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The Traditional Collector SINCE 1969

AUCTIONEERS & APPRAISERS

Tuesday, October 13, 2026 johnmoran.com

The Traditional Collector October 13, 2026 | 10am PST Sale 353 145 East Walnut Avenue, Monrovia CA 91016

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

Previews:

Friday, October 9th, 12pm – 4pm Saturday, October 10th, 10am – 2pm Monday, October 12th, 12pm – 4pm Tuesday, October 13th: Doors open 9am

Meet the Team Angela Past Head of Sale Specialist, Furniture & Decorative Arts a.past@johnmoran.com Grant Stevens Cataloguer, Furniture & Decorative Art g.stevens@johnmoran.com

Christine Weir Cataloguer, Fine Art c.weir@johnmoran.com

Client Services Mario Esquivel Office Manager m.esquivel@johnmoran.com

Ella Fountain Client Services e.fountain@johnmoran.com

SINCE 1969

AUCTIONEERS & APPRAISERS

The Tr ad i t i o n a l C o lle c t o r l Tu e sd ay, O c tob e r 1 3 , 2 0 2 6

A Gorham sterling silver ‘Melrose’ flatware service 1948-2009 Comprising: 12 dinner knives 6 steak knives 12 butter spreaders 12 dinner forks 12 salad forks 1 fish fork 1 child’s fork 12 soup spoons 16 teaspoons 20 serving pieces 6 nut dishes Each marked for Gorham and sterling 110 pieces Total weighable sterling 109.8 oz. troy approximately $4,000-6,000

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A Portuguese sterling silver covered tureen on stand

20th century With maker’s mark and: [Eagle 916] Height of tureen 15 1/2 in., width 18 in., depth 22 in.; platter length 22 in., width 13 in. Total weight 170.9 oz. troy approximately $2,000-4,000

The Tr ad i t i o n a l C o lle c t o r l Tu e sd ay, O c tob e r 1 3 , 2 0 2 6

A St. Louis gilt cut glass ‘Stella Gold’ stemware service 20th century Comprising: 10 red wine glasses (7 7/8 in.) 8 white wine glasses (6 3/4 in.) 9 champagne coupes (6 1/8 in.) 10 finger bowls (4 1/2 in.) 10 dishes (5 3/4 in.) 1 pitcher (height 9 1/2 in., width 7 in., depth 5 1/8 in.) Each with acid etched factory mark 48 pieces $1,200-1,800

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The Tr ad i t i o n a l C o lle c t o r l Tu e sd ay, O c tob e r 1 3 , 2 0 2 6

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A Herend porcelain ‘Rothschild Bird’ dinner service

20th century Comprising: 12 service plates, 1527 (10 3/4 in.) 12 dinner plates, 1522 (10 1/4 in.) 12 salad plates, 1518 (7 1/2 in.) 12 bread plates, 1515 (6 1/4 in.) 12 soup bowls, 1501 (9 1/2 in.) 12 covered cream soup bowls and underplates, 740 (width across handles 4 3/4 in.) 1 covered tureen with bird finial, 1005 (height 11 in., width across handles 14 1/2 in.) 1 sauce boat with fixed underplate, 238 (height 6 1/4 in., width 9 3/4 in.) 2 graduated platters, 1102, 1101 (14 3/4 in. and 16 3/4 in.) 2 covered butter dishes, one with lemon finial, one with branch handle, 1380 (height of taller 4 3/4 in., diameter 7 1/2 in.) 1 pair of candlesticks, 7916 (7 in.) 2 pairs of salt & pepper shakers, 250 and 260 Together with 12 associated Herend butterfly-form place card holders, 5350 Various blue printed factory marks, above shape numbers and pattern code RO, some impressed ‘HEREND’ and shape numbers 108 pieces $8,000-12,000

The Tr ad i t i o n a l C o lle c t o r l Tu e sd ay, O c tob e r 1 3 , 2 0 2 6

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Four Herend porcelain ‘Rothschild Bird’ serving pieces

20th century Comprising: 1 circular platter, 155 (14 in.) 1 circular platter, 1153 (11 1/2 in.) 2 graduated bowls, 1081, 1082 (10 3/4 in. and 12 in.) Various blue printed factory marks above shape and pattern code RO, impressed ‘HEREND’ and shape numbers 4 pieces $800-1,200

The Tr ad i t i o n a l C o lle c t o r l Tu e sd ay, O c tob e r 1 3 , 2 0 2 6

A Herend porcelain ‘Rothschild Bird’ tea and dessert service

20th century Comprising: 1 coffee pot, 1611 (10 1/4 in.) 2 teapots, 1612 and 1603 (5 1/2 in. and 8 1/2 in.) 2 cream jugs, 1843 (3 3/4 in.) 1 open sugar, 685 (height 2 3/4 in., diameter 5 in.) 2 compotes, 311 (height 9 in., diameter 6 1/2 in.) 3 serving platters with branch handles, 430, 411, 1173 (oval 13 in., circular 12 1/2 in., square 11 1/4 in.) 12 plates, 1518 (7 1/2 in.) 9 plates, 1515 (6 in.) 9 teacups and 8 saucers, 734 18 demitasse cups and 17 saucers, 1728 1 two-division server, 7511 (height 5 1/2 in., diameter 18 1/2 in.) Various blue printed factory marks above shape numbers and pattern code RO, some impressed ‘HEREND’ and with shape numbers 85 pieces $1,500-2,000 Part lot sold Bonhams, The Elegant Home, June 6, 2017, lot 595 Part lot sold JMA, Traditional Collector, February 3, 2026, lot 1019 johnmoran.com

20th century Each flanked by branch handles Blue printed factory marks, shape 7239 over pattern code RO Height 6 1/4 in., width across handles 10 1/2 in., depth 10 1/4 in.

20th century All circular, flanked Comprising: 1 platter, 1172 (wid 1 platter, 1173 (wid 1 platter, 1178 (wid Various blue printe shape numbers 3 pieces

A pair of Herend porcelain ‘Rothschild Bird’ jardinieres

$600-800

Three Herend p

$700-900

The Tr ad i t i o n a l C o lle c t o r l Tu e sd ay, O c tob e r 1 3 , 2 0 2 6

porcelain ‘Rothschild Bird’ graduated serving platters

d by branch handles

dth across handles 11 3/4 in.) dth across handles 14 1/4 in.) dth across handles 17 in.) ed factory marks above shape and pattern code RO, impressed ‘HEREND’ and

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A Herend porcelain ‘Rothschild Bird’ tea service

Late 20th century Comprising: 2 teapots, 1612 (height 8 1/2 in., width 6 3/4 in., depth 4 1/2 in.) 1 covered sugar, 444 (height 3 5/8 in., width 4 3/4 in.) 1 cream jug, 1644 (height 3 1/4 in.) 12 teacups, 709 (height 2 3/8 in.) 12 saucers, 711 (4 5/8 in.) 1 circular tray, 439 (14 5/8 in.) Various blue printed factory marks, above shape numbers and pattern code RO, some impressed ‘HEREND’ and shape numbers 29 pieces $800-1,200

The Tr ad i t i o n a l C o lle c t o r l Tu e sd ay, O c tob e r 1 3 , 2 0 2 6

Three Herend porcelain ‘Rothschild Bird’ serving pieces

Late 20th century Comprising: 1 covered dish, 28 (height 6 in., width 7 1/2 in., depth 6 in.) 1 covered dish, 2086 (height 5 7/8 in., width 11 1/8 in., depth 9 in.) 1 open sauce boat, 1220 (height 31/4 in., width 9 1/4 in., depth 6 7/8 in.) 1 associated tray, 211 (10 3/8 x 8 1/4 in.) Each with blue printed factory marks, above shape numbers and pattern code RO, some impressed with shape numbers 4 pieces $600-800

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A Henrik Wigström for Fabergé 14K gold and enamel parasol handle

The handle circa 1880 Featuring a floral motif on an engine-turned ground with cobalt blue enamel, with a ring of etched green gold and a round chrysolite, with later added silver gilt magnifying glass, accompanied by a fitted Wartski box With maker’s mark ‘HCW’ and Russian assay mark ‘56 AB’ Length 4 7/8, diameter 2 3/4 in. 132.3 grams gross $4,000-6,000 Provenance: Wartski Ltd, London Private Collection, acquired from the above, 1982 Notes: The lot is accompanied by a purchase receipt.

The Tr ad i t i o n a l C o lle c t o r l Tu e sd ay, O c tob e r 1 3 , 2 0 2 6

An American repoussé sterling silver pitcher 20th century With grape vines in relief Marked: STERLING 2747 Height 12 1/2 in. 39.6 oz. troy approximately $500-700

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A set of nine sterling silver goblets

Early 20th century Each marked: MMR / STERLING / 925 9 pieces Height of each 6 1/4 in., diameter 2 7/8 in. Total weight 54.8 oz. troy approximately $800-1,200

The Tr ad i t i o n a l C o lle c t o r l Tu e sd ay, O c tob e r 1 3 , 2 0 2 6

A Bigelow, Kennard & Co. sterling silver reticulated dish Late 19th/early 20th century With factory marks for sterling and numbered: 2185/10 Diameter 10 1/4 in. 11.2 oz. troy approximately $500-700

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A set of twelve American weighted sterling silver sherbet cups G. H. French; North Attleboro MA, 1920-1939 With gold-washed interiors Each marked: STERLING GHF [in shields] Height of each 3 in., diameter 3 1/4 in. $600-800

The Tr ad i t i o n a l C o lle c t o r l Tu e sd ay, O c tob e r 1 3 , 2 0 2 6

A Gorham sterling silver nursery mug and bowl

Early 20th century With hammered surface, the mug with three applied ovals and the bowl with four ovals depicting nursery rhymes Each engraved: Philip 1909; each marked for Gorham and sterling; numbered ‘A7525’ or ‘A7523’ 2 pieces Height of cup 2 1/4 in., width 4 1/4 in., depth 3 1/4 in. Total weight 9.3 oz. troy approximately $500-800

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Gilded Age American Dynasty The Henry E. Huntington Family

Detail of a family photo from Henry’s mother’s side of the family: “HEH and first family in Oneonta, N.Y. c. 1900” courtesy of The Huntington Library. Standing - left to right - Howard E. Huntington (son); Clara Huntington (daughter); Henry Edwards Huntington (husband); Marian Huntington (daughter); Sitting - Maria Van Vranken (Henry’s cousin); Mrs. Solon Huntington (Henry’s mother); Mrs. H.E. Huntington (Mary Alice, wife).

A Matriarch’s Legacy: Mary Alice Prentice Huntington Behind the monumental legacy of the Huntington dynasty lies the quiet, foundational elegance of Mary Alice Prentice Huntington. As the original matriarch of the family’s direct lineage, she provided the private grace and dignity that anchored one of America’s greatest Gilded Age stories. While history books often focus on her husband Henry E. Huntington’s industrial triumphs or his later marriage to Arabella, Mary Alice’s true story has remained largely untold. When Henry relocated south in 1902 to build his transit empire, Mary Alice made the bold, independent choice to remain in San Francisco with their children. There, she carved out her own cultural domain in the city’s most elite enclaves—raising their four children in Pacific Heights and later establishing her grand estate at 32 Maple Street in Presidio Heights. She lived as a prominent figure in San Francisco’s highest social circles until her passing in 1916. Because so little has been written about her, Mary Alice’s personal belongings are the true storytellers—offering a rare, intimate lens into her sophisticated lifestyle and personal taste.

Pictured above: An early photo of Mary Alice, circa 1876. It is usually associated with her marriage to Henry in 1873, just a few months after her 21st birthday.

The Matriarch’s Stage: A Grand Gorham Silver Serving Tray This magnificent Gorham silver serving tray stands as a striking testament to Mary Alice’s formidable role as a high-society hostess. Far from a piece for quiet family evenings, a tray of this grand proportion and intricate artistry was a theatrical centerpiece destined for the glittering, high-stakes dinner parties where the elite of American politics and commerce gathered. Inscribed with her initials, it was thought to be a wedding gift. Inherited through the direct lineage of the only children Henry and Mary Alice shared, this spectacular tray is a premier artifact of the golden age of American hospitality.

Pictured left: A private portrait in a candid moment, taken by Marian Prentice Huntington (Mary Alice’s youngest child with Henry) circa 1909.

A Gorham sterling silver serving tray

Circa 1888-1894 Marked for Gorham and sterling and numbered: A1617; monogrammed Height 3 3/4 in., width 33 in., depth 22 in. Weight approximately 186.3 oz. troy approximately $9,000-12,000 Provenance: The Estate of Henry E. Huntington and Mary Alice Prentice Huntington

An International sterling silver ‘Royal Danish’ flatware service Mid-20th century Designed 1939 Comprising: 7 dinner knives 9 luncheon knives 12 butter spreaders 1 master butter spreader 16 dinner forks 16 salad forks 24 teaspoons 1 pickle/olive fork 2 serving forks 1 serving spoon 1 slotted serving spoon 1 casserole spoon 1 gravy ladle 1 cake/pie server 1 pastry server Each with factory marks for sterling 75 pieces Total weighable sterling 91.8 oz. troy approximately $3,500-4,500 28

The Tr ad i t i o n a l C o lle c t o r l Tu e sd ay, O c tob e r 1 3 , 2 0 2 6

An International sterling silver pitcher

20th century Marked: INTERNATIONAL STERLING E26-1 5 PINTS Height 9 1/2 in., width 10 in., depth 7 in. 25 oz. troy approximately $800-1,200

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An extensive Lunt sterling silver ‘Eloquence’ flatware service Late 20th/early 21st century Designed 1952 Comprising: 16 dinner knives 16 butter spreaders 16 dinner forks 16 salad forks 16 cocktail forks 16 cream soup spoons 16 teaspoons 15 demitasse spoons 1 gravy ladle 1 sugar spoon 2 pickle/olive forks 1 sugar tongs Each with factory marks for sterling Together with one Rogers Bros. silver-plated demitasse spoon 133 pieces Total weighable sterling 130.7 oz. troy approximately $5,000-8,000 30

The Tr ad i t i o n a l C o lle c t o r l Tu e sd ay, O c tob e r 1 3 , 2 0 2 6

A Jack Rabinovich repoussé sterling silver mirror frame Late 20th/early 21st century Depicting sparrows and floral motifs Marked: JR / 925 Height overall 19 3/4 in., width 15 3/4 in., depth 1 3/4 in. $600-800

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Mid-20th century Designed 1930 Comprising: 4 dinner knives 4 butter spreaders 4 dinner forks 4 salad forks 4 cream soup spoons 4 teaspoons Each with factory marks for sterling 24 pieces Total weight 27.9 oz. troy approximately

Mid-20th century Designed 1906 Comprising four to Each marked for m 8 pieces Height of each vas Total weight 17 oz.

A Porter Blanchard sterling silver ‘Capri’ flatware service for four

$1,000-1,500

The Tr ad i t i o n a l C o lle c t o r l Tu e sd ay, O c tob e r 1 3 , 2 0 2 6

A group of Reed

$500-800

d & Barton sterling silver ‘Francis I’ urns and dishes

oothpick urns and four nut dishes maker, sterling, pattern, and model number ‘X57’ or ‘X569’

se 2 3/8 in.; diameter of each 3 1/2 in. . troy approximately

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A Reed & Barton sterling silver ‘Burgundy’ coffee & tea service Second half 20th century Comprising: Coffee pot (height 9 3/4 in., width 10 1/2 in., depth 5 1/4 in.) Teapot (height 7 in., width 11 in., depth 5 in.) Covered sugar bowl (height 6 in., width 8 1/8 in., depth 4 3/8 in.) Creamer (height 5 1/4 in., width 6 in., depth 3 5/8 in.) Each with factory marks for sterling and: 745 Burgundy Together with a silver plated tray (width 29 in., depth 19 3/4 in.) 5 pieces Total weight 256.6 gross oz. troy approximately $1,800-2,200

The Tr ad i t i o n a l C o lle c t o r l Tu e sd ay, O c tob e r 1 3 , 2 0 2 6

A Reed & Barton sterling silver ‘Georgian Rose’ tea and coffee service 1941-2005 Comprising: Coffee pot (height 9 5/8 in., width 10 1/2 in., depth 5 in.) Teapot (height 8 1/8 in., width 10 5/8 in., depth 5 3/8 in.) Covered sugar bowl (height 6 1/2 in., width 7 1/2 in., depth 4 1/4 in.) Creamer (height 5 1/2 in., width 5 3/4 in., depth 3 3/8 in.) Each with factory marks for sterling and numbered ‘670’ 4 pieces Total weight 74.6 gross oz. troy approximately $2,000-3,000

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An extensive Reed & Barton sterling silver ‘Marlborough’ flatware service 20th century Designed 1906 Comprising: 16 dinner knives 16 dinner forks 12 luncheon knives 12 luncheon forks 9 butter spreaders 5 steak knives 8 demitasse spoons 29 teaspoons 10 cream soup spoons 13 cake forks 1 salad serving set 1 small ladle 1 cream ladle 1 master butter knife 2 serving spoons 1 pickle fork 1 jelly spoon 1 shell spoon 1 large carving knife and fork 1 small carving knife and fork Each marked: STERLING Reed & Barton Together with an S. Kirk & Son sterling ‘Old Maryland Plain’ stuffing spoon 145 pieces Total weighable sterling 129.6 oz. troy approximately $4,000-6,000

The Tr ad i t i o n a l C o lle c t o r l Tu e sd ay, O c tob e r 1 3 , 2 0 2 6

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A set of twelve Towle sterling silver ‘Louis XIV’ goblets Mid/late 20th century Designed 1924 With gold-washed interior Each marked for maker, pattern, sterling, and numbered: 68160 12 pieces Height of each 6 5/8 in., diameter 3 in. Total weight 66.2 oz. troy approximately $2,000-3,000

The Tr ad i t i o n a l C o lle c t o r l Tu e sd ay, O c tob e r 1 3 , 2 0 2 6

A Tiffany & Co. silver gilt footed bowl

20th century Marked: TIFFANY & CO MAKERS STERLING 23618 Height 4 1/4 in., diameter 8 1/2 in. 18.4 oz. troy approximately $600-800

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A Tiffany & Co. sterling silver ‘Chrysanthemum’ salad serving set Early 20th century Each marked for Tiffany and for sterling 2 pieces Length of each 8 3/4 in. Total weight 7 oz. troy approximately $400-600

The Tr ad i t i o n a l C o lle c t o r l Tu e sd ay, O c tob e r 1 3 , 2 0 2 6

A Tiffany & Co. sterling silver ‘Provence’ part flatware service Mid-20th century Directorship of William T. Lusk (1956-1965) Designed 1956 by Oscar Riedener (1901-2000) Comprising: 4 dinner knives 5 dinner forks 4 salad forks 4 oval soup spoons 4 teaspoons Each with factory marks for sterling 21 pieces Total weighable sterling 35 oz. troy approximately $1,000-1,500

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An assembled Tiffany & Co. sterling silver ‘Shell & Thread’ part flatware service 20th century Designed 1905 Comprising: 9 dinner knives 1 master butter spreader 1 butter spreader 3 dinner forks 3 salad forks 2 cocktail forks 1 oval soup spoon 1 cream soup spoon 5 grapefruit spoons 6 teaspoons 6 demitasse spoons 1 pate knife Each with factory marks for sterling 39 pieces Total weighable sterling 36 oz. troy approximately $1,200-1,500 42

The Tr ad i t i o n a l C o lle c t o r l Tu e sd ay, O c tob e r 1 3 , 2 0 2 6

A Wallace sterling silver ‘Romance of the Sea’ flatware service Mid/late 20th century Designed 1950 by William S. Warren Comprising: 8 dinner knives 8 steak knives 8 dinner forks 8 salad forks 8 teaspoons 1 sugar spoon 1 master butter knife 1 serving spoon 1 slotted serving spoon 1 serving fork 1 lasagna server Each with factory marks for sterling 46 pieces Total weighable sterling 52.1 oz. troy approximately $2,000-4,000

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A Westmorland sterling silver ‘Milburn Rose’ flatware service Mid-20th century Designed 1940 Comprising: 6 dinner knives 6 dinner forks 6 salad forks 6 cocktail forks 12 teaspoons 1 butter spreader 1 gravy ladle 1 serving fork 1 serving spoon Each with factory marks for sterling 40 pieces Total weighable sterling 36.5 oz. troy approximately $1,000-1,500

The Tr ad i t i o n a l C o lle c t o r l Tu e sd ay, O c tob e r 1 3 , 2 0 2 6

A Wright, Kay & Co. sterling silver pitcher

Early 20th century With chased and repoussé foliate and floral motifs Marked to underside: WRIGHT, KAY & CO / STERLING / 7060 / 5 1/8 PTS. / [lion statant]; monogrammed: VMPB Height 10 in., width 8 7/8 in., depth 5 in. 35.5 oz. troy approximately $1,500-2,000

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An English sterling silver and cut glass travelling inkwell John Howe, London, circa 1844 With monogram and foliate engraved and engine-turned silver mount with screw lock over a cut glass reservoir Impressed: London 1844 JH Height 1 1/2 in., width 1 3/4 in., depth 1 3/4 in. $200-300

The Tr ad i t i o n a l C o lle c t o r l Tu e sd ay, O c tob e r 1 3 , 2 0 2 6

A German Renaissance Revival .800 silver tea & coffee service

Georg Roth & Co, Hanau, circa 1900 Each with repoussé and chased decoration Comprising: Hot water kettle on stand (height without handle 12 3/4 in., width 8 5/8 in., diameter 6 3/4 in.) Coffee pot (height 9 1/4 in., width 9 7/8 in., diameter 5 3/4 in.) Teapot (height 7 1/2 in., width 10 1/8 in., diameter 5 5/8 in.) Covered sugar bowl (height 5 7/8 in., width 6 in., diameter 4 1/4 in.) Creamer (height 6 1/2 in., width 5 1/4 in., diameter 4 1/4 in.) Tea strainer (length 5 7/8 in.) Handled tray (width 27 1/8 in., depth 18 5/8 in.) Each with pseudo hallmarks crowned ‘A’, crowned ‘P’, and crowned ‘GR’ 8 pieces Total weight 223.4 gross oz. troy approximately $1,000-2,000

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The Tr ad i t i o n a l C o lle c t o r l Tu e sd ay, O c tob e r 1 3 , 2 0 2 6

A French Rococo Revival .950 silver six piece tea and coffee service

Jean-Baptiste François, Paris, circa 1900 Embellished with repoussé and chased rocailles, scrolls, and asymmetric florals, each monogrammed Comprising: Hot water kettle on stand (overall height without handle 15 1/2 in., diameter 7 5/8 in.) Teapot (height 7 3/4 in., width 9 1/8 in., diameter 6 1/4 in.) Coffee pot (height 10 3/8 in., width 8 1/4 in., diameter 5 3/4 in.) Lidded sugar (height 6 5/8 in., width 7 in., diameter 5 1/4 in.) Cream jug (height 5 5/8 in., width 4 1/2 in., depth 3 3/8 in.) Handled tray (width 27 1/2 in., depth 19 3/8 in.) Each hallmarked with a lozenge-shaped silver maker’s mark with the initials JBF and a Boar’s Head, Minerva Head with number 1 before the forehead, within a geometric frame-shaped cartouche (rectangular with clipped corners) 6 pieces Total weight 253.4 gross oz. troy approximately $10,000-15,000 Provenance: Private collection, San Diego, CA

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A pair of Georg Jensen .830 silver candlesticks

Circa 1920 Designed 1919 by Johan Rohde, model 286 Each marked: GI 830 S / [oval maker’s mark] / 1920 / 286; one with circular designer’s monogram 2 pieces Height of each 9 1/4 in. Total weight 41.4 oz. troy approximately $2,000-3,000 Literature: Janet Drucker, “Georg Jensen, A Tradition of Splendid Silver” (Schiffer Books for Collectors, 1997), p. 233, illustrated

