust jacket, set on an acrylic and metal tripod bookstand designed by Marc Newsom

Book: 27.75” H x 20.5” W x 3.25” D; Stand: 38.75” H x 34.5” W x 32” D

$3,000-5,000

301

Raoul Charles Verlet (1857-1923)

“La Douleur d’Orphée” (Orpheus’ Sorrow)

Patinated bronze

Signed to base: Raoul Verlet; foundry mark: F. BARBEDIENNE, Fondeur; stamped: Réduction Mécanique A. Collas Brevete

49.5” H x 20” W x 19” D

$3,000-5,000

302

An Empire-style gilt-bronze bouillotte lamp Mid-20th century

The three-light lamp with loop handle above cylindrical stem supporting a tole shade painted with acanthus motifs over a leaf tip-cast support issuing three scrolling cornucopia arms all above a dished base, electrified Overall: 31” H x 16” Dia.

$200-300

A pair of Neoclassical-style bronze floor lamps

Late 19th/early 20th century with later elements

The single-light lamps, each with a seated winged sphinx atop an Ionic column ending in a tripod base with paw feet, surmounted by a fabric shade, electrified 2 pieces

Each: 70.5” H x 14” Dia.

$800-1,200

304

A pair of Chinese porcelain covered vases 20th century

Each bearing a red apocryphal reign mark to underside; one with a partial Macau sticker Each lidded vase with floral bunches within cordiform friezes and a floral medallion ground, raised on a carved wood stand 2 pieces

Each overall: 15.25” H x 9.5” Dia.

$200-300

305

A pair of Chinese Famille Jaune porcelain vases

20th century

Each bearing red apocryphal reign mark to underside

Each footed vase depicting butterfly, chrysanthemum, and fruit motifs

2 pieces

Each: 12” H x 9” Dia.

$200-300

306

A miniature Federal-style veneered wood chest 19th century

The six-drawer chest with gold-toned metal hardware and pulls, the bottom drawer with inner compartments, on ogee bracket feet 14” H x 12” W x 8” D

$200-300

307

A Chinese stoneware jar converted lamp Han Dynasty (206 BCE-220 CE) with later elements

The pottery jar mounted as a single-light table lamp on a carved wood base, surmounted by a paper shade, electrified Jar: 16” H x 10” Dia.; Lamp without harp or shade: 23.5” H; Shade: 13.25” H x 15” W x 15” D

$300-500

308

A pair of English carved oak wainscot armchairs 17th/18th century

Each back panel carved with fan and floral designs, with slightly scrolled arms resting on turned supports joined by stretchers and ending in turned knob feet 2 pieces

Each: 43” H x 24” W x 22.5” D

$800-1,200

309

A William & Mary marquetry-inlaid oyster veneered chest

Late 17th century with later elements

Fitted with two short and three long inlaid floral and foliate drawers, with carved bone lock escutcheons, raised on compressed bun feet, each drawer later lined with moiré fabric

32” H x 39” W x 23” D

$1,500-2,000

310

A Continental parquetry oak and pine document box 19th century

With hinged lid revealing an open interior with later moiré lining 14” H x 18.25” W x 16.5” D

$200-300

311

Two Northern European carved limestone figures 19th/20th century

One depicting the Madonna and Child, the other depicting Joseph holding the Christ Child accompanied by the young John the Baptist 2 pieces

Taller: 20” H

$800-1,200

312

A Victorian-style carved mahogany pedestal desk 20th century

The desk with carved foliate and acanthus leaf motifs and egg and dart trim throughout, featuring opposed pullout writing surfaces above three upper drawers, the middle with accessory trays, above three drawers to the left side and two drawers and a filing cabinet to the right, each drawer interior with later moiré lining

30.5” H x 72” W x 38.5” D

$800-1,200

313

A Baccarat glass ‘Harmonie’ Champagne bucket

Late 20th/early 21st century

Etched factory mark to underside and impressed factory mark to each handle

With fluted body and flanked by gilt-metal handles

9.25” H x 10.5” Dia.

$800-1,200

314

A Baccarat glass ‘Harmonie’ ice bucket

Late 20th/early 21st century

Etched factory mark

With fluted body and silvered metal bail handle

5.25” H x 6” Dia.

$400-600

A George III mahogany two-panel fire-screen Circa 1765

In the manner of Thomas Chippendale (1718-1779), each panel with an inset Chinese painting on silk depicting women at leisure, over a pierced fret-carved section

Each panel: 48” H x 25” W

$800-1,200

316

A pair of Japanese bronze lamps Late 19th/early 20th century with later elements

Each converted vase decorated with bows, bats, birds, and branches, mounted as a two-light table lamp with associated pinecone gilt finials, surmounted by a pleated fabric shade, electrified 2 pieces

Each vase: 18.25” H x 7.5” Dia.; Lamp overall: 27.5” H; Each shade: 13” H x 17” W x 14.5” D

$400-600

317

An Italian Renaissance-style walnut trestle table 20th century

Raised on shaped supports and trestle feet joined by a stretcher 30” H x 95” W x 48” D

$500-700

318

A pair of Chinese porcelain ginger jars

20th century

Each unmarked

Each lidded jar decorated with floral motifs

2 pieces

Each: 13.75” H x 11.75” Dia.

$300-500

319

A set of twenty Steuben glass cordials 20th century

Etched: Steuben

Each featuring air twist stems

20 pieces

Each: 3.875” H

$600-800

320

A French gilt-metal-mounted burlwood table box 20th century

With four small square feet and locking lid, revealing a purple velvet-lined interior

3.25” H x 6.5” W x 6.5” D

$200-300

321

A set of twelve Puiforcat porcelain ‘Pompei’ chargers

1987

Each marked to underside in underglaze green: Limoges / France; and black printed: Puiforcat / Pompei / Création Exclusive / Ed. Memory pour Puiforcat © 87

Each with gold-toned rim

12 pieces

Each: 11.625” Dia.

$300-500

322

Alfred R. Mitchell (1888-1972)

“Building the Dam” (El Capitan Reservoir), circa 1932-1934 Oil on board

Signed lower right: Alfred R Mitchell; signed again, titled, and numbered “203,” all verso; dated on a gallery label affixed verso 16” H x 20” W

$8,000-12,000

Provenance:

Orr’s Gallery, San Diego, CA

Sold: Butterfield & Butterfield, Los Angeles and San Francisco, CA, December 12, 1995, Lot 5113

The Fieldstone Collection, Newport Beach, CA From the Collection of Robert A Day

Notes:

The El Capitan Dam was constructed between 1932 and 1934 and is an embankment dam on the San Diego River. The dam forms the 112,800-acre-foot El Capitan Reservoir and serves mainly to supply water to the city of San Diego, as well as providing flood control. The dam is connected to the San Diego municipal water system via the El Capitan Pipeline, which extends approximately 30 miles to the city. It is the second largest storage facility in San Diego’s water supply system, after San Vicente Dam.

It is known that Mitchell painted two views of the dam construction, the present work and a larger 40” H x 50” W version that is a broader view of the dam but lacks the charming inclusion of foreground construction vehicles. It is possible that these paintings were commissioned by the San Diego County Water Authority.

323

Anna Lee Day Stacey (1865-1943)

“Arch Beach,” 1917 Oil on canvas

Signed, titled, and dated lower left: Anna Lee Stacey 1917 24” H x 36” W

$800-1,200

Provenance:

Sold: Butterfield & Butterfield, Los Angeles and San Francisco, CA, February 13, 1991, Lot 2018 From the Collection of Robert A. Day

324

George Spangenberg (1907-1964)

“Hell’s Half Acre” (California coastal), circa 1940 Oil on canvasboard

Signed lower left: G. Spangenberg; titled and dated on a gallery label affixed to the frame’s backing board 16” H x 20” W

$1,500-2,500

Provenance:

Orr’s Gallery, San Diego, CA

Sold: Butterfield & Butterfield, Los Angeles and San Francisco, CA, October 16, 1991, Lot 2370

From the Collection of Robert A. Day

Notes:

This work is framed in a 1994 Mayen Olson frame.

325 Milford Zornes (1908-2008)

“Playa del Rey,” 1964

Watercolor on paper

Signed and dated lower right: Zornes 64; titled by repute Sight: 14” H x 20.5” W

$800-1,200

Provenance: Sold: John Moran Auctioneers, Pasadena, CA, October 25, 1994, Lot 83 From the Collection of Robert A. Day

326

Milford Zornes (1908-2008)

Tropical scene, 1974

Watercolor on Arches paper

Signed and dated lower right: Zornes 74

Sight: 21.75” H x 29.5” W

$800-1,200

327

A Maitland-Smith silvered metal and shell table garniture Late 20th century

The bases cast as branches of coral with sea stars and shells, comprising a metal-mounted scallop shell three-tier epergne and a pair of metal-mounted Nautilus shell vases

3 pieces

Epergne: 17” H x 14” Dia.; Each nautilus: 9.25” H x 8.25” Dia.

$800-1,200

328

A matched pair of George IV carved mahogany wine coolers

One early 19th century, one later In the manner of Gillows, each of circular form with gadrooned body and tapered fluted stem, on a square molded base, with metal liner 2 pieces

Each: 22” H x 28” Dia.

$2,000-3,000

Literature:

See S. Stuart, Gillows of Lancaster and London, 1730-1840, Suffolk, 2008, p.93, plate 640

329

A Baroque-style carved giltwood floor lamp 20th century

The single-light lamp with candlestick-form standard raised on three legs with a tripartite base, surmounted by a paper shade, electrified

Overall: 60” H; Shade: 14” H x 16.75” W x 16.75” D

$150-250

A pair of French gilt-bronze five-light girandoles 20th century

Each decorated with snakes figures and leaves, with chain swags and glass, rock crystal, and amethyst drops, raised on an urn-form base 2 pieces

Each: 22.5” H x 19.5” Dia.

$400-600

A Louis XV-style walnut table 20th century

The tray top with an inlaid eight-pointed star, over an apron fitted with two drawers, on cabriole legs ending in scrolled feet, each drawer interior with later moiré lining 33” H x 36.5” W x 24.75” D

$400-600

A Chinese carved green jade marriage bowl 20th century

Of lobed oblong form, with a carved bat and ring handle to each end, the interior carved with bats and Chinese characters, set on a pierced wood stand Bowl: 5.25” H x 25” W x 12.5” D; Stand: 4.5” H x 17” W x 12.5” D

$1,000-1,500

333

A pair of George I walnut and suede foot stools Circa 1720 with later elements

Each upholstered in beige suede with brass tacking, raised on carved walnut ‘broken’ cabriole legs

2 pieces

Each: 16” H x 19” W x 15” D

$1,000-1,500

334

A set of ten Staffordshire porcelain soup bowls Early 20th century

Each with red printed factory marks and stamped: Ye olde Hall Potterie / Staffordshire England / 1790; further marked with red painted pattern: 7503; one with retailer’s mark for Richard Briggs, Boston; three with faint retailer’s mark for Gilman Collamore & Co. Fifth Avenue & 30th, New York

Each with cobalt blue rims with gilt circular pattern decoration and polychrome flowers on white ground 10 pieces

Each: 9.5” Dia.

$200-300

335

A pair of Japanese-style bronze lamps 20th century

Each with figures in the panels and birds on the necks, mounted as a single-light table lamp, on black lacquered circular foot, surmounted by a pleated fabric shade, electrified 2 pieces

Each lamp without harp or shade: 24” H x 8” Dia.; Each shade: 13” H x 18.5” Dia.

$500-700

336 A Flemish verdure tapestry 18th century

The rectangular panel depicting trees and game birds in a landscape with a structure in the distance, and with floral borders with birds to each side 64.5” H x 75.5” W

$700-900

337

A pair of Baroque-style carved wood curule-form stools

Late 19th/early 20th century

Each with scrolled X-form frame joined by turned stretchers, with pale yellow upholstered arms and seat highlighted by light blue piping

2 pieces

Each: 23.5” H x 28.5” W x 20.5” D

$400-600

338

A group of Chinese Export ceramic models of birds

Late 20th century

Each turquoise variously marked to underside; one impressed: China

Comprising three turquoise glazed ducks and a pair of cranes depicted perched on brown tree stumps

5 pieces

Each duck: 12” H; Each crane: 22.5” H

$300-500

339

Two Chinese Qingbai porcelain funerary urn lamps Song Dynasty (960-1279 CE) with later elements

Each with figures around the upper perimeter and mounted as a singlelight or two-light table lamp, surmounted by varied pleated fabric shades, electrified

2 pieces

Taller urn: 17.25” H x 6” Dia.; Larger shade: 12.75” H x 21” Dia.; Larger overall: 34.5” H

$500-700

340

An Italian giltwood and gesso mirror 18th/19th century

The frame re-gilt with thick deeply carved borders

Overall: 30.5” H x 24.5” W x 4.5” D

$500-700

341

A pair of Japanese patinated bronze kitsune fox figures

Meiji Era (1868-1912), 1870

One plinth bearing Japanese script, dated by inscription to Meiji third year Nakagawa Joeki VIII (1830-1877), each figure seated on a rectangular plinth, one depicted holding a ball in its mouth, the other holding a scroll, each set on a tall Japanese stained wood stand 4 pieces

Each fox with plinth: 22” H x 10” W x 16” D; Each stand: 36” H x 10.5” W x 15.5” D

$4,000-6,000

A Baker Furniture George III-style mahogany chest of drawers

Late 20th/early 21st century

With metal tag to drawer interior: Baker Furniture

Possibly from the Stately Homes Collection, the serpentine case fitted with three small and three long drawers, each with brass pull and locking mechanism, flanked by carved foliate relief stiles, raised on ogee bracket feet

33.75” H x 57” W x 24” D

$300-500

343

Two sets of English porcelain cobalt-rimmed dessert plates Late 19th/early 20th century

The first with green Copeland Spode factory mark and red printed retailer: Gilman Collamore & Co. / New York; red painted pattern: R614; the second with blue Royal Worcester factory mark and retailer: The Dulin & Martin Co. / Washington, D.C.; red painted pattern: C2327

Comprising a set of nine Copeland Spode porcelain 8.875” dessert plates with scalloped gilt rims, and a set of nine Royal Worcester porcelain 9” dessert plates with gilt rims

18 pieces

$400-600

344

A Black Forest carved wood table box 19th century

With hinged lid, revealing a later leather-lined interior, the exterior carved with a bird figure to lid, hunting dogs to body, and foliate borders 10” H x 14.5” W x 10” D

$300-500

345

A pair of ruby and clear controlled bubble glass vases Late 20th century

Possibly by Pairpoint

2 pieces

Each: 13” H x 6.75” Dia.

$200-300

346

Two sets of Bohemian gilt-heightened glass cordials

Late 19th/early 20th century

Comprising a set of nine 8” gilt-decorated green glass tall cordials with grapevine decoration on flared stems, and a set of ten 7.75” gilt-decorated amber glass cordials, with knobbed stems 19 pieces

$200-300

347

A set of thirteen Saint-Louis glass ‘Thistle’ water goblets

20th century

Each with etched factory marks

13 pieces

Each: 7.5” H

$2,000-3,000

348

A pair of Spanish Baroque-style carved giltwood table lamps 20th century

Each bearing paper label for Carlos de la Puente Antiques

Each two-light lamp inset with small mirrors, surmounted by a pleated fabric shade, electrified 2 pieces

Each lamp: 34” H x 9.25” Dia.; Each shade: 11.75” H x 18.5” Dia.

$500-700

349

A Royal Crown Derby porcelain ‘Olde Avesbury’ part dinner service

Date codes for 1938-2000

Each with various puce or red printed factory marks above pattern name, number (A.73), and date codes

Comprising twenty 10.5” dinner plates, ten 9.25” luncheon plates, seven 6.75” side plates, ten 6.375” bread & butter plates, and eleven large two-handled soup bowls 68 pieces

$2,000-3,000

350

A Chinese Famille Rose porcelain jardinière 20th century

Unmarked

Depicting figural scenes within a floral motif ground 18.75” H x 21.5” Dia.