The Tr ad i t i o n a l C o lle c t o r l Tu e sd ay, O c tob e r 1 3 , 2 0 2 6

A Georg Jensen sterling silver ‘Parallel’ flatware service Post-1945 Designed 1931 by Oscar Gundlach-Pedersen 12 dinner knives 014 11 dinner forks 012b 12 lunch/salad forks 022b 13 cake forks 043 6 dessert spoons 021B 12 large teaspoons 031B Each marked: Georg Jensen / Sterling / Denmark 66 pieces Total weighable sterling 82.09 oz. troy approximately $4,000-6,000

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A group of Georg Jensen sterling silver ‘Parallel’ flatware articles

Circa 1930-1944 Designed 1931 by Oscar Gundlach-Pedersen Comprising a serving spoon, serving fork, individual salt cellar and spoon, food pusher, and child’s fork Each marked: STERLING / DENMARK; all but salt spoon and child’s fork marked for maker 6 pieces Length of largest 8 1/2 in. Total weight 7.5 oz. troy approximately $2,000-4,000

The Tr ad i t i o n a l C o lle c t o r l Tu e sd ay, O c tob e r 1 3 , 2 0 2 6

A set of three Georg Jensen sterling silver boxes Circa 1915-1932 Comprising:

A cigar box, model 195 Marked for maker, sterling, and model Height 2 1/2 in., width 7 1/8 in., depth 5 1/4 in. A cigarette box, model 39 Marked for maker, sterling, model, and: DESSIN / GI / DENMARK Height 2 in., width 5 3/8 in., depth 3 7/8 in. A match box, model 83 Marked for maker, .830 silver, model, and: [crown] / GABF / 1919 / [three crowns] Height 1 3/4 in., width 4 7/8 in., depth 2 7/8 in. 3 pieces $1,200-1,500

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A W. & S. Sørensen sterling silver ‘Patricia’ flatware service Mid-20th century; Denmark Comprising: 12 dinner knives 12 dinner forks 9 salad forks 12 tablespoons 12 cream soup spoons 8 teaspoons 12 demitasses spoons 11 grapefruit spoons 12 butter knives 2 two-tine serving forks 2 serving spoons 1 serving fork 1 small ladle Each marked: W&S SORENSON / STERLING / DENMARK 106 pieces Total weighable sterling 102.1 oz. troy approximately $3,000-5,000

The Tr ad i t i o n a l C o lle c t o r l Tu e sd ay, O c tob e r 1 3 , 2 0 2 6

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A pair of Continental sterling silver Rimonim

Late 19th/early 20th century Each Torah scroll finial decorated with openwork scroll medallions, with dragon-form accents and bird finial, mounted with bells, later in-filled with plaster Each appears unmarked 2 pieces Height of each 9 1/4, diameter 4 7/8 in. approximately $800-1,200

The Tr ad i t i o n a l C o lle c t o r l Tu e sd ay, O c tob e r 1 3 , 2 0 2 6

A pair of Chinese cloisonné crane candlesticks

Late 20th century Each bird with hollow body and removeable wings, raising a tree branch-form standard with a conformingly enameled bobèche, also issuing from the beak a single peach on a branch with leaves 2 pieces Heights 33 1/3-35 in., width of each 14 in., depth 12 1/4 in. approximately $900-1,200 johnmoran.com

An Asian bronze tripod censer

20th century or earlier With band of archaic beasts and masks in relief Height 6 7/8 in., width 9 1/4 in., depth 6 1/2 in. $700-1,000

The Tr ad i t i o n a l C o lle c t o r l Tu e sd ay, O c tob e r 1 3 , 2 0 2 6

A Chinese brass tripod censer

Qing dynasty (1644-1912) or later Molded with dragon motif to underside, with opposed handles Impressed with reign mark for Xuande period (1426-1435) Height 5 1/4 in., diameter 7 3/4 in. $500-700 Provenance: Sold: Weschler’s Washington D.C., January 10, 1986 From the estate of Professor V. A. Kolve, Hollywood Hills, CA, acquired from the above Notes: This lot is accompanied by a digital copy of a purchase receipt from the abovementioned auction house.

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The Tr ad i t i o n a l C o lle c t o r l Tu e sd ay, O c tob e r 1 3 , 2 0 2 6

Jiang Rong (1834-1907) or signature of Jiang Rong

Figures in a garden Pigment and ink on silk With lengthy poem, and signature reading ‘jianhua’an zhu Jiang Rong zuo’, with red seal reading ‘Jianhua’an [x x]’ in upper right Sight: 31 1/2 x 52 3/4 in. $500-700 Provenance: Private collection, Palos Verdes Estates, CA By family descent

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A group of East Asian kingfisher feather jewelry

20th century Three works each with filigree accents and inset blue feathers comprising a delicate gilt-toned metal dimensional round brooch with tiny faux pearls and pink and yellow glass accents, as well as a pair of similar style elaborate dangle earrings, and a large gilt-toned insect brooch with blue wings and a pink stone body 4 pieces Brooches 1 5/8 in. & 1 3/8 in.; Earrings 2 3/4 in. 30.1 grams gross $200-400

The Tr ad i t i o n a l C o lle c t o r l Tu e sd ay, O c tob e r 1 3 , 2 0 2 6

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A Chinese Civil rank robe with embroidered rank badges

Late Qing dynasty, circa 1910 The slightly padded black silk button-front robe with attached ‘Silver Pheasant’ rank badges front and back, each worked in vibrant multicolored and metal thread embroidery and beadwork featuring a central pheasant bird appliqué motif amid other auspicious motifs including stylized bats, peaches, and foliage, with waves and deep water and a floral fretwork motif border, fully lined in blue silk and fastened with corded loops and brass-toned floral buttons Center back height 44 1/4 in., width 22 1/2 in. (at underarms); Sleeve length cuff to collar 29 1/2 in. $3,000-5,000

The Tr ad i t i o n a l C o lle c t o r l Tu e sd ay, O c tob e r 1 3 , 2 0 2 6

A Chinese embroidered blue silk robe fragment

19th century or later The deconstructed blue silk robe featuring multicolored silk floss embroidery in floral and insect motifs, with multiple embroidered and brocade ribbon bands at sleeves and hem, with open, unfinished seams at side and sleeves, unlined, and with corded fabric fastening loops to front Possible stamped signature to right inside collar Center back height 49 in., width 25 1/2 in. (at underarms); Sleeve length cuff to collar 27 1/2 in. approximately $1,000-1,500

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A group of Chinese embroidered silk skirt sections

Qing Dynasty (1644–1912) or later Comprising three traditional silk skirts and skirt sections, each with pleated sides and decorative polychrome embroidery and brocade ribbon trim: A wrap panel skirt section with multicolored damask panels, each panel with blue ribbon trim, and with two floral embroidered panels, banding and passementerie trim at hem, all attached to a cotton yoke, and with a green silk lining 39 1/2 in. x 52 1/2 in. at waist A red silk satin skirt with multicolored floral embroidery and ribbon trim, featuring central flowers and wheat sprigs atop a rock amid waves and deep water motifs, with a striped pink silk waistband with side waist ties, side seams, and a partial pink silk lining 33 1/4 in. x 15 1/4 in. at front waist A cream sateen wrap skirt section with blue ribbon trim, two floral embroidered panels and banding in shades of blue and black, with purple passementerie trim at hem, all attached to a wide linen/cotton yoke, and lined in blue silk 39 in. x 45 3/4 in. at waist 3 pieces $1,200-1,800 66

The Tr ad i t i o n a l C o lle c t o r l Tu e sd ay, O c tob e r 1 3 , 2 0 2 6

A trio of Chinese embroidered rank badges and a roundel

Mid/late Qing dynasty (circa 1839–1912) or later Three works comprising an early square rank badge with a central multicolored woven image featuring a central crane motif amid auspicious motifs, stylized clouds, waves, and deep water, with an embroidered floral scroll motif border, possibly for a First Rank civil official, together with a later two-piece rank badge featuring a central silver pheasant surrounded by similar auspicious and wave motifs, all worked in multicolored silk and gilt metal thread embroidery, with a border of bat motifs, possibly for a Fifth Rank civil official, and a circular crane motif roundel, embroidered with gilt-metal thread on black fabric 4 pieces Square badge 13 3/4 x 14 5/8 in.; Two-piece badge each piece 11 3/8 x 6 in.; Roundel diameter 6 1/4 in. approximately $1,200-1,800

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A Chinese Buddhist embroidered silk crown headpiece

19th century or earlier The crown with five silk panels each with polychrome silk embroidery featuring a seated figure, each with green silk lining verso, and with two long embroidered silk ties to each end, and two cording laces for attachment Overall 10 x 16 in.; Each panel 5 x 4 1/4 in.; Inner curve length 11 in.; Silk ties length 27 5/8 in. $1,000-1,500

The Tr ad i t i o n a l C o lle c t o r l Tu e sd ay, O c tob e r 1 3 , 2 0 2 6

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The Tr ad i t i o n a l C o lle c t o r l Tu e sd ay, O c tob e r 1 3 , 2 0 2 6

A Chinese embroidered silk panel of a ‘foo dog’

Late Ming/early Qing dynasty (17th-18th century) A silk panel fragment featuring a central foo dog or Chinese guardian lion in a stylized landscape with clouds or smoke and flame motifs, worked in silk and gilt thread embroidery. and with an added textured woven border; the panel professionally mounted to a fabric backing and framed under acrylic Sight 17 x 23 in. approximately $1,000-2,000

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Seven Chinese embroidered silk textile fragments

Late Qing/Republic period (circa 1840-1949) or later A group of rectangular embroidered lined panels, each with polychrome silk and gilt-thread embroidered motifs, comprising four mats each depicting ‘Sanduo’ or ‘Three Abundances’ motifs including a Buddha’s hand citrus, a pomegranate, and a peach, with a stylized bat to the center and each corner, as well as three larger mats each featuring a central Phoenix motif surrounded by various floral and foliate motifs 7 pieces The first each 14 x 17 in.; The second each 19 x 22 in. approximately $1,000-1,500

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A Chinese kesi-style wall hanging of ‘He-He Er Xian’

Late Qing/Republic period (circa 1840-1949) The polychrome rectangular woven hanging with painted details on a red ground, black silk borders, and blue cotton lining, likely depicting two Taoist immortals known as ‘He-He Er Xian’, ‘the Immortals of Harmony and Union’ or the ‘Two Gods of Harmony and Union’ Possible stamped signature to reverse top left corner 5 ft. 5 in. x 3 ft. approximately $3,000-5,000

The Tr ad i t i o n a l C o lle c t o r l Tu e sd ay, O c tob e r 1 3 , 2 0 2 6

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A large Chinese embroidered silk hanging

Late 19th century or later The wide textile worked on red silk with vibrant polychrome silk and gilt wrapped threads, with framed figural reserves featuring multiple dramatic figures wearing elaborate costumes, each reserve amidst auspicious fruits and flowers with alternating twining sprigs including lotus and peony, as well as Buddha’s hand citrus and fancy goldfish, and a teal green silk border with goldfish, waves and mountain motifs, the textile fully lined in printed cotton calico fabric 3 ft. 6 1/2 in. x 9 ft. 7 1/2 in. $1,500-2,500

A large Chinese embroidered hanging of the ‘Ba Xian’ Eight Immortals

19th century or later The extra-wide textile worked on orange silk with polychrome silk and gilt wrapped threads featuring the Eight Immortals or ‘Ba Xian’ as well as three attendants, each figure astride a mythical creature, and each with various attributes and other auspicious and ceremonial items, the figures alternating with branching trees, twining floral elements, and architectural railings within a landscape, and with an embroidered floral border to three sides and fully lined in russet orange cotton Lining stamped in ink with possible signature 4 ft. 4 1/4 in. x 16 ft. 6 3/4 in. $1,000-2,000

The Tr ad i t i o n a l C o lle c t o r l Tu e sd ay, O c tob e r 1 3 , 2 0 2 6

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A Chinese embroidered silk hanging

19th century or later A wide valance-style two-layer hanging worked in polychrome silk embroidery on black silk, featuring multiple phoenix and branched floral and foliate motifs, with blue silk borders and knotwork tassels to the lower edge, and with an attached matching folded valance strip to top edge, all lined in glazed fabric, likely cotton 2 ft. 1 in. x 6 ft. 11 in. approximately; total height with tassels 32 in. $700-900

A large Chinese embroidered silk hanging

Late Qing/Republic period (circa 1840-1949) or later The wide textile worked on red silk with polychrome silk and gilt wrapped threads and sequin accents, featuring multiple dramatic figures wearing elaborate costumes and masks and holding various fans and other auspicious items, amidst twining floral branches, all with a border of alternating fretwork panels with motifs including auspicious fruits and bats, all worked on blue silk, and fully lined in red cotton 2 ft. 7 in. x 8 ft. 4 1/2 in. $1,000-1,500

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A massive Chinese embroidered figural hanging

Late 19th century or later The large textile worked on red silk with vibrant polychrome silk and gilt wrapped thread embroidery, depicting a beautiful maiden and a large fish in a garden landscape with an elaborate pavilion, branching trees and flower sprigs, with various auspicious motifs including a stylized border of gilt thread waves to the lower edge, the textile fully lined in printed cotton calico fabric Embroidery 7 ft. 7 1/2 in. x 6 ft. 10 1/2 in.; Overall height 9 ft. approximately $1,500-2,500

The Tr ad i t i o n a l C o lle c t o r l Tu e sd ay, O c tob e r 1 3 , 2 0 2 6

A Chinese embroidered silk ‘Hundred Antiques’ textile

Qing dynasty, with possible 18th/19th century elements The four-panel hanging worked on black and pink silk in polychrome embroidery in silk and gilt metal threads, featuring an overall ‘Hundred Antiques’ decoration with multiple auspicious motifs including antiquities, scholars’ objects, and other three-dimensional decorative arts items, with additional stylized floral, fruit, bat, fish, and insect motifs and a ‘Lishui’ border of stylized mountain peaks, sea-waves and deep water 42 x 65 1/2 in. approximately $2,000-3,000

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A Chinese embroidered red silk valance hanging

Late Qing dynasty (circa 1839-1912) or later The wide valance-style textile worked on red silk fabric with elaborate polychrome silk and gilt wrapped thread embroidery, depicting several figures within a pavilion, flanked by multiple additional figures in various styles of clothing, two figures mounted on horses, and all surrounded by alternating branching trees, the lower edge with a wide knotted fringe with polychrome tassels and silver metal disc accents; the hanging professionally mounted in a custom acrylic frame 15 1/2 in. x 5 ft. 11 3/4 in.; Overall height including tassels 23 1/4 in. $800-1,200

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The Tr ad i t i o n a l C o lle c t o r l Tu e sd ay, O c tob e r 1 3 , 2 0 2 6

Two Chinese embroidered silk hangings of Chinese Opera figures

Late Qing/Republic period (circa 1840-1949) Each hanging worked on red silk with polychrome silk and gilt wrapped threads, each featuring twenty-four figures of characters from Chinese Opera stories, each figure surrounded by fretwork and floral motifs, the smaller hanging with an embroidered blue silk border featuring auspicious symbols The larger 5 ft. 11 1/2 in. x 4 ft. 5 1/2 in.; The smaller 5 ft. 8 1/2 in. x 5 ft. 1 1/2 in. $1,500-2,500

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A Chinese embroidered red silk hanging of Shoulao and the Eight Immortals

Late Qing dynasty (circa 1839‚—1912) or later A large red silk textile worked in polychrome silk embroidery and gilt wrapped threads, depicting Shoulao and Ba Xian, the Eight Immortals, the central figures wearing elaborately stitched clothing, each Immortal mounted on a mythical creature, and all surrounded by various branching trees and twining floral motifs in a landscape, as well as other auspicious motifs including peaches and bats, all fully lined in glazed cotton fabric 10 ft. 10 in. x 4 ft. 9 in. approximately $5,000-7,000

The Tr ad i t i o n a l C o lle c t o r l Tu e sd ay, O c tob e r 1 3 , 2 0 2 6

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The Tr ad i t i o n a l C o lle c t o r l Tu e sd ay, O c tob e r 1 3 , 2 0 2 6

A massive embroidered Chinese Opera textile hanging

Late Qing/Republic period (circa 1840-1949) A heavy wide textile with all-over vibrant polychrome silk and gilt wrapped thread embroidery worked on red wool fabric, featuring seven larger-than life dramatic figures wearing elaborately stitched costumes and masks and holding various fans and other auspicious items, fully lined in indigo-colored pieced cotton fabric 5 ft. 4 1/2 in. x 10 ft. 4 in. approximately $3,000-5,000

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A massive Chinese embroidered silk hanging

Late Qing dynasty (circa 1839-1912) or later The extra large textile fragment with vibrant polychrome silk and gilt wrapped thread embroidery, depicting Immortals on a boat in a garden amidst trees, floral motifs and stylized waves, with a partial red silk border to two sides featuring multiple auspicious exotic birds and flowers, fully lined in burnt orange cotton fabric Embroidery 8 ft. 10 1/2 in. x 6 ft. 10 in.; Overall height 11 ft. 7 in. approximately $5,000-7,000

The Tr ad i t i o n a l C o lle c t o r l Tu e sd ay, O c tob e r 1 3 , 2 0 2 6

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A set of four Chinese Huanghuali and hardwood yoke back chairs

High Qing dynasty elements (1680-1790s) Each with yolk crest rail, S-curve back splat, and woven seat panel above shaped apron and straight legs joined by a box stretcher 4 pieces Height of each 42 1/4 in., width 20 in., depth 18 in. $20,000-30,000 Provenance: Leonard Kaplan’s Ancient Arts, Laguna Beach, CA Private collection, acquired from the above, March 1, 1974 Notes: This lot is accompanied by a purchase receipt from the abovementioned retailer, as well as written correspondence from the seller to the buyer.

The Tr ad i t i o n a l C o lle c t o r l Tu e sd ay, O c tob e r 1 3 , 2 0 2 6

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A group of Chinese miniature wood furniture

20th century Comprising three tables of different sizes, a pair of plant stands, pair of side tables, set of four horseshoe chairs, and a set of six armchairs, in a custom box 17 pieces Height of largest table 5 1/4 in., width 12 3/8 in., 2 3/4 in.; height of box 7 3/4 in., width 20 in., depth 20 in. $3,000-5,000

The Tr ad i t i o n a l C o lle c t o r l Tu e sd ay, O c tob e r 1 3 , 2 0 2 6

A group of six Chinese hardwood stands

Late Qing dynasty (1644-1912) and later Comprising one larger of unusual form, four pierced wood plaque stands, and another 6 pieces Height of largest 4 1/2 in., width 17 in., depth 8 3/4 in.; widths of plaque openings 7 1/2, 4 5/8, 4 3/4, and 3 5/8 (x2) in. $700-900

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Y A Northern Chinese rosewood side chair

Late Qing dynasty (1644-1912) or later With a shaped splat above an apron carved with cloud motifs, raised on straight legs joined by a box stretcher Height 41 1/2 in., width 21 in., depth 16 3/4 in. $500-700 Provenance: Museum Antiques, Los Angeles Private collection, acquired from the above This lot may require a CITES permit if being shipped outside California. Please contact your preferred shipping company for information.

The Tr ad i t i o n a l C o lle c t o r l Tu e sd ay, O c tob e r 1 3 , 2 0 2 6

A pair of Chinese lacquered softwood cabinets

19th century or later Gilt-painted with figural scenes and foliate filigree, each with hinged doors mounted with later iron pulls, opening to reveal a single shelf 2 pieces Height of each 27 in., width 26 in., depth 16 1/4 in. $500-800

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In the style of Giovanni Francesco Barbieri (“Il Guercino”) (1591-1666) Moses striking the rock Oil on canvas laid to canvas Unsigned 51 1/2 x 68 in. $4,000-6,000

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In the style of Giovanni Francesco Barbieri (“Il Guercino”)

(1591-1666) David holding Goliath’s severed head Oil on canvas laid to canvas Appears unsigned; inscribed “2” in another hand in black ink on the stretcher 51 1/4 x 67 1/2 in. $4,000-6,000

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In the style of Giuseppe Bertini

(1825-1898) An elderly Christopher Columbus meeting King Ferdinand II and Queen Isabella I of Spain Oil on canvas laid to canvas Signed lower right: G. Bertini 58 1/2 x 43 3/8 in. $1,000-1,500

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In the style of Annibale Carracci

(1560-1609) Abraham banishing Hagar and Ishmael Oil on canvas Unsigned 53 3/4 x 41 in. $3,000-5,000

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In the style of Bartolomé Esteban Murillo (1617-1682) Rebecca at the well Oil on canvas Unsigned 42 x 59 3/4 in. $1,500-2,000

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Jean Baptiste van Eycken

(1809-1853) Madonna and child with angels Oil on canvas laid to canvas Signed lower left under the frame’s spandrel: Jean Van Eycken; numbered in black, in another hand, “#7734” on the stretcher Sight: 41 x 33 in.; Overall: 42 x 34 in. $800-1,200 Provenance: Los Angeles Fine Art Gallery, Los Angeles, CA Notes: A photograph of the signature is affixed to the frame’s backing board.

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Attributed to Ambrosius Benson

(circa 1495-1550) Madonna and Child Oil on canvas laid to canvas Unsigned; inscribed in ink in another hand “Vierge su XVI siècle Ambrosius Benson” on the frame’s backing paper 37 3/4 x 23 in. $4,000-6,000 Provenance: Leighton Fine Arts, Marlow, England Private collection, acquired from the above

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19th Century Continental School Madonna and Child Oil on canvas Unsigned 26 x 18 5/8 in. $1,000-1,500 Notes: An old address label from Vienna is affixed to the verso.

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Albrecht Durer

(1471-1528) “Virgin and Child with the Monkey,” circa 1498 Engraving on off-white wove paper without watermark From the edition of unknown size and date, a Meder i (of i, or later) impression, printed later With the artist’s monogram printed near the center of the lower plate edge Plate: 7 1/2 x 5 1/2 in.; Sheet: 11 1/4 x 6 7/8 in. $800-1,200 Literature: Bartsch 42; Meder 30 i/i

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After Albrecht Durer

(1471-1528) “The Last Supper,” circa 1509-11 Woodcut on cream wove paper without watermark From the edition of unknown size and date, printed later With the artist’s monogram printed near the center of the original block’s lower edge; with text printed in the lower margin as part of the process for this later edition reading: “The Last Supper / Impression from the Original Block engraved by / Albert[sic] Durer” Image: 5 x 3 7/8 in.; Sheet: 10 1/4 x 8 3/8 in. $300-500 Literature: see Bartsch 24; see Meder 133

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Three French bronze mortars and pestles

17th/18th century together with a reproduction Dutch bronze mortar marked ‘62 63 64 65 66’ and cast ‘Henryck Te...Horst Me Fecyt’ 7 pieces Height of largest French 3 1/2 in., diameter 5 1/4 in.; height of Dutch 4 5/8 in., diameter 6 in. $600-800 Provenance: Three French: Asgill House, Richmond, Surrey (London), England From the estate of Professor V. A. Kolve, Hollywood Hills, CA, acquired from the above Dutch: Sold: Weschler’s Auctioneers & Appraisers, Washington, D.C., January 10, 1986 From the estate of Professor V. A. Kolve, Hollywood Hills, CA, acquired from the above Notes: This lot is accompanied by digital copies of a hand-written receipt from Asgill House and another typed from Weschler’s. 1 1 0 The Tr ad i t i o n a l C o lle c t o r l Tu e sd ay, O c tob e r 1 3 , 2 0 2 6

Three Royal Bonn earthenware ‘Delft’ covered urns

Mid/late 19th century The handled and lidded urns, each depicting sailboats to one side and floral motifs to the other Each marked: Royal Bonn / “Delft”; each impressed: Franz Ant. [Anton] Mehlem / Bonn A/Rhein; each with various impressed and painted numbers 3 pieces Height of tallest 30 1/4 in., width 15 1/2 in., depth 10 3/4 in.; height of shortest 17 in., width 8 1/2 in., depth 6 1/2 in. $500-700

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A late Victorian parcel gilt carved wood overmantel mirror

Late 19th/early 20th century The rectangular frame ornately carved with foliate motifs, flanked by dolphins and crested by a nautical trophy Height 48 in., width 94 in., depth 4 1/2 in. approximately $600-800

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An Aubusson tapestry

19th century Depicting two figures and sheep before a mountain scene with buildings in the mid-distance, within a floral and scrolled leaf border, all woven in polychrome wool and silk threads Sight 6 ft. 5 1/4 in. x 4 ft. 6 1/2 in. $800-1,200 Provenance: Private collection, San Diego, CA

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A Franco Flemish verdure tapestry

18th/early 19th century Depicting a crane and wolf drinking from a basin or puddle, a possible variation on Aesop’s Wolf and Crane classic fable, all set within a landscape with trees in the foreground and buildings in the mid- and far-distance, woven in polychrome wool and silk threads 7 ft. 1 in. x 7 ft. 1/2 in. approximately $3,000-5,000

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Two Renaissance style carved walnut chairs

Late 19th century Comprising a sgabello chair and a Savonarola chair 2 pieces Height of Savonarola 45 3/4 in., width 32 1/4, depth 24 1/4 in.; height of sgabello 38 1/2 in., width 14 1/2 in., depth 21 in. $700-900

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A Renaissance Revival walnut marquetry buffet

Late 19th century Profusely inlaid with peacocks, eagles, stags, beast heads, and scrolling foliate motifs throughout, the upper console with two shelves supports on Corinthian columns, flanking a central locking cabinet, opening to reveal a single shelf, the lower cabinet with granite top above two locking drawers and two locking doors, each opening to reveal a single shelf, raised on bun feet Height of upper 53 1/2 in., width 61 1/2 in., depth 20 in.; height of lower 34 in., width 61 1/2 in., depth 25 1/2 in.; overall height 88 in. $2,000-3,000

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A Spanish Colonial polychrome carved wood santo of Mary Early 19th century; Philippines Wearing a pierced crown, her hands before her Height 12 7/8 in., width 7 7/8 in., depth 4 1/2 in. $400-600 Provenance: The collection of Richard and Michelle Monroe Marguerite Riordan, Stonington, CT From the estate of Professor V. A. Kolve, Hollywood Hills, CA, acquired from the above, August 30, 1979 Notes: This lot is accompanied by a digital copy of a purchase receipt from Marguerite Riordan.

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A Renaissance Revival carved oak pedes

19th/early 20th century The leather-inset top with crenellated edge ab each front with locking mechanism and carved 3 pieces Height overall 30 1/4 in., width 74 1/2 in., dep $1,000-1,500

stal desk

bove three drawers to one side, one locking, raised on three-drawer pedestals, d foliate motifs, flanked by half-length pilasters

pth 38 in.; height of each pedestal 23 3/4 in., width 26 1/2 in., depth 37 1/2 in.

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A Spanish Baroque style polychrome leather six

19th century Each panel with brass tacking and burlap backing, moun painted and gilt with floral motifs and filigree Height of each panel 81 1/4 in., width 14 1/4 in., depth 1 $700-900

A Spanish Baroque style carved walnut library table

19th century With three drawers above fratino-style lyre-form supports joined by wrought-iron stretchers Height 30 1/2 in., width 79 3/4 in., depth 32 1/4 in. $600-800

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panel floor screen

nted to a wood frame,

1 3/8 in.; depth stored 8 in.

A Norwegian carved wood ale bowl

Late 18th century With double horse-head handles Height 4 3/4 in., width 8 1/2 in., depth 5 in. $400-600 Provenance: From the estate of Professor V. A. Kolve, Hollywood Hills, CA

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Two German Baroque parcel gilt carved wood putti 18th century Depicted in near-mirrored poses 2 pieces Heights 14-16 in., widths 9-10 in., depths 5 1/2-6 1/4 in. $500-700

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Two French Solomonic Cosmati mosaic stone column fragments

12th-13th century The spiral fluting with a small residue of the original Cosmatesque mosaic work executed in sard red, lapis blue, and amber hues, one mounted on an iron base 2 pieces Height of each 10-10 1/2 in., diameters 5 1/4-5 1/2 in.; height of stands 3 1/4 in., diameter 4 3/4 in. $600-800 Provenance: Lane Gallery, Paddington, New South Wales, Australia From the estate of Professor V. A. Kolve, Hollywood Hills, CA, acquired from the above, May 21, 1985 Notes: This lot is accompanied by a digital copy of a purchase receipt from the abovementioned retailer.

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A Flemish alabaster mezzo relief of Christ washing the feet of the disciples

Likely Maline, 16th/17th century Affixed to a felt-lined backing set on a wood stand Height of panel 5 in., width 4 7/8 in., depth 3/4 in.; backing 10 1/8 x 8 5/8 in.; height of stand 7 3/8 in. $400-600 Provenance: Antiquus, London, England From the estate of Professor V. A. Kolve, Hollywood Hills, CA, acquired from the above, August 13, 1990 Notes: This lot is accompanied by a digital copy of the purchase receipt from the abovementioned retailer.

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A Flemish carved oak mezzo relief of ‘The Pieta’

16th century Depicting Christ wearing a perizonium and lying prostrate over the knees of Mary, mounted on a felt-lined stand Height of panel 14 3/4 in., width 13 in., depth 2 1/2 in.; height overall 16 7/8 in., width 16 3/8 in., depth 5 3/8 in. $600-800 Provenance: La Reine Margot, Paris, France The collection of William D. Montapert, acquired from the above, September 1982 Sold: Butterfield & Butterfield, Los Angeles, CA, “The Collection of William D. Montapert, Beverly Hills” June 13, 1990 From the estate of Professor V. A. Kolve, Hollywood Hills, CA, acquired from the above Notes: This lot is accompanied by a digital copy of the purchase receipt from Butterfield & Butterfield mentioned above.

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A polychrome carved wood figure of the Madonna and child 14th/15th century or later With putti depicted at base Height 14 in., width 5 1/8 in., depth 4 3/8 in. $600-800

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100

A South German carved linden wood bust of a saint Circa 1500 School of Tilman Riemenschneider (c. 1460-1531) Height 13 in., width 13 in., depth 6 in. $800-1,200 Provenance: Joanna Booth, London, England From the estate of Professor V. A. Kolve, Hollywood Hills, CA, acquired from the above, May 13, 1994 Notes: This lot is accompanied by a digital copy of the purchase receipt from the abovementioned retailer.

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101

A Romanesque style carved red marble lion fountainhead

possibly 12th century Raised on a later bronze pedestal made by Greg Higgins (20th/21st Century) Height 20 1/2 in., width 25 in., depth 14 in.; height of pedestal 42 in., diameter 15 in. $1,500-2,000

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102

A German carved oak sculpture of Christ at the baptism Late 18th century His cloak boldly tied at his waist, his right hand raised Height 21 3/4 in., width 11 in., depth 6 1/2 in. $500-700 Provenance: From the estate of Professor V. A. Kolve, Hollywood Hills, CA

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103

A Roman glass amphoriskos

1586-330 BCE Mounted on a display armature with black painted wood base Height without ring 3 3/4 in., width 2 in., depth 7/8 in.; height on stand 4 3/4 in. $300-500 Provenance: Private collection, San Diego, CA Notes: This lot is accompanied by a Certificate of Authenticity from Tarhish / J. Zadok & Sons, Jerusalem, Israel.

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104

A Celtic socketed bronze axe head

8th-7th century BCE With ribbed collar and loop, mounted on a wood display armature wire armature Height 2 1/8 in., width 3 1/4 in., depth 1 1/4 in.; height of wood 3/4 in., width 4 in., depth 1 7/8 in. $300-500 Provenance: Private collection, San Diego, CA

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105

A Roman/Coptic carved limestone head of a faun

Circa 200-600 CE With horns, curly hair, pronounced eyes, and short beard, mounted on an armature, raised on a black marble base with rotating base Height 7 in., width 6 1/2 in., depth 3 7/8 in.; height of base 11 3/4 in., width 5 5/8 in., depth 4 3/4 in. $800-1,200 Provenance: Private collection, San Diego, CA Notes: This lot is accompanied by an appraisal by Lucien Viola, director of L’Ibis Gallery, New York, NY, signed and dated August 3, 1979.

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106

A Chinese Neolithic pottery double handled jar Circa 2000 BCE, likely Siwa Height 9 1/2 in., diameter 8 3/4 in. $700-900 Provenance: Marc Richards, Los Angeles, CA From the estate of Professor V. A. Kolve, Hollywood Hills, CA, acquired from the above, May 5, 2002 Notes: This lot is accompanied by a digital copy of a purchase receipt from the abovementioned retailer.

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107

A Chinese Sichuan burnished black pottery amphora Han dynasty (202 BCE-220 CE) Carved with taotie eyes Height 6 7/8 in., width 7 1/4 in., depth 5 3/4 in. $700-900 Provenance: Archangel Antiques, Hong Kong From the estate of Professor V. A. Kolve, Hollywood Hills, CA, acquired from the above, November 1, 2005 Notes: This lot is accompanied by a digital copy of a purchase receipt and Certificate of Authenticity from the abovementioned retailer.

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108

A Chinese green glazed molded pottery Hu form jar Han Dynasty (206 BCE-220 CE) With beasts and masks in bas relief along the shoulder Height 9 1/4 in., diameter 7 7/8 in. $500-700

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109

A Chinese Jianyao glazed ceramic ‘Hare’s Fur’ bowl with mark

Song dynasty (960-1279 CE) or later Covered inside and out with a viscous black and russet glaze of densely patterned striated lines, the exposed stoneware body fired reddish tan Incised to the base with an unidentified makers’ mark Height 2 5/8 in., diameter 6 1/2 in. $1,200-1,800

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110

A group of three Chinese green glazed ceramic money chests

Ming dynasty (1368-1644) Comprising a pair and a single 3 pieces Height of pair 7 1/8 in., width 5 1/4 in., depth 3 in.; height of single 5 5/8 in., width 6 3/8 in., depth 4 1/4 in. $500-700

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111

A pair of Chinese molded porcelain figural water droppers Late Qing dynasty/Republic era (1644-1949) Each in the form of sages on rocks With applied labels: Made in China 2 pieces Height of each 2 1/8 in., width 3 3/4 in., depth 3 1/4 in. $1,200-1,800

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112

A Chinese transmutation glazed porcelain vessel Mid-20th century Bearing a blue underglaze Jingdezhen zhi mark Height 8 1/4 in., diameter 5 3/4 in. $400-600

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113

A Chinese iron red enameled porcelain vessel Circa 1950 Bearing painted Jingdezhen zhi mark to underside Height 12 1/8 in., diameter 5 in. $1,000-1,500

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114

A Chinese reticulated white porcelain vase Early 20th century Impressed with seal and: MADE IN CHINA Height 12 1/4 in., diameter 5 3/4 in. $600-900

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115

A Chinese pewter mounted polychrome pottery Yixing teapot Early 19th century or later Underside impressed with seal reading Shao Yuanxiang zhi Height 7 1/8 in., width 11 3/4 in., depth 7 3/8 in. $2,000-3,000

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116

A pair of Chinese carved wood and painted silk screen panels

19th century or later Comprising two panels of a larger screen, the frames intricately reticulated, each mounted with a pigment on fabric figural landscape painting under glass 2 pieces Sight of each 51 5/8 x 20 3/8 in.; height of each overall 72 1/2 in., width 28 1/2 in., depth 2 in. $4,000-6,000

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117

20th Century Ukrainian School

“By the Lake,” circa 1986-89 Oil on canvas Signed in Cyrillic and dated “89” lower right; signed again and titled in Cyrillic, and alternatively dated “1986,” all verso; signed and titled again in Cyrillic, in ink, on a label affixed verso 21 x 25 in. $2,000-3,000

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118

A set of ten Spanish Baroque style dining chairs

20th century Each upholstered in cotton with brass tacking, raised on turned legs and box stretchers 10 pieces Height of each 40 1/2 in., width 21 in., depth 26 in. $800-1,200

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120

A champlevé and pierced metal table lamp

Attributed to Lillian Palmer (1871-1961), early 20th century The enameled metal base issuing two lights, with a pierced metal and paper shade, electrified Height overall 26 in., diameter 17 1/8 in.; diameter of base 8 3/8 in. $800-1,200

119

A Regency style brass inlaid octagonal tilt-top table

Late 19th century With brass mounts, the inlay depicting foliate motifs and butterflies, raised on a tripod base with shaped legs ending in scrolled terminals Height 27 3/4 in., width 26 3/4 in., depth 24 3/4 in. $800-1,200 Provenance: Private collection, Los Angeles, CA

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121

Razmik Agopian

(1941-1999) “Les femmes de Zournabad” Oil on canvas Signed in Cyrillic lower right: R.M. Akopian; titled by repute 51 x 38 in. $2,000-3,000 Provenance: Sold: Massol, Paris, France, “Tableaux Arméniens,” June 4, 2008, Lot 130 Private collection, Los Angeles, CA, from the above

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122

Sarkis Sarkisian

(1909-1977) “Dark Eyes,” 1938 Oil on canvas Signed and dated lower left: Sarkis 38; titled partially indistinctly in pencil on an exhibition label affixed to the frame’s verso 29 3/4 x 21 1/4 in. $1,000-1,500 Exhibited: Detroit, MI, Detroit Institute of Arts, n.d.

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123

Sarkis Sarkisian

(1909-1977) Vase with flowers, 1930 Oil on canvas Signed and dated lower left: Sarkis 30 22 3/4 x 18 in. $700-1,000 Provenance: Private collection, Los Angeles, CA

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124

Sarkis Sarkisian

(1909-1977) Still life with figs, 1936 Oil on canvas Signed and dated lower right: Sarkis 36 10 x 12 in. $500-700 Provenance: Private collection, Los Angeles, CA

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125

20th Century German Still life

Tabletop still life, 1914 Watercolor on paper Inscribed and/or signed, partially indistinctly, and dated lower right: Onkel Otto Krie[indistinct] 1914 Sight: 18 3/4 x 27 3/4 in. $500-700 Provenance: Private collection, Los Angeles, CA

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126

Achille Cesbron

(1849-1915) Vase of roses Oil on canvas Signed lower right: Achille Cesbron 25 1/4 x 19 3/4 in. $500-700

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127

Albert André

(1869-1954) Floral still life Oil on canvas Signed lower right: Albert André 21 1/2 x 36 1/4 in. $3,000-5,000

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128

Joseph Jacob Burgaritzky

(1836-1890) Figures along a river in a wooded landscape Oil on canvas laid to canvas Appears unsigned; artist attribution from the frame plaque 19 1/2 x 32 in. $400-600 Provenance: The Farkas Corp., Beverly Hills, CA

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129

Josep Serrasanta

(1916-1998) Grazing horses with mountains in the distance Oil on canvas Signed lower left: Serrasanta 23 3/4 x 29 in. $600-800

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130

Joseph Rummelspacher

(1852-1921) “Neumärkischer Buchenwald,” 1899 Oil on panel Signed and dated lower left: Rummelspacher / 99; signed “Jos. Rummelspacher,” titled, and inscribed with the artist’s Berlin address, all in ink, verso 16 1/4 x 12 3/8 in. $600-800 Provenance: Sold: Thomaston Place Auction, Thomaston, ME, “Winter Feature Auction of Fine Art, Antiques, and Art Glass,” February 8-9, 2014, Lot 286

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131

George Clarkson Stanfield

(1828-1878) “Beilstein an der Mosel,” 1862 Oil on canvas Signed and dated lower left: George C. Stanfield / 1862 20 3/8 x 30 3/8 in. $2,000-3,000 Provenance: Sold: Bradford’s Auction Gallery, Sun City, AZ, “The Premier Art Auction,” March 22, 2026, Lot 4027

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132

E. Ponthier

(20th Century) A rural landscape with cattle Oil on canvas Signed lower right: E. Ponthier 24 x 36 in. $600-800

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133

Robert Watson

(1855-1921) Cattle in a landscape, 1882 Oil on canvas laid to canvas Signed and dated lower right: R. Watson 82 7 x 11 in. $800-1,200

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135

(1807-1865) Farm scene Oil on canvas laid to canvas Unsigned 8 1/4 x 12 1/4 in.

(1870-1923) “Gate Crags, Borrowdale, Cumb Oil on canvas Signed and dated lower left: J. B pencil on the stretcher 16 x 24 in.

Constant Dutilleux

$800-1,200

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James Barnes

$500-700

berland,” 1898

Barnes / 1898; titled in

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William Henry Singer J (1868-1943)

American painter and art patron, William He family. His father was successful in the mining initially pursued an accounting education an 1895, Singer married Hagerstown, PA reside went to Monhegan Island in Maine where Si Martin Borgord, a Norwegian expat living in Julian for a few months. In France he becam American influence.

Singer and his wife left France and moved to located. The couple also began spending su village of Olden on the Nordfjord, north of B

Singer’s work often focused on landscapes, h and an emphasis on atmosphere rather than sensibilities with European techniques, earni He exhibited widely and was a member of m

In addition to his career as a painter, Singer p and Norway. Together, they supported local Anna founded the Singer Laren museum in h and contemporary art.

Jr.

enry Singer Jr. was born in Pittsburgh, Pennsylvania, into a wealthy industrial g industry and owned the successful Singer-Nimick and Co. iron works. Singer nd a career working for his family, before focusing on his artistic practice. In ent, Anna Brugh, and in the summer of 1900, Singer and his supportive spouse inger began painting full time. Singer had first studied painting privately with n Pittsburgh, and later he continued his studies in Paris enrolling at the Académie me deeply influenced by French Impressionism, and Willard Metcalf was an early

o Laren, Holland, outside of Amsterdam, where a regional school of artists was ummers on the west coast of Norway and ultimately settled near the picturesque Bergen.

harbor scenes, and everyday life, characterized by soft brushwork, muted tones, n fine detail. Over time, Singer developed a style that blended American ing him recognition among both American expatriates and European art circles. many major arts organizations in Europe and the US.

played a significant role as a patron of the arts, particularly in the Netherlands l artists and helped establish an artistic community in the region. After his death, his honor, which remains an important cultural institution showcasing modern

136

William Henry Singer Jr.

(1868-1943) “Highlands,” 1923 Oil on canvas Signed and dated lower right: W.H. Singer Jr. / 1923; signed again verso; titled and inscribed “36” on the stretcher 32 x 33 3/4 in. $2,000-3,000 Provenance: Estate of the artist Private estate, California, from the above

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137

William Henry Singer Jr.

(1868-1943) Winter landscape near a lakeside town Oil on canvas Signed lower right: W H Singer Jr. 39 1/2 x 42 in. $3,000-5,000 Provenance: Estate of the artist Private estate, California, from the above Notes: There is an unfinished oil sketch of a summer landscape, verso.

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138

William Henry Singer Jr.

(1868-1943) “Midsummer,” circa 1936 Oil on canvas Signed lower left: W.H. Singer Jr.; titled and dated on the certificate of authenticity 33 3/4 x 31 3/4 in. $2,000-3,000 Provenance: Anna Brugh Singer, wife of the artist Jacob Dooijewaard, Netherlands, from the above Willem Dooijewaard, Netherlands, brother of the above, by descent Private estate, California Notes: This work is accompanied by a photographic certificate of authenticity signed by Willem Dooijewaard and dated July 10, 1973. 1 7 4 The Tr ad i t i o n a l C o lle c t o r l Tu e sd ay, O c tob e r 1 3 , 2 0 2 6

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William Henry Singer Jr.

(1868-1943) “Olden Church” (Winter), 1919 Oil on canvas Signed lower left: W.H. Singer Jr.; signed again, verso; titled and inscribed “43” on the stretcher; alternatively titled “Olden Village, Norway,” on the certificate of authenticity; dated by repute 33 3/4 x 32 in. $2,000-3,000 Provenance: Anna Brugh Singer, wife of the artist Jacob Dooijewaard, Netherlands, from the above Willem Dooijewaard, Netherlands, brother of the above, by descent Private estate, California Notes: This work is accompanied by a photographic certificate of authenticity signed by Willem Dooijewaard and dated July 10, 1973. johnmoran.com 175

Gottfried Kallstenius (1868-1943)

Swedish painter, graphic and decorative 20th-century Swedish art scene. Born in Arts in Stockholm and later traveled in E became particularly known for his lands Swedish countryside and coastal scener between academic painting and the mo twentieth century.

e artist Gottfried Kallstenius is associated with the late 19th- and early n Västervik, Sweden, he studied at the Royal Swedish Academy of Fine Europe, where he encountered different artistic traditions. Kallstenius scapes, portraits, and decorative compositions, often portraying the ery with atmospheric light and rich colors. His work reflects the transition ore expressive approaches that emerged around the turn of the

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140

Gottfried Kallstenius

(1861-1943) A meadow path and trees at dusk, 1910 Oil on canvas laid to canvas Signed and dated lower left: G. Kallstenius / 1910; inscribed in pencil “LKV 40” and in blue pencil “No. 36” all on the stretcher, likely in another hand 40 1/4 x 73 3/8 in. $5,000-7,000 Exhibited: Nationale Kunstausstellung, No. 4226, Munich, 19*1 (from a label affixed to the frame) Notes: There are several old, partial labels verso.

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141

An assembled set of eight Italian Neoclassical silvered dining chairs

One circa 1780, five early 20th century, two late 20th century Comprising a pair of armchairs and six side chairs, each with later upholstered seat cushion 8 pieces Height of each armchair 38 1/2 in., width 21 1/2 in., depth 21 3/4 in.; height of each side chair 37 1/4 in., width 19 3/4 in., depth 19 in. $3,000-5,000 Provenance: Christie’s, New York, NY, “Continental Furniture, Tapestries, Works of Art and Carpets,” March 31, 2000, Lot 113 Private collection, acquired from the above

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142

An Italian Rococo lacca povera commode

18th century The faux marble top above a conforming case fitted with two drawers, decorated with figural tableaus and butterflies Height 34 1/4 in., width 45 in., depth 21 1/2 in. $1,500-2,000 Notes: Lacca povera is a decorative technique in which printed or painted paper cut-outs are applied to a prepared surface and subsequently coated with multiple layers of varnish, creating the illusion of the costly lacquer decoration associated with East Asian and European lacquerware. The technique originated in Venice in the late 17th century and gained considerable popularity during the first quarter of the 18th century. From Italy, the practice spread throughout Europe, where it remained fashionable as a comparatively economical means of achieving the richly ornamented appearance of lacquer during the 18th century.

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143

A Chinese spinach jade brush pot

Circa 1920-1940 Carved in low to medium relief with figures, buildings, and prunus trees Height 7 in., diameter 7 3/8 in. $8,000-12,000 Provenance: This was presented to General John R. Hodge (1893-1963) who served as the governor of the American military government in Korea from 1945 to 1948.

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144

A large Buccellati sterling silver ‘furry’ figure of a stag Late 20th/early 21st century Sterling silver and other materials Marked to one hoof: Gianmaria Buccellati Italy Height 22 in., width 32 in., depth 20 in. approximately $20,000-30,000

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145

A set of four Louis XV style gilt bronze mounted marble ewers 20th century Each appears unmarked 4 pieces Height of each 17 1/2 in., width 9 5/8 in., depth 6 1/2 in. $1,200-1,800

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146

A pair of Baccarat glass ‘Enfant Lusters’ candlesticks and four shades

Mid-20th century Comprising a pair of bases with cut glass drop elements and two pairs of shades, one pair with ribbed rim Each base and shade etched with factory mark 6 pieces Height of each base 15 in., diameter 6 1/4 in.; height of shades 9 1/8 in., diameter 4 7/8 in. $800-1,200

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147

A pair of Baccarat glass ‘Enfant Lusters’ candlesticks and four shades

Mid-20th century Comprising a pair of bases with cut glass drop elements and a set of four shades Each base and shade etched with factory mark 6 pieces Height of each base 15 in., diameter 6 1/4 in.; height of shades 9 1/8 in., diameter 4 7/8 in. $800-1,200

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148

A pair of Louis XV style parcel gilt bronze lion andirons 19th century Each base impressed: CAFIERI 1800 2 pieces Height of each 19 in., width 20 in., depth 13 in. approximately $600-800 Provenance: Property from the Anni & Arthur Lipper III Collection, Del Mar, CA

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149

A French patinated bronze figure of Venus de Milo Late19th/early 20th century After the antique Impressed ‘AD’, possibly for Auguste Delafontaine. Height 22 1/2 in., width 6 7/8 in., depth 6 3/4 in. $400-600

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150

After Vincenzo Vela

(1820-1891) “The Last Days of Napoleon” Patinated bronze Signed in the casting: V VÉLA; foundry mark: F. BARBEDIENNE, Fondeur Height 7 1/2 in., width 5 1/4 in., depth 7 1/4 in. $1,500-2,500 Notes: The original carved marble after which this bronze was modeled was exhibited at the 1867 Exposition Universelle in Paris and subsequently acquired by Napoleon III, now located in the Musée national des châteaux de Malmaison et de Bois Préau outside of Paris. There is a second marble version in the Corcoran Gallery of Washington D.C. Barbedienne issued this model in various sizes during the late 19th century.