$300-500

351

A pair of barley twist turned wood table lamps Late 20th/21st century

The single-light lamps, each with open carved barley twist standard over a circular foot, surmounted by a paper shade, electrified

2 pieces

Overall: 36” H; Height of wood base: 26.5” H

$150-250

352

A Dutch marquetry bombé chest 19th century

The chest with four drawers, each interior with later moiré lining and exterior fronts decorated with floral vinery, the sides with floral baskets, raised on front paw feet and rear bracket feet

32.5” H x 44” W x 25” D

$1,500-2,500

353

A Royal Crown Derby porcelain ‘Olde Avesbury’ part tea service

Date codes for 1939-2001

Each with various puce or red printed factory marks above pattern name, number (A.73), and date codes

Comprising twelve large covered tea pot (7” H), two cream jugs, thirteen teacups with twelve 5.75” saucers, one coffee cup with two 6.25” deep saucers, one demitasse cup, nine 4.875” saucers, two 9” dessert plates with scalloped rims, twelve 7” square form dessert plates, and thirteen 6.375” bread & butter plates

68 pieces

$2,000-3,000

354

A George IV inlaid-mahogany drum table Early 19th century

The circular crossbanded top inset with a green leather writing surface above three real and three faux frieze drawers, each drawer interior with later moiré lining, on a spirally turned pedestal and four splayed legs with acanthus leaf carvings ending in brass paw feet and casters

30” H x 43” Dia.

$1,200-1,500

355

A Louis XV-style carved fruitwood fauteuil Late 19th/early 20th century

The frame carved with floral and foliate motifs, upholstered in cream and gold striped fabric with fruit and foliate motifs

42.5” H x 28” W x 28” D

$300-500

356

A group of clear glass decanters

One with Baccarat stencil mark; two with stencil mark: Dartington Comprising a Baccarat ribbed cylindrical glass decanter, a pair of Dartington glass decanters, and six other unattributed decanters 9 pieces

Tallest with stopper: 15.375” H x 3.875” Dia.; Shortest: 9.125” H x 3.5” W x 3.5” D

$400-600

357

A pair of Continental carved Early/mid-19th century with antique Each with carved gilt scrolls, acanthus central column, beneath a yellow 2 pieces

Each: 33” H x 40.5” W x 16” D

$1,500-2,000

giltwood and gesso console tables antique elements acanthus leaves, and florets, and a green-painted marble top

358

A William & Mary-style carved oak Bible box 20th century

The metal-mounted box with fan and rib carvings and a later lock on the right front edge, raised on a stand with four turned legs joined by stretchers

Overall: 17” H x 21” W x 10” D

$300-500

359

A Saint-Louis ‘Thistle’ glassware service 20th century

Each with etched factory marks

Comprising twelve 7.75” champagne flutes, twelve 7.5” water goblets, eleven 7” red wine glasses, twelve 6.25” white wine glasses, and ten 3.5” old-fashioned glasses 57 pieces

$4,000-6,000

360

A George I inlaid walnut chest

Early 18th century

The case with inlaid accents to top and sides, the four locking drawers with later replaced hardware featuring string inlay fronts, each drawer later lined in moiré fabric, all raised on bracket feet

32” H x 37” W x 22.5” D

$600-800

A Heriz variety rug

Early/mid-20th century Wool on cotton foundation

6’ L x 4’ 9” W

$800-1,200

362

A Baccarat glass model of a barracuda

Late 20th/early 21st century

With etched Baccarat factory mark; signed: fxL; numbered: 1748; stand marked: Baccarat

Designed 1998 by François-Xavier Lalanne (1927-2008), the fish figure with etched details, raised on an ebonized stand

The fish: 1.5” H x 10.25” L

$300-500

A George III carved giltwood wall mirror

18th century

The frame with foliate and scrolled openwork motifs

47” H x 25” W x 2.5” D

$400-600

364

An Egyptian Revival fireplace tool stand Circa 1870

365

A set of George III-style giltwood side chairs 20th century

The patinated-iron and bronze stand with lower panels depicting Egyptian motifs, raised on three winged paw feet

24” H x 11” Dia.

$400-600

Each with burgundy and cream brocade upholstery 4 pieces

Each: 40” H x 25” W x 25” D

$700-900

366

A pair of black and gilt japanned tole table lamps 20th century

Each single-light lamp with cylindrical standard bearing gilt Asian village scene decoration, mounted on a square plinth base, and surmounted by a pleated fabric shade, electrified 2 pieces

Each lamp without harp or shade: 29.5” H x 6.5” W x 6.5” D; Each shade: 13” H x 18.5” W x 12.5” D

$700-900

367

An English brass-mounted bobbin-turned oak armchair 19th century

With a fan-shaped spindle back set into an arched top rail, the arms ending with knobs, with a plank seat above a single drawer, all on turned front and squared back legs joined by stretchers

37.25” H x 25.5” W x 18” D

$300-500

368

A set of eighteen Saint-Louis glass ‘Thistle’ champagne flutes 20th century

Each with etched factory marks

18 pieces

Each: 7.75” H

$2,000-3,000

369

Two Daum pâte-de-verre rose vases

Late 20th/early 21st century

Each signed and inscribed: Daum / France

Comprising two green and pink rose-form vases

2 pieces

The larger: 12” H x 12” Dia.

$800-1,200

370

A Lavar Kerman rug Circa 1880; Southeast Persia

Inscribed in a cartouche

The wool on cotton foundation rug having a star medallion on the dense floral field in rose, burgundy, light blue, brown, and ivory within a dense palmette vinery border 25’ L x 18’ W

$8,000-12,000

371

A Baroque-style bronze altar stick lamp 19th century elements

The lamp with scrolled tripartite base, later mounted as a two-light lamp, surmounted by a partially silvered paper shade, electrified Lamp: 39.75” H x 9” W.; Shade: 14” H x 24.25” Dia.

$300-500

372

A set of eight Saint-Louis glass ‘Thistle’ double old-fashioned glasses 20th century

Each with etched factory marks

8 pieces

Each: 4” H

$1,200-1,500

373

Innocenzo Daraio (1903-1993)

“Beverly Dr., Beverly Hills” Oil on canvas laid to canvas

Signed lower right: Innocenzo Daraio; signed again and titled on a fragment of a previous backing board secured behind the current frame; titled again on a label affixed to the frame’s foamboard backing 20” H x 24” W

$1,500-2,500

Provenance:

Sold: Bonhams & Butterfields, Los Angeles and San Francisco, CA, “California and American Paintings and Sculpture,” December 10, 2007, Lot 259 California Paintings Gallery, Beverly Hills, CA

From the Collection of Robert A. Day

374

Edward Owens (20th Century)

“High Fog Over San Francisco,” 1926 Oil on canvas

Signed and dated lower right: Edward / Owens / 1926; signed again and titled in pencil, possibly in another hand, on a fragment of old brown paper affixed verso 14” H x 18” W

$700-900

Provenance:

Sold: John Moran Auctioneers, Pasadena, CA, June 14, 1994, Lot 30A From the Collection of Robert A. Day

375

Paul Whitman (1897-1950)

“Rancho Grande”

Watercolor on paper

Signed lower right: Paul Whitman; titled on a letter affixed to the frame’s backing paper

Sight: 16.5” H x 21.5” W

$600-800

Provenance:

The artist

Chuck Fuller, step-father of Robert A. Day

From the Collection of Robert A. Day

376

Rex Brandt (1914-2000)

“Salton Sea State Park, Colorado Desert, California”

Watercolor on paper

Signed in the image in pencil to the lower right of center: Rex Brandt; titled in the image and then more fully on a label affixed to the frame’s backing paper

Sight: 12.25” H x 20.25” W

$1,000-1,500

Provenance:

Butterfield & Butterfield, Los Angeles and San Francisco, CA, October 4, 1992, Lot 262

From the Collection of Robert A. Day

377

Lucy Pierce (1887-1974)

“Santa Fe Homes”

Charcoal on paper

Signed lower right: Lucy Pierce; titled by repute Sight: 18.25” H x 23.5” W

$600-800

Provenance:

Sold: Bonhams & Butterfield, Los Angeles and San Francisco, “California and American Paintings and Sculpture,” December 10, 2007, Lot 39

From the Collection of Robert A. Day

378

Tom Tyrone Comfort (1909-1939)

“Man’s Farthest Reaches” Oil on canvas laid to board

Signed and titled verso: Tom Tyrone Comfort 9.5” H x 39” W

$1,000-1,500

Provenance:

Sold: Butterfield & Butterfield, Los Angeles

“American & California Paintings and Sculpture, From the Collection of Robert A. Day

Angeles and San Francisco, CA,

December 12, 1996

Comfort

Sculpture,

380

André Maurice Durenceau (1904-1985)

“The Procession” Gouache on artist’s board

Signed lower right: André Durenceau; titled by repute 10” H x 24.5” W

$600-800

Provenance:

Sold: Butterfield & Butterfield, Los Angeles and San Francisco, CA, December 12, 1996, “American and California Paintings and Sculpture,” Lot 3374

From the Collection of Robert A. Day

379

Tom Tyrone Comfort (1909-1939)

Man, woman and child

Oil on canvas

Signed and inscribed “nfs” in pencil on the frame’s backing board: Tyrone Comfort, possibly in another hand

10” H x 36” W

$1,000-1,500

Provenance:

Sold: Butterfield & Butterfield, Los Angeles and San Francisco, CA, “American & California Paintings & Sculpture,” December 12, 1996

From the Collection of Robert A. Day

381

John Edward Robinson

(b. 20th century)

“Elation” (Abstract), 1984

Verdigris patinated bronze

Edition: 1/9

Signed, dated, and numbered along the base: J.R. / 84

36.5” H x 12” W x 10” D

$1,000-1,500

Notes:

This lot is accompanied by an exhibition catalogue titled “Symbolism: Sculptures and Tapestries by John Robinson,” wherein the original sculpture is depicted on page 14.

382

Richard MacDonald (b. 1946)

Inspiratio Patinated bronze Edition: 208/250

Signed and numbered to base: RM 208/250

Overall: 20” H x 8” Dia.

$3,000-5,000

383

Lorenzo E. Ghiglieri (1931-2020)

“Flying Colors,” 2001

Patinated and cold-painted bronze on a wood base Edition: 24/250

Overall: 22.75” H x 13.5” W x 17.5” D

$1,500-2,000

384

A pair of German silver figures of cockatoos Late 19th/early 20th century

Each with Hanau marks

Each with a detachable head and hinged wings, one on a black marble pedestal and the other on a green marble pedestal

2 pieces

Each: 12.125” H x 5.375” W x 3.75” D

$5,000-7,000

385

A set of forty-eight Godinger Silver Art Co. silver-plated chargers

Late 20th century

Each impressed: GODINGER

The shaped circular chargers with pierced rims with swag decoration

48 pieces

Each: 13” Dia.

$300-500

386

A George III sterling silver round footed tray 1770

Marked for sterling, for London, and date marked; maker’s mark of John Carter

The pierced gallery rim with classical masks and urns joined by bellflower swags; the center with chased hunt scenes, rocaille, and floral decoration, personalized

2” H x 14.5” Dia.

47.7 oz. troy approximately

$2,000-3,000

387

A Gorham sterling silver oblong tray 1873

Marked for Gorham and for sterling, with date mark; numbered: A2797 With scalloped rim and linear edging

1” H x 21” W x 15” D

59.1 oz. troy approximately

$1,200-1,800

388

A collection of Patrick Mavros sterling silver table ornaments Circa 2016; Harawe, Zimbabwe

Each marked for Patrick Mavros; each tree bearing personalized inscription

Comprising two pairs of ‘Fari’ acacia trees (Largest: 12” H x 19” Dia.; Smallest: 10” H x 18” Dia.) and a herd of African elephant figures including ‘Ukari,’ ‘Rufaro,’ ‘Hash,’ ‘Ndlulamithi,’ ‘Chikwenya,’ ‘Jali,’ and ‘Kabakwe’ (Tallest: 8.5” H; Shortest: 2” H), personalized Total weight: 410 oz. troy approximately

$20,000-30,000

389

A large Continental-style .800 silver oval footed center bowl

Late 19th/early 20th century

Marked to underside: 800

With repoussé decoration of fruit, raised on scrolled feet

8” H x 20” W x 15” D

76.4 oz. troy approximately

$1,500-2,000

390

A Gorham sterling silver footed bowl

Early 20th century

Marked for Gorham and for sterling; numbered: A1753

With a gilt interior and repoussé ribbon and pomegranate motifs to rim, raised on scrolled feet

4.75” H x 12.25” Dia.

46.5 oz. troy approximately

$1,000-1,500

391

A Victorian sterling silver monteith 1894

Marked for sterling, for London, and date marked; maker’s mark for Walter and John Barnard With a gilt interior, repoussé scrollwork, and opposed lion’s head bail handles, raised on a round foot

7.75” H x 11.5” W x 10” D

43.1 oz. troy approximately

$800-1,200

392

A Reed & Barton sterling silver coffee service 1945

Marked for Reed & Barton, with date mark; each numbered: 87

Comprising a coffee pot (10” H x 10” W x 5” D), a creamer (5.25” H x 5.25” W x 3.25” D), and a covered sugar (6.5” H x 7” W x 4.625” D)

3 pieces

52.9 oz. troy approximately

$1,000-1,500

393

A Victorian sterling silver footed tray 1895

Marked for sterling, for London, and with date mark; maker’s mark: Carrington & Co. With a gadrooned and scalloped edge and a central engraved armorial of a stag 1.5” H x 12.25” Dia.

26.7 oz. troy approximately

$500-700

394

A Buccellati hammered sterling silver sauce boat and underplate

Late 20th/early 21st century

Marked: Buccellati / Italy / 925

Comprising a footed sauce boat with scrolled handle and an underplate with scalloped edge

2 pieces

Sauce boat: 6” H x 8.5” W x 4.75” D; Plate: 0.75” H x 9.75” W x 6.5” D

19.1 oz. troy approximately

$500-700

395

A William IV sterling silver oval meat platter 1835

Marked for sterling, London, date, and maker: PS [Paul Storr]

The oval tray with shaped gadrooned rim interrupted by shells and foliage, the border engraved twice with a coat of arms

17.5” L x 12” W

45.8 oz. troy approximately

$4,000-6,000

396

A Grogan Co. sterling silver ‘Dublin’ shallow bowl

Early/mid-20th century

Mark of Grogan Company, numbered: 77; further marked: [pine tree cipher] / Dublin Pattern / [crescent]

The round bowl with scalloped rim

2” H x 13.75” Dia.