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151

After Charles Cumberworth

(1911-1852) Maiden with dove Patinated bronze Signed in the casting: CUMBERWORTH Dept; foundry mark: L. Larchand Edtr. Height 12 1/4 in., width 12 1/2 in., depth 7 3/4 in. $300-500

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152

Three pairs of French brass candlesticks

18th/19th century Comprising a pair of Louis XV candlesticks with baluster standards and urn-form nozzles, a pair with conical standards and flared urn-form nozzles with round plinths, and a pair with barrel-form nozzles and octagonal plinths 6 pieces Height of tallest 8 3/4 in., diameter 3 7/8 in.; height of shortest 6 in, width 3 7/8 in., depth 3 7/8 in. $400-600 Provenance: One pair: Jellinek & Sampson Antiques, sold June 20, 1972 Another pair: Malcolm G. Clark, Cambridge, England, sold August 12, 1969 The last pair: Hilton Gallery, Cambridge, England, sold August 19, 1969 From the estate of Professor V. A. Kolve, Hollywood Hills, CA, each acquired from the above retailers Notes: This lot is accompanied by digital copies of purchase receipts from the three abovementioned retailers.

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153

A Rococo style giltwood mirror

19th/20th century With openwork foliate border crested by roses, the corners and crest with small mirrored panels Height 77 3/4 in., width 49 in., depth 6 1/4 in. $1,000-2,000

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154

A Louis XV style carved hardwood console table

20th century With openwork apron raised on cabriole legs ending in scroll feet Height 34 1/2 in., width 84 in., depth 24 in. $700-900

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155

A Louis XV style carved walnut occasional table 20th century With dished breche violette marble top Height 27 1/4 in., width 29 1/2 in., depth 26 1/2 in. $600-800

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156

A Louis XV style gilt bronze mounted side table 20th century Raised on cabriole legs joined by an undertier Height 25 1/4 in., width 21 1/4 in., depth 15 1/4 in. $500-700

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157

A Louis XV style upholstered walnut three panel screen

Late 19th/early 20th century With mirrored upper panels above jacquard upholstery with nail head trim Height of center panel 72 1/2 in., width 20 1/2 in., depth 1 1/2 in; height of each side panel 64 1/4 in., width 16 in., depth 1 1/2 in. $700-900

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158

A Louis XVI style giltwood bergère and ottoman

20th century Each upholstered in pink velvet with gilt-printed foliate and star designs, the ottoman with tufting, with four matching pillows 2 pieces Height of chair 42 1/4 in., width 36 in., depth 44 in.; height of ottoman 20 in., width 35 in., depth 17 in. $600-800

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159

A Louis XVI style overmantel trumeau mirror

Late 19th century The tableau decorated with two carved giltwood musical trophies on a cream-painted ground Height 40 1/4 in., width 60 1/4 in., depth 1 7/8 in. $800-1,000

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160

A large Louis XVI style giltwood mirror

19th century With columnar sides crested by palmettes centering an ornate cornice with central bust Height 80 in., width 60 1/2 in., depth 13 1/2 in. $800-1,200

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161

A Neoclassical style parcel gilt corner console table

20th century With inlaid satinwood veneer top above giltwood apron and columnar supports Height 35 1/4 in., width 37 3/4 in., depth from corner 26 3/4 in. $500-700

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162

A pair of Venetian style painted carved wood mirrors

Late 19th/early 20th century Depicting seven figural tableaus alternation with gilt on red filigree panels 2 pieces Height of each 49 1/2 in., width 28 1/2 in., depth 2 3/4 in. $600-800

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163

A Regence style painted metal hall lantern

Late 20th/early 21st century With four lights and glass panels, electrified Height without chain 53 in., width 24 1/2 in., depth 24 1/2 in. $700-900

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164

A Danish mahogany chest

Late 18th century with later elements With an associated later gray marble top over four graduated locking drawers, each with two brass ring pulls Height 31 1/2 in., width 27 1/2 in., depth 18 1/4 in. $500-700 Provenance: Passer Antik, Copenhagen, Denmark Private collection, San Diego, CA, acquired from the above, November 11, 1985 Notes: This lot is accompanied by a copy of a signed receipt from the abovementioned retailer.

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165

An Empire style gilt bronze mounted mahogany armchair and bench

20th century With leather upholstered seatbacks and seats 2 pieces Height of chair 44 1/2 in., width 29 in., depth 27 in.; height of bench 24 1/4 in., width 33 in., depth 21 1/4 in. $600-800

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166

A Charles X mahogany dressing table

Second quarter 19th century With swing frame octagonal mirror above a white marble top and single locking drawer, opening to reveal a brass inkwell and sliding top compartment with inset gilt-stamped green leather surface, raised on paw feet, the drawer front and stretcher with book matched veneer Height of table 29 1/4 in., width 32 1/4 in., depth 16 1/2 in.; height of mirror 23 3/4 in., width 29 1/4 in., depth 2 3/4 in. $500-700

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167

A Carl Thieme porcelain occasional table

Late 19th century The ebonized wood tabletop with gilt painted accents, set with ten painted porcelain panels, each depicting courting figures, centering a middle panel with putti, raised on a painted porcelain pedestal profusely decorated with figures, masks, and floral elements in relief, ending in four scroll legs, with a middle porcelain support element conformingly decorated Marked to underside: blue painted T over crossed lines; incised: 794 4 pieces Height of tabletop 3 3/4 in., diameter 25 3/4 in.; height of base 23 3/4 in., width 15 1/4 in., depth 15 3/4 in.; height of middle piece 6 3/4 in., diameter 5 3/4 in. $3,000-5,000

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168

A Meissen porcelain figure of a bowler

Late 19th/early 20th century After the model by Walter Schott (1861-1938) Underglaze blue crossed swords with double cancellation; incised: Q 180; impressed: 51 Height 11 1/2 in., width 8 in., depth 4 3/4 in. $800-1,200

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169

A Berlin Vienna style porcelain vase

Late 19th/early 20th century Painted with a figural scene to either side With underglaze blue scepter mark, overglaze blue shield mark, and impressed: S 2 Height 24 1/2 in., width 10 1/4 in., depth 8 3/8 in. $1,200-1,500

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170

A pair of Sèvres porcelain plates from the Deltuf des Rozières service

Circa 1787 The centers painted with a single bird, within scrolling foliate gilt heightened bleu celeste borders interspersed by three vignettes with birds, all named to the undersides Blue interlaced Ls mark above painter’s mark DT and letter date code KK to the right, gilder’s mark HP and 2000 in gilt 2 pieces Diameter of each 9 1/2 in. $800-1,200 Provenance: Formerly in the collection of Marjorie Merriweather Post By descent through the family Notes: Marjorie Merriweather Post (1887-1973) was an American businesswoman, philanthropist and art collector. Daughter and heiress to C.W. Post, founder of the Postum Cereal Company (later General Mills), she became one of the wealthiest women in American at the age of 27. Post was a style maven socialite, known for her “high style” taste in design and a legendary fashion sense embellished by an unrivaled jewelry collection. She traveled extensively, collecting art, furnishings and treasures along the way, discovering a particular love for French and Russian culture. In 1955, Post bought Hillwood Estate in Washington, D.C., as a primary residence and to house her prized collections. Today, Hillwood Estate, Museum and Gardens is open to the public, displaying her collections of French and Russian furniture and decorative arts, highlighted by Sevres porcelain and Faberge objets de vertu. The above offered plates are presumedly from a service purchased by M. Deltuf, GitaneAntoine Deltuf des Rozières, of Société Deltuf Père et Fils, a firm operating in Paris as a merchant and commercial intermediary in the luxury goods trade. Likely, Deltuf purchased the extensive service, including 72 assiettes (plates), for a client. The vignettes of a single bird in a landscape are based on illustrations from Georges-Louis Leclerc, Comte de Buffon’s the “Histoire Naturelle des Oiseaux” of 1770-83. For further information on the service, see David Peters, Sèvres Plates and Services of the 18th Century, 2015, Vol. IV, no. 88-4, pp. 857-859. A similar plate, also with letter date code KK and painter’s mark DT, offered PescheteauBadin, Hôtel Drouot, Paris, January 28, 2021, lot 206.

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171

A pair of Sèvres porcelain cabinet plates

18th/19th century Blue painted interlaced Ls mark, one incised 12, one incised 3I Diameter of each 10 in. $400-600 Provenance: Formerly in the collection of Marjorie Merriweather Post By descent through the family Notes: Marjorie Merriweather Post (1887-1973) was an American businesswoman, philanthropist and art collector. Daughter and heiress to C.W. Post, founder of the Postum Cereal Company (later General Mills), she became one of the wealthiest women in American at the age of 27. Post was a style maven socialite, known for her “high style” taste in design and a legendary fashion sense embellished by an unrivaled jewelry collection. She traveled extensively, collecting art, furnishings and treasures along the way, discovering a particular love for French and Russian culture. In 1955, Post bought Hillwood Estate in Washington, D.C., as a primary residence and to house her prized collections. Today, Hillwood Estate, Museum and Gardens is open to the public, displaying her collections of French and Russian furniture and decorative arts, highlighted by Sevres porcelain and Faberge objets de vertu. A similarly decorated plate, also with incised 3I as the above lot, in the Hillwood Museum collection, catalog number: 24.185.1, noted as a gift of Mrs. Augustus Riggs, 1974.

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172

A group of four Sèvres style porcelain articles

18th/19th century Comprising two similar bleu celeste low compotes, a fond rose ten sided plate and a bleu celeste plate Blue painted interlaced Ls marks, some enclosing letters 4 pieces Height of compote 1 1/2 in., diameter 9 in.; diameter of bleu celeste plate 10 in.; width of rose plate 9 5/8 in. $600-800 Provenance: Formerly in the collection of Marjorie Merriweather Post By descent through the family

Notes: Marjorie Merriweather Post (1887-1973) was an American businesswoman, philanthropist and art collector. Daughter and heiress to C.W. Post Postum Cereal Company (later General Mills), she became one of the wealthiest women in American at the age of 27. Post was a style maven her “high style” taste in design and a legendary fashion sense embellished by an unrivaled jewelry collection. She traveled extensively, collec and treasures along the way, discovering a particular love for French and Russian culture. In 1955, Post bought Hillwood Estate in Washington residence and to house her prized collections. Today, Hillwood Estate, Museum and Gardens is open to the public, displaying her collections Russian furniture and decorative arts, highlighted by Sevres porcelain and Faberge objets de vertu.

For a similarly decorated pink ten sided dish see Hillwood Museum collection, catalog number: 24.98, noted as a Bequest of Marjorie Merriw

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t, founder of the n socialite, known for cting art, furnishings n, D.C., as a primary of French and

weather Post, 1973.

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173

A group of four Sèvres style porcelain cabinet plates

Late 19th/early 20th century Comprising a pair of portrait plates and a pair decorated with figures in 18th century attire Blue painted interlaced Ls marks, some enclosing letters; portraits marked for subject 4 pieces Diameter of portrait plates 9 7/8 in.; diameter of cobalt pair 9 3/4 in. $600-800 Provenance: Formerly in the collection of Marjorie Merriweather Post By descent through the family Notes: Marjorie Merriweather Post (1887-1973) was an American businesswoman, philanthropist and art collector. Daughter and heiress to C.W. Post, founder of the Postum Cereal Company (later General Mills), she became one of the wealthiest women in American at the age of 27. Post was a style maven socialite, known for her “high style” taste in design and a legendary fashion sense embellished by an unrivaled jewelry collection. She traveled extensively, collecting art, furnishings and treasures along the way, discovering a particular love for French and Russian culture. In 1955, Post bought Hillwood Estate in Washington, D.C., as a primary residence and to house her prized collections. Today, Hillwood Estate, Museum and Gardens is open to the public, displaying her collections of French and Russian furniture and decorative arts, highlighted by Sevres porcelain and Faberge objets de vertu.

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174

A Sèvres porcelain ‘Service des Princes’ part coffee service

Primarily Louis-Philippe 1840s, some 1870s Comprising: 1 larger coffee pot (height 9 7/8 in., width 8 1/8 in., depth 6 1/4 in.) 1 smaller coffee pot (height of larger 8 7/8 in., width 6 7/8 in., depth 5 1/8 in.) 1 covered sugar bowl (4 7/8 in., width 5 in., depth 3 7/8 in.) 1 creamer (height 7 1/2 in.) 7 cups of various sizes (widest 4 7/8 in.) 2 saucers (5 5/8 in.) 3 plates (9 1/2 in.) Each with blue and green factory marks, and red inventory marks 16 pieces $800-1,200

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175

A Royal Copenhagen porcelain ‘Blue Fluted Plain’ part dinner service

Second half 20th century, inkpot tray 1894-1900 Comprising: 5 dinner plates, 175 (9 7/8 in.) 7 luncheon plates, 177 (9 in.) 5 soup bowls, 168 (8 3/8 in.) 9 salad plates, 179 (7 1/2 in.) 7 bread & butter plates, 181 (6 1/8 in.) 12 flat cups, 315 (height 1 7/8 in.) 9 saucers (5 7/8 in.) 1 lidded coffee pot, 48 (height 9 3/4 in.) 1 chocolate pot, 30 (height 7 3/4 in.) 1 two-tiered serving tray, 167 (height 9 1/4 in.) 1 covered tureen, 214 (height 7 1/2 in., width 12 1/4 in., depth 8 1/4 in.) 1 lidded sugar bowl, 239 (height 3 1/8 in.) 1 creamer, 61 (height 4 7/8 in.) 1 lidded sugar with handles, 244 (height 4 3/8 in.) 1 individual creamer (height 3 1/4 in.) 1 wide vase, 723 (width 5 7/8 in., depth 4 1/8 in.) 1 bud vase, 676 (height 5 1/4 in.) 2 trivets, 2058 (6 1/4 in.) 4 double salt dips, 197 (width 3 5/8 in.) 5 salt dishes, 7 (3 in.) 3 salt and pepper shakers, 467/480 (height 3 3/8 in.) 2 tealight warmers, 9787 (height 3 3/4 in., diameter 6 1/2 in.) 1 rectangular tray, 2317 (8 3/4 x 6 1/8 in.) 1 associated lid, 283 (width 9 5/8 in., depth 7 3/8 in.) 1 three-piece inkpot tray, 127/33/17 (overall height 2 3/4 in., width 8 5/8 in., depth 6 in.) Each with green printed factory mark above underglaze blue wave and green painted pattern ‘1’ over shape number; inkpot tray with older stamped factory marks 83 pieces $1,000-1,500

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A KPM porcelain ‘Arcadia’ dinner service

Late 20th century Designed 1938 by Trude Petri (1906-1986) Comprising: 13 chargers (11 3/8 in.) 8 dinner plates (10 1/4 in.) 26 salad plates (8 in.) 12 bread & butter plates (6 1/4 in.) 16 cream soup bowls (height 2 1/4 in.) 9 flat cups (height 2 1/4 in.) 12 saucers (6 5/8 in.) 4 demitasse cups (height 2 1/8 in.) 5 demitasse saucers (5 1/4 in.) 3 sugar plateaus (width 9 1/2 in., depth 6 3/4 in.) Each with KPM underglaze scepter 108 pieces $1,500-2,500

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177

A gilt bronze Marly Horse group

After Guillaume Coustou the Elder (1677-1746), 20th century Attributed in the casting: Coustou Height 20 1/4 in., width 21 1/2 in., depth 9 1/2 in. $500-700

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178

Albert Hinrich Hussmann

(1874-1946) Chariot figural group Patinated bronze on wood plinth Signed in the casting: A H Hussmann; foundry mark: AKT.Ges.Gladenbeck.Berlin. D 5063 Height of bronze 15 1/2 in., width 29 1/2 in., depth 12 3/4 in.; height of plinth 4 in., width 25 1/2 in., depth 11 1/4 in. $1,500-2,500

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179

After Prosper Lecourtier

(1855-1924) “Fantasia Arabe” Patinated bronze on marble and hardstone base Signed in the casting: P Lecourtier Height overall 35 1/4 in., width 27 1/2 in., depth 14 1/4 in. $2,000-3,000

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180

A pair of patinated bronze models of seated lions 20th century Each unmarked 2 pieces Height of each 40 in., width 18 1/2 in., depth 42 in. $1,000-1,500

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181

18th/19th Century Continental School A horse in a stable Oil on canvas Unsigned 20 x 26 in. $800-1,200 Notes: The painting is stamped T. Brown with a London address in ink, verso, likely the canvas maker.

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182

Edwin Megargee

(1883-1958) Bedlington Terrier Oil on Masonite Signed lower left: Edwin Megargee 9 1/2 in. Dia. $1,000-1,500

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183

A Hawaiian stone ring pounder

Kauai Island, Hawaiian Islands Pohaku puk ku’i poi Height 6 1/4 in., width 7 in., depth 4 3/8 in. $1,000-1,500 Notes: This and the following Polynesian lots are included in a 1953 inventory completed by the Bishop Museum.

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184

A Tahitian stone penu pounder Likely Maupiti Island, Tahiti Height 5 1/2 in. $10,000-15,000

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185

A Hawaiian stone game ball Hawaiian Islands Diameter 4 in. $800-1,200

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186

A Tahitian stone penu pounder Likely Maupiti Island, Tahiti Height 6 1/2 in., diameter 3 3/4 in. $800-1,200

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A Hawaiian stone ring pounder

Kauai Island, Hawaiian Islands Pohaku puk ku’i poi Height 5 1/2 in., width 5 1/8 in., depth 3 1/4 in. $1,000-1,500

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188

Two Hawaiian stone knobbed pounders

Hawaiian Islands 2 pieces Height of larger 8 1/2 in., diameter 5 1/4 in.; height of smaller 6 3/4 in., width 5 in., depth 4 5/8 in. $1,500-2,000

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189

Four Hawaiian carved stone pestles/pounders Hawaiian Islands 4 pieces Heights 6 1/4-7 in. $1,200-1,800

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190

A large Hawaiian stone adze blade Hawaiian Islands Length 12 3/4 in., width 4 in. $2,000-3,000

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191

A long Hawaiian stone saw/blade Hawaiian Islands Length 16 1/2 in., width 2 5/8 in. $1,000-1,500

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192

A Kapa carved wood beater and stone hand weapon Hawaiian Islands 2 pieces Length of beater 14 1/2 in.; length of weapon 3 3/8 in. $600-900

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193

A group of seven Hawaiian stone adze blades Hawaiian Islands 7 pieces Lengths 3 1/2-10 in. $2,000-3,000

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194

A group of twenty six Hawaiian stone adze blades Hawaiian Islands 26 pieces Lengths range from to 3-4 1/4 in. approximately $2,000-3,000

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195

A group of five Hawaiian stone priest’s bowls Hawaiian Islands Kapuahikuri an ‘an 5 pieces Diameters 3-3 1/2 in. $3,000-5,000

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196

Five Hawaiian game stones Hawaiian Islands ‘Ulumaika 5 pieces Diameters 2 3/4-3 in. $2,000-3,000

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197

Two Hawaiian stone perforated sinkers Hawaiian Islands 2 pieces Diameters 4 1/2 in. and 4 3/4 in. $800-1,200

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198

Four Hawaiian stone squid lure sinkers Hawaiian Islands 4 pieces Lengths 3 1/4-4 in. $1,200-1,800

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199

Four Hawaiian stone pestles/pounders Hawaiian Islands 4 pieces Heights 3 3/8-5 1/8 in. $1,200-1,800

200

Four Hawaiian stone stirrup pounders Hawaiian Islands 4 pieces Heights 3 3/4-5 in. $1,500-2,000

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201

Two Hawaiian stone lamps

Hawaiian Islands 2 pieces Diameters 3 1/2 in. and 5 1/4 in. $500-700

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202

A Korean lacquered elmwood ‘soban’ low table

Late Joseon dynasty (1392-1910) The tabletop with molded edges, raised on straight legs joined by an apron Height 11 in., width 18 in., depth 13 1/4 in. $1,200-1,800 Provenance: Museum Antiques Private collection, acquired from the above

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203

A Korean reverse painted oxhorn ‘hwagak haem’ box

Late Joseon dynasty style, early 20th century The jewelry/accessories box depicting figural scenes to exterior, with brass cladding and lock, opening to reveal a red felt-lined interior tray which lifts out to show nine smaller removeable compartments Height 4 1/4 in., width 10 1/8 in., depth 11 in. $1,000-2,000

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204

A monumental Japanese bronze Bodhisattva

Meiji era (1868-1912) or later Depicted on a lotus base with flaming prabhamandala Height 76 in., width 40 in., depth 36 1/2 in. $8,000-12,000

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205

A Japanese embroidered textile of two roosters

19th century or later The figural embroidery depicting a pair of fighting roosters or cockerels amidst foliage and flowers, worked with polychrome silk thread on two panels of black silk fabric, mounted and framed under acrylic Sight 42 3/4 x 43 3/4 in. $1,000-1,500

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206

A Japanese lacquered wood jubako

Taisho period (1912-1924) or later The four-tiered food box decorated in gold and brown lacquer with continuous landscape motifs of pine trees and rocky outcroppings, each square tier red-lacquered interior Height 11 7/8 in., width 8 3/4 in., depth 8 1/4 in. $800-1,200

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207

A Japanese gilt and lacquered table cabinet

Meiji era (1868-1912) With an upper drawer above locking doors opening to reveal six small inner drawers, above three more larger drawers, raised on shaped bracket feet Height 8 1/2 in., width 12 1/2 in., depth 6 5/8 in. $600-800

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208

A pair of Japanese bronze crane and turtle figural groups 20th century 2 pieces Height of each 25 in., width 9 1/4 in., depth 5 3/4 in. $700-900

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209

Two Japanese shibuichi and shakudo miniature vases

Late Meiji era (1868-1912) or later Each with engraved and partially silvered decorations One bearing impressed signature possibly reading ‘Shiizuka’ 2 pieces Height of larger 5 7/8 in., diameter 6 1/8 in.; height of smaller 4 7/8 in., diameter 2 3/8 in. $2,000-3,000

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210

Charles William Bartlett

(1860-1940) “Isogo,” 1916 Woodcut in colors on paper From the edition of unknown size Signed in red pencil in the lower margin: Charles W. Bartlett; with the artist’s monogram, title, and date in the image at lower right Image: 10 1/2 x 15 in.; Sight: 10 3/4 x 15 1/4 in. $800-1,000

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211

Hiroaki Takahashi Shotei

(1871-1945) “Edogawa” (Edo River), 1923 Woodcut in colors on paper From the edition of unknown size and date, possibly created prior to the Great Kanto Earthquake of 1923 With Japanese characters and seals printed and stamped along the center of the image’s left edge; Watanabe Shozaburo, Tokyo, Japan, pub. Image: 6 1/4 x 14 7/8 in.; Sheet: 6 1/2 x 15 1/8 in. $800-1,200 Literature: Shotei M-87