40 oz. troy approximately

$800-1,200

397

A Gorham sterling silver shell-form dish and set of butter pats Early 20th century

Each marked for Gorham and sterling; shell numbered: 40617; pats numbered: 2720

Comprising a silver shell-form footed dish, personalized (1.75” H x 9.25” W x 9.25” D), and a set of gilt butter pats (Each: 0.125” H x 3.25” W x 2.5” D)

13 pieces

Total weight: 21.6 oz. troy approximately

$400-600

398

A Buccellati sterling silver pitcher

Late 20th century

Marked for Buccellati

With a slightly swirled body, a folded rim, and three scrolled feet

11.25” H x 9.5” W x 5” D

37.605 oz. troy approximately

$1,200-1,800

399

A Regency sterling silver lidded entrée dish 1811

Marked for sterling, for London, and date marked; maker’s mark for Benjamin and James Smith Of rectangular form, the dish raised on four scroll-headed paw supports at the rounded corners, the stepped domed lid with fluted band, with armorials on lid sides and crests on dish interior sides

7” H x 12.5” W x 9” D

64.9 oz. troy approximately

$1,200-1,800

Provenance:

Sold: Bonhams & Butterfields, “American and European Furniture, Decorative Arts and Paintings, Brookline, Larz Anderson Auto Museum,” April 2, 2007, Lot 2062

From the Collection of Robert A. Day

400

A group of English sterling silver gilt shell-form condiment set 1971-1972

Each marked for sterling, for London, and dated marked; marked for maker CJ Vander Comprising an open salt cellar, a footed mustard pot with hinged lid, salt and pepper shakers, and four spoons

8 pieces

Mustard pot: 4.25” H x 4.25” W x 2.5” D; Each spoon: 4.25” L; Each shaker: 3.25” H

Total weight: 37.5 oz. troy approximately

$1,000-1,500

401

A French gilt .950 silver flatware service

Circa 1884-1910

Each marked for maker Henri Soufflot and with Minerva purity mark; some further marked: Bosson

Comprising 15 dinner forks, 17 knives with stainless steel blades, 22 knives with gilt silver blades

15 soup spoons, and 18 teaspoons, personalized

87 pieces

Largest: 8” L

Weighable sterling: 100.8 oz. troy approximately

$2,000-4,000

402

A Christofle silver-plated ‘Rubans’ flatware service

Late 20th/early 21st century

Each marked for Christofle

Comprising 12 of each: dinner forks, salad forks, dessert forks, cheese forks, dinner knives, butter knives, cheese knives, fish knives, table spoons, bouillon spoons, and cocktail picks 132 pieces

$800-1,200

403

A Jack Rabinovich Rococo-style sterling silver-mounted table mirror Late 20th century

With beaded accents, scrolled acanthus leaves, rocaille, and putti figures, mounted to a felt-lined wood easel back 22” H x 14.5” W x 1.75” D

$700-900

404

A Continental sterling silver tray 19th/20th century

Marked: 925 / OC

With repoussé rocaille decoration and opposed handles

1.5” H x 17.25” W x 11.25” D

30.3 oz. troy approximately

$550-750

405

A Gorham sterling silver ‘Mythologique’ flatware service 20th century

Each marked for sterling and for Gorham Mfg. Co.

Comprising 12 dinner forks, 12 luncheon forks, 12 salad forks, 12 cocktail forks, 12 dessert forks, 12 fruit forks, 12 game forks, 12 dinner knives, 12 luncheon knives, 12 butter knives, 12 fruit knives, 12 game knives, 12 large table spoons, 12 soup spoons, 12 round soup spoons, 12 bouillon spoons, 12 iced tea spoons, 12 kidney-form spoons, 24 teaspoons, 1 gravy ladle, 1 fish serving fork, 1 berry/casserole spoon, 1 master butter knife, 1 carving fork, and 1 carving knife, personalized 246 pieces

Largest: 14” L

Weighable sterling: 292 oz. troy approximately

$7,000-9,000

406

A Poole sterling silver tray

Mid-20th century; Taunton, Massachusetts

Marked for Poole and for sterling; numbered: 371 With tiered rim

0.5” H x 10.25” W x 14” D 23.4 oz. troy approximately

$500-700

407

A Peruvian sterling silver ice bucket

Mid/late 20th century

Marked to underside: Industria Peruana / Plata Esterlina 925 [flag] Camusso With grapevine decoration and opposed handles

7.75” H x 11” W x 8.75” D

30.1 oz. troy approximately

$700-900

408

A German sterling silver figure of a marabou stork Early 20th century

With Hanau marks; further marked for London import with mark of Berthold Hermann Muller, dated 1913

7” H x 3.75” W x 3.125” D

7.4 oz. troy approximately

$700-900

Provenance:

Sold: John Moran Auctioneers, Monrovia, CA, “Estate of Ernest A. Bryant III,” November 12, 2013, lot 6

From the Collection of Robert A. Day

409

Two English silver-plated tureens and a handled bowl Late 19th/early 20th century

One tureen with mark of Walker & Hall and Sheffield and date marked for 1890; the other tureen and scalloped bowl each with mark of Atkin Brothers and Sheffield and numbered variously: 4693 / 5320 Comprising two footed covered tureens and a bowl with scalloped rim and bail handle 3 pieces

Larger: 12.5” H x 16.5” W x 8.5” D; Smaller: 9” H x 14.5” W x 8” D; Bowl: 5” H x 5” W x 4.75” D

$200-300

410

Two Buccellati sterling silver floriform dishes

Late 20th/early 21st century

Each with mark of Gianmaria Buccellati and marked: 925 / Italy

2 pieces

Larger: 1.5” H x 7.25” Dia.; Smaller: 0.75” H x 3.25” Dia. 7.5 oz. troy approximately

$400-600

411

A Regency Sheffield silver-plated soup tureen

Early 19th century

Engraved with Scottish crest and motto

Of bombe oval form with bracket side handles, a gadrooned rim with shells and foliage at intervals, raised on four leaf-headed paw supports, the stepped domed lid with leaf capped scroll handle over foliage

12” H x 16” W x 11” D

$800-1,200

Provenance:

Sold: Bonhams & Butterfields, Brookline, Larz Anderson Auto Museum, “American and European Furniture, Decorative Arts and Paintings,” April 22, 2007, lot 2053

From the Collection of Robert A. Day

412

A group of Continental silver figures of pheasants

19th century/early 20th century

Six with English hallmarks for sterling and various makers; two with German hallmarks for .800

Comprising 2 German .800 figures and six English sterling silver figures

8 pieces

Largest: 9” H x 19” W x 8.5” D

Total silver weight: 241.4 oz. troy approximately

$4,000-6,000

Provenance:

Sold: John Moran Auctioneers, Monrovia, CA, “Estate of Ernest A. Bryant III,” November 12, 2013, lot 11 (part)

From the Collection of Robert A. Day

Three Buccellati sterling silver leaf-form dishes

Mid/late 20th century

Each marked for Buccellati and for sterling

Comprising a pair of graduated dishes and a single dish

3 pieces

Largest: 1.5” H x 8.5” W x 7.25” D; Smallest: 1.125” H x 5.625” W x 3.625” D

14.5 oz. troy approximately

$600-800

The Estate of Robert Day—Day 2

July 30, 2025 | 10am PDT Save The Date!

Lots in this session to be offered at No Reserve

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A Lalique clear and frosted glass ‘Ariane’ dove figural group $300-500

Consignment and Auction Inquiries: info@johnmoran.com

SINCE 1969

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Sold at John Moran Auctioneers: Antonio

(1852-1930), Portrait of a woman in profile Price Realized: $22,440

SINCE 1969

Mancini

Condition Reports

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

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

Overall good condition with tarnishing and light scratches commensurate with age.

Each overall good condition with tarnishing and light scratches commensurate with age. Only one appears to have its original handle. One dish with a few scattered cracks in the rim, the other with a pea-sized soldered repair to rim.

Overall good condition with tarnishing and light scratches commensurate with age.

Each overall good condition with tarnishing and light scratches commensurate with age. The interior of plated with soiling and upper plush panel disconnecting. Includes key. The plated with scattered rubbed losses to silver plating.

Each in good used condition with small dents, scratches, oxidation, etc. Some wear to silver plating. One of the candelabra bobèches is broken but retained. Some with loose bobèches. Some with wax residue.

Overall good condition with tarnishing and light scratches commensurate with age. With felt pads applied to foot and upper rim.

Each overall good condition with scattered minor scratches and tarnishing to silver elements commensurate with age. The end caps monogrammed: D.

Overall good condition with tarnishing and light scratches commensurate with age.

Overall good condition with tarnishing and light scratches commensurate with age. Small minor indentations throughout.

Each overall good condition with tarnishing and light scratches commensurate with age. Weight does not include hollow-handles items. Each monogrammed: B.

Overall good condition with tarnishing and light scratches commensurate with age. Felt pads applied to feet.

Overall good condition with tarnishing and light scratches commensurate with age.

Each overall good condition with tarnishing and scratches commensurate with age. Each with some wear to the silver plating.

Overall good condition with tarnishing and light scratches commensurate with age. Chipping to rim of glass liner.

Each overall good condition with tarnishing and light scratches commensurate with age. Some wear to the gilding, particularly the forks. Weight does not include hollow-handled items.

Overall good condition with tarnishing and light scratches commensurate with age. With soiling throughout. Monogrammed: AHC.

Each overall good condition with tarnishing and scratches commensurate with age. Later scratched inscriptions to undersides.

Each overall good condition with tarnishing and light scratches commensurate with age. The reins of the dolphin fish on one salt cellar are broken, not present on the other.

Each overall good condition with tarnishing and light scratches commensurate with age. Some wear to the gilding. Weight does not include hollow-handled items.

Overall good condition with shelf an handling wear and scattered scuffs and scratches commensurate with age and use.

Each overall good condition with tarnishing and light scratches commensurate with age. The foot of the teapot is bent. Weight includes non-sterling components. The previous ivory insulators have been replaced.

Dinner knives have three styles of stainless blades. Some with wear and damage. Most variously monogrammed. Each overall good condition with tarnishing and scratches commensurate with age. Weight does not include hollowhandled items.

Overall good condition with tarnishing and scratches commensurate with age. With some wear to the silver plate.

Each overall good condition with tarnishing and light scratches commensurate with age. Some of the feathers are bent. Each with some losses to applied silver wire feathers.

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

Each overall good condition with tarnishing and light scratches commensurate with age. Each with wear to silver plating, most with scuffed losses to plating at undersides.

Overall good condition with tarnishing and light scratches commensurate with age.

Visual: Overall generally good appearance. Occasional specks of grime. Small, scattered clusters of fine craquelure, primarily visible in raking light. Stretcher bar creases along each side. Scattered frame-finish transfer in places along the extreme upper and left edges.

Blacklight: No evidence of restoration.

Frame: 33.625” H x 39.5” W x 2” D

Visual: Overall good appearance. As mentioned, the canvas is laid to board.

Blacklight: A 1” H x 0.5” W band of touch-up in the upper portion of the extreme left edge, as well as a few other scattered touch-ups throughout, primarily in the sky, the largest pea-sized.

Frame: 19.125” H x 23.125” W x 3” D

Visual: Overall good appearance. Scattered areas of fine craquelure, primarily in the upper half. Frame abrasion with attendant scattered flecks of pigment loss, primarily in the upper edge. There appears to be an unfinished landscape that has been gessoed over by the artist on the verso. Newer stretcher bar keys at each corner.

Blacklight: A thin 0.5” horizontal band of touch-up, surrounded by smaller, scattered flecks of touch-up, the largest pinhead-sized, all in the sky of the upper right quadrant.

Frame: 32” H x 30” W x 2.5” D

Visual: Overall good appearance. Slight varnish discoloration. As mentioned, the canvas has been relined.

Blacklight: A 0.75” H x 1” W touch-up in the trees of the lower left quadrant.

Frame: 31.25” H x 39” W x 3.25” D

Overall good appearance. Pale light-staining. Not examined out of the frame.

Framed under glass: 20.5” H x 21” W x 1.25” D

Each overall good condition with dust accumulation, scattered minor scuffs, and darkening/oxidation to bronze commensurate with age.

Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Lobed jar with restored rim. Open brush pot with a 3” older crack in the base. Each with sticker residue, previous dealer’s stickers, or mounting putty residue to underside and lid.

Each with fading, wear, and dust accumulation commensurate with age. Each with varying degrees or loose threads or separations. A few with wear to tassels and trim.

Each overall good condition with scattered scuffs, scratches, nicks, and oxidation to metal components commensurate with age and use.

With scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. The front cabinet with heavy losses. Includes key.

Each overall good condition with typical wear, scuffs, and light scratches commensurate with use.

Not examined under UV light. In overall good condition with typical wear, scuffs, and light scratches commensurate with use.

The needlework with soiling and fading commensurate with age as well as some scattered loose threads. Also with losses to clouds at upper right. Frame with wear to gilding and scattered scuffs, scratches, nicks, and a few small losses.

Framed: 37” H x 46.5” W x 3.75” D

With scattered scuffs, scratches, nicks, shrinkage cracks, and indentations commensurate with age. Older losses throughout, with rubbed wear to the gilding. Likely with multiple older repairs.

Not examined under UV light. Typical wear to gilding and centers from use, including scattered knife marks. One dinner plate with chip to rim, approximately 1/2” in length. One dinner plate with darkened hairline through center, approximately 6” in length. Otherwise generally good condition.

In generally condition with typical wear, scuffs, and light scratches commensurate with use. One water goblet with large chip to previously filed down foot rim. Another goblet with chip to footrim. A third goblet with fleabite to footrim. Some variation to the heights of the goblets. Otherwise good condition.

Glass in good condition, with damage to gilt finish on wood to both. Each shade with several small scattered stains. Wiring should be checked by a qualified electrician prior to use. Moran’s does not guarantee the working condition of electronic equipment.

Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. Older losses throughout with some wear to the finish. Lacking key.

Not examined under UV light. Typical wear from use, including light knife marks and wear to gilding. Two plates with some areas of crazing. Otherwise generally good condition.

Overall with typical wear, scuffs, and light scratches commensurate with use. One with fleabites to the footrim, the other with 1/4” diameter chip to the outer rim and some small chips to the footrim.

Each overall good condition with dust accumulation, scattered minor scuffs, and darkening/oxidation to bronze commensurate with age.

Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. The top with a lateral split in the wood at juncture of two pieces.

Each with typical wear, scuffs, and light scratches commensurate with use. A few scattered trapped air bubbles throughout. One plate with small chip to rim, otherwise overall good condition.

Due to its size, weight, or quantity, this lot is subject to additional handling and packing fees if removed to off-site storage.

One small chip at edge of base, loss of hair to chin. Otherwise generally good condition. Typical small scuffs and abrasions. Some wear to gilding. Box with typical wear to edges and corners and dings and scattered scuffs.

Overall good condition with scattered scuffs, scratches, nicks, and indentations commensurate with age. Leather in good condition with rubbed wear, creasing. Wear concentrated to armrest terminuses and sides.

Each overall good condition with shelf wear and bumping to spine ends and corners commensurate with age. A few volumes with abrasions to spines, one with a few small tears at spine ends, one with bumping to outer board edge, and each with some fraying to upper board corners. Volume 1 with taped inserts from previous bookseller, with their ticket applied to first free endpaper verso.

In generally good condition with typical wear, scuffs, and light scratches commensurate with use. Light wear to gilding, most noticeable around the rims. One white wine with two large chips to the rim (the largest measuring 1/8” x 1/4”) with a small hairline in the area. One other white wine with fleabite to rim. One water goblet with variation to the gilt decoration on foot rim. One water goblet with chip to rim (approximately 1/4” x 1/2”), another water goblet with heavier loss of gilding to rim.

Due to its size, weight, or quantity, this lot is subject to additional handling and packing fees if removed to off-site storage.

Not examined under UV light. Overall with typical wear from use, including knife marks, wear and losses to gilding and decoration, scattered crazing. Variation to depth of color throughout the service. Some of the older pieces with heavier crazing. One scalloped plate with chip to rim, darkened hairline following footrim and heavy crazing, another with chip to the rim and small hairline, a third with fleabite to rim, a fourth with darkened crazing areas and small loss near rim along the crazing, a fifth with some darkening to the crazing and two fleabites to the rim, a sixth with chip to the rim. One soup saucer with darkened hairline through center and partially along the footrim. One dinner plate with darkened spider hairline near footrim at center (approximately 3” at its widest). Four small soup cups with staining to interior, another with fleabite at the rim under gilding. One 8.5” plate with chip to the rim.

Due to its size, weight, or quantity, this lot is subject to additional handling and packing fees if removed to off-site storage.

Each with oxidation/rust and dust accumulation throughout. One with bent and skewed upper portion.

Visual: Overall good appearance. Fine craquelure and an old stretcher bar crease in the upper edge, primarily visible in raking light. As mentioned, the canvas has been relined.

Blacklight: A very thin 11” horizontal, scattered band of touch-up in the old stretcher bar crease of the upper edge and a few more scattered, mostly pinpoint-sized flecks of touch-up scattered primarily in the sky of the upper half.

Frame: 23” H x 27” W x 3” D

Visual: Overall good appearance. Scattered areas of very fine craquelure. The canvas and board to which it is laid is very slightly convex in the upper edge. As mentioned, the canvas is laid to cardboard.

Blacklight: A few small areas of touch-up, the largest 1.5” H x 1.25” W, in the leftmost portion of the mountain in the upper right quadrant.

Frame: 36.5” H x 41.5” W x 5” D

Visual: Overall good appearance. The canvas slightly puckered and lifted in areas near the right edge, primarily visible in raking light. As mentioned, the canvas is laid to board.

Blacklight: No evidence of restoration.

Frame: 18.5” H x 16” W x 2.25” D

Overall good appearance. Very pale toning. A pale pinpoint-sized foxmark in the left portion of the lower sheet edge, not affecting the image. A soft, unobtrusive handling mark in the upper portion of the left edge, mostly visible in raking light. The sheet is framed floating, tipped from the verso of the upper corners and lower edge to an invisible backboard, which is subsequently mounted to the back mat.

Framed under glass: 16.125” H x 18.625” W x 1.25” D

Overall generally good appearance. Light- and overmat staining. The sheet edges brittle, with occasional attendant small edge losses, primarily in the right sheet edge. Two flattened vertical creases, the longest 1.5,” in the lower edge, at left. A few flecks of white, pigment-like residue in the lower half. Minor handling creases in the left half of the sheet, all primarily visible in raking light. Artist pinholes in places in the outer edges and corners. Backboard staining, verso. The sheet is taped to the overmat with a long piece of linen tape from the verso of the upper sheet edge.

Framed under glass: 26” H x 33.5” W x 2” D

Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. Oxidation to brass elements.

Fleabites to highpoints of facet cut edges and footrim. Some staining to interior of reservoir. Otherwise generally good condition. Box with typical wear to edges and corners and scattered scuffs.

Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. Scattered cracks in the parquetry. Feet replaced. Includes key.

Each overall good condition with scattered scuffs, scratches, and scattered flaked losses to the paint of wood base commensurate with age. One wood base with a 7” long loss to upper trim. Shades overall good condition with minor soiling. Wiring should be checked by a qualified electrician prior to use. Moran’s does not guarantee the working condition of electronic equipment.

Not examined under UV light. In generally good condition with typical wear, scuffs, and light scratches commensurate with use. Crazing overall. Lid restored. Small losses to high points of handles and finial. Chip to footrim under the painted decoration.

Each overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. Each with older signs of wood worm, inactive. Each with older losses and wear to gilding.

With scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. Evidence of older insect grazing to the wood throughout, inactive. Top with losses at back left corner and uneven fading to finish. Lacking key.

Each overall good condition with shelf wear, scattered minor scuffs and scratches, and inherent firing flaws commensurate with age. Rubbing to gilding. Wiring should be checked by a qualified electrician prior to use. Moran’s does not guarantee the working condition of electronic equipment.

Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. Scattered cracks to the wood veneer throughout. Lacking key.

In generally good condition with a few fleabites to the underside edge of the wing. Box with typical wear, including dings and dents to corners with some loss of the red papering.

Overall good to fair condition with even pile-wear, soiling, and typical signs of wear commensurate with age and use. Issues include, but not limited to: areas of good pile with areas of low pile, an area in upper right field with significant wear with exposed foundation and old repairs, and edges fraying.

Each with oxidation, soiling, and verdigris consistent with outdoor use and commensurate with age.

Each reduced panel in overall good condition with dust accumulation, some fading, light soiling, and overall wear commensurate with age. The smaller with scattered areas of re-conditioning. Each with linen lining verso. The larger with iron pole for hanging to top edge.

With scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. Two cracks in the veneer of middle cabinet door and two vertical crack in veneer of side panels. The two side cabinets are locked and interiors have not been examined. Scattered rubbed wear o gilding. Lacking key.

Overall good condition with shelf wear, scattered scuffs and scratches, and rubbed wear to the gilt decorations commensurate with age. Craquelure to the lacquer throughout. Does not include key.

Not examined under UV light. Typical wear from use, including knife marks and wear to decoration. Some stacking wear overall. One salad plate with some staining to the underside, likely from stacking felt pads. One bread and butter plate with hairline crack (and some separation) emanating from rim and following the foot rim in both directions. One bread & butter plate with gilding error to outer edge of center. A few soup bowls with a black pinprick inclusion. Two cups with deep scratches across the base of the cup, one of which does not have gilding to the handle. Otherwise generally good condition.

Due to its size, weight, or quantity, this lot is subject to additional handling and packing fees if removed to off-site storage.

Not examined under UV light. In overall good condition with typical wear, scuffs, and light scratches commensurate with use. Some losses to the gilding at center rim bands. Scattered light knife marks and stacking wear.

The table mirror with some losses to the wood carving, back support broken and repaired. Each with rubbed losses to gilt and decorations, with scattered scuffs, scratches, nicks, and indentations commensurate with age.

Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. Tabletop refinished with some deeper scratches and a few areas of wear to the finish.

Overall good condition with rubbed wear to the gilding, scattered scuffs, scratches, nicks, and indentations commensurate with age. Splits in the wood and chipped losses throughout. Wiring should be checked by a qualified electrician prior to use. Moran’s does not guarantee the working condition of electronic equipment.

Overall good condition with scattered minor scuffs, scratches, and nicks commensurate with age. Some wear to the wood finish.

With scattered scuffs, scratches, nicks, indentations, and separation at joints commensurate with age. Some of the molding is coming loose. Scattered veneer losses and splits to the wood, concentrated to edges and legs.

Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. The rim with a 5” area of some splattered white paint. Soiling to rim and interior.

Each in generally good condition with typical wear, scuffs, and light scratches commensurate with use. Bud vase with small loss to the metalwork near neck and residue to the interior. Lalique pieces in overall good condition.

Each with fading, wear, and dust accumulation commensurate with age. Each with varying degrees or loose threads and scattered small tears. A few with wear to tassels and trim.

Sun-faded, with later replaced hardware. Cracks in the veneer of top surface and upper edges. Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age.

Overall good condition with scattered scuffs, scratches, nicks, and indentations commensurate with age. A 3” x 2” area of concentrated deeper scratches to one drawer front. A split to left side panel in the wood. Each cabinet door with a vertical split in the wood, with another split at right right. Older losses to lower edge of right side, each side with evidence of older wood worm.

Overall good condition with scattered scuffs, scratches, nicks, and indentations commensurate with age. Frame with a few scattered chipped losses in the gilding, with scattered rubbed wear.

Each overall good condition with scuffs, scratches, nicks, and wear to finish commensurate with age. Tarnishing to silver components.

Overall good condition with minor shelf wear, dust accumulation, and general wear commensurate with age. Possibly with some loose components.

Visual: Overall good appearance. A pinhead-sized pigment loss in the lower portion of the left edge. A small, unobtrusive area of craquelure in the lower left corner. A 1” H x 0.25” W diagonal area of old varnish in the central cloud. Minor frame abrasion scattered along the extreme left and upper edges.

Blacklight: No evidence of restoration.

Frame: 32.75” H x 52.625” W x 4.5” D

Visual: Overall generally good appearance. Specks of occasional grime, very fine craquelure primarily in the upper half, mostly visible in raking light, and soft stretcher bar creases along each side, all commensurate with age. An unobtrusive, thin 4” horizontal scratch in the upper left portion of the foreground ship’s mast, and other occasional, smaller scratches in the sky, all primarily visible in raking light.

Blacklight: No evidence of restoration.

Frame: 32.25” H x 44.25” W x 3” D

Overall good appearance. Not examined out of the frame.

Framed under glass: 22.25” H x 28.5” W x 1.5” D

Overall good appearance. Not examined out of the frame.

Framed under glass: 22.25” H x 28.5” W x 1.5” D

Visual: Overall good appearance. Very slight varnish discoloration. The tacking edges have been removed and, as mentioned, the canvas has been relined.

Blacklight: No evidence of restoration.

Frame: 48.25” H x 58.5” W x 4.25” D

100

Visual: Overall good appearance. Craquelure throughout. Newer stretcher bar keys.

Blacklight: A few scattered touch-ups in the red portion of the boat, the largest pea-sized, and a few more pinheadsized (or smaller) touch-ups scattered primarily in the left half of the work.

Frame: 21” H x 25” W x 3” D

101

Visual: Overall good appearance. Fine, scattered craquelure. Minor paint shrinkage scattered throughout the dark pigment of the boat to the far left. Stretcher bar creases along each side. As mentioned, the canvas has been relined.

Blacklight: A diagonal 1.5” H x 0.25” W touch-up near the lower left corner, and two 0.5” H x 0.25” W areas of touchup in the upper portion of the right edge. A few other pinhead-sized (or smaller) flecks of touch-up scattered near the lower and right edges.

Frame: 33.375” H x 37.375” W x 3.5” D

102

Overall good condition with shelf wear, scattered scuffs and scratches, and minor wear to gilding with attendant oxidation to bronze commensurate with age.

103

Each with fading, wear, and dust accumulation commensurate with age. Each with varying degrees or loose threads or separations. Each with wear to tassels and trim.

104

With scattered scuffs, scratches, nicks, shrinkage cracks, indentations, older losses, and separation at joints commensurate with age. Oxidation/rust to iron components. The tabletop with a horizontal crack through the center. Scattered evidence of older wood worm, inactive.

105

Not examined under UV light. In overall good condition with typical wear, scuffs, and light scratches commensurate with use. Scattered knife marks and stacking wear. Wear and rubbing to the gilding overall. One plate with firing crack to the footrim with some darkening along the line, approximately 1 1/2” in length (not visible to top of plate).

106

Each overall good condition with scattered minor scuffs and scratches commensurate with age. Each shade good condition. Wiring should be checked by a qualified electrician prior to use. Moran’s does not guarantee the working condition of electronic equipment.

107

Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. Scattered splits and losses to the veneer and marquetry throughout, concentrated to tabletop. Evidence of older wood worm, inactive. Some chipped losses to legs.

108

Each with fading, wear, and dust accumulation commensurate with age. Each with varying degrees or loose threads or separations. The pear motif pillow in particular with more tears and loose thread. A few with wear to tassels and trim.

Not examined under UV light. Typical wear from use, including knife marks and wear to gilding. Light stacking wear. Some variation to the depth of color over the service. Otherwise generally good condition.

Due to its size, weight, or quantity, this lot is subject to additional handling and packing fees if removed to off-site storage.

110

Each overall good condition with scattered scuffs, scratches, nicks, and oxidation to metal components commensurate with age and use.

111

Overall good condition with scattered scuffs, scratches, nicks, indentations, and separation at joints commensurate with age. Upholstery with heavy soiling/staining.

112

Each overall good condition with shelf wear and minor bumping to spine ends and corners commensurate with age. Slight tanning/fading to each spine, each also with a pea-sized abrasion at center with attendant loss to leather. Each volume with mild foxing throughout, with more concentrated foxing and a 2” diameter stain to title page of volume 2, with offsetting to tissue guard. Foxing to slipcase interior.

113

Each overall good condition with typical wear, scuffs, and light scratches commensurate with use.

114

Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. Damage to the varnish on the top, with lateral splits in the wood.

115

Each overall good condition with shelf wear and minor bumping to spine ends and corners commensurate with age. Each ‘Shakespeare’ volume with remnants of gilding to page edges. A few ‘Shakespeare’ volumes with small tears in the leather at spine ends. ‘Fowling’ with staining to cover and front gutter starting.

116

Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age.

117

With many repairs and areas of re-gilding, a larger loss along bottom edge, and scattered small chipped losses throughout. Scattered scuffs, scratches, and nicks.

118

One splayed leg repaired, one pedestal with a 1” x 1” chipped loss. Overall good condition with scattered scuffs, scratches, nicks, and indentations commensurate with age. Tabletop with areas of wear to the finish and a few drink rings.

119

Overall good condition with scattered scuffs, scratches, nicks, and indentations commensurate with age.

Upholstery in good condition with even wear, with some minor fraying to ends of trim.

120

Each overall good condition with minor wear and dust accumulation commensurate with age. Each with fading, wear, and dust accumulation commensurate with age. One tapestry with a few small tears or loose threads. Another with soiling.

121

Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. One jar with fleabite chips to rim at juncture of lid.

122

Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. Older losses to base.

123

Overall good condition with scattered scuffs, scratches, nicks, and indentations commensurate with age.

Upholstery in good condition with minor dust accumulation and fading.

124

Each overall good condition with typical wear, scuffs, and light scratches commensurate with use.

125

Not examined under UV light. In overall good condition with typical wear, scuffs, and light scratches commensurate with use. Light wear to gilding overall. Some scattered knife marks and light stacking wear.

126

In generally good condition with typical wear, scuffs, and light scratches commensurate with use. One cocktail glass with filed down footrim. One 5 1/4” glass with filed down rim. Otherwise good condition.

127

Each overall good condition with scattered minor scuffs, scratches, and small indentations commensurate with age. One with minor moisture staining to lower edge.

128

In generally good condition with typical wear from use, including wear and rubbing to gilding with some darkening. Some scattered scuffs and abrasions to underside of footrims. A few pieces with air bubble inclusions. One finger bowl with fleabite chip to rim under gilding. One vase with interior water staining at basin.

Due to its size, weight, or quantity, this lot is subject to additional handling and packing fees if removed to off-site storage.

129

Each with wear consistent with exposure to elements and separating from wood backing in areas.

130

Overall good to fair condition with pile-wear, soiling, and typical signs of wear commensurate with age and use. Issues include, but not limited to: concentrated wear at one end of the field with some foundation exposed, areas rewoven, the largest measuring 8” x 8” large, and area of discoloration in the center field, scattered minor stains, and the ends are slightly tattered but complete.

131

Each with minor shelf wear, scuffs, and light scratches commensurate with age. Baccarats with large chips to the foot of each. The Baccarat pair each with chipped losses to base/underside. The single VSL with a repaired break to upper portion. The Steubens with wax residue.

132

Overall good condition with minor shelf wear. The associated with shelf wear and minor bumping to corners and edges. The teNeues book spine with a lean.

133

Each overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. One with a loss to rear foot, another with outside spindle detached from its mounting with horseshoe rail.

134

Overall good condition with dust accumulation, scattered minor scuffs, and darkening/oxidation to bronze commensurate with age. Shade overall good condition. Wiring should be checked by a qualified electrician prior to use. Moran’s does not guarantee the working condition of electronic equipment.

135

Each overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age.

136

Each overall good condition with minor shelf wear, scuffs, and light scratches commensurate with age. Vase with twisted base with chips to base, and a bowl with a small chip to base. One inscribed: Lots of Love / Rock Marna Mikel & Darrin. Another inscribed: Love comforteth like sunshine after rain / Shakespeare.

137

Missing the metal prickets. Scattered popped air bubbles as inherent to the medium Candle wax filling the apertures and droplets of the wax overall. Large chip to edge below one candle aperture, approximately 1.5” in length. Another chip to footrim approximately 1/4” in length.

138

Each overall good condition with wear, creasing, and scratches to the leather commensurate with age.

139

In overall good condition with typical wear, scuffs, and light scratches commensurate with use. Three Steuben style glasses with filed down foot rim, another with chip to footrim and one with chip to rim.

140

Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Soiling to interior.

141

Overall good appearance. Pale light-staining. Flecks of scattered dark-brown residue. A 1” diagonal streak of surface soiling near the upper portion of the left edge. The work is taped to the overmat with various long pieces of white tape from the verso of the work’s edges.

Framed under glass: 29” H x 37” W x 2” D

142

Overall good appearance. Pale light-staining. The lower portion of the left edge and corner slightly trimmed. The sheet is taped to the overmat with a long piece of linen tape from the verso of the upper edge.

Framed under Plexiglas: 18.5” H x 22.25” W x 1.125” D

143

Overall good appearance. Pale light-staining. A few flecks of pale, unobtrusive foxing in the upper half of the work, primarily visible in raking light. A minor 1” diagonal crease in the upper left corner. Remnants of hinging tape along the upper edge and glue residue along each of the edges, all verso. The sheet is loose, not matted.