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212

Utagawa Hiroshige

(1797-1858) “Numazu, tasogare zu” (Twilight), from the series “Tokaido gojusan tsugi no uchi” (Fifty-three Stations of the Tokaido), circa 1833-34 Woodcut in colors on paper From the edition of unknown size With Japanese characters and seals printed and stamped in black and red ink in the upper left; Takenouchi Magohachi (Hoeido), pub.; identified in ink in another hand on the verso of the frame’s backing board Image/Sheet: 9 x 14 in. $700-900

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213

Shiro Kasamatsu

(1898-1991) “Waves of Petals,” 1956 Woodcut in colors on paper Edition: B 72/100 Signed in ink and with a red ink seal in the lower right image corner: Shiro Kasamatsu; alternatively titled “Floating Beauty” and dated in ink in the lower margin; numbered in pencil (partially obscured by the mat) and with a red ink seal in the left margin Image: 14 1/4 x 9 3/4 in.; Sheet (irreg.): 16 x 11 in. (approx.) $400-600

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214

A pair of Japanese Satsuma ceramic vases

Late Meiji era (1868-1912) or later Each finely enameled and gilt, with lobed body and opposed lion masks, in a custom formed case Bearing painted Choshuzan marks to underside 2 pieces Height of each 12 1/4 in., diameter 7 3/8 in.; height of case 9 in., width 19 1/2 in., depth 16 1/4 in. $2,500-4,000

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215

A pair of Japanese Satsuma ceramic vases

Late Meiji era (1868-1912) or later Decorated with gilt filigree and figural tableaus, each raised on a carved wood stand and set in a custom formed case Each painted with Satsuma mark to underside 2 pieces Height of each 7 3/8 in., diameter 2 1/2 in.; height of case 3 5/8 in., width 9 5/8 in., depth 8 1/8 in. $700-900

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216

A group of five Japanese ceramic items

20th century Comprising a pair of Satsuma ‘Lohan,’ or, ‘One Thousand Faces’ vases, a Satsuma ‘One Hundred Boys’ plate, a Satsuma ‘One Hundred Beauties’ plate, and a smaller porcelain plate Vases painted with Satsuma marks to undersides, the rest unmarked 5 pieces Height of each vase 9 5/8 in., diameter 6 1/8 in.; largest diameter 9 7/8 in.; smallest diameter 4 5/8 in. $800-1,000

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217

Two Japanese Satsuma moriage ceramic figures and circular box

Early 20th century Comprising a sage with a staff, a lady holding a child, and a tripod footed box with warriors depicted on the lid Each bearing red painted mark for Kusube Sennosuke (1859-1941) 3 pieces Height of taller figure 12 1/4 in., width 4 5/8 in., depth 5 in.; height of box 3 1/4 in., diameter 5 5/8 in. $600-900

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218

A large Japanese Satsuma moriage glazed ceramic lidded jar 20th century Raised on a wood base Bearing mark reading ‘Seizan’ Height of jar 22 1/4 in., diameter 14 in; height mounted on base 24 in. $800-1,200

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219

Alphonse Mucha

(1860-1939) Seated woman with a letter, from one of the rare deluxe examples of “Le Pater” folio, 1899 Watercolor, gouache, and delicate hand-drawn outlines on a folded sheet of Japan paper, as issued Signed and dated by hand, possibly in either brushed ink or pencil, lower right: Mucha / 99 Sheet (as folded): 15 7/8 x 12 in; Sheet (when open): 15 7/8 x 24 in. $6,000-8,000 Provenance: Galerie Michael, Beverly Hills, CA Notes: This lot is sold together with an unsigned and undated certificate of authenticity issued by the gallery mentioned above. Listed with a title of “Le Pater,” the abovementioned certificate states that this work is an “original watercolor on Japan paper,” signed and dated by hand. The certificate also describes it as “From the complete deluxe suite - 1 of 10 books on Japan paper - book numbered ‘5.’ From a total edition of 510. Printed by Champenois and Piazza, 1899, Paris.” In 1899, Alphonse Mucha created an editioned folio called “Le Pater” [The Lord’s Prayer]. Each example consisted of an illustrated cover, multiple printed images (both in color and in black and white) and text. The total edition of this folio was 510, done on several different types of paper. We were able to locate a copy of one of the standard “Le Pater” folios online, and there, an image of that folio’s justification page outlined the contents and various papers used for each segment of the entire project, 10 of which were designed to be far more special than the rest. The work offered here, in keeping with the justification page information we referenced while doing our research, was apparently originally painted for inclusion in one of those deluxe folios: “10 examplaires (numerotes de 1 a 10) sur japon, contenant une aquarelle originale de A. Mucha, une suite en couleurs sur japon, et une suite en noir sur chine.”

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220

Alphonse Mucha

(1860-1939) Title plate, from “Le Pater” folio, 1899 Lithograph in colors on Japan paper From the deluxe edition of only 10 examples on Japan paper (the total edition was 510) With the artist’s name, the title of the series, and the names and addresses of the printer and publisher all printed as part of the image; F. Champenois, Paris, France, prntr.; H. Piazza & Cie, Paris, France, pub. Sight: 15 3/8 x 11 1/2 in. $500-700 Provenance: Galerie Michael, Beverly Hills, CA Notes: According to the Certificate of Authenticity (issued by the gallery mentioned above) that accompanies this lot, this Title plate was once part of the folio numbered “5” on its colophon page. Mucha, together with his printer and publisher, editioned a total of 510 “Le Pater” folios in 1899. Of these, only the first 10 were considered “deluxe” copies in that they each included one original watercolor done by Mucha on Japan paper (see earlier lot), a suite of lithographs in colors (see this lot and the other Mucha color lithographs in this auction), and a suite of black and white illustrations printed on China paper. The other 500 examples of the folio were done on other papers and did not include a watercolor.

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Alphonse Mucha

(1860-1939) 1st prayer plate, from “Le Pater” folio, 1899 Lithograph in colors on Japan paper From the deluxe edition of only 10 examples on Japan paper (the total edition was 510) Appears unsigned; F. Champenois, Paris, France, prntr.; H. Piazza & Cie, Paris, France, pub. Sight: 15 1/8 x 11 1/8 in. $500-700 Provenance: Galerie Michael, Beverly Hills, CA Notes: According to the Certificate of Authenticity (issued by the gallery mentioned above) that accompanies this lot, this Prayer plate was once part of the folio numbered “5” on its colophon page. Mucha, together with his printer and publisher, editioned a total of 510 “Le Pater” folios in 1899. Of these, only the first 10 were considered “deluxe” copies in that they each included one original watercolor done by Mucha on Japan paper (see earlier lot), a suite of lithographs in colors (see this lot and the other Mucha color lithographs in this auction), and a suite of black and white illustrations printed on China paper. The other 500 examples of the folio were done on other papers and did not include a watercolor.

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222

Alphonse Mucha

(1860-1939) 2nd prayer plate, from “Le Pater” folio, 1899 Lithograph in colors on Japan paper From the deluxe edition of only 10 examples on Japan paper (the total edition was 510) Appears unsigned; F. Champenois, Paris, France, prntr.; H. Piazza & Cie, Paris, France, pub. Sight: 15 1/8 x 11 1/4 in. $500-700 Provenance: Galerie Michael, Beverly Hills, CA Notes: According to the Certificate of Authenticity (issued by the gallery mentioned above) that accompanies this lot, this Prayer plate was once part of the folio numbered “5” on its colophon page. Mucha, together with his printer and publisher, editioned a total of 510 “Le Pater” folios in 1899. Of these, only the first 10 were considered “deluxe” copies in that they each included one original watercolor done by Mucha on Japan paper (see earlier lot), a suite of lithographs in colors (see this lot and the other Mucha color lithographs in this auction), and a suite of black and white illustrations printed on China paper. The other 500 examples of the folio were done on other papers and did not include a watercolor.

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Alphonse Mucha

(1860-1939) 3rd prayer plate, from “Le Pater” folio, 1899 Lithograph in colors on Japan paper From the deluxe edition of only 10 examples on Japan paper (the total edition was 510) Appears unsigned; F. Champenois, Paris, France, prntr.; H. Piazza & Cie, Paris, France, pub. Sight: 14 3/4 x 11 1/4 in. $500-700 Provenance: Galerie Michael, Beverly Hills, CA Notes: According to the Certificate of Authenticity (issued by the gallery mentioned above) that accompanies this lot, this Prayer plate was once part of the folio numbered “5” on its colophon page. Mucha, together with his printer and publisher, editioned a total of 510 “Le Pater” folios in 1899. Of these, only the first 10 were considered “deluxe” copies in that they each included one original watercolor done by Mucha on Japan paper (see earlier lot), a suite of lithographs in colors (see this lot and the other Mucha color lithographs in this auction), and a suite of black and white illustrations printed on China paper. The other 500 examples of the folio were done on other papers and did not include a watercolor.

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224

Henri de Toulouse-Lautrec

(1864-1901) “Moulin Rouge, La Goulue,” 1891 Lithograph in colors on two joined sheets of wove paper laid to linen One of only a few known impressions of this version, without the additional text in the lower half with the artist’s name printed as part of the image at lower left; printed by Affiches Américaines, Charles Lévy, Paris, France, commissioned by the Moulin Rouge Image: 65 1/4 x 45 1/4 in.; Sheet: 67 3/8 x 47 in. $40,000-60,000 Literature: Delteil 339; Adhémar 1; Wittrock P1 Notes: Wittrock states that examples such as this are “Extremely Rare.” One is in the collection of the Philadelphia Museum of Art, one is in the Albertina Museum in Vienna, one is in the Victoria and Albert Museum in London, and the exact locations of the few others are not specified. Henri de Toulouse-Lautrec’s drawings of 1880s Parisian nightlife led to his innovative posters of cabaret singers, entertainers, and now famous advertisements for the Moulin Rouge. Their popularity furthered his success as an artist. Born to an aristocratic family, he suffered childhood accidents that broke both his thigh bones. Neither grew back correctly. As an adult, his legs remained short while his torso was normal. Long periods of recuperation spent drawing led him to become an artist after his move to Paris and completion of his studies. Once he discovered the Montmartre cabarets, Henri de Toulouse-Lautrec produced drawings that captured the characters who frequented them. He was fascinated by the local prostitutes, spending weeks in brothels, candidly documenting their lives. Henri de Toulouse-Lautrec’s paintings and artwork influenced the art world for decades after his death at 36 from alcoholism and syphilis.

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225

A pair of French chinoiserie carved wood side chairs

Late 19th century, in the manner of Cyrille Ruffier des Aimes (1844-1916) Each seatback carved with ornate dragon and cloud openwork and jacquard upholstery with brass tacking, the apron with meandering openwork above front legs carved with archaistic motifs ending in paw feet 2 pieces Height of each 36 3/4 in., width 19 1/2 in., depth 20 1/2 in. $2,000-4,000

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226

A Louis Majorelle style burlwood and fruitwood gueridon 20th century With three legs joined by a shelf stretcher Unmarked Height 32 in., width 22 1/2 in., depth 22 1/2 in. $800-1,200

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227

After Auguste Rodin

(1840-1917) Nude study of Balzac Patinated bronze on stone plinth Signed in the casting: Rodin Height of bronze 3 in., width 12 1/2 in., depth 16 1/4 in.; height overall 32 in., width 12 3/4 in., depth 17 in. $1,000-1,500

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228

Alfred Laliberté

(1878-1953) “Le premier baiser” Patinated bronze on marble plinth Edition: 1/6 Signed and titled in the casting: A Laliberte; incised edition Height of bronze 17 in., width 16 1/2 in., depth 11 1/2 in.; height overall 18 1/4 in., width 18 3/4 in., depth 12 in. $1,000-2,000

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229

A Mueller Freres cameo glass landscape boudoir lamp

Early 20th century The single-socket lamp standard and shade depicting an alpine lake scene, electrified Marked in the cameo of shade rim: MULLER FRES / LUNEVILLE Height 14 in., diameter 6 1/4 in. $1,000-2,000

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231

An Emile Gallé enameled glass vase

1890s The glass impregnated with white inclusions (“snow”), the exterior painted with pine boughs and cones in a winter tableau Gilt-etched to underside in stylized lettering: Gallé / déposé Height 6 5/8 in., diameter 8 1/2 in. $1,500-2,500

230

An Amphora glazed earthenware lizard vase

Circa 1920 Stamped to underside: Made in Czecho-Slovakia / AMPHORA Height 7 3/4 in., width 4 7/8 in., depth 4 5/8 in. $500-700

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232

Alphonse Mucha

(1860-1939) 4th prayer plate, from “Le Pater” folio, 1899 Lithograph in colors on Japan paper From the deluxe edition of only 10 examples on Japan paper (the total edition was 510) Appears unsigned; F. Champenois, Paris, France, prntr.; H. Piazza & Cie, Paris, France, pub. Sight: 15 x 11 1/8 in. $500-700 Provenance: Galerie Michael, Beverly Hills, CA Notes: According to the Certificate of Authenticity (issued by the gallery mentioned above) that accompanies this lot, this Prayer plate was once part of the folio numbered “5” on its colophon page. Mucha, together with his printer and publisher, editioned a total of 510 “Le Pater” folios in 1899. Of these, only the first 10 were considered “deluxe” copies in that they each included one original watercolor done by Mucha on Japan paper (see earlier lot), a suite of lithographs in colors (see this lot and the other Mucha color lithographs in this auction), and a suite of black and white illustrations printed on China paper. The other 500 examples of the folio were done on other papers and did not include a watercolor.

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233

Alphonse Mucha

(1860-1939) 5th prayer plate, from “Le Pater” folio, 1899 Lithograph in colors on Japan paper From the deluxe edition of only 10 examples on Japan paper (the total edition was 510) Appears unsigned; F. Champenois, Paris, France, prntr.; H. Piazza & Cie, Paris, France, pub. Sight: 14 5/8 x 11 in. $500-700 Provenance: Galerie Michael, Beverly Hills, CA Notes: According to the Certificate of Authenticity (issued by the gallery mentioned above) that accompanies this lot, this Prayer plate was once part of the folio numbered “5” on its colophon page. Mucha, together with his printer and publisher, editioned a total of 510 “Le Pater” folios in 1899. Of these, only the first 10 were considered “deluxe” copies in that they each included one original watercolor done by Mucha on Japan paper (see earlier lot), a suite of lithographs in colors (see this lot and the other Mucha color lithographs in this auction), and a suite of black and white illustrations printed on China paper. The other 500 examples of the folio were done on other papers and did not include a watercolor.

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Alphonse Mucha

(1860-1939) 6th prayer plate, from “Le Pater” folio, 1899 Lithograph in colors on Japan paper From the deluxe edition of only 10 on Japan paper (the total edition was 510) Appears unsigned; F. Champenois, Paris, France, prntr.; H. Piazza & Cie, Paris, France, pub. Sight: 15 1/4 x 11 1/8 in. $500-700 Provenance: Galerie Michael, Beverly Hills, CA Notes: According to the Certificate of Authenticity (issued by the gallery mentioned above) that accompanies this lot, this Prayer plate was once part of the folio numbered “5” on its colophon page. Mucha, together with his printer and publisher, editioned a total of 510 “Le Pater” folios in 1899. Of these, only the first 10 were considered “deluxe” copies in that they each included one original watercolor done by Mucha on Japan paper (see earlier lot), a suite of lithographs in colors (see this lot and the other Mucha color lithographs in this auction), and a suite of black and white illustrations printed on China paper. The other 500 examples of the folio were done on other papers and did not include a watercolor.

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235

Alphonse Mucha

(1860-1939) 7th prayer plate, from “Le Pater” folio, 1899 Lithograph in colors on Japan paper From the deluxe edition of only 10 examples on Japan paper (the total edition was 510) Appears unsigned; F. Champenois, Paris, France, prntr.; H. Piazza & Cie, Paris, France, pub. Sight: 14 3/4 x 11 1/8 in. $500-700 Provenance: Galerie Michael, Beverly Hills, CA Notes: According to the Certificate of Authenticity (issued by the gallery mentioned above) that accompanies this lot, this Prayer plate was once part of the folio numbered “5” on its colophon page. Mucha, together with his printer and publisher, editioned a total of 510 “Le Pater” folios in 1899. Of these, only the first 10 were considered “deluxe” copies in that they each included one original watercolor done by Mucha on Japan paper (see earlier lot), a suite of lithographs in colors (see this lot and the other Mucha color lithographs in this auction), and a suite of black and white illustrations printed on China paper. The other 500 examples of the folio were done on other papers and did not include a watercolor.

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236

Alphonse Mucha

(1860-1939) Amen plate, from “Le Pater” folio, 1899 Lithograph in colors on Japan paper From the deluxe edition of only 10 examples on Japan paper (the total edition was 510) With the printed signature and date in the green background, lower right: Mucha / 99; F. Champenois, Paris, France, prntr.; H. Piazza & Cie, Paris, France, pub. Sight: 15 1/8 x 11 1/4 in.; Sheet: 15 7/8 x 11 3/4 in. $500-700 Provenance: Galerie Michael, Beverly Hills, CA Notes: According to the Certificate of Authenticity (issued by the gallery mentioned above) that accompanies this lot, this Amen plate was once part of the folio numbered “5” on its colophon page. Mucha, together with his printer and publisher, editioned a total of 510 “Le Pater” folios in 1899. Of these, only the first 10 were considered “deluxe” copies in that they each included one original watercolor done by Mucha on Japan paper (see earlier lot), a suite of lithographs in colors (see this lot and the other Mucha color lithographs in this auction), and a suite of black and white illustrations printed on China paper. The other 500 examples of the folio were done on other papers and did not include a watercolor. The fruits and flowers within the circular border of this image repeat, in sequential order, each of the individual types of fruits and flowers shown within the circular borders of the separate Prayer plates.

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237

A near pair of Tiffany pastel glass candlesticks Early 20th century One with applied factory gold-on-green paper label 2 pieces Height of each 13 1/2 in., diameter 5 5/8 in. $700-900

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238

A Tiffany style pulled feather glass jack in the pulpit vase Early 20th century With applied partial Tiffany Furnaces paper label Height 7 1/8 in., width 5 5/8 in., depth 3 in. $500-800

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239

A Tiffany Favrile glass vase

Early 20th century Etched to underside: 1556 2801 M / L. C. Tiffany Inc Favrile Height 12 3/4 in., diameter 5 1/8 in. $800-1,200

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240

A Tiffany Furnaces Favrile glass and enameled copper vase Early 20th century Base impressed: LOUIS C. TIFFANY FURNACES INC. / [logo] / 152G Height 16 5/8 in., diameter 4 5/8 in. $800-1,200

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241

A Quezal pulled feather iridescent glass vase Early 20th century Marked to underside: Quezal / 12 Height 7 1/4 in., diameter 7 7/8 in. $1,200-1,800

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242

A Steuben blue Aurene glass footed bowl

1920s Etched to underside: aurene / [indecipherable date] Height 2 5/8 in., diameter 6 5/8 in. $300-400

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243

A Handel bronze lamp and A. H. Freeman leaded glass shade

Early 20th century The pedestal base with three winged lions and a columnar standard issuing three Hubbell lights surmounted by a leaded slag glass shade, electrified Base marked to underside: HANDEL / 1953; shade marked: A. H. FREEMAN Height of lamp 25 3/4 in., width 11 1/4 in., depth 10 in.; height of shade 7 7/8 in., diameter 23 3/4 in. $1,000-1,500 Provenance: The Estate of Tammis Day, Sula, MT Sold: John Moran Auctioneers, Monrovia, CA, “The Estate of Tammis Day,” October 3, 2017, Lot 1101 Private collection, acquired from the above

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244

A pair of American reverse painted lamps

20th century Each with brown painted metal base issuing a single light, surmounted by a glass shade painted on the reverse with an autumnal arboreal landscape, electrified Each unmarked 2 pieces Height of each overall 20 1/4 in., diameter 13 7/8 in. $800-1,200

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245

A Viennese bronze figural jardinière

Early 20th century With cold-painted dancer figure mounted to side of gilt-bronze planter with interior metal liner Height 4 1/4 in., width 6 3/4 in., depth 5 1/2 in. $300-500

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246

A Loetz brass mounted iridescent glass vase Circa 1904 Cast with classical motifs Appears unmarked Height 11 1/8 in., width 5 in., depth 5 in. $700-1,000

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247

A Mueller Freres cameo glass landscape boudoir lamp

Early 20th century The single-socket lamp with metal base, the standard and shade depicting a shoreline scene with trees and reeds, electrified Marked in the cameo: MULLER FRES Height 15 3/4 in., diameter 7 7/8 in. $1,000-2,000

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248

A Michel de Nancy cameo glass landscape boudoir lamp

Early 20th century The single-light lamp standard decorated with ivy, the shade depicting a lakeside scene, electrified Marked in the cameo of base: [cross of Lorraine] Michel / de Nancy Height 14 in., diameter 8 1/4 in. $600-800

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249

René Lalique (1860-1945)

An “Une Rose” yellow opalescent glass box, 1921 Edition: 30/50 On a later fabric-lined stand Acid-etched: R. LALIQUE / No 30 Height 1 7/8 in., diameter 10 1/8 in. $2,000-3,000 Provenance: Private collection, Los Angeles, CA, by family descent

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250

A French Art Nouveau gilt bronze mounted ceramic vase Circa 1900 Appears unmarked Height 16 1/4 in., width 6 3/8 in., depth 5 in. $700-900

251

A Bernhard Bloch polychrome terracotta figure of a woman Late 19th/early 20th century The Tambourine Player, with snake anklet Impressed to underside: 2 / BB / 7450 Height 14 in., width 5 1/2 in., depth 4 3/4 in. $600-800

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252

An Arts & Crafts oak, copper, and tile fireplace

Circa 1900 With iron framed repoussé copper summer cover doors centered by green glazed ceramic tiles set in a wood frame Tiles marked verso: BOCH FRERES / LA LOUVIERE Height 43 1/4 in., width 52 in., depth 20 1/2 in. $500-800

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253

An Arts & Crafts copper fire screen

Circa 1900, in the style of John Pearson (fl. 1885-1910) Depicting ships at sea, the supports crested by enamel accents Height 33 in., width 21 in., depth 6 1/2 in. $300-500

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254

A massive Moorcroft glazed earthenware ‘Finches and Pomegranate’ vase

Designed by Sally Tuffin (b. 1938), circa 1994 Impressed: MOORCROFT / MADE IN ENGLAND [bell]; signed and dated: S. T. DES. / 7.11.1991; also signed and dated: J Moorcroft / 30-9-94; further marked: WM [conjoined] Height 26 1/8 in., diameter 12 3/4 in. $800-1,200

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255

A Herend porcelain ‘Calla Lily’ vase

Late 20th century With blue printed factory mark above painted numbers: 7153 / C / 6; incised: 7153 / 35 Height 21 in., diameter 9 5/8 in. $600-800

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256

Louise d’Aussy Pintaud

(1900-1990) “Chanson D’Amour” Oil on canvas Signed lower right: d’Aussy-Pintaud; signed again and titled in ink on a partial label affixed to the stretcher 38 x 51 in. $2,000-3,000 Provenance: Papillon Gallery, West Hollywood, CA

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257

Albert Joseph Penot

(1862-1930) “Seductrice,” circa 1910 Oil on board Signed lower right: A. Pinot; titled and dated on a gallery label verso Oval: 18 x 24 1/2 in. $800-1,200 Provenance: Papillon Gallery, Los Angeles, CA

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258

Louis-François Biloul

(1874-1947) Nude woman reading a book reflected in a mirror Oil on canvas Signed lower left: Biloul 39 1/2 x 32 in. $1,200-1,800

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259

Pál Fried

(1893-1976) Two dancers preparing for a performance Oil on canvas Signed lower right: Fried Pál 31 x 23 in. $1,000-2,000

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260

An Italian Art Deco gilt bronze mounted dresser

Circa 1925 With central mirror flanked by upper single-light lamps with beaded fringes above giltbronze panels depicting putti and marquetry floral elements, the dresser chest with marble top, two watch/trinket compartments with glazed hinged top, and opposed locking cabinets centering three locking drawers, electrified Height of lower 48 1/2 in., width 61 1/2 in., depth 25 1/2 in. $1,500-2,500 En suite with lot 261

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261

An Italian Art Deco gilt bronze mounted wardrobe

Second quarter 20th century With central mirror door, opening to reveal an upper tension rod, three shelves, and a drawer, the left with three shelves and the right with two tension rods, each side door with interior mirror, flanked by upper single light lamps with beaded fringe shades, above gilt-bronze panels depicting frolicking putti above side cabinets, each with marquetry floral elements, electrified Height 8 ft., width 7 ft., depth without lamps 25 in.; depth with lamps 37 in. $1,000-2,000 En suite with lot 260

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262

An Art Deco style marquetry zodiac table

Probably Swedish, 20th century The top depicting celestial symbols and figures from the zodiac, raised on a pedestal support with paw feet Height 26 3/4 in., diameter 35 1/2 in. $600-800

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263

Ron & Sheila Ruiz (1931-2026 & 20th Century)

The complete “Symphony” collection, 2003-2009 Six cold-painted and polished bronze figures of musicians Comprising: “Maestro,” 2009 On composite base Edition: 13/80 Etched signature, dated, and edition: Ruiz © 09 Height overall 29 1/2 in., width 12 3/4 in., depth 9 1/4 in. “First Violin,” 2003 Edition: 34/80 Etched signature, dated, and edition: Ruiz © 03 Height 18 3/4 in., width 11 in., depth 10 1/2 in. “Second Violin,” 2003 Edition: 29/80 Etched signature, dated, and edition: Ruiz © 03 Height 19 in., width 8 in., depth 9 1/2 in. “Cellist,” 2003 Edition: 30/80 Etched signature, dated, and edition: Ruiz © 03 Height 18 5/8 in., width 10 3/4 in., depth 11 in. “Flutist,” 2008 Edition: 12/80 Etched signature, dated, and edition: Ruiz © 08 Height 18 3/8 in., width 10 3/4 in., depth 9 in. “Pianist,” 2005 Edition: 11/80 Etched signature, dated, and edition: Ruiz © 05 Height 18 1/4 in., width 18 in., depth 16 in.