Framed under glass: 20.375” H x 24.25” W x 4” D

144

Overall good appearance. Minor frame abrasion with a 1” H x 0.125” W vertical area of loss at the center of the extreme right edge. Not examined out of the frame.

Framed under glass: 32.375” H x 50.25” W x 2.5” D

145

Overall good appearance. Not examined out of the frame.

Framed under glass: 21” H x 24” W x 2.5” D

146

Visual: Overall good appearance.

Blacklight: No evidence of restoration.

Frame: 22.625” H x 20.5” W x 3” D

147

Not examined under UV light. Typical wear from use, including knife marks and wear to gilding. Light stacking wear. Some variation to the depth of color of decoration across the service. One smaller saucer with darkened hairline emanating from the rim to the center, approximately 3” in length, with some fleabite losses along the line. One breakfast cup with pink tint to decoration. Oversized cups with heavier wear to gilt rims from use. Otherwise generally good condition.

Due to its size, weight, or quantity, this lot is subject to additional handling and packing fees if removed to off-site storage.

148

In overall good condition with typical wear, scuffs, and light scratches commensurate with use.

149

With scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. Cracking to top lid. Lacking key.

150

Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. The wood top with a few small cracks at edge. Fading and wear to wood finish of base.

151

Each overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. One missing a foot, another the supports for the interior lids have become unglued. The largest with damage to the wood finish. Lacking keys.

152

In generally good condition with wear and losses to paint, likely later-painted in an antiqued style. Wiring should be checked by a qualified electrician prior to use. Moran’s does not guarantee the working condition of electronic equipment.

153

Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. Evidence of older wood worm throughout, inactive. Upholstery in good condition.

154

Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. The top with drink rings, staining, fading, and more concentrated wear. With losses to gesso throughout, concentrated to base and legs. Bearing label to underside: Beverly Smyth & Sons / Furniture Warehousemen / 30 South Anne Street, Dublin / D4420

155

Wax remnants over the drip pans and candle cups. Some prisms are missing. Scattered small losses to the prisms overall. One with slight lean at the standard join.

156

Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. Includes key. Uneven wear to finish. Scattered older losses.

Due to its size, weight, or quantity, this lot is subject to additional handling and packing fees if removed to off-site storage.

157

Not examined under UV light. In generally good condition. Scattered knife marks to centers from use. Overall with crazing. One plate with overglazed flaw to underside of rim. Three plates with some darkening to the crazing in areas that are visible to the fronts of the plates. Two plates with a stained hairline emanating from the rim (approximately 3” and 4” in length, the 4” hairline with some fleabite losses in the corresponding area). Some variation to the depth of color across the plates.

158

Not examined under UV light. In overall good condition with typical wear, scuffs, and light scratches commensurate with use. Wear and rubbing to decoration, some stacking wear and scattered knife marks. Typical crazing. A few dinner plates with heavier wear to the gilding. One soup bowl with multiple darkened hairlines. One crescent plate with hairlines and movement along the lines, some small losses in the corresponding area. One soup cup with hairline emanating from rim behind handle (approximately 1 1/2” in length).

Due to its size, weight, or quantity, this lot is subject to additional handling and packing fees if removed to off-site storage.

159

Each overall good condition with typical wear, scuffs, and light scratches commensurate with use. Blue vase with two pinprick fleabites to the footrim. Some dirt to interior basin of small vase.

160

Overall good condition with tarnishing and light scratches commensurate with age.

161

Each overall good condition with tarnishing and light scratches commensurate with age. Possibly with some scattered minor losses.

162

Each overall good condition with tarnishing and scratches commensurate with age. Each with mild wear to the silver plating.

163

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

164

Each overall good condition with tarnishing and light scratches commensurate with age. Wax residue to bobèches.

165

Each overall good condition with tarnishing and scratches commensurate with age. Gilding in good condition. One goblet with 2” diameter area of dent and creasing.

166

Each overall good condition with tarnishing and light scratches commensurate with age. Each with some wear to gilding.

167

Overall good condition with tarnishing and light scratches commensurate with age.

168

Each overall good condition with tarnishing and light scratches commensurate with age. Some feathers are bent, one foot on the branch is bent so the piece does not stand up properly. As well, one feather broken off and retained with the lot.

169

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

170

Some with wear and damage. Most variously monogrammed. Each overall good condition with tarnishing and scratches commensurate with age. Weight does not include hollow-handled items.

171

Overall good condition with tarnishing and light scratches commensurate with age. Rubbed wear to polychrome.

172

Overall good condition with tarnishing and light scratches commensurate with age.

173

Each overall good condition with tarnishing and light scratches commensurate with age. Each with some wear to the silver plate.

174

Overall good condition with tarnishing and light scratches commensurate with age.

175

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

176

George Butler steak knives: 4 are missing their end caps, some handles are loose from blades. One Rehwappen steak knife missing its end cap. Scattered scratches and tarnishing to silver elements.

177

Each overall good condition with tarnishing and light scratches commensurate with age. Large dent to rim of cup, with bent foot.

178

Overall good condition with tarnishing and light scratches commensurate with age. Scattered small dents. Lid monogrammed: LW

179

Each overall good condition with tarnishing and light scratches commensurate with age. Six monogrammed: TCM; and six monogrammed: AOS.

180

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

181

Overall good condition with tarnishing and light scratches commensurate with age. Monogrammed to underside: F*H. Denting to foot.

182

Luncheon knives with three variations of shaped stainless blades. Some with wear and damage. Most variously monogrammed. Each overall good condition with tarnishing and scratches commensurate with age. Weight does not include hollow-handled items or separated handles.

183

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

184

Each with minor tarnishing and light scratches commensurate with age. Gilding in good condition. Normal light wear.

185

Each overall good condition with tarnishing and scratches commensurate with age. Some pieces with monograms.

186

Overall good condition with tarnishing and scuffs and scratches commensurate with age.

187

Each overall good condition with tarnishing and light scratches commensurate with age. Weight does not include hollow-handled items. Each monogrammed: D.

188

Overall good condition with tarnishing and scratches commensurate with age.

189

Tail has been broken off and reattached. A loss to left wing at tips, measuring approximately 0.4” long. With shelf wear and minor general wear commensurate with age. Previous dealer’s partial sticker applied to underside of base.

190

The lid seems to be stuck open and the bird wings do not articulate fully. Otherwise overall good condition with minor scuffs and scratches and mild oxidation to the metal. Lacking winding key.

191

Visual: Overall good appearance. Panel is bowed convexly and the frame has been constructed to accommodate that fact.

Blacklight: No evidence of restoration.

Frame: 22” H x 25.75” W x 3.25” D

192

Visual: Overall good appearance. A few pinpoint-sized pigment losses, primarily scattered in the upper half.

Blacklight: No evidence of restoration.

Frame: 12.25” H x 14.25” W x 2.25” D

193

Visual: Overall good appearance. Scattered areas of craquelure. As mentioned, the canvas is laid to board. Small scattered areas of the canvas lifting from the board to which it is laid, primarily visible in raking light.

Blacklight: Scattered areas of touch-up, the largest 0.75” H x 0.5” W, primarily in the outer edges and corners. A 0.25” H x 0.75” W area of touch-up surrounding the head of the leftmost figure in the lower left quadrant, as well as a few pea-sized (or smaller) touch-ups scattered throughout.

Frame: 40.25” H x 47.25” W x 4.5” D

194

Overall good appearance. The paper is very slightly rippled. Not examined out of the frame.

Framed under glass: 19.5” H x 22” W x 1.5” D

195

Overall good appearance. Very fine craquelure in the white pigment behind the figure on the horse, mostly visible in raking light. Not examined out of the frame.

Framed under glass: 23.25” H x 19” W x 1.5” D

196

Visual: Overall good appearance. As mentioned, the canvas is laid to board.

Blacklight: A thin 0.5” vertical band of old touch-up in the thigh of the right figure, and other rice-sized (or smaller) flecks of old touch-up scattered in places in the two figures.

Frame: 19.25” H x 16” W x 2.25” D

197

Overall good appearance. A 6.5” crease in the lower left corner, not affecting the signature, and a few smaller creases near the upper edge, at center, and in the upper right corner. An artist’s pinhole at the center of the upper edge. Not examined out of the frame.

Framed under glass: 27.5” H x 19.25” W x 2” D

198

Visual: Overall generally good appearance. Scattered frame abrasion with attendant, minor pigment losses along the extreme upper edge, all generally horizontal, however, one area with a thin 0.75” vertical abrasion in the upper edge, right of center. A 2” scattered, horizontal scratch in the background, to the left of the figure’s left-side bangs, and just slightly affecting her hair. Some very faint, unobtrusive hairline surface scratches, all primarily visible in raking light.

Blacklight: A touch-up in the above mentioned horizontal scratch in the background and along the areas of frame abrasion in the upper edge. One vertical 1.5” touch-up along the scalp of the figure, and other scattered, mostly pea-sized (or smaller) areas of touch-up.

Frame: 23” H x 19” W x 2” D

199

Visual: Overall good appearance. Very minor frame abrasion and two small flecks of gold leaf transfer in the lower portions of the left and right edges. With cast iron stretcher bar keys.

Blacklight: Two irregular structures of touch-up, the largest measuring 6.5” H x 3” W in the upper right quadrant, partially affecting the upper portion of the jug, and the other in the lower right quadrant, partially affecting the turnip leaves. A 0.5” H x 2.25” W area of touch-up in the center of the background, and other occasional pea-sized or smaller scattered touch-ups.

Frame: 30.75” H x 41” W x 3” D

200

Visual: Overall generally good appearance. The tacking edges have been removed, the presentation dimensions of the painting have been slightly reduced and, as already mentioned, the canvas has been relined.

Blacklight: Scattered rice-sized touch-ups, primarily in the upper left quadrant, some of which are concentrated into a roughly 3” H x 3” W area at the upper left corner. An irregular band of touch-up along the lower edge, at the far right, 0.5” H x 5” W, not affecting the signature.

Frame: 27” H x 23” W x 2.25” D

201

Overall good condition recto. Verso with previous mounting residue and several applied previous dealer stickers.

202

Overall good condition recto, with a 1” long area of adhesive residue along edge. Verso with sticker ghosts, adhesive residue, and a few applied previous dealer stickers.

203

Not examined under UV light. In overall good condition with typical wear, scuffs, and light scratches commensurate with use. Wear and rubbing to decoration, some stacking wear and scattered knife marks. Typical crazing. A few dinner plates with heavier wear to the decoration. One scalloped plate with chip to rim. Sauce tureen foot is chipped (with staining to the interior and hairline following the footrim) and the cover is broken and repaired with glue residue evident. The sauceboat underplate with chip to rim. One smaller platter with hairlines through the center emanating from the rim with some movement and losses in the corresponding area. One bread and butter plate with chip to rim.

Due to its size, weight, or quantity, this lot is subject to additional handling and packing fees if removed to off-site storage.

204

Each with typical wear, scuffs, and light scratches commensurate with use. One glass with small chip to rim. One glass possibly filed down as it is 1/8” shorter than the other glasses.

205

The bowl with minor chips along the rim. The base with chip to one of the horse’s manes, one horse with a missing leg. Scattered popped air bubbles as inherent to the medium. Surface dirt in crevices.

206

Each overall good condition with scattered scuffs, scratches, and oxidation commensurate with age. One with a 1.25” long crack in the base. Each shade good condition. Wiring should be checked by a qualified electrician prior to use. Moran’s does not guarantee the working condition of electronic equipment.

207

Each with soiling, dust accumulation, and scattered scuffs and scratches. One with two 5” long scratches, a 3” long scratch with 0.5” long loss, the other with a quarter-sized stain in the ground.

Each framed: 47” H x 26.25” W x 2.625” D

208

With soiling, and typical signs of wear commensurate with age and use. Issues include, but not limited to: uneven pile wear, with areas of exposed foundation, a few repairs, including one measuring 3” diameter, a quarter-sized hole, and fringes edges cut.

209

210

Each overall good condition with typical wear, scuffs, and light scratches commensurate with use. Light wear to gilding.

211

Each overall good condition with typical wear, scuffs, and light scratches commensurate with use. Some wear to the gilt decoration, most noticeable at the rims.

212

The frame has bee re-gilt. Overall good condition with scattered scuffs, scratches, nicks, and indentations commensurate with age. Rubbed wear to the gilding, with a few small chipped losses. Evidence of older wood worm throughout, inactive.

213

Overall good condition with scattered scuffs, scratches, nicks, and indentations commensurate with age. Wear and lightening to finish.

214

Overall good condition with scattered scuffs, scratches, nicks, and abrasions commensurate with age. With scattered cracks and losses to the gilding and molding. Loss to one lion mask. Rubbed wear to gilding throughout. Several areas of de-silvering from scratches verso, each measuring about 2.5” long.

215

Each overall good condition with typical wear, scuffs, and light scratches commensurate with use. Surface dirt overall. Bases with a few scattered abrasions.

216

Each overall good condition with shelf wear and bumping to spine ends and corners commensurate with age. Volume 1 with foxing to frontispiece and illustrated halftitle page.

217

Each overall good condition with typical wear, scuffs, and light scratches commensurate with use. Light wear to gilding, most noticeable at the rims. Six of the wine glasses with a variation of gilt decoration to the foot rim.

218

Each overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. Fading to upholstery.

219

Not examined under UV light. In generally good condition with typical wear, scuffs, and light scratches commensurate with use. Some darkening to the gilding. One 8.5” plate with chip to rim. Two dinner plates with chip to rim. Three saucers with chips to the rims. Seven bread & butter plates with chips to the rims.

Due to its size, weight, or quantity, this lot is subject to additional handling and packing fees if removed to off-site storage.

220

Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Each interior with weathering and debris remnants.

221

Each in overall good condition with typical wear, scuffs, and light scratches commensurate with use.

222

Each in generally good condition with typical wear, scuffs, and light scratches commensurate with use. A few scattered fleabites to high points and edges.

223

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

224

Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Soiling to interior.

225

Overall good condition with scattered scuffs, scratches, nicks, and indentations commensurate with age.

226

Each overall good condition with typical wear, scuffs, and light scratches commensurate with use.

227

Overall good condition with dust accumulation, fading and general wear commensurate with age. The added red border detached from edges in places. With linen lining verso, detached at lower edge.

228

Overall good condition with scattered scuffs and scratches and oxidation commensurate with age.

229

With losses to wood and polychrome throughout, missing one hand. With scattered scuffs, scratches, nicks, and indentations commensurate with age.

230

Fisherman detached from the base. Small chips and fleabites to the highpoints and edges overall. Scuffing to the underside of the base.

231

In generally good condition. Losses to the majority of the fly, the remainder has been restuck with glue residue in the corresponding area. Some light surface wear to the base.

232

Overall good condition with scattered scuffs and scratches and tarnishing to silver components commensurate with age. Tested for .890 purity silver with XRF.

233

Losses to lacquer throughout. Two splits in the front cabinet door. Scattered scuffs, scratches, nicks, and abrasions commensurate with age. Scattered losses to wood throughout, concentrated to edges. Rubbed wear to gilt decorations. Working condition unknown. Moran’s does not guarantee the working condition of clocks and watches.

234

With losses, especially to the fretwork carved apron. With scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. Scratches and staining to leather.

235

With a 1” long repaired chip on rim. Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age.

236

In generally good condition with typical wear, scuffs, and light scratches commensurate with use. Five goblets with filed down footrims. One goblet with chip to footrim. Some goblets are of slightly varied heights, suggesting possible filing down to rims. One claret glass with chipped foot.

237

Overall good condition with scattered scuffs, scratches, nicks, and indentations commensurate with age. Upholstery in good condition with even wear to stitches.

238

Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. One cabinet door loose. Top with more concentrated scratches and staining, with two lateral splits in the wood. Lacking key.