6 pieces $800-1,200

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264

A Mojon Manger Piccolo music box

Circa 1875; Geneva, Switzerland The interchangeable mandolin music box with single comb, ebonized interior with dust lid and stay, and tune-sheet, housed in a Thuya burlwood-veneered case with wide molded ebonized edge and mother of pearl inlaid accent to lid, raised on a conforming table stand with single locking drawer storing three additional cylinders Affixed label reads: Restored by Heavenly Music, Music Box Restoration, 696 Ramona Avenue, Sierra Madre, CA 91024 Height of box 9 1/2 in., width 36 in., depth 14 1/2 in. $3,000-5,000 Provenance A Private Bay Area Collector

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265

A Criterion music box

Circa 1900 With single comb, playing 20 1/2 in. discs (43 included with the lot), housed in a carved mahogany case with a matching cabinet stand storing discs Affixed label reads: Restored by Heavenly Music, Music Box Restoration, 696 Ramona Avenue, Sierra Madre, CA 91024 Height of box 11 3/4 in., width 32 1/4 in., depth 25 1/2 in.; height of cabinet 31 1/2 in., width 30 1/2 in., depth 28 in. $1,000-1,500 Provenance A Private Bay Area Collector

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266

A Mills Novelty Co. Violano-Virtuoso music player

Circa 1915 The five-cent player with violin and piano accompaniment, housed in a restored mahogany case with four glass panels, the hinged doors flanked by fluted Corinthian column accents Serial number: 2589; violin fingerboard bearing patent dates and burn marked: 2305 Height 64 3/4 in., width 49 1/4 in., depth 33 in. $7,000-10,000 Provenance A Private Bay Area Collector

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267

A Regina Corona music box, model 33

Circa 1897 The auto-changer music box, playing twelve 27 in. discs with dual combs, spring barrels, barley twist pressure bar, and star flywheel, housed in a birch wood upright case with two upper hinged doors with openwork dragon frets flanked by Corinthian columns, with verso sound board, raised on casters Serial number: 47502; signed to gilt-iron bedplate: REGINA Height 66 1/4 in., width 37 1/2 in., depth 24 1/4 in. $4,000-6,000 Provenance A Private Bay Area Collector

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268

A New Century Shifter music box

1902-1905 With dual combs, playing 18 1/2 in. diameter type 6 discs (2 included with the lot), housed in a mahogany case and raised on an associated oak stand with metal and glass ball-and-claw feet Serial number: 478 Height of box 13 1/2 in., width 29 in., depth 23 1/2 in.; height of stand 29 1/2 in., width 28 in., depth 28 in. $4,000-6,000 Provenance A Private Bay Area Collector

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269

A Polyphon Musikwerke music box clock

Circa 1890; Leipzig, Germany With dual combs playing 24 5/8 in. discs (11 included with the lot), housed in a walnut case with architectural stylized details and a central beast mask; the clock with silver and gilt dial bearing Arabic numerals, the lower left side cabinet door opening to the disc storage Movement marked: FONTENOY / MADE IN FRANCE / 16/163 / F 40 Height overall 9 ft. 2 1/2 in., width 45 in., depth 24 1/2 in. $5,000-8,000 Provenance A Private Bay Area Collector

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270

Y A Polyphon Musikwerke rosewood music box, model 45D

Circa 1890; Leipzig, Germany With dual combs and single 15 1/2 in . disc, housed in a rosewood case and raised on an associated oak stand with turned legs ending in metal and glass ball-and-claw feet Marked to soundboard: POLYPHON Height of box 13 1/2 in., width 22 3/4 in., depth 20 3/4 in.; height of stand 30 in., width 28 in, depth 28 in. $1,500-2,000 Provenance A Private Bay Area Collector This lot may require a CITES permit if being shipped outside California. Please contact your preferred shipping company for information.

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271

A Steinway & Sons mahogany model ‘M’ baby grand piano

Circa 1997, serial number M 538952 Inscribed above the keyboard: Steinway & Sons; further inscribed to metal plaque: THE CROWN JEWEL COOLLECTION; the harp with serial number The 88-key piano housed in a mahogany case, raised on three cabriole legs with ball and claw feet, together with a conforming upholstered bench Installed with a PianoDisc PDS-128Plus player piano system, electrified Piano closed: 38.5” H x 57” W x 67” D: Bench: 22” H x 37.5” W x 17” D $3,000-5,000

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272

A Sweetland bird’s eye maple harp

Early 20th century The double-action pedal harp with 45 strings and 7 pedals painted and gilt with floral motifs, the fluted columnar front with gilt foliate elements Marked: SWEETLAND / CHICAGO U.S.A. / STYLE 21 / NO. 751 Height 69 in., width 38 in., depth 20 in. $1,500-2,500 Provenance: Sold: Red Baron’s Antiques, Atlanta, GA, “28th Auction,” April 6-7, 1991, Lot 2550 Private collection, acquired from the above Notes: This lot is accompanied by a copy of the original purchase receipt from the abovementioned auction.

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273

A Steinway mahogany model ‘A’ parlor grand piano

1917, serial number 188605 Inscribed above the keyboard: Steinway & Sons; the harp with serial number The 88-key piano housed in a mahogany case, raised on three cabriole legs with ball and claw feet, together with a conforming upholstered bench Height 3 ft. 3 3/4 in., width 4 ft. 10 in., depth 6 ft. 4 in. approximately; height of bench 19 1/4 in., width 34 1/8 in., depth 15 1/4 in. $3,000-5,000

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274

Y A Steinway & Sons rosewood model ‘D’ concert grand piano

Circa 1867; New York, NY, serial number 17336 Case designed by C. F. Theodore Steinway (1825-1889) The case ‘Style 1’ with Victorian Rococo carved cabriole legs ending in octagonal spreading feet and casters, with 88 keys and electric conversion, with associated bench with hinged top and raised on cabriole legs with ball and claw feet, electrified Signed indistinctly in ink beneath serial number; sound board marked in the molding with patent dates Height 3 ft. 3 in., length 8 ft. 5 1/2 in., width 4 ft. 9 in.; height of bench 18 3/4 in., width 31 1/4 in., depth 15 3/4 in. $3,000-5,000 Notes: This lot is accompanied by a receipt for services, repairs, and refinishing rendered by Pianos Wholesale Tudor Division, Temple City, CA, May 20, 1991. This lot may require a CITES permit if being shipped outside California. Please contact your preferred shipping company for information.

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275

Y A Brunswick Balke Collender marquetry rosewood ‘Monarch’ pool table

Late 19th century with later elements Inlaid with fruitwood foliate designs, with leather pockets, raised on a cast-iron lion head and paw base, including a Brunswick Balke Collender wall-mounted pool cue rack with fifteen cues, a rack of balls, and racking triangle Inset metal tag: THE BRUNSWICK-BALKE-COLLENDER CO. / MONARCH CUSIONS 2 pieces Height of table 34 1/2 in., width 110 in., depth 60 in.; height of rack 65 in., width 42 1/2 in., depth 5 3/4 in. $10,000-15,000 This lot may require a CITES permit if being shipped outside California. Please contact your preferred shipping company for information.

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277

John Townsend

(active 1773-1782) “A Portrait of Levi Ames of Charleton, 1726-1799,” 1780 Pastel on paper Signed, dated, and inscribed center of the left side: Townsend / 1780 / Pinxt.; titled “Levi Ames / of Charleton / 1726-1799” likely in another hand, upper right 23 x 19 in. $700-900

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278

In the Manner of William Matthew Prior (1806-1873) Portrait of a woman wearing a cameo brooch Oil on canvas laid to canvas Unsigned 26 x 21 3/4 in. $500-700

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279

19th Century American School

Double portrait of children, 1887 Pastel on paper mounted to canvas Signed and dated lower right: [possibly] Ella Wolf 1887 45 3/4 x 35 1/8 in. $500-700 Provenance: Private collection, Santa Monica, CA

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280

After John James Audubon

(1785-1851) “Florida Cormorant,” Plate CCLII from “The Birds of America, from Original Drawings by John James Audubon,” by Robert Havell, 1835 Engraving with etching, aquatint, and hand-coloring on wove paper, watermark J Whatman / 1834, laid to white wove paper From the original edition engraved and printed by Robert Havell, London, England, between 1827 and 1838 With the artist’s, engraver’s, printer’s, and publisher’s names, as well as the title and date, all engraved in the plate below the image, and the plate and series numbers engraved in the upper right and left corners of the plate, respectively Sheet: 24 3/4 x 33 3/8 in. (irreg.) $400-600 Provenance: Private collection, Palos Verdes Estates, CA By family descent

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281

A Walter Durfee mahogany quarter chiming tall case clock

Late 19th century, retailed by Tiffany & Co. The three-train movement striking on tubes, with arched dial having silvered chapter ring, Arabic hours, subsidiary seconds, “Chime/Silent” and “Westminster Chime/Chime on Eight Bells” dials, and sun and moon phase to the arch, housed in a mahogany case with fretwork and glazed front flanked by bearded Atlantes figures, the bonnet crested by a scrolling foliate pediment Dial marked: TIFFANY & CO. NEW YORK; movement marked: WALTER H. DURFEE / PROVIDENCE / RI; each chime marked: WALTER H DURFEE & CO. PROV. RI / PAT. NOV 8 87 SEP 18 88 NOV 1 92 OCT 6 96 Height 8 ft. 7 1/2 in., width 28 3/4 in., depth 16 1/2 in. $4,000-6,000

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282

A group of six patinated bronze garden cranes

20th century Comprising two near-pairs and two singles 6 pieces Height of tallest 58 1/2 in., width 20 1/2 in., depth 10 1/2 in. approximately; height of shortest 36 in. $800-1,200

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283

A pair of Renaissance Revival lamps on pedestals

Circa 1875 Each painted metal urn-form lamp issuing a single light with a later cut glass shade, raised on a wood pedestal with carved and gilt accents and inset front and top marble panels, electrified 2 pieces Height of each lamp 19 1/2 in., width 7 in., depth 6 1/2 in.; height of shades 9 1/8 in., diameter 8 1/2 in.; height of pedestals 39 1/4 in., width 15 in., depth 12 1/8 in. $800-1,200

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284

An American Rococo carved walnut and marble center table

18th century With intricate foliate designs and rocaille, the legs joined by curvilinear stretchers centered by an urn-form finial Height 31 in., width 60 in., depth 38 3/4 in. $500-700

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285

A group of American pressed glass fluid lamps

Mid-19th century with later components Each single-light lamp with various styles of paper or fabric shade, three on a stone base, electrified One marked with date in the molding: OIL GUARD LAMP / 1870 7 pieces Total heights 12 1/4-23 1/2 in. $700-1,000 Provenance: Philip Johnson and David Whitney, New Canaan, Connecticut Sotheby’s, New York, NY, “An American Visionary: The Collection of David Whitney,” November 16, 2006, Lot 162 Selections from the Estate of Robert and Mary Macbeth Looker, acquired from the above

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286

A Federal painted pine table

Late 19th/early 20th century With later added electronics rack, raised on tapered legs Height 30 in., width 30 in., depth 18 in. $400-600 Provenance: Philip Johnson and David Whitney, New Canaan, Connecticut Sotheby’s, New York, NY, “An American Visionary: The Collection of David Whitney,” November 16, 2006, Lot 2 Selections from the Estate of Robert and Mary Macbeth Looker, acquired from the above

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287

An American painted pine table

Late 19th/early 20th century With single drawer, raised on tapered legs Height 27 in., width 22 1/4 in., depth 17 1/2 in. $400-600 Provenance: Philip Johnson and David Whitney, New Canaan, Connecticut Sotheby’s, New York, NY, “An American Visionary: The Collection of David Whitney,” November 16, 2006, Lot 213 Selections from the Estate of Robert and Mary Macbeth Looker, acquired from the above

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288

A Continental polychrome wood carousel jumper pig

In the manner of the Gustave Bayol Carousel Company, late 19th/early 20th century Raised on an enameled metal support pole and metal base Unmarked Height 44 in., width 72 in., depth 23 in. approximately $600-900

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289

A Continental polychrome carved wood carousel chariot bench Late 19th/early 20th century The sides carved and painted with whimsical pigs Height 31 1/2 in., width 24 1/4 in., depth 35 in. $500-800

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290

An American Art Nouveau carved wood three piece salon suite

Circa 1900, attributed to S. Karpen & Bros. Comprising a loveseat and a pair of armchairs, each with tufted velvet upholstery and ornately carved with floral and foliate motifs, crested by a maiden 3 pieces Height of loveseat 42 in., width 60 in., depth 32 in.; height of armchairs 42 1/2 in., width 34 1/4 in., depth 32 in. approximately $1,000-2,000

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291

Delphin Enjolras

(1857-1945) Portrait of a woman Pastel on paper wrapped over canvas Signed upper right: D. Enjolras 24 x 19 3/4 in. $1,000-1,500

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292

R. Sebastinuti

(19th Century) Portrait of a Victorian woman Oil on canvas Signed lower left: R. Sebastinuti 27 1/4 x 22 in. $1,000-1,500

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293

Vardges Surenyants

(1860-1921) Woman with a tambourine, 1890 Watercolor on paper Signed and dated in Armenian lower right: V. Surenyants 90 Sight: 10 1/2 x 6 3/4 in. $800-1,200 Provenance: Private collection, Los Angeles, CA

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294

Vincent G. Stiepevich

(1841-1910) “The Prying Maid” Oil on canvas laid to canvas Signed lower left: VG Stiepevich; titled by repute 24 x 20 in. $500-700

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295

Thure Nikolaus F. Cederström

(1843-1924) Cardinal and monk examining artifacts Oil on canvas Signed and inscribed lower left: Th. Cederström / München 21 x 15 1/4 in. $1,500-2,500 Provenance: Private collection, Mammoth Lakes, CA, by family descent

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296

Early 19th Century European Drawing

Benedictine Camaldolese monk Pencil on paper Indistinctly signed, inscribed, and dated, “25 Ocktober 1834,” in pencil in a combination of the lower left corner of the image (in reverse), and the lower margin, at right, respectively Sight: 12 1/2 x 9 1/2 in. $400-600

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297

An Indo-Persian Nain rug

Mid-20th century Wool and silk on cotton foundation 11 ft. 6 in. x 7 ft. 2 1/2 in. approximately $1,000-2,000

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298

A Serab rug

Circa 1925; Northwest Iran Wool on wool foundation 6 ft. 7 in. x 5 ft. 5 in. approximately $400-600 Provenance: J.H. Minassian & Co, Los Angeles, CA Selections from the Estate of Robert and Mary Macbeth Looker, acquired from the above

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299

A Bidjar rug

Circa 1886; East Caucasus Wool on wool foundation 6 ft. 7 in. x 3 ft. 10 in. approximately $1,000-1,500 Provenance: Butterfield & Butterfield, San Francisco, CA, November 1987, Lot 2362 Selections from the Estate of Robert and Mary Macbeth Looker, acquired from the above

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300

A Chinese Peking rug

Mid/late 20th century Wool on cotton foundation 9 ft. 1 1/2 in. x 6 ft. approximately $500-700 Provenance: Collection of Donna Summer

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301

A Kazakh rug

Circa 1920; Southwest Caucasus Wool on wool foundation 6 ft. 7 in. x 4 ft. 10 in. approximately $600-800 Provenance: J.H. Minassian & Co, Los Angeles, CA Selections from the Estate of Robert and Mary Macbeth Looker, acquired from the above

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302

After George Caleb Bingham

(1811-1879) “Stump Speaking,” by Louis-Adolphe Gautier, 1856 Engraving and mezzotint on wove paper laid to board From the edition of unknown size With the painter’s, engraver’s, and publisher’s names, as well as the title, copyright information, and date all engraved in the blank of the plate below the image; Goupil & Co., New York, NY, pub. Image: 22 1/4 x 30 3/8 in.; Sheet: 26 x 33 in. $1,500-2,000 Literature: Bloch P10

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303

After George Caleb Bingham

(1811-1879) “Martial Law,” by John Sartain, 1872 Engraving and mezzotint on wove paper laid to heavier wove paper From the edition of unknown size, with the word “Proof” engraved in the blank at lower right Signed in pencil by the engraver in the blank of the plate below the image, lower right: John Sartain; with the painter’s, engraver’s, and publisher’s names, as well as the title, text, copyright information, and date all engraved in the blank of the plate below the image; Geo C. Bingham & Co., Columbia and Kansas City, MO, pub. Image: 21 5/8 x 31 in.; Sheet: 25 1/4 x 34 7/8 in. $2,000-3,000 Literature: Bloch P12

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304

A pair of Victorian mahogany library armchairs

Late 19th century Each upholstered in tufted leather, raised on casters 2 pieces Height of each 38 1/2 in., width 26 3/4 in., depth 36 in. $800-1,200 Provenance: Steven H. Bluttal, New York Selections from the Estate of Robert and Mary Macbeth Looker, acquired from the above, June 1995

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305

A late Regency/early William IV mahogany canterbury Early 19th century The single drawer with lion mask ring pull, raised on casters Height 23 3/4 in., width 18 in., depth 16 3/4 in. $800-1,200

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306

A William IV mahogany invalid’s reading table

Early 19th century With two opposed pop-up easel-back reading surfaces, the top with sliding action, raised on a pedestal base with bun feet Height 28 in., width 36 in., depth 18 in. $700-900

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307

A pair of German parcel gilt carved wood angel candle holders

Early 16th century; South Germany Each with later glass bobèche 2 pieces Height of taller 20 3/4 in., width 12 in., depth 8 1/2 in., height of shorter 19 1/4 in., width 11 1/2 in., depth 9 1/4 in. $800-1,200 Provenance: Antiquus, London, England From the estate of Professor V. A. Kolve, Hollywood Hills, CA, acquired from the above, October 14, 1989 Notes: This lot is accompanied by a digital copy of the purchase receipt from the abovementioned retailer.

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308

A partial ‘Liber Chronicarum’ (Nuremberg Chronicle)

Printed 1493 in Nuremberg by Anton Koberger (b. circa 1440/1445-1513) Written in the Gothic Latin by Hartmann Schedel (1440-1514) and illustrated with woodcuts by Schedel, Wilhelm Pleydenwurff (1460-1494), and Michael Wolgemut (1434-1519), mentor of Albrecht Dürer (1471-1528) who is also believed to have made contributions On offer is an assembled partial copy of the only authorized edition of this incunabulum folio, the most profusely illustrated book of the 15th century and first ever printed encyclopedia, including the notable world map made in the cartographic style of Ptolemy, the Creation of Eve, the Antichrist, and numerous topographical maps and illustrations of noble and holy men, the pages cut down and some leaves mounted to later paper, just less than half with later coloration, some pages with early marginalia, rebound in full leather with spine remnants of an earlier binding with gilt-stamped English titles; see below for a full list of included folios With annotation in an unknown hand to trimmed and re-mounted title page at lower right mentioning Johann Hildebrand Withof (1614-1684), German composer, poet, philologist, opinion journalist, and organist for St. Nikolai in Eilenburg; the annotation reads: [Ktema, in the Greek, or “Property”] Joh. Hildebrandt Withofü / Anno [1727] / Symbolum / Mundus regitur opinionibus [or: Creed / The world is ruled by opinions] Height 18 in., width 12 1/2 in., depth 2 in. $4,000-6,000 Notes: Folios include (asterisks indicate some colorization): I, III, IIII, IV, VIII, IX, XII, XIII, XV-XVIII, XIX, XX, XXII-XXIIII, XXVII, XXVIII, XXXI, XXXIII, XXXIIII, XXXVI, XXXVIII, XLIX, LI, LII, LIIII, LXIII, LXIIII, LXXVI-LXXIX*, LXXXV*, LXXXVIII*, LXXXIX, XCII-XCVII, XCIX, C, CVI-CVIII, CXI, CXII, CXVI-CXVIII, CXXI, CXXIII-CXXX, CXXXVII, CXLI-CLI, CLIIII-CLVIII, CLXI-CLXXVI, CLXXVIII-CLXXXI, CLXXXIII, CLXXXV, CLXXXVI, CLXXXVIII-CCI, CCII*, CCIII, CCIIII, CCV*, CCVI, CCVII, CCVIII-CCXI*, CCXII, CCXIII*, CCXIIII, CCXV*, CCXVI*, CCXVII-CCXXIIII, CCXXV-CCXLVIII*, CCXLIX, CCL-CCLIII*, CCLIIII-CCLVI, CCLVIII, CCLXII, CCLXIII, CCLXV-CCLXVIII*, CCLXXI*, CCLXXII*, CCLXXXVICCLXXXVIIII*, CCXCI, CCXCIII, CCXCIIII, Index folios Please note: The title page and index are each preceded by three unnumbered folios, including two copies of Stanislaus (cited as folio CCXLIIII, which the index incorrectly places at CCXII, among other pagination errata original to the work).