239

Loss to one leaf above a flowerhead that has been restuck. There is some glue residue visible in the area where flower has been rejoined and some glue residue visible to the exterior of the bowl in the corresponding area. Scattered popped air bubbles as inherent to the medium overall. With minor shelf wear, scuffs, and light scratches commensurate with age.

240

Each overall good condition with minor shelf wear, scuffs, and light scratches commensurate with age. Reidel with cloudy interior. One bulbous Reidel decanter lacking stopper.

241

Each with scattered losses to gilding and older chipped losses to wood, oxidation to metal components, and chipped losses to base commensurate with age. Each with wrought iron reinforcement supports to the backs of the eagles. One with a vertical split in the reinforcement. One marble top with an 8.75” x 7.25” repaired break.

Due to its size, weight, or quantity, this lot is subject to additional handling and packing fees if removed to off-site storage.

242

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

243

In overall good condition with typical wear, scuffs, and light scratches commensurate with use.

244

Overall good condition with even pile-wear, soiling, and typical signs of wear commensurate with age and use. Issues include, but not limited to: fringes cut, one end with fraying and loose threads, more pile wear to center, and abrash throughout.

245

In generally overall good condition with typical wear from use and cleaning. One foot rim has been filed down. One glass rim possibly filed down as the height is approximately 0.125” shorter than others.

246

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

247

Each overall good condition with typical wear, scuffs, and light scratches commensurate with use. Light wear to gilding. As cataloged, one glass with slightly different variation of shape.

248

Each with scattered repairs and refinished areas, one leg with a crack. Scattered scuffs, scratches, nicks, and indentations. Evidence of older wood worm, inactive. Upholstery in good condition.

249

Case and works with restoration and refinishing and the sound board lacquered. An area to one side of case with wear to the finish, measuring 11” x 2” and a few areas of wear to the finish to top surfaces. Moran’s does not guarantee the working condition of musical instruments.

Due to its size, weight, or quantity, this lot is subject to additional handling and packing fees if removed to off-site storage.

250

With pile-wear, soiling, and typical signs of wear commensurate with age and use. Issues include, but not limited to: Areas of wear, especially in the field with minor areas of foundation exposed, scattered tears, especially in one area of the border, the largest is a 5” tear. These tears are possibly due to dry rot and indicate that the foundation is weak in area. Minor staining. Ends and sides are tattered.

251

Visual: Overall good appearance. Fine, occasional craquelure scattered in the lower half of the central panel, and stretcher bar creases along the sides, all primarily visible in raking light. Occasional pinhead-sized (or smaller) flecks of old varnish scattered throughout.

Blacklight: A 2” H x 3.5” W touch-up in the lower portion of the right edge of the central panel, with an related patch verso.

Frame: 52” H x 70” W x 2.5” D

252

Visual: Overall good appearance. Fine craquelure throughout. As mentioned, the canvas has been relined.

Blacklight: Crackfill and a few pea-sized (or smaller) areas of touch-up, primarily in the upper half.

Frame: 41.25” H x 61.25” W x 6” D

253

Visual: Overall good appearance. Very fine craquelure with attendant, tiny flecks of pigment loss, primarily in the outer edges.

Blacklight: No evidence of restoration.

Frame: 22.25” H x 18.25” W x 3” D

254

Visual: Overall good appearance. As mentioned, the canvas is laid to board.

Blacklight: A few areas of touch-up (pea-sized or smaller), scattered primarily in the trees.

Frame: 17” H x 19.25” W x 1.5” D

255

Visual: Overall good appearance. Not examined out of the frame.

Blacklight: Short lines and small dots of touch-up scattered throughout, concentrated primarily in the upper portion of the sky.

Framed under Plexiglas: 20.25” H x 17.5” W x 1.75” D

256

Overall good appearance. Overmat staining along the outer sheet edges. Minor surface soiling scattered in places along the lower edge and the lower portion of the left and right edges. The verso sheet with pale, uneven staining and scattered dime-sized (or smaller) areas of glue residue in the outer edges. The work is hinged to the overmat with two long pieces of hinging tape from the verso of the upper sheet edge.

Framed under Plexiglas: 27.625” H x 31.625” W x 2.5” D

257

Visual: Overall good appearance.

Blacklight: No evidence of restoration.

Frame: 51” H x 60.75” W x 4.7” D

258

Visual: Overall good appearance.

Blacklight: A few pea-sized or smaller areas fluoresce under blacklight, not likely due to restoration.

Frame: 17.5” H x 21.5” W x 2.5” D

259

Visual: Overall generally good appearance. An approximately 8” H x 15” W area comprised of occasional scattered spots of sprayed grime near the center of the painting’s lower edge. A soft, dime-sized pressure mark in the lower right corner, not affecting the signature. An approximately 3” long section of stretcher bar creasing showing near the lower edge, at left.

Blacklight: No evidence of restoration.

Frame: 38” H x 51” W x 1.5” D

260

In generally good condition with typical wear, scuffs, and light scratches commensurate with use. Three glasses with chips to the rims, one of which has been filed down and is 1/8” shorter than the others.

261

In generally good condition with typical wear, scuffs, and light scratches commensurate with use.

262

Each with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. Cracks and losses to the lacquer of each, including but not limited to: each cabinet door with a vertical crack through entire length, and the sides with some bubbling and cracking as well as a vertical crack to each side. Rubbed wear to gilding.

263

Not examined under UV light. In generally good condition with typical wear, scuffs, and light scratches commensurate with use. Wear and losses to gilding with some areas of darkening. One green plate with chip to rim. One yellow plate with chip to rim.

264

Chips to high points and edges overall. Heavier chipping to top of iceberg. Some chips to corners of base. Dust in crevices. Figure missing its paddle.

265

Each overall good condition with typical wear, scuffs, and light scratches commensurate with use. One of the large birds with some fleabites to one raised feather on side, the other bird with some smaller fleabites to raised feather on side. Tarnishing to silver components. Some bending to mounts.

266

Each overall good condition with typical wear, scuffs, and light scratches commensurate with use. Five with filed down footrims. One with fleabite to rim. Two with filed down rims.

Due to its size, weight, or quantity, this lot is subject to additional handling and packing fees if removed to off-site storage.

267

Each overall good condition with typical wear, scuffs, and light scratches commensurate with use. Scattered popped and trapped air bubbles as inherent to the medium. The frog dish with a hairline to one arm of one frog. Eagle with minor chips to the beak and museum wax residue to the underside. Butterfly bowl with fleabites to interior rim. The vide poche with some water staining to basin.

268

Each overall good condition with dust accumulation, scattered scuffs and scratches, and darkening/verdigris/ oxidation to bronze commensurate with age.

269

Two water goblets have been ground down and are shorter. Five goblets with pea-to-rice-sized chipped losses to rim of foot. Each with minor shelf wear, scuffs, and light scratches commensurate with age.

270

Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. Added handle to right hand drawer, lacking diamond escutcheon. Includes key.

271

Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. Multiple repairs to stretchers and legs at their junctures with the top portion. Oxidation to iron components. Older losses throughout.

272

Each overall good condition with scattered scuffs, scratches, nicks, and abrasions, and oxidation to brass components commensurate with age. One with repairs to interior, but losses to ribbon trim of letter compartment. One including key, the other lacking.

273

Not examined under UV light. The rims appear to have been ground down. Each otherwise good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age.

274

Needs to be refinished. With scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. With many repairs and areas of restoration throughout. Areas with evidence of older wood worm, inactive.

275

Five prisms are missing, some with loose fittings. Soiling and surface grime throughout, with wax residue. One arm of each with a slight lean. Scattered scuffs and scratches commensurate with age and use.

276

Each with updated support brackets to top and a few repairs to upper regions of legs at the junctures with the top, with attendant cracking to wood. Each with scattered scuffs, scratches, nicks, and indentations commensurate with age. Each with evidence of older wood worm, inactive. Each marble top with scratches and scuffs.

277

Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. Tabletop with older losses and deep gouges throughout. Cupboard doors loose from their hinges. Lacking key.

278

Not examined under UV light. Overall with typical wear, scuffs, and light scratches commensurate with use. One soup bowl with chip to rim (measuring approximately 1/4” x 1/4”). One 10 3/4” plate with chip to the footrim. Otherwise generally good condition.

Due to its size, weight, or quantity, this lot is subject to additional handling and packing fees if removed to off-site storage.

279

Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Wear to the gilding and rim decorations.

280

Two of the double old fashioned glasses have large chips to the rims, one of a slightly shorter height. The rim of the decanter with chip. Stopper with impact C-shaped hairline. Otherwise typical wear from use.

281

Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age.

282

Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age.

283

Not examined under UV light. With typical wear, scuffs, and light scratches commensurate with use. Mild wear to gilding overall. Light scattered knife marks. Each monogrammed indistinctly. One plate with two hairlines at the rim (approximately 1” and 1 1/2” in length). Two plates with crazing, one of which has a Y-shaped hairline on the rim, the other with several hairlines at the rim. One plate with large circular hairline to the center following the interior of the footrim and four hairlines (approximately 2” in length) at the rim, there is some movement and separation at the circular hairline. One plate with darkened hairline through the center and trailing around the footrim and two other hairlines (at the rim and around the footrim).

284

Not examined under UV light. In overall good condition with typical wear, scuffs, and light scratches commensurate with use. Mild wear to gilding and light scattered utensil marks.

285

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

286

Overall good condition with minor shelf wear, scuffs, and light scratches commensurate with age. Scattered popped air bubbles as inherent to the medium. Vase with some water staining to interior basin.

287

In good condition. Small scrapes to base, new switch on base, associated flame finial. A few fleabite chips to marble base. Wiring should be checked by a qualified electrician prior to use. Moran’s does not guarantee the working condition of electronic equipment.

288

Each with losses to the relief decorations, some pieces retained with the lot. With scattered scuffs and scratches commensurate with age. Refinished.

289

Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. Evidence of older wood worm, and tabletop with evidence of insect grazing, each inactive.

290

One has been filed down and is approximately 1/4” shorter than the other vases, also with filed down foot. Otherwise overall good condition with minor shelf wear, scuffs, and light scratches commensurate with age.

291

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

292

With indentations, oxidation, and soiling throughout.

293

Each overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. Upholstery in good condition with minor even pile wear.

294

Not examined under UV light. In overall good condition with typical wear, scuffs, and light scratches commensurate with use. Teapot lacking cover. Minor wear to gilding with scattered knife marks. Two teacups with darkened hairlines following the rims. Coffee pot handle restored. One plate with hairline emanating from the rim (approximately 7” in length) with small loss along the line to the underside of the plate.

Due to its size, weight, or quantity, this lot is subject to additional handling and packing fees if removed to off-site storage.

295

Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. Scattered cracks in the veneer throughout, concentrated to top. With a 5” x 2” stain at top edge. Updated hardware, lacking key.

296

Each overall good condition with rubbed wear and darkening to gilding, chips to gesso. Each with drill hole on side of base. Each shade good condition. Wiring should be checked by a qualified electrician prior to use. Moran’s does not guarantee the working condition of electronic equipment.

297

Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. Evidence of older inactive wood worm in scattered areas. Older losses throughout. Refinished.

298

With scattered scuffs, scratches, nicks, indentations, shrinkage cracks, and separation at joints commensurate with age. With scattered losses to wood and gilding. Outer mirror panels with some losses and cracks.

299

With scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. Evidence of older wood worm throughout exterior, inactive. Includes key.

Due to its size, weight, or quantity, this lot is subject to additional handling and packing fees if removed to off-site storage.

300

Overall good condition with minor handling wear commensurate with age. Stand with scattered minor scuffs and scratches.

301

Overall good condition with dust accumulation, scattered minor scuffs, and darkening/oxidation to bronze commensurate with age. With high gloss finish, possibly lacquered. Strings of instrument slightly askew.

302

Overall good condition with darkening/oxidation to brass, losses to wax candles, and minor soiling and scattered scuffs and scratches commensurate with age. Tole shade with antiquing. Wiring should be checked by a qualified electrician prior to use. Moran’s does not guarantee the working condition of electronic equipment.

303

Each overall good condition with dust accumulation, scattered minor scuffs, and darkening/oxidation to bronze commensurate with age. Wiring should be checked by a qualified electrician prior to use. Moran’s does not guarantee the working condition of electronic equipment.

304

Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age.

305

Each with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. One with a 7.5” long crack to body.

306

Damage to the veneer on the top and in various other areas. Scattered losses. With scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. Repair to front apron.

307

The jar with scattered losses to glaze, small chips around mouth, scuffs, soiling, degradation, and inherent firing flaws and conditions commensurate with age. Jar not examined unmounted. Drilled for electricity. Wiring should be checked by a qualified electrician prior to use. Moran’s does not guarantee the working condition of electronic equipment.

308

Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. Older chips and losses throughout, with some uneven fading to finish, concentrated to set fronts and armrests.

309

With scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. Drawer pulls have been removed and the holes plugged. Scattered splits and losses to veneer., concentrated to lower edges and corners. Missing an inlaid escutcheon plate on the bottom drawer. Includes key.

310

Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age.

311

Each overall good condition with wear, dust accumulation, soiling, degradation, and weathering commensurate with age. One figure with a loss to left shoulder proper.

312

Overall good condition with scattered scuffs, scratches, nicks, and indentations commensurate with age.

313

Overall good condition with minor shelf wear, scuffs, and light scratches commensurate with age. Heavy wear and loss to gilding on handles.

314

Overall good condition with minor shelf wear, scuffs, and light scratches commensurate with age. Polish residue in crevices of handle.

315

Overall good condition with scattered minor nicks and scratches commensurate with age. The right painting is slipping in its mat.

316

One with a 3” crack in the body. Each with dust accumulation, scattered minor scuffs, and darkening/ oxidation to bronze commensurate with age. Each shade in good condition. Wiring should be checked by a qualified electrician prior to use. Moran’s does not guarantee the working condition of electronic equipment.

317

Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age.

318

Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Each with pinholing to the glaze.

319

Each overall good condition with typical wear, scuffs, and light scratches commensurate with use.

320

Overall good condition with shelf wear, scattered scuffs and scratches, and rubbed wear to the gilding commensurate with age. Includes key.

321

Not examined under UV light. In overall good condition with typical wear, scuffs, and light scratches commensurate with use. One plate with thin glaze slip line to rim, approximately 1/4” in length.

322

Visual: Overall good appearance. A pea-sized pigment loss near the upper edge, at left. An occasional short line of craquelure scattered throughout. Unobtrusive specks of grime scattered throughout.

Blacklight: No evidence of restoration.

Frame: 21.5” H x 25.5” W x 1.75” D

323

Visual: Overall generally good appearance. Scattered craquelure throughout. Two pea-sized pigment losses, touched-in and therefore primarily visible under blacklight, near the center of the rocks at left. A 1” section of the raw vertical edge of the canvas is showing in the upper right corner.

Blacklight: Occasional scattered touch-ups throughout, generally dime-sized or smaller, with the largest measuring approximately 5.75” H x 1” W along the uppermost portion of the right edge.

Frame: 35.25” H x 47.25” W x 3” D

324

Visual: Overall good appearance. Very minor varnish discoloration and grime, mostly concentrated in the white pigment.

Blacklight: No evidence of restoration.

Frame: 23.5” H x 27.5” W x 2” D

325

Overall good appearance. Pale light-staining. Not examined out of the frame.

Framed under glass: 24.75” H x 31” W x 2” D

326

Overall good appearance. Not examined out of the frame.

Framed under Plexiglas: 30.25” H x 38” W x 1.75” D

327

Each overall good condition with shelf wear, oxidation, dust accumulation, and scattered scuffs and scratches commensurate with age.

328

Each with some damage to the finish and minor losses to veneer. Each overall good condition with scattered scuffs, scratches, nicks, and indentations commensurate with age. Liners with soiling and oxidation.

329

Scattered losses. Overall good condition with scattered scuffs, scratches, nicks, and rubbed wear to the gilding commensurate with age. Wiring should be checked by a qualified electrician prior to use. Moran’s does not guarantee the working condition of electronic equipment.