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309

Charles Dickens

(1812-1870) “Bleak House,” 1853 Hardcover book Dicken, Charles. “Bleak House.” Illustrated by H. K. Browne. London: Bradbury and Evans, 1853 First State, First Edition in book form The octavo in contemporary half leather binding with marbled boards and embossed spine, the page edges marbled, with 40 engraved plates, including typographical errors of note to pages 19, 209, and 275, likely bound from original serialized 19-as-20 issues Height 8 5/8 in., width 6 in., depth 2 in. $300-500

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310

Charles Dickens

(1812-1870) “Our Mutual Friend,” 1865 (in two volumes) Hardcover books Dicken, Charles. “Our Mutual Friend.” Illustrated by Marcus Stone. London: Chapman and Hall, 1865 First Edition in book form The octavos each in later full red leather binding with gilt-stamped border and embossed spine, the upper page edges gilt, with 40 engraved plates, including original blue wrappers and advertisements as issued from the 19-as-20 serialized publications bound in at the ends of both volumes, also with the postscript at the end of volume II, but without the rare errata slip to the reader of volume I 2 pieces Height of each 8 7/8 in., width 6 in., total depth 3 1/4 in. $800-1,200

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311

Franz Kafka

(1883-1924) “The Trial,” 1937 Hardcover book in later slipcase Kafka, Franz. “The Trial.” New York: Alfred A. Knopf, 1937 First American Edition, stated Bound in orange cloth, with colorized embossed front cover illustration and spine, in a later custom cloth-covered slipcase Height 7 7/8 in., width 5 3/8 in., depth 1 3/8 in.; height of slipcase 8 1/2 in., width 5 7/8 in., depth 2 in. $1,000-1,500 Provenance: Selections from the Estate of Robert and Mary Macbeth Looker

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312

Sylvia Plath

(1932-1963) “Ariel,” 1965 Hardcover book in later slipcase Plath, Sylvia. “Ariel.” London: Faber and Faber, 1965 First Printing In original red cloth with gilt-stamped spine, in a later custom cloth-covered slipcase Height of book 8 7/8 in., width 5 7/8 in., depth 5/8 in.; height of clamshell 9 1/2 in., width 6 1/2 in., depth 2 in. $300-500 Provenance: Selections from the Estate of Robert and Mary Macbeth Looker

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313

Two Queen Anne style mahogany armchairs

20th century Each with fiddle back, shepherd’s crook armrests, and later fabric upholstery 2 pieces Height of each 41 1/2 in., width 26 1/2 in., depth 27 in. $700-900

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314

A Queen Anne style walnut secretary

First half 20th century The upper cabinet doors opening to reveal profuse drawers and document cubbies, above a locking drop front revealing an inset leather writing surface and more storage drawers, on a chest of three large long drawers, raised on bracket feet Height of upper cabinet 52 in., width 43 in., depth 13 1/2 in.; height of lower 42 1/2 in., width 22 1/2 in., depth 22 in. $800-1,200

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315

A George III mahogany two panel fire screen

In the manner of Thomas Chippendale (1718-1779), circa 1765 Each panel with an inset Chinese painting on silk depicting women at leisure, over a pierced fret-carved section Height of each panel 48 in., width 25 in. $800-1,200 Provenance: From the Collection of Robert A. Day Sold: John Moran Auctioneers, Monrovia, CA, “The Estate of Robert Day,” July 29, 2025, Lot 315 Private collection, acquired from the above

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316

A Regency style brass and leather two tier side table Third quarter 20th century The leather with gilt-stamped trimming Height 24 in., width 27 in., depth 20 in. $700-900

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317

A George III style mixed wood inlaid demilune console Late 19th/early 20th century With applied paper label: JOLLY & SON LTD / REPOSITORY Height 33 3/4 in., width 48 1/4 in., depth 20 in. $400-600

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318

A Burton-Ching George III style burl walnut partner’s desk

Circa 2000 With inset blind and gilt-stamped leather top above three locking drawers to each side, the centers with fitted interior and pen rest, raised on ball-and-claw feet Marked to lock: Burton-Ching Height 30 1/4 in., width 60 1/2 in., depth 30 1/4 in. $700-900

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319

A George III style mahogany sideboard

20th century With single upper drawer above a serpentine front with seven drawers, raised on attenuated legs ending in spade feet Metal tag to drawer interior: STIEHL FURNITURE / NEW YORK Height 40 3/4 in., width 78 in., depth 29 in. $600-800

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320

A Burton-Ching Regency style inlaid mahogany sideboard Circa 2000 With three locking drawers Marked to lock: Burton-Ching Height 37 1/2 in., width 72 1/4 in., depth 21 in. $800-1,200

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321

Y A William IV rosewood games table

Circa 1835 The top folding open on a swivel revealing a green felt liner, raised on a pedestal base with paw feet Height 29 in., width 36 1/4 in., depth 18 1/8 in.; open height 27 1/2 in., width 36 1/4 in., depth 36 in. $600-800 This lot may require a CITES permit if being shipped outside California. Please contact your preferred shipping company for information.

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322

A Mintons porcelain bleu céleste ground ‘Queen’s Vase’

Third quarter 19th century In the Sèvres-style, with fruit reserves on the gilt highlighted bleu céleste ground Puce printed factory mark, impressed MINTONS Height 9 3/4 in., width 12 in., depth 9 in. $600-800 Provenance: Formerly in the collection of Marjorie Merriweather Post By descent through the family Notes: Marjorie Merriweather Post (1887-1973) was an American businesswoman, philanthropist and art collector. Daughter and heiress to C.W. Post, founder of the Postum Cereal Company (later General Mills), she became one of the wealthiest women in American at the age of 27. Post was a style maven socialite, known for her “high style” taste in design and a legendary fashion sense embellished by an unrivaled jewelry collection. She traveled extensively, collecting art, furnishings and treasures along the way, discovering a particular love for French and Russian culture. In 1955, Post bought Hillwood Estate in Washington, D.C., as a primary residence and to house her prized collections. Today, Hillwood Estate, Museum and Gardens is open to the public, displaying her collections of French and Russian furniture and decorative arts, highlighted by Sevres porcelain and Faberge objets de vertu. The form of the above lot is taken from a vase in the British Royal Collection, which appears to be the only known Sèvres vase of this form.

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323

A Spode Copeland ironstone ‘Upland Game’ service

Late 19th century Comprising: Woodland turkey platter (23 1/2 x 18 1/2 in.) 12 plates depicting fowl (diameters 10 1/4-10 3/8 in.) A sauceboat stand (8 1/4 x 6 1/4 in.) Turkey platter with underglaze black ‘Frank’s Boat Mark’; others variously stamped or impressed with factory marks 15 pieces $1,000-1,500

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324

A Chinese Export blue and white porcelain covered tureen Early 20th century With Indian-style opposed mask handles and pierced finial Unmarked Height 11 3/4 in., width 14 in., depth 8 3/4 in. $400-600 Provenance: Lynda Willauer Antiques, Greenwich, CT Private collection, acquired from the above, October 2008

326

A Chinese Export reticulated porcelain armorial bowl and stand

19th century Painted with a heraldic shield with a white stag on a red background paired with blue and gold diagonal stripes, surrounded by ornate mantling and a ribbon scroll Height overall 4 1/2 in., width across handles 10 in., depth of basket 9 in.; stand 8 3/4 x 10 1/4 in. $700-900

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325

A pair of Chinese Export porcelain platters 19th century Decorated with floral sprays Each unmarked 2 pieces Each 14 3/4 x 18 1/4 in. $600-800

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327

A Victorian mahogany dumbwaiter

19th century With two tiers, the middle with two hinged lids revealing an open compartment, raised on a tripod pedestal base Height 43 3/4 in., diameter 19 1/4 in. $400-600

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328

A Gothic Revival carved oak lectern

Late 19th/early 20th century The eagle-form stand with an easel-backed hinged element to adjust reading angle, above a turned wood and X-form pedestal base, mounted with later brass single light, electrified Height 71 1/2 in., width 27 1/2 in., depth 25 in., approximately $1,500-2,000

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329

A Victorian brass mounted mahogany folio cabinet

Late 19th century The locking drop front with hinged supports opening to reveal a felt-lined interior with dividers, above a lower locking cabinet Height 55 in., width 41 1/2 in., depth 21 in.; open depth 60 in. $600-800

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330

A Victorian tufted leather and carved wood captain’s chair Mid-19th century The U-form tufted leather upholstered back raised on foliate carved supports over a conforming seat on turned baluster legs on casters Height 34 1/2 in., width 32 1/2 in., depth 30 1/4 in. $300-500

331

A pair of French painted and gilt tole table lamps

19th century Each with three sides decorated in gilt with a musical instrument trophy, on paw feet, fitted with a later single-light fixture and a pleated fabric shade, electrified 2 pieces Height of each without harp 14 1/2 in., width 6 1/2 in., depth 6 1/2 in.; heights overall 21 1/2 in.; height of shades 9 1/2 in., diameter 15 1/2 in. $600 - $800

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332

A japanned three tiered cake stand

Early 20th century With upper handle and raised on splayed feet, each tier decorated with gilt-painted figural tableaus in bas relief Height 36 1/2 in., width 10 1/2 in., depth 11 in. $600-800

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333

Chester Henry Pond (1844-1912)

A self winding electromechanical mantel clock With open escapement in a glazed case, the silvered metal dial bearing Roman numerals, electrified Marked to applied metal plaque: Chester h. Pond Height overall 15 1/2 in., width 12 in., depth 8 1/2 in. $400-600

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334

A Mercer English electrically wound naval clock

Second and third quarter 20th century The Mercer Marine Chronometer electrically rewound for British Navy, together with a T & F Mercer wall clock, electrified Marked to dial: THOMAS MERCER / ST. ALBANS, ENGLAND / 1122; wall clock also with factory marks to dial 2 pieces Height of Marine 11 1/2 in., width 9 1/8 in., depth 5 3/4 in.; height of wall clock 16 5/8 in., diameter 3 3/8 in. $1,000-2,000

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335

A Chelsea tambour ships clock

Early 20th century The two-movement clock with ships bell mechanism and silvered metal dial bearing Roman numerals, in a glazed brass case Dial marked: J. R. REED & CO. / PITTSBURG / CHELSEA / SHIP’S BELL; impressed to underside: 144130 Height 7 3/4 in., width 10 1/2 in., depth 4 3/8 in. $800-1,200

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336

A nautical knot board

Second half 20th century The wood board mounted with examples of sailor’s knots, semaphore alphabet flags and other flags, and various nautical implements, each with typed paper label Height 48 1/4 in., width 78 1/4 in., depth 2 in. $1,000-2,000

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337

A wood model of whaleship “Alice Mandell”

20th century Museum class A, scratch-built model of solid wood, copper detail, and painted with ship’s name, in a custom Plexiglas case with wood base Scale 3/16” = 1’ Height 26 3/4 in., width 34 in., depth 10 1/2 in.; height of case 28 1/4 in., width 38 1/4 in., depth 12 1/4 in. $600-800 Provenance: Estate, Pasadena, CA By family descent Notes: This lot is accompanied by a copy of a “Statement of Authenticity - Museum Classification” from Thoams A.C. Hershey, Hand Custom Crafted Ship Models - Built and Restored, dated October 10, 1988.

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338

A carved hardstone rhinoceros

20th century or earlier With ruby-colored inset eyes Height 2 3/8 in., width 5 1/4 in., depth 2 1/8 in. $300-500 Provenance: Selections from the Estate of Robert and Mary Macbeth Looker

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339

Four Limoges enamel and gilt metal hand mirrors Early 20th century Three signed in the enamel field 4 pieces Lengths 7 3/4-9 1/4 in. $500-800

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340

A large Louis Vuitton steamer trunk

Early 20th century, France The extra-large trunk with LV monogram canvas and stamped leather trim to exterior, branded leather handles, wood slats to the lid and body, and brass colored hardware including a branded lock, multiple latches, corners, and rivets, the trunk to be placed vertically when opened, revealing an orange fabric-lined interior, the right side with six fabric-lined drawers, the top drawer with various sections, three with integral glazed cotton covers, and the left side with velvet lined ‘lid,’ steel racking, bars, and brackets holding multiple branded wooden hangers and other parts, with a removable lidded shoe box to base; one end of the exterior with larger wooden rails Applied leather label to case end: Louis Vuitton / Asnières / S/Seine / PARIS _70, Champs Elysees / NICE_ 4, Jardin Public / LONDON_ 149, New Bond St. / Modèle Déposé; ink stamped serial number: 773766 [faint, or 753766]; similar leather label to shoe box further marked: LILLE_ 34 Rue Faidherbe / Modèle Déposé; ink-stamped serial number: 760861; lock stamped for Louis Vuitton; serial number 063706 Height 26 1/4 in., width 45 in., depth 22 in. $4,000-6,000

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341

A Louis Vuitton Monogram Coffret Trésor 24 jewelry box

Circa 2006, France The small case in LV monogram canvas with printed monogram cowhide trim, golden brass toned branded hardware including front S-lock, and all corners, the interior lined with pale red microfiber, with branded keys on leather key fob With stitched embossed leather label to inside lid: Louis Vuitton / Paris / made in France; embossed date stamp to interior front right: AS0036 Height 5 1/8 in., width 9 3/4 in., depth 6 5/8 in. $1,500-2,000

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342

A Late 19th Century Russian icon of the Archangel Michael as Horseman of the Apocalypse Archangel Michael as Horseman of the Apocalypse With underpainting on wood panel with a stamped brass oklad Unsigned; punch-inscribed in Cyrillic identifying “Michael” on the oklad, upper center Overall: 11 3/4 x 9 3/4 x 2 3/4 in. $400-600 Provenance: Private collection, San Diego, CA

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343

A 19th Century Russian Icon Holy Trinity Paint and gold leaf on panel Unsigned 23 x 17 1/4 x 1 3/4 in. $300-500 Provenance: Private collection, San Diego, CA johnmoran.com 427

344

A Late 19th Century Russian icon of the Resurrection and the Twelve Great Feasts Scenes of the Resurrection and the Twelve Great Feast Days Paint and gold leaf on a wood panel Unsigned 11 1/8 x 10 1/2 x 1 in. $400-600 Provenance: Private collection, San Diego, CA

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345

Evgeny Aleksandrovich Lanceray

(1848-1886) “The Farewell Kiss” Gilt-bronze on wood plinth Signed in the casting in Cyrillic Height of bronze 15 3/4 in., width 14 in., depth 7 in.; height of plinth 1 1/2 in., width 17 1/4 in., depth 8 1/2 in. $2,000-3,000

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346

A Russian gilt bronze of a Cossack on horseback

After a model by Vasily Grachev (1830-1905), 20th century Signed in Cyrillic: [LBP Grachev / Fabr. C.F. Woerrfel St. Petersbourg] Height 9 in., width 6 3/4 in., depth 3 1/8 in. $600-800

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347

A patinated bronze sculpture of a Ukrainian chumak driving oxen

After a model by Evgeni Alexandrovich Lanceray (1848-1886), 20th century With Cyrillic inscription in the bronze translated as ‘Sculpted by E. Lanceray 1879 Cast by F. Chopin’ Height 8 7/8 in., width 20 3/4 in., depth 7 1/2 in. $800-1,200

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348

A Russian brass synagogue menorah

Circa 1900 Unmarked With nine lights, raised on a tripod base Height 29 in., width 26 3/4 in., depth 17 in. $1,200-1,800 Provenance: The collection of Blackman Cruz Sold: LAMA, Los Angeles, CA, “Beauty & Mischief: Selections from Blackman Cruz,” March 20, 2024, Lot 107

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349

An extensive Kornilov Brothers porcelain dinner service

Late 19th/early 20th century Comprising: 40 dinner plates (9 5/8 in.) 17 salad plates (8 1/8 in.) 19 bread & butter plates (6 3/8 in.) 22 soup plates (9 1/2 in.) 2 oval serving platters (19 x 13 1/8 in.) 1 smaller oval serving platter (17 1/2 x 12 1/8 in.) 1 oval fish platter (23 x 11 3/4 in.) 4 round chargers (larger pair 14 1/8 in.; smaller pair 12 7/8 in.) 2 small diamond bowls (10 5/8 x 5 3/4 in.) 1 sauce boat with attached underplate (height 4 1/4 in., width 9 in., depth 5 1/2 in.) 2 covered sauce tureens on stands (height 5 1/4 in., diameter 7 1/4 in.) 2 entree dishes, one with cover (width 10 5/8 in., depth 8 7/8 in.) 1 circular serving bowl (8 5/8 in.) Each with factory shield mark decal 114 pieces $1,000-2,000 Provenance: Selections from the Estate of Robert and Mary Macbeth Looker

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350

Eugène Galien-Laloue

(1854-1941) Paris street scene with figures and market stalls Gouache and watercolor on paperboard Signed lower left: E. Galien-Laloue 8 x 12 5/8 in. $2,000-3,000 Provenance: Private collection, Mammoth Lakes, CA, by family descent

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351

19th Century Continental School Figures gathered along the beach Oil on canvas Signed lower right: Marcella 24 x 36 in. $700-900

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352

Georges Maroniez

(1865-1933) “Port De Peche Au Crepuscule” Oil on canvas laid to board Signed lower right: G. Maroniez; titled by repute 16 x 20 in. $1,500-2,500

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353

Ola Abrahamson

(1883-1980) Group of people in a courtyard Oil on canvas Signed lower right: Ola Abrahamson 25 x 27 1/2 in. $800-1,200

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354

Marlin Linville

(1950-2001) Creek in a winter landscape Oil on canvas Signed lower right: Linville 16 x 20 in. $800-1,200

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Paul Rivoire (1902-1984)

Paul Rivoire was a French post-impression not only influenced by his contemporary,

As a young man, his instructors declared, allow him to follow whatever path he choo and vibrant landscapes of exquisite qualit “... [His] works, notable in their compositio among the most talented and original pai

The Rivoire family was the official notary o the family established a silk factory. Rivoire depression. Later in life he took up reside 1984. Rivoire never sought fame and he o demanded it.

nist who painted in the Provence-Alpes-Cote d’Azur region. Rivoire’s art was Matisse, but also by Cezanne, Van Gogh and Gauguin.

“Rivoire stands on the shoulders of Cezanne. His remarkable talents will oses.” In the 1930s, Parisian art critics lauded his “intimate, but vigorous ty...” (circa 1935, “Le Matin”). “Le Petit Dauphinois,” in 1936, exclaimed, on and color, have established that this young artist is now to be counted inters from Savoy.”

of France under the Ancient Regime. In the second half of the 19th century, e inherited and eventually lost the family silk business during the great ence in a small one room apartment with his dog and died in Grenoble in only exhibited occasionally. He painted because his talent and love of art

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355

Paul Rivoire

(1902-1984) “Triminis - Le Serre et Grand Ferrand” (Village near Triminis, The Greenhouse and Grand Ferrand) Watercolor on paper Signed and titled lower left: Paul Rivoire Sight: 18 x 24 1/2 in. $600-800 Provenance: K. Nathan Gallery, La Jolla, CA

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356

Timothy John Clark

(b. 1951) “Morning, Vicino de Fenice,” 1999 Watercolor on Arches Aquarelle paper Signed in pencil upper left: Timothy Clark; dated from an exhibition label affixed to the frame’s backing paper Sheet: 22 1/4 x 15 in. $500-700 Exhibited: Santa Ana, CA, The Bowers Museum of Cultural Art, “Special Exhibit of Timothy J. Clark’s Oil & Watercolors,” September 7-17, 2000

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Grigory Petrovitch Sve (1872-1947)

Grigory Petrovitch Svetlitsky was a Ukraini the late Russian Empire and the Soviet pe French-horn player employed by the Kyiv childhood. Svetlitsky began studying violi at Mykola Murashko’s Kyiv Drawing Schoo 1890s working under and influenced by Il

Prior to the revolutionary period beginnin and genre scenes featuring lyrical treatme restoration of monuments including St. Isa to-date was the interaction between his tw painting, and a number of his paintings w

Svitlitsky lost his wife and son during the r revolutionary period brought a change in paintings depicting contemporary politica of Red Ukraine and later the Ukrainian arti “People’s Artist of the Ukrainian SSR,” bec of his life, Svetlitsky taught at the Kyiv Art

etlitsky

ian painter, graphic artist, musician, and composer whose career spanned eriod. Svetlitsky was born in Kyiv in September 1872, the twelfth child of a v Opera. Music and drawing were both important to the artist from in at four and later composed music. From the late 1880s Svetlitsky studied ol and continued his studies at St. Petersburg Academy of Arts during the lya Repin, Mykola Kuznetsov, Arkhip Kuindzhi, and Pavel Chistyakov.

ng in 1917, Svetlitsky’s work comprised paintings of landscapes, portraits ents of light and atmosphere, while he also worked on the decoration and aac’s Cathedral in St. Petersburg. A distinctive feature of Svetlitsky’s career wo artistic identities. He continued to compose and play music while were explicitly connected with musical themes.

revolution and returned permanently to Kyiv in 1919. The postsubject matter. He produced graphic work, book illustrations, posters, and al and social themes. He became associated with the Association of Artists istic organization formed in 1929. In 1946, Svetlitsky was awarded the title coming the first Ukrainian artist to receive that distinction. In the final years Institute.

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357

Grigory Petrovitch Svetlitsky

(1872-1947) Man resting in an autumn landscape Oil on canvas laid to canvas Signed in Cyrillic lower left 33 3/8 x 51 1/4 in. $3,000-5,000 Provenance: Albert/Dwaine Galleries, Tustin, CA The Collection of Sybil Rosen and Robert Fisher, from the above, 1978 Notes: Stylistically the present work is from the pre-revolutionary period when Svitlitsky was working in a rich, impressionist style. Subject matter like the present work often combined everyday life, Ukrainian settings, and the atmospheric effects of light. The figure resting momentarily on a bench along a rural path sits in a dark overcoat amongst shadowy tree trunks while the receding path strewn with autumn leaves guide the eye along a rustic, blue-painted fence toward a welcoming house just beyond the tree line.

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358

A chinoiserie lacquered inlaid wood chest

Likely European with possible Chinese 17th/18th century elements With later brass mounts, inlaid with abalone mother of pearl, depicting men on horseback and rural scenes, opening to reveal a later red lacquered interior Height 24 3/4 in., width 56 1/2 in., depth 23 in. $3,000-5,000

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359

A pair of Kreiss Furniture athéniennes

Late 20th/early 21st century The bronze tripod stand with lion’s head accents, supporting a marble veneered ceramic planter One with metal tag: KREISS COLLECTION 2 pieces Height of each 48 1/2 in., width 20 1/4 in., depth 21 in. $700-900

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360

A large Baroque style giltwood mirror

20th century Carved with foliate accents and intricate trimming Height 83 in., width 55 in., depth 4 1/4 in. $1,000-1,500

362

An Italian polychrome three panel folding screen

Second half 18th century Decorated in a chinoiserie style, depicting exotic birds, flowering branches, and figures of Chinese men engaged in various activities within stylized garden landscapes, oil on canvas with wood frames and fabric backing with brass tacking Each panel high 72 in., width 34 1/2 in., depth 1 1/8 in.; stored depth 4 in. $800-1,200 Provenance: Loewi-Robertson, Inc., Los Angeles, CA Private collection, acquired from the above, May 13, 1988 Notes: This lot is accompanied by a digital copy of the purchase receipt from the abovementioned retailer.

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361

A Continental Baroque style white glazed ceramic oven 19th/20th century With open back and brass door Height 94 in., width 31 in., depth 19 in. $700-1,000

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363

An Italian chinoiserie gilt and red lacquered box

Mid-18th century With locking lid and opposed handles, decorated with Chinese-style scenes Height 5 5/8 in., width 13 1/4 in., depth 10 1/4 in. $700-900

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364

An Italian micro mosaic panel of the Basilica di Santa Maria della Salute Early 20th century In a giltwood frame With gift inscription verso Sight 7 7/8 x 11 7/8 in. $600-800

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365

A Gandharan stucco head of a Buddha

Circa 3rd-4th century BCE (Gupta period) The head displaying a serene, idealized expression with downcast eyes, softly modeled facial features, and full lips, the hair arranged in a smooth cap or topknot, with a simplified treatment characteristic of early classical Indian sculpture Height 6 5/8 in., width 4 1/2 in., depth 4 1/4 in. $800-1,200 Provenance: Didier Aaron, Ltd., Los Angeles, CA, pre-1985

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366

A Southeast Asian bronze seated Buddha in the Sukhothai style 20th century or earlier Depicted with hands in Bhumisparsha mudra Height 18 1/2 in. width 14 in. depth 8 in. $800-1,200

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367

A Southeast Asian lacquered papier-mâché head

Rattanakosin period (1782-1932) or earlier, Burmo-Thai Mounted on a custom painted wood stand Height of head 16 in., width 10 in., depth 9 in.; height overall 20 1/2 in. $500-700 Notes: This lot is accompanied by a signed Certificate of Authenticity from Schoeni Fine Oriental Art, Hong Kong, dated, January 29, 1994.

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368

A thangka of Palden Lhamo/Sri Devi

Tibet or greater Vajrayana Buddhist world, 19th century or later A painted panel on fabric with a fabric border depicting the ‘Glorious Goddess’ in her typical posture but atop an unusual elephant mount, beneath a Kagyu hierarch and above a possibly Chinese or Chinese inspired-guardian figure, further surrounded by an array of additional wrathful deities in a smoky hellscape. Image: 25 x 15 1/2 in.; Overall, sight: 29 1/2 x 17 1/2 in. $500-700

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369

A Tibetan painted wood panel

19th century Pigment on canvas laid to wood, depicting a dragon, tiger, and snake Height 62 in., width 27 in., depth 3 3/4 in. $500-700

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370

A pair of Thai carved wood temple doors

Circa 1825 Carved with warriors armed with swords, small animals, and floral motifs 2 pieces Height of one 60 3/4 in., width 21 5.8 in., depth 2 1/2 in.; height of the other 60 3/4 in., width 20 5/8 in., depth 2 1/4 in. $700-900 Provenance: Thai Lert Antique Private collection, San Diego, CA, acquired from the above, March 19, 1988 Notes: This lot is accompanied by a copy of a purchase receipt from the abovementioned retailer.

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371

A Chinese blue and white porcelain vase 20th century Unmarked Height 16 5/8 in. diameter 9 in. $400-600

372

A Chinese blue and white porcelain vase 20th century Unmarked Height 23 1/4 in., diameter 9 3/8 in. $500-700

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373

A Chinese blue and white porcelain vase 20th century Unmarked Height 23 1/4 in., diameter 9 3/4 in. $500-700

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374

A near pair of Chinese Famille Rose porcelain floor vases

Late 20th century Decorated with peonies, bands of meandering motifs, ruyi-form floral medallions, and alternating registers depicting floral vignettes and figural scenes, raised on hardwood stands Each stamped with apocryphal red mark for Qianlong period (1735-1796) and applied sticker: MADE IN CHINA 2 pieces Height of larger 5 ft. 3 in., diameter 20 in.; height of smaller 5 ft. 1 1/2 in., diameter 21 1/2 in.; height of stands 10 3/4 in., diameter 17 1/4 in. $800-1,200

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375

Three Chinese Export porcelain bowls

20th century Each unmarked 3 pieces Heights 2 5/8-2 3/4 in.; diameters 5 1/2-5 3/4 in. $400-600

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376

A pair of large Chinese Famille Rose porcelain covered urns Late 20th century Each unmarked 2 pieces Height of each 31 in., diameter 16 1/2 in. $700-900

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377

A group of four Chinese porcelain Sanxing deity figures

20th century Depicting Fu, Lu, and Shou, one with mounted with hair for the beard Three impressed with marks to underside 4 pieces Height of tallest 25 in., width 8 1/4 in., depth 7 in.; height of shortest 19 in., width 6 in., depth 4 1/2 in. $800-1,200

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378

A Lalique frosted glass ‘Ganymede’ wine cooler

Late 20th century Designed 1955 by Marc Lalique (1900-1977) Etched: Lalique ¬Æ France; interior rim with applied factory label Height 9 1/8 in., width 10 in., depth 9 3/8 in. $800-1,200

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379

A group of fourteen Rene Lalique glass goblets

Second quarter 20th century Each pattern originally designed 1924 Comprising five ‘Barr’ cordials and eight ‘Saverne’ wine glasses and one champagne Ten etched: R Lalique / France; and numbered ‘5009’ or ‘5070’ or ‘5071’; four cordials with stencil mark: R LALIQUE / FRANCE 14 pieces Height of tallest 5 1/4 in., height of shortest 4 7/8 in. $800-1,200

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380

A set of fifteen Lalique ‘Chene’ double old fashioned glasses Late 20th/early 21st century Designed by Marc Lalique (1900-1977) Each etched: Lalique France 15 pieces Height of each 4 3/4 in., diameter 3 7/8 in. $1,200-1,500

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381

A Lalique glass ‘Yeso Antinea’ bowl and ‘Antinea’ vase Late 20th/early 21st century Designed by Marc Lalique (1900-1977) Each etched: Lalique ¬Æ France 2 pieces Height of vase 7 3/4 in., width 10 3/4 in., depth 8 1/2 in.; height of bowl 4 1/8 in., diameter 9 1/4 in. $1,000-1,500

382

Two Daum pâte de verre and clear glass table vessels

Late 20th/early 21st century Comprising a vase depicting an Iris and a bowl depicting two foliate elements Each etched: Daum France 2 pieces Height of vase 9 in., width 7 in., depth 5 in.; height of bowl 3 1/2 in., width 8 5/8 in., depth 8 1/8 in. $600-800

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383

Philip Jackson

(b. 1944) “Pope Joan”, circa 1999 Patinated bronze Edition: 7/8 Impressed with edition and signed in the casting: JACKSON Height 20 in., width 7 5/8 in., depth 6 1/4 in. $1,000-1,500

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384

A Chinese wall mounted textile after Xu Beihong (1895-1952)

Circa 1984 The hand-knotted silk pile textile featuring running horses in a landscape, professionally mounted on a fabric-covered backboard, and encased in a custom acrylic frame Sight: 3 ft. 4 1/2 in. x 6 ft. 6 in. approximately $600-800 Notes: This lot accompanied by a purchase receipt from Benny Arts Company/ Chinese Carpet Centre, Kowloon, Hong Kong, dated September, 1984.

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385

A Jaeger-LeCoultre ‘Atmos’ mantel clock

Late 20th/early 21st century The dial bearing Roman numerals, in a glazed faux tortoiseshell case Dial with factory marks Height 10 3/4 in., width 9 in., depth 5 5/8 in. $700-1,000

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386

A Piero Figura for Atena pewter marine theme tray

Late 20th century; Milan The shaped oval rim applied with cast shells at intervals, one side with a mermaid seated on a throne of shells, pearls, coral, and starfish, raised on six shell feet Impressed to underside: Figura Piero / Per Atena / [sun cipher] / ETAIN 95% Height 4 5/8 in., width 21 1/2 in., depth 15 1/2 in. $300-500

387

An Elie Bleu ‘Flor de Tabacos’ cigar humidor and cigar cutter Early 21st century Marked to lock: ELIE BLEU PARIS Height 4 3/4 in., width 12 in., depth 9 3/4 in. $800-1,200

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388

A pair of Neoclassical style brass pedestals Late 20th century 2 pieces Height of each 28 in., width 18 in., depth 18 in. $700-900

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389

A pair of Neoclassical style brass tabourets

20th century Each in the Manner of Maison Meilleur, with glass top 2 pieces Height of each 24 1/2 in., diameter 15 1/2 in. $1,000-1,500

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390

Sandra Koop

(1959-2021) “Rapture” Patinated and polished bronze on stone plinth Edition: 117/299 Signed and numbered in the casting: S KOOP © Height overall 59 1/4 in, width 34 in. depth 26 1/2 in., approximately $2,000-4,000

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391

A Renaissance Revival style carved hardwood coffee table Late 20th/early 21st century The tabletop with book-matched veneer and ogee beveled edge, raised on four seated lion supports on a platform cross-stretcher Height 20 1/8 in., width 75 in., depth 37 in. $600-800

johnmoran.com 489

392

A group of three French copper pieces of cookware

19th century Comprising a J. Cusden copper fish kettle with iron handle, a stove-top warming plate/drip tray, and a E. Dehillerin lid for a pot with iron handle Fish kettle and lid impressed with maker’s mark, the kettle monogrammed 3 pieces Height of kettle 5 3/4 in., width 19 1/4 in., depth 8 1/4 in.; tray 15 1/4 x 11 1/4 in.; diameter of lid 12 1/8 in. $700-900 Provenance: Drip tray: La Boutique des Cartrons, Bordeaux, France From the estate of Professor V. A. Kolve, Hollywood Hills, CA, acquired from the above, July 21, 1990 Notes: This lot is accompanied by a digital copy of a purchase receipt from the abovementioned retailer.

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johnmoran.com 491

393

A Provincial oak hall bench

Early 20th century The shaped crest rail with central openwork S-form motif above a later upholstered seat cushion flanked by flat armrests with ball finials at the terminals Height 43 1/2 in., width 50 in., depth 22 3/4 in. $400-600

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394

A Rococo style parquetry bombé commode

Early 20th century With two shallow drawers above two larger, each with a gilt-bronze foliate pull Height 32 1/2 in., width 55 1/2 in., depth 22 in. $800-1,000

johnmoran.com 493

395

An Italian inlaid walnut games table and four chairs

Second half 20th century The clip-corner square tabletop with floral marquetry and with cork backgammon board on the verso, the apron and each seat and seatback profusely inlaid with floral motifs, the table housing a green felted card playing surface with chess/checkers on the verso, roulette wheel and felted board, and various game pieces 5 pieces Height of table 29 3/4 in., width 34 1/2 in., depth 34 1/2 in.; height of each chair 31 in., width 17 1/2 in., depth 19 1/2 in. $500-700

4 9 4 The Tr ad i t i o n a l C o lle c t o r l Tu e sd ay, O c tob e r 1 3 , 2 0 2 6

johnmoran.com 495

396

A carved wood carousel horse

Second half 20th century With roses in high relief, incised with foliate motifs beneath saddlery, supported on metal poles Height 56 in., width 56 in., depth 14 in. approximately $1,000-2,000

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397

A carved wood model of an elephant

Late 20th century The figure whitewashed, on a painted wood base Height 54 1/2 in., width 55 1/2 in., depth 26 in. $600-800

johnmoran.com 497

Consign Today

California & American Art November 17, 2026

Consignment Deadline October 7, 2026 Auction Inquiries: info@johnmoran.com 4 9 8 The Tr ad i t i o n a l C o lle c t o r l Tu e sd ay, O c tob e r 1 3 , 2 0 2 6

SINCE 1969

AUCTIONEERS & APPRAISERS

Is your collection

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

art - jewelry - decorative objects - furnishings and more Sold at John Moran Auctioneers:

Félix Varlamishvili (1903-1986) View of the Cathedral, Baptistery, and Tower, Pisa

Price Realized: $21,590 SINCE 1969

AUCTIONEERS & APPRAISERS johnmoran.com 499

Condition Reports

1 One butter spreader with different blade. Each overall good condition with mild tarnishing and scattered scuffs, scratches, and small nicks commensurate with age. Weight does not include hollow-handled items. 2 With a few light scratches overall, and tiny dents to edge of lid. 3 One red wine glass with a rice-sized chipped loss to rim exterior. Each with shelf wear, scuffs, scratches, and wear to gilding commensurate with age. 4 Not examined under UV light. In generally good condition overall with typical wear and rubbing from light use, including some scattered knife marks. Some surface dirt. A few filed down popped air bubbles. Plates with some stacking wear. A few applied roses with scattered fleabites to edges, mostly on the finials of lids of cream soups. A few of the place card holders have some fleabites to edges of bases. One rimmed soup bowl with firing crack to rim (approximately 1/4 in. in length). 5 Not examined under UV light. In overall good condition with typical wear and rubbing from light use, including a few scattered knife marks.

Condition Reports

6 Not examined under UV light. In generally good condition with typical wear and rubbing from light use including some knife marks and stacking wear. Surface dirt. Coffee pot with loss of vine to rose finial. Some fleabites to the yellow rose finial. One demitasse saucer possibly restored, though it could be a glaze flaw as the underside has an orange peel appearance. One 7 1/2in plate with two brown spots of paint to rim.

502

7 Not examined under UV light. Overall good condition with typical wear and rubbing from use. Some ticker residue to the interiors.

10 Each overall good condition with shelf wear and scattered minor scuffs commensurate with age. Not examined under UV light. 11 Overall good condition-superficial wear in the form of minor scratches. Metal stamped and tested for 14K gold. 12 Some light polishing scratches and scuff overall. 13 At least two with dent in the rim. Each with nicks at rim and foot rim edges. Each overall with mild tarnishing and scattered scuffs, scratches, and small nicks commensurate with age. 14 Overall good condition with mild tarnishing and scattered scuffs, scratches, and small nicks commensurate with age. 15 Each overall good condition with mild tarnishing and scattered scuffs and scratches commensurate with age. 16 Both mug and bowl have dents to bottom foot rim, bowl and mug are out of round. Several fine scratches to interior and underside of both. 17 Overall good condition with mild tarnishing and scattered scuffs, scratches, and small nicks commensurate with age. 18 Each overall good condition with mild tarnishing and scattered scuffs, scratches, and small nicks commensurate with age. Weight does not include hollow-handled items. 19 1-inch area of foot dented inward. Light polishing scratches.

8 Not examined under UV light. In generally good condition with typical wear and rubbing to decoration from use, including some scattered knife marks and abrasions to centers and handles at high points. Some surface dirt.

20 One demitasse spoon with heavy maceration or denting to bowl (not the associated). Each overall good condition with scattered scuffs, scratches, and small nicks commensurate with age. Weight does not include hollow-handled items.

9 Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. No evidence of restorations or repairs under UV light.

21 Overall good condition with tarnishing and scattered scuffs, scratches, and small nicks commensurate with age. Mirror with de-silvering.

22 Each overall good condition with mild tarnishing and scattered scuffs, scratches, and small nicks commensurate with age.

33 Each with mild tarnishing and scattered scuffs, scratches, and small nicks commensurate with age. Weight does not include hollow-handled items.

23 Each overall good condition with mild tarnishing and scattered scuffs, scratches, and small nicks commensurate with age.

34 Overall good condition with very mild tarnishing, soiling to interior, and scattered scuffs and scratches commensurate with age. The handle with a very shallow indentation at side.

25 Each overall good condition with mild tarnishing and scattered scuffs, scratches, and small nicks commensurate with age. Weight includes insulators. 26 Each in overall good condition with mild tarnishing and scattered scuffs, scratches commensurate with age and use. Weight does not include hollowhandled items. 27 Each overall good condition with mild tarnishing and scattered scuffs, scratches, and small nicks commensurate with age. One with a slight indentation to rim. 28 In good condition overall with polishing scratches overall and tiny nicks to rim.

35 With a 3/8 x 1/4 in. chip to one bottom corner of base. With mild tarnishing and scattered scuffs, scratches, and small nicks commensurate with age. 36 Ivory insulators have been removed, but weight includes previous insulators. Each overall good condition with mild tarnishing and scattered scuffs, scratches, and small nicks commensurate with age. 37 The sugar bowl does not stand evenly. Each overall good condition with mild tarnishing and scattered scuffs and scratches commensurate with age. Each personalized with monogram. Ivory insulators removed, but weight includes them. 38 Small dent to interior rim of one bob√®che, light polishing scratches. 39 Two dinner forks with bent tines. Each overall good condition with mild tarnishing and scattered scuffs, scratches commensurate with age and use. Weight does not include hollow-handled items.

29 The spoon with a dent at edge of bowl. Each with scuffs and scratches and small nicks throughout commensurate with age.

40 Each overall good condition with scuffs and scratches commensurate with age.

30 Each overall good condition with mild tarnishing and scattered scuffs, scratches, and small nicks commensurate with age. Weight does not include hollow-handle items.

41 Each overall good condition with shelf wear and minor scuffs and scratches commensurate with age. Each box interior wood lining likely refinished and with minor soiling.

31 Two knives with different size handles. Each with mild tarnishing and scattered scuffs, scratches, and small nicks commensurate with age. Weight does not include hollow-handled items.

42 One teaspoon bent and scraped. Otherwise each in overall good condition with mild tarnishing and scattered scuffs, scratches, and small nicks commensurate with age and use. Weight does not include hollow-handled items.

32 Each overall good condition with minor scuffs and scratches commensurate with age. Weight does not include hollow-handled items.

Condition Reports

24 Ivory insulators have been removed. Weight includes the previously unremoved insulators. Each overall good condition with mild tarnishing and scattered scuffs, scratches, and small nicks commensurate with age.

503

43 XRF tested for sterling. Each was later filled with plaster. Each with heavy denting, tarnishing, scattered scuffs, scratches, and small nicks commensurate with age. 44 The bases with dime-sized repairs/areas of restoration, including but not limited to four on one base and a single on the other. Each with dust accumulation, soiling, scattered scuffs and scratches, abrasions, and oxidation commensurate with age. Each branch standard sits with a lean, the mounting junctures at beaks connections not lined up exactly. 45 With oxidation, darkening to bronze, scuffs, scratches, nicks, indentations, soiling, and general wear commensurate with age. 46 The item has been cleaned. With oxidation, soiling, scuffs, scratches, nicks, and small indentations commensurate with age. 47 Light-staining and pale foxing throughout. Large repaired tears to the silk throughout the outer sight edges, the largest measuring 25 inches along the left sight edge, and another, slightly smaller, along the right sight edge. Smaller tears and flattened creases scattered throughout. Other minor defects. Not examined out of the frame. Framed under Plexiglas: 45 x 65 3/4 x 2 1/4 in.

Condition Reports

48 Each in overall good condition with oxidation and wear commensurate with age and use. Scattered areas with losses to feathers.

504

49 Overall good condition with dust accumulation, light wear, and minor creasing commensurate with age. The black silk with some scattered faint marks, minor scratches, and small faint spots/smudges. The blue lining with scattered areas of faint discoloration, especially to shoulders and armholes. 50 The robe fragment with light dust accumulation, wear, and creasing commensurate with age. The raw edges of the open seams with some loose threads and slight fraying in places. The exterior with a few scattered faint smudges and small spots. The interior with a few scattered areas of faint adhesive residue, and with remnants of paper interlining adhered to some interior edges.

51 Each overall good condition with dust accumulation, creasing, and wear commensurate with age and use. Each with a few scattered minor spots, stains and marks, and some areas of minor fading. Each with a few scattered loose threads or areas of stitching, some with areas of loose trim. The cotton yokes with scattered stains and foxing marks. The cream skirt with heavier wear, multiple stains and dark marks, and areas of loose trim and a few open seams. The first with worn label: made in China, and the second with ink stamp: Made in China 52 Each with light dust accumulation, creasing and wear commensurate with age and use. Each with scattered minor loose stitches and areas of loose seam stitching. The first with scattered weak areas with splits and losses to the weave, primarily to the center and crease lines. The lining with scattered spots and marks. The second with a few loose stitches to some edges, and with a blue silk lining. The roundel with multiple loose embroidery threads and a few scattered dark spots. 53 Overall good condition with dust accumulation and creasing commensurate with age and use. Scattered areas of dye transfer to each panel. Scattered small spots and minor soiling overall, primarily to lining. A few minor losses to edge trim, and a couple of loose stitches. 54 Overall good condition with dust accumulation and wear commensurate with age. Areas of scattered marks, spots, and stains to silk. Areas of previous repair stitching, primarily to the top edge. Not examined out of frame. Frame: 23 1/8 x 27 7/8 x 2 1/8 in. 55 Each with dust accumulation, creasing, and wear commensurate with age and use. Each with a few scattered loose threads, and scattered soiling and dark marks to front. One Phoenix mat with overall fading to the embroidery. The linings with scattered soiling and stains. The Phoenix mats each with ink mark verso: China # 169.

57 Overall good condition with dust accumulation, creasing, and minor wear commensurate with age and use. A few scattered loose threads overall. A few scattered dark marks, small spots, and stains to each side, with some dark smudges to the top edge and one side. Faintly stamped in ink verso to one corner: Made in China. 58 Overall good condition with dust accumulation, creasing, and wear commensurate with age and use. Slight fading to face overall, silk possibly red or dark orange originally. A few scattered loose single threads and loose scattered dark smudges, marks, small spots, and minor stains to each side. A few small spots of faint dye transfer. With added attached fabric sleeve to top edge for display. Further stamped verso: Made in China. 59 With dust accumulation, severe creasing and wear commensurate with age and use. Extensive wear to the silk with scattered splits, holes, and losses to the weave and to the embroidery, the largest area 3 x 4 in.. The valance with two areas of loss, with holes and dark marks to edges. Scattered fading, stains, and spots to front and extensive staining, spots, and dye transfer to lining. The tassels with tangled strands. The top folded edge with 19 attached metal rings. 60 Overall good condition with dust accumulation, creasing, and wear commensurate with age and use. A few scattered loose threads overall. A few scattered dark marks, small spots, and stains to each side. With added attached fabric sleeve to top edge for display. Stamped in ink verso: Made in China.

61 With dust accumulation, creasing, and wear commensurate with age and use. A few scattered loose threads overall. Scattered areas of wear with a few small splits and holes. Scattered dark marks, small spots, and stains to each side. Extra fabric at lower edge is stitched into a fold, with extensive wear to the fold including multiple splits and holes. Lining extends above the embroidery to include an integral pole sleeve to top edge. 62 Overall good condition with dust accumulation, minor creasing, and light wear commensurate with age and use. A few small areas of wear/abrasion to black silk. A few scattered loose threads overall, primarily to the gilt threads of the border. A few scattered small spots to the front, with a couple of small faint spots to lining. Fully lined in cotton/linen muslin fabric. Lining stamped in ink: P.C. [LI, within a shield]. 63 Overall good condition with dust accumulation, minor oxidation, creasing, and minor wear commensurate with age. A few scattered dark marks. A few minor loose threads. Scattered areas of creasing and loss to white looped braid trim. The tassels with tangled strands. Not examined out of frame. Framed under clear acrylic: 26 1/4 x 74 3/8 x 1 3/8 in. 64 Each with dust accumulation, creasing and wear commensurate with age. The blue silk border of the smaller with extensive wear and areas of weakness including multiple splits, and areas of loss overall. The larger with a small area of splits to weave and some losses, 3 x 1 1/4 in.. Each with scattered loose threads overall. Each with various scattered dark smudges, light soiling, small spots, and faint stains to each side. The larger with a few small areas of dye transfer. Each fully lined, the larger with undyed cotton/linen fabric, the smaller lined with floral printed cotton chintz. The larger stamped in ink: Made in China. 65 With dust accumulation, creasing, and wear commensurate with age. Splits, loose weave, and wear to red silk at lower right side edge and center near figures. Scattered loose threads overall, with several loose gilt threads to center figure. Scattered areas of minor losses/wear to embroidery threads. A few scattered dark marks, small spots, and stains to each side. Pink lining color appears to be dye transfer from red silk. Marked in ink to lining: Made in China.

Condition Reports

56 With dust accumulation, creasing, and wear commensurate with age and use. Scattered multiple splits to the weave overall, with a few larger losses and holes to each long side, largest area 1 1/2 in. x 5 in.. A few split areas with previous repairs. Abrasive wear to black border, with areas of loose weave and split seams. The front with a few scattered minor spots and faint marks The lining with areas of fading, scattered spots and stains, and a few small holes. Further stamped verso to lower right corner: Made in China.

505

66 With dust accumulation, creasing, and wear commensurate with age and use. More extensive wear to bottom edge. Scattered loose threads overall, with fluffiness to the stitches in places. Some scattered dark marks, small spots, and stains to each side, primarily to lining. A few raw edges and scattered small holes to pieced lining. With added integral fabric sleeve to top edge for display.

67 Overall good condition with dust accumulation, creasing, and wear commensurate with age and use. Several scattered loose threads overall. Scattered smudges, dark marks, small spots, and stains to each side, primarily to the lining. With extended lining fabric with pole sleeve to top edge. 68 Replacements to the underside of the cane and ‘give’ on the joinery. Three panels from the aprons are detached and retained with the lot, with areas of older losses in the junctures where they mount. Most joints with repair or restoration, with cracks radiating from and wear to adjacent areas. Scattered splits in the wood, concentrated to legs. Each with scuffs, scratches, nicks, indentations, shrinkage cracks, and separation at joints commensurate with age. One seat with tears along three edges of the weaving. Each woven element with wear, soiling, and losses at edges, one with a 1 1/2 x 1 1/2 in. tear, and each with restorations. Replaced caning to two, older caning retained.

Condition Reports

69 Several repaired joints. Each with minor scuffs, scratches, and general wear commensurate with age. The box with shelf wear and stains.

506

70 One of the plaque stands with broken side element, retained with the lot. Each with shelf and handling wear, mild soiling, and scattered scuffs, scratches, nicks, and abrasions at edges and corners commensurate with age. 71 Seat joints with repairs/restoration and later reinforcements to underside of seat. The seat with multiple splits in the wood. Uneven fading to finish throughout. With scuffs, scratches