330

Some chains are broken/unmounted. Lacking at least one rock crystal drop, possibly with other small losses. Each overall good condition with dust accumulation, scattered scuffs, scratches, wear to gilding, and oxidation commensurate with age.

331

Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. Gallery loose in places. Older losses throughout.

332

Overall good condition with wear, dust accumulation, and minor scuffs commensurate with age.

333

Each overall good condition with scattered scuffs, scratches, nicks, and indentations commensurate with age. Splits in the wood, which has been refinished. Repairs to leg junctures. Suede in good condition, one with two stains.

334

Not examined under UV light. Typical wear from use, including light abrasions to centers. Some scattered pinprick under glaze blue spotting on a few pieces. Four bowls with crazing, one of which has chip to underside of rim. One other bowl with small nick to underside of rim. Some scattered glaze flaws.

335

Each overall good condition with minor scuffs and scratches commensurate with age. With damage and tears to shades. Wiring should be checked by a qualified electrician prior to use. Moran’s does not guarantee the working condition of electronic equipment.

336

Panel fragment in overall good condition with dust accumulation, some fading, light soiling, and overall wear commensurate with age. Panel is pieced together in areas, with scattered areas of re-conditioning. With linen lining verso.

337

Each overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. Each with rubbed wear to finished and more concentrated abrasions to edges. Upholstery in good condition with a few scattered pulled threads, minor staining, and dust accumulation. Evidence of older inactive wood worm throughout.

338

Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Cranes with felt applied to underside, as such it has not been inspected.

339

Each urn with chipped losses, cracks, and repairs, and crazing to the glaze throughout. Each shade good condition, one with a couple of breaks in the pleat stitching. Wiring should be checked by a qualified electrician prior to use. Moran’s does not guarantee the working condition of electronic equipment.

340

Overall good condition with scattered scuffs, scratches, and minor nicks commensurate with age. Heavy de-silvering to mirror.

341

Foxes are loose on their bases, legs of one stand are very loose and shaken. Each bronze overall good condition with dust accumulation, scattered minor scuffs, and darkening/ oxidation to bronze commensurate with age. Each stand with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age.

342

Overall good condition with scattered scuffs, scratches, nicks, and indentations commensurate with age.

343

Not examined under UV light. In generally good condition with typical wear, scuffs, and light scratches commensurate with use. Light wear to gilding and scattered knife marks. One Spode plate with heavy crazing. Another with hairline on cobalt rim extending approximately 6” in length with some separation and small losses in the corresponding area, this plate also has a U-shaped hairline on the opposite side. Royal Worcester in overall good condition.

344

With losses to the carving and molding, shelf wear, dust accumulation, and scattered scuffs and scratches commensurate with age. Losses to trim, some retained with the lot. Possibly with other scattered losses throughout. The interior with loose panels.

345

Each overall good condition with typical wear, scuffs, and light scratches commensurate with use.

346

Each overall good condition with typical wear, scuffs, and light scratches commensurate with use. One green glass with chip to rim and foot rim. Two green glass with filed down chip to foot rim (with fleabite in the area). A few others with fleabites to footrims. Several of the amber set with chips to the footrims or filed down footrims.

347

Each overall good condition with typical wear, scuffs, and light scratches commensurate with use. Some wear to gilding, most noticeable around the tops of the rims. One glass with fleabite to rim.

348

Each overall good condition with scattered scuffs, scratches, and nicks commensurate with age. De-silvering to mirrored panels and rubbed wear to gilding throughout. Shades in good condition. Wiring should be checked by a qualified electrician prior to use. Moran’s does not guarantee the working condition of electronic equipment.

349

Not examined under UV light. In generally good condition with typical wear, scuffs, and light scratches commensurate with use. Some variation to the color throughout. Scattered knife marks. Some crazing. One soup bowl with Y-shaped hairline to the underside.

Due to its size, weight, or quantity, this lot is subject to additional handling and packing fees if removed to off-site storage.

350

Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age.

351

Each overall good condition with scattered minor scuffs and scratches commensurate with age. Each shade with minor scuffs and soiling. Wiring should be checked by a qualified electrician prior to use. Moran’s does not guarantee the working condition of electronic equipment.

352

Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. The top and sides with multiple splits in the wood. Scattered losses to the inlay.

353

Not examined under UV light. In overall good condition with typical wear, scuffs, and light scratches commensurate with use. Some variation to the coloring. Minor wear to decoration and gilding, light scattered knife marks. Typical crazing. One teacup with chip to rim. Three plates with heavier crazing and some staining.

Due to its size, weight, or quantity, this lot is subject to additional handling and packing fees if removed to off-site storage.

354

One of the brass knobs is missing. Losses to veneer and scratches to leather surface. Top is loose on its pedestal. With scattered scratches, nicks, and indentations commensurate with age. Lacking key.

355

Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. Rear legs appear to have been repaired at the juncture with the seat.

356

Each overall good condition with minor shelf wear, scuffs, and light scratches commensurate with age. The tallest and the shortest each with chipped losses to stopper. Two with fleabite chips to rim.

357

Each with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. Each with scattered losses to gesso and gilding, with soiling throughout. Each marble in good condition.

358

Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. Scattered small chipped losses, concentrated to edges and corners. Not including key.

359

Generally good condition with typical wear, scuffs, and light scratches commensurate with use. Some wear to gilding, most noticeable at the rims. One old-fashioned with fleabite to rim. One water goblet with 1/8” chip to rim. One red wine with 1/8 x 1/8” chip to the rim. Two champagne flutes with variation to the footrim gilding. One white wine glass with chip to rim, two other white wines with wine residue to the basins of the bowls. Otherwise generally good condition.

Due to its size, weight, or quantity, this lot is subject to additional handling and packing fees if removed to off-site storage.

360

With scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. With cracks and lifting to veneer throughout, concentrated to top. Includes key, but topmost drawer lock does not function.

361

Overall good condition with even pile-wear, soiling, and typical signs of wear commensurate with age and use. Issues include, but not limited to: a 3” long tear along one selvage edge, a 4” long loss to one fringe edge, and scattered areas of revealed foundation.

362

Overall good condition with scuffs, and very light scratches commensurate with age.

363

With scattered scuffs, scratches, nicks, and indentations commensurate with age. Multiple repairs and areas of refinishing throughout. Later mirror with some areas of desilvering.

364

Lacking tools. Overall good condition with verdigris, oxidation, and scattered scuffs, scratches, and nicks commensurate with age.

365

Each overall good condition with scattered scuffs, scratches, and rubbed wear to the later re-gilt finish. Upholstery in overall good condition with fading and discoloration to upper edges, and even pile wear.

366

Each overall good condition with scattered scuffs, scratches, and minor losses to japanned decoration commensurate with age. Shades overall good condition. Wiring should be checked by a qualified electrician prior to use. Moran’s does not guarantee the working condition of electronic equipment.

367

Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age.

368

In generally good condition with typical wear, scuffs, and light scratches commensurate with use. Light wear to gilding, most noticeable at the rims. One flute with variation to the gilding on footrim. One glass with fleabite to rim.

369

Each in generally good condition with typical wear, scuffs, and light scratches commensurate with use. Scattered popped air bubbles as inherent to the medium. Scattered chips and losses to the rose petals on each.

370

Overall fair condition with pile-wear, soiling, and typical signs of wear commensurate with age and use. Issues include, but not limited to: areas of wear, especially in the field with some foundation exposed, scattered areas of color run and minor stains, breaks in selvage edges, one edge with a 3” long tear, and the ends and sides are partial and tattered.

371

Overall good condition with dust accumulation, scattered minor scuffs, and darkening/oxidation to bronze commensurate with age. With gaps in the three-part base. Shade in good condition. Wiring should be checked by a qualified electrician prior to use. Moran’s does not guarantee the working condition of electronic equipment.

372

In generally good condition with typical wear, scuffs, and light scratches commensurate with use. Light wear to gilding, most noticeable at the rims. One glass with pinprick fleabite to the rim.

373

Visual: An approximately 11” H x 6” W irregular, branching, repair in the upper left quadrant, of which the most obvious section is the 4” H x 2” W Y-shaped portion in the sky near the upper left corner. The tacking edges have been removed and, as mentioned, the canvas has been relined.

Blacklight: Scattered touch-ups throughout, the largest being the section just described as part of visual report.

Frame: 27” H x 31” W x 2” D

374

Visual: Overall good appearance. Craquelure throughout. Stretcher bar creases along each side.

Blacklight: No evidence of restoration.

Framed: 21” H x 25” W x 2” D

375

Overall good appearance. Pale light-staining. A 2” scratch with minor pigment loss in the lower left corner. Not examined out of the frame.

Framed under glass: 20.25” H x 25.25” W x 1.5” D

376

Overall good appearance. The colors fresh. Not examined out of the frame.

Framed under glass: 24” H x 31.75” W x 2” D

377

Overall good appearance. A horizontal crease running along the lower edge, 0.5” from the lower edge of the mat opening. Not examined out of the frame.

Framed under Plexiglas: 31” H x 35” W x 2.5” D

378

Visual: Overall good appearance.

Blacklight: No evidence of restoration.

Framed under glass: 17.75” H x 47.25” W x 1.5” D

379

Visual: Overall good appearance.

Blacklight: No evidence of restoration.

Framed: 18” H x 44” W x 2” D

380

Overall good appearance. The work is framed floating, hinged to the back mat. Not examined out of the frame.

Framed under glass: 22.75” H x 37.25” W x 2” D

381

With a small area of wear to the patina of one corner of the upper element. Overall good condition with dust accumulation, scattered minor scuffs, and darkening/ oxidation to bronze commensurate with age.

382

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

383

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

384

Each overall good condition with tarnishing and light scratches commensurate with age. Some of the crest feathers are bent.

385

Each overall good condition with tarnishing and scratches commensurate with age. Each with some wear to the silver plating.

386

Overall good condition with tarnishing and light scratches commensurate with age. Monogrammed: TAPA.

387

Overall good condition with tarnishing and light scratches commensurate with age.

388

Each overall good condition with tarnishing and light scratches commensurate with age. Trees and some figures with wax residue. Inscriptions with some variation: Especially made for Robert Day, Esq. (or alternatively with initials: RD).

389

Overall good condition with tarnishing and light scratches commensurate with age.

390

Overall good condition with tarnishing and light scratches commensurate with age.

391

Overall good condition with tarnishing and light scratches commensurate with age. Losses to gilding.

392

Each overall good condition with tarnishing and light scratches commensurate with age. Ivory insulators have been replaced.

393

Overall good condition with tarnishing and light scratches commensurate with age.

394

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

395

Overall good condition with tarnishing and scratches commensurate with age and use.

396

Overall good condition with tarnishing and light scratches commensurate with age.

397

Each overall good condition with tarnishing and light scratches commensurate with age. Dish monogrammed: R.

398

Overall good condition with tarnishing and light scratches commensurate with age. With one very small dent to body.

399

Overall good condition with tarnishing and light scratches commensurate with age.

400

Each overall good condition with tarnishing and light scratches commensurate with age. Minor rubbed wear to the gilding, with more wear concentrated to spoons.

401

Each overall good condition with tarnishing and light scratches commensurate with age. Some wear to the gilding. Weight does not include hollow-handled items of mixed composition.

402

Each in good used condition with some wear and polishing scratches. Some butter knives in sealed boxes, and cocktail picks and tablespoons in plastic sleeves.

403

Overall good condition with tarnishing and light scratches commensurate with age. Scratches to mirror. Soiling to felt.

404

Overall good condition with tarnishing and scratches commensurate with age.

405

Some with wear and damage. Most variously monogrammed. Each overall good condition with tarnishing and scratches commensurate with age. Weight does not include hollow-handled items.

406

Overall good condition with tarnishing and heavy scratches commensurate with age.

407

Overall good condition with tarnishing and light scratches commensurate with age.

408

Overall good condition with tarnishing and light scratches commensurate with age.

409

Each overall good condition with tarnishing and scratches commensurate with age. Each with mild wear to silver plating.

410

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

411

Overall good condition with tarnishing and scratches commensurate with age. With minor wear to silver plate, the interior with some deeper scratches.

412

Each overall good condition with tarnishing and light scratches commensurate with age. One pheasant with a broken wing and a broken tail, retained with the lot. Weight encompasses sterling and .800 pieces.

413

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

John Moran Auctioneers, Inc

SPECIALISTS

Head of Sale, Specialist / Department Manager, Decorative Arts

President, Auctioneer

Vice President, Specialist, Silver, Western & American Indian Art

Director, Fine Art

Senior Specialist, Furniture & Decorative Art

Associate Specialist, Fine Art

Department Administrator, Fine Art

Senior Cataloguer, Fine Art

Cataloguer, Fine Art

Cataloguer, Furniture & Decorative Arts

Cataloguer, Silver, Western and American Indian

Post-War & Contemporary Design Specialist

Director, Jewelry & Watches

Specialist, Jewelry & Watches

TRUSTS & ESTATES

Senior Vice President, Director Trusts & Estates

Director, Appraisals

Associate Appraiser

Department Administrator, Trusts and Estates

CLIENT SERVICES

Office/HR Manager

Client Services

Finance Administrator

Client Services

OPERATIONS

Vice President, Business Director, Auctioneer

Controller

Consignment Coordinator

Warehouse Supervisor, Senior Art Handler

Transport Supervisor, Senior Art Handler

Art Handler

MARKETING

Director, Advertising & Marketing

Manager, PR/Social Media

Graphic Designer

PHOTOGRAPHY

Senior Photographer, Head of Photography

Photographer

FOUNDERS

Founder

Co-Founder

Jen Kurtz

Jeffrey J. Moran

Maranda Moran

Katherine Halligan, AAA

Angela Past

Bobby Cullen

Ian Anderson

Jacob Baer

Anne Spink

Madison Ari

Lori Kassabian

Grant Stevens

Sally Andrew

Matthew Grayson

Tom Burstein

Kelly Sitek

Morgana Blackwelder, ISA AM

Mariam Whitten, ISA AM

Shannon Dailey

Julia Kelley

Mario Esquivel

Ella Fountain

Jamie Holthauser

Bryan Ortega

Stephen Swan

Joseph Scott

Jean Rapagna

Richard Corral

Joe Miranda

Romero Corral

Robert Robles

Nathan Martinez

Brenda Smith

Brian Olivas

Keith Berson

Madison Torres

John H. Moran (1942-2017)

Madeleine Moran

This catalogue is meant merely as a guide. The Auctioneers do not warrant the accuracy, genuineness, authenticity, description, weight, count or measure of any of the lots specified herein.

BUYER’S PREMIUMS:

BUYER’S PREMIUM is calculated at 27% on the first $1,000,000 of the hammer price, plus 21% on any amount between $1,000,001 - $5,000,000, and 15% on any amount above $5,000,000 when paying by cash, check or wire transfer.

Credit card payments will be subject to an additional 3.5% acceptance fee. This fee is not more than the cost of accepting these cards. Buyers outside of the United States must submit payment via wire transfer. Credit cards are not an accepted form of payment for buyers outside of the United States.

BIDDING INCREMENTS:

$100 - $475 @ $25 increments

$500 - $950 @ $50 increments

$1,000 - $1,900 @ $100 increments

$2,000 - $4,750 @ $250 increments

$5,000 - $9,500 @ $500 increments

$10,000 - $19,000 @ $1,000 increments

$20,000 - $47,500 @ $2,500 increments

$50,000 - $95,000 @ $5,000 increments

$100,000 - $190,000 @ $10,000 increments

$200,000 - $480,000 @ $20,000 increments

$500,000 & above @ $50,000 increments, or at Auctioneer's discretion.

View Illustrated Catalogue Online @ www.johnmoran.com

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These Terms and Conditions of Sale (“Terms“) set out the terms by which the sale or purchase of property at auction through John Moran Auctioneers, Inc. (“Moran”) will be governed. These Terms constitute a legal and binding agreement between You and Moran.

AUCTION HOUSE AS AGENT

Except as otherwise expressly stated in writing, Moran acts as an agent for the seller. Thus, any contract for the sale of property through Moran is made between the respective seller and buyer.

BEFORE THE AUCTION

a. Public Preview. All property is available for inspection by appointment at an offsite location in downtown Los Angeles, 90021. Clients must register to bid before they are allowed to preview. To register to bid, either visit the auction page on johnmoran.com or on the Moran Mobile app and click “Register to Bid”, or contact a customer service representative at info@johnmoran.com or by dialing 626-793-1833. Once registered and have expressed interest to view in person, you will be sent a scheduling link and location of the property. Prospective buyers are strongly encouraged to personally examine any property in which they are interested.

b. Buyer’s Responsibility. Buyers are responsible for determining to their own satisfaction the true nature and condition of any lot prior to bidding. Though buyers are not legally required to inspect lots prior to purchase, failure to do so may constitute a waiver of complaint that an item was not delivered in a condition equal to the existent condition at the auction.

c. Property Sold “As Is”. Neither Moran nor the seller provides any guarantee in relation to the nature of the property, or to any errors or omissions in the catalogue or supplemental material, apart from the Limited Warranty stated in Section 5 below. All property IS sold “AS IS.” Condition reports are offered as a courtesy and are typically published in Moran’s catalogue, or online, or can be made available upon request. The absence of a condition report does not imply that an item is free from defects or restoration, nor does reference to particular defects imply the absence of others.

AT THE AUCTION

a. Auction Venue. Property is available for viewing at the downtown Los Angeles Warehouse. The live auction will be conducted at John Moran Auctioneers 145 E. Walnut Ave. Monrovia, CA 91016.

b. Admission. Moran’s auction is open to the public, although Moran reserves the right to, in its sole discretion, refuse admission or participation to anyone at any time. The auction may be recorded (visually, aurally, or otherwise) and all participants or attendees at the auction consent to such recording.

c. Buyer Registration. Prospective buyers must register with Moran before bidding. Moran may, in its sole discretion, require identification, financial references, or a deposit in advance of buyer eligibility. Registered bidders accept personal liability to pay the purchase price, including the Buyer’s Premium, as described in Section 4(a) below, plus all applicable charges, unless Moran agrees in advance that the bidder is acting as agent on behalf of an identified third party that Moran, in its sole discretion, deems acceptable. In such case, Moran will look to the third party for payment. Successful bidders may be required to further verify their identity before property is released.

d. Bidding Guidelines. Bidding, whether in person or by agent, absentee bid, telephone, or inter net, constitutes a bidder’s acceptance of these Terms. The highest bidder acknowledged by the auctioneer shall be the buyer. The auctioneer retains the absolute right to reject any bid; withdraw, pass, or divide any lots; combine multiple lots; advance the bidding at their absolute discretion; and—in the case of error or dispute, whether during or after the sale—determine the successful bidder; continue the bidding; cancel the sale; or re-offer and sell the lot in question. Under no circumstances are sellers, or agents acting on their behalf, permitted to bid on their own property. In the event of any dispute after the auction, Moran’s sale record shall be conclusive as to the successful bidder and the price of the successful bid.

e. Absentee, Telephone, and Internet Bidding. Moran offers absentee, telephone, and internet bidding as a convenience to clients and does not accept liability for errors or failures to execute bids. Absentee and telephone bids must be recognized by Moran prior to auction day. When identical absentee bids are submitted that become the highest bids at the auction, the bid first received by Moran shall be accepted as the winning bid. Telephone bidders are encouraged to leave minimum bids in case of technical failure.

f. Reserves. Unless Moran expressly indicates otherwise, lots may be offered subject to a reserve, which is the confidential minimum price below which the lot will not be sold. The reserve for any lot shall not exceed its published estimate. Moran shall act to protect the reserve by bidding through the auctioneer, who may open bidding on any lot below the reserve by placing a bid on the seller’s behalf. The auctioneer may continue to bid on

behalf of the seller up to the reserve amount, either by placing consecutive bids or by placing bids in response to other bidders. Lots without reserves are typically opened for bidding at 50% of their low estimate. In the absence of a bid at that level, the auctioneer may proceed backward at their discretion or deem the lot unsold if a bid is not recognized.

AFTER THE AUCTION

a. Payment and Title Transfer. The buyer agrees to pay the sum of the hammer price plus Buyer’s Premium, plus any applicable sales tax. The Buyer’s Premium will be calculated as follows: 27% on the first $1,000,000 of the hammer price, plus 21% on any amount between $1,000,001 and $5,000,000, and 15% on any amount above $5,000,000 when paying by cash, check, or wire transfer.

Successful bidders using Live Auctioneers or Invaluable platforms will be charged a Buyer’s Premium calculated as follows: 32% on the first $1,000,000 of the hammer price, plus 26% on any amount between $1,00,001 and $5,000,000, and 20% on any amount above $5,000,000 when paying by cash, check, or wire transfer.

Credit card payments made directly to Moran will be subject to an additional 3% acceptance fee. This fee is not more than the cost of accepting these cards. The name and address associated with the credit card must match the name and address of the successful bidder. Credit Cards are not an accepted form of payment for buyers outside the United States.

Buyers are strongly encouraged to provide full payment at the auction. Payment must be received by Moran within five business days immediately following the auction. The buyer does not acquire title to and may not take possession of the lot until all amounts (including the hammer price, premium, and applicable taxes) due to Moran have been paid in full.

By agreeing to this, you authorize Moran to initiate debit entries to your bank account. In the event of a returned transaction, you further authorize debiting this account for non-sufficient fund fees according to applicable State Law. You acknowledge that the origination of ACH transactions to your account must comply with U.S. Law. You agree to abide by the ACH Rules as defined by the National ACH Association (NACHA). Please note that this authorization remains in full force and effect until the Moran has received written notice from you of its termination at least five (5) business days prior to the payment due date. It’s important to understand that canceling your ACH authorization does not relieve you of the responsibility of paying your account in full. If you cancel or revoke this authorization before any remaining debt is paid in full, the Company may take additional actions, including legal actions, to secure the debt

Unless alternate payment arrangements are made immediately following the auction, successful Live Auctioneers bidders will be automatically charged via Live Auctioneers’ LivePayments 24 hours after the auction. Payments made through Live Auctioneers LivePayments are subject to an additional processing fee and any applicable state sales tax.

b. Collection. Buyers are strongly encouraged to collect purchased items from the preview site within five (5) days ofthe auction. When available, packing and handling of purchased lots is undertaken by Moran solely as a convenience to customers. If a buyer opts to use this courtesy packing and handling service, Moran is not liable for damage to property, regardless of cause.

c. Storage and Abandonment. Following the auction, successful buyers will have until August 8, 2025 to collect purchases after which, uncollected lots shall be relocated to and stored in a third-party warehouse. All purchases shall remain under Moran’s care and control until full payment has been received from the buyer. Lots remaining uncollected after August 8, 2025, regardless of payment status, are subject to a per-lot one time transfer fee and a daily storage charge per the following schedule:

Transfer & Storage Fee Schedule:

Transfer fee of furniture and large lots: $85

Transfer fee of small lots and most fine art: $65

Daily per-lot storage: $10

In addition to the above fee schedule, some lots, due to their size, weight, or quantity, are subject to additional handling and packing fees.

Uncollected lots will not able available for collection between August 9th and August 18th. Transfer and storage fees are payable to either Moran or Withey & Company, depending on their invoice payment status. In addition to other remedies available by law, Moran reserves the right to impose upon delinquent buyers a separate 1% monthly charge (of the purchase price, or the maximum permitted by law) commencing on the sixth business day after the sale date. If a buyer fails to retrieve a purchased lot within thirty (30) days after the date of sale (the “Retrieval Period”), Moran may, without further notice, (a) continue to store the lot in Moran’s warehouse, or at the warehouse of a third-party, subject to the storage charge described above; (b) deliver the lot to the buyer at the buyer’s expense; or (c) sell the lot at auction without reserve at a place and time determined by Moran in its sole discretion.

d. Consequences of Late Pick-Up/Abandoned Property. Notwithstanding the foregoing, Moran has no duty to store any lot indefinitely. Any purchased lot that remains in Moran’s care and control sixty (60) days after the Retrieval Period (collectively, ninety (90) days) will be deemed abandoned (“Abandoned Property”) and title to it will pass to Moran. Moran may, in its sole discretion, discard or sell any Abandoned Property and may keep any proceeds from any such sale. Neither Moran nor its storage partner maybe held liable for any claims related to Abandoned Property. Neither Moran nor its storage partner is responsible for damage or loss that occurs to Abandoned Property and neither is responsible for insuring Abandoned Property after the Retrieval Period.

e. Shipping. As a courtesy to buyers, Moran provides a list of preferred shippers who are in the business of transporting antiques and works of art. Buyers are responsible for arranging their own shipping estimates and deliveries. Moran, in its sole discretion and as a courtesy to buyers, may arrange to have purchased lots packed, insured, and forwarded by a thirdparty shipper at the request, expense, and risk of the buyer. In circumstances where Moran arranges for such third-party services, Moran may apply an administration charge of 15% of that service fee. Moran assumes no responsibility for acts or omissions in such packing or shipping by other packers or carriers, even if recommended by Moran. Moran also assumes no responsibility for any damage to picture frames or to the glass therein.

f. All Sales Final. Notwithstanding other terms mentioned herein, refunds may be given in Moran’s sole discretion. Refunds requested on the grounds of authenticity must be made within 180 days of the auction and accompanied by a supporting written statement from a recognized authority (defined as a person who has authored, edited, or substantially contributed to a monograph on the artist; a person who has curated, organized, or substantially contributed to a solo exhibition on the artist; or a person who has represented the artist’s estate or someone who represented or worked closely with the artist while they were alive and, in any of the foregoing instances, physically handled works of the period, medium, and subject matter in question during the course of their duties) stating that the object sold is incorrect or not the work of the artist. Dealers, appraisers, and representatives of other auction firms do not qualify as authenticators of individual artists unless they have had such specific involvement with that artist’s work, as specified above, in addition to their daily duties. Refunded lots must be returned to Moran in the same condition as when sold. Moran does not grant extensions to refund considerations based upon authenticity due to shipping delays. There are no exceptions to this refund policy.

LIABILITY AND LIMITED WARRANTY

a. Liability. The buyer expressly agrees that (i) neither Moran nor the seller shall be liable, in whole or in part, for any special, indirect, or consequential damages, including, without limitation, loss of profits, and (ii) the buyer’s damages, if any, are limited exclusively to the original purchase price paid for the lot.

b. Limited Warranty. ALL PROPERTY IS SOLD AS IS. Neither the seller nor Moran or its associates make any representation, express or implied, warranty (including merchantability and fitness), or guarantee in condition, age, size, provenance, medium, signature, inscription, exhibition history, importance, rarity, country of origin, genuineness, historical relevance, monetary or other value, framing or lack thereof, mounting, conservation, coloring, palette, inscription, edition, style, label, or other descriptor. No statement in the catalogue, brochures, website, bill of sale, invoice, any supplementary material, or statements by any Moran employee shall be deemed a warranty, representation or assumption of liability.

c. Descriptions. No warranty, whether express or implied, is made with respect to any description contained in this auction or any second opinion. Any description of the items or second opinion is for the courtesy of identifying the items for those bidders who do not have the opportunity to view the lots in person, and no description of items has been made part of the basis of the transaction or has created any express warranty that the goods would conform to any description made by the auctioneer. Color variations can be expected in any electronic or printed imaging and are not grounds for the return of any lot.

d. Estimates. All estimates provided are carefully considered opinions of Moran’s specialists and are merely suggested guidelines for interested buyers. Buyers must be aware that all property sold is subject to fluctuating values depending on the subjective interests of collectors and a wide variety of other uncontrollable factors. The lots auctioned may sell at prices above, within, or below estimate.

e. Notices, Demands, and Refunds. Any demands for refunds, problems with the lot(s) sold or notices of any kind concerning the auction shall be made (1) in writing and addressed to John Moran Auctioneers, Inc, 145 East Walnut Avenue, Monrovia, CA 91016 or (2) via email at info@johnmoran.com.

ADDITIONAL MATTERS

a. Copyright. The copyright on all images, illustrations, and written material produced by or for Moran for its auction is and will remain at all times the property of Moran. Moran and the seller make no representation or warranty that the buyer will acquire any copyright or reproduction rights to a purchased lot.

b. Buyer’s Breach of Conditions. If a buyer fails to comply with any of these Terms, Moran may, in addition to asserting all remedies available by law, including the right to hold that buyer liable for the purchase price, (i) cancel the sale, retaining as liquidated damages any payment made by the buyer; (ii) resell the property without reserve at public auction or privately upon notice to the buyer; or (iii) take such other action as Moran deems necessary or appropriate. If Moran resells the property, the original defaulting buyer shall be liable for the payment of any deficiency between the original sale price and any subsequent mitigation sale, including warehousing, the expenses of both sales, reasonable attorney’s fees, commissions, incidental damages, and all other charges due hereunder. In the event that such buyer pays a portion of the purchase price for any property, Moran’s shall apply the payment received to such property that Moran, in its sole discretion, deems appropriate. Moran shall have the benefit of all rights of a secured party under the Uniform Commercial Code as adopted in the State of California.

c. Governing Law. The rights and obligations of the parties with respect to these Terms and the conduct of the auction shall be governed and interpreted by the laws of the State of California.

d. Arbitration. Any dispute, claim, or controversy arising out of or relating to these Terms or the breach, termination, enforcement, interpretation, or validity thereof, including the determination of the scope or applicability of this agreement to arbitrate, shall be determined by private arbitration before an arbitrator. The arbitration shall be administered by JAMS pursuant to its Comprehensive Arbitration Rules and Procedures. Judgment on the award may be entered in any court having jurisdiction.

This clause does not preclude the parties from seeking provisional remedies in aid of arbitration from a court of appropriate jurisdiction. The parties shall maintain the confidential nature of the arbitration proceeding and the award, including the hearing, except as may be necessary to prepare for or conduct the arbitration hearing on the merits, or except as may be necessary in connection with a court application for a preliminary remedy, a judicial challenge to an award or its enforcement, or unless otherwise required by law or judicial decision.

In any arbitration arising out of or related to these Terms, the arbitrator shall award to the prevailing party, if any, the costs and attorneys’ fees reasonably incurred by the prevailing party in connection with the arbitration. If the arbitrator determines a Party to be the prevailing party under circumstances where the prevailing party won on some but not all of the claims and counterclaims, the arbitrator may award the prevailing party an appropriate percentage of the costs and attorneys’ fees reasonably incurred by the prevailing party in connection with the arbitration.

e. Severability. Should any of these conditions be deemed unenforceable, invalid, or illegal in any court having jurisdiction, that part shall be severed from these Terms and shall have no effect on the enforceability of the remaining provisions contained herein, which shall remain valid to the fullest extent permitted by law.Moran’s shall apply the payment received to such property that Moran, in its sole discretion, deems appropriate. Moran shall have the benefit of all rights of a secured party under the Uniform Commercial Code as adopted in the State of California.

(c) Governing Law. The rights and obligations of the parties with respect to these Terms and the conduct of the auction shall be governed and interpreted by the laws of the State of California.

(d) Arbitration. Any dispute, claim, or controversy arising out of or relating to these Terms or the breach, termination, enforcement, interpretation, or validity thereof, including the determination of the scope or applicability of this agreement to arbitrate, shall be determined by private arbitration before an arbitrator. The arbitration shall be administered by JAMS pursuant to its Comprehensive Arbitration Rules and Procedures. Judgment on the award may be entered in any court having jurisdiction.

(e) Severability. Should any of these conditions be deemed unenforceable, invalid, or illegal in any court having jurisdiction, that part shall be severed from these Terms and shall have no effect on the enforceability of the remaining provisions contained herein, which shall remain valid to the fullest extent permitted by law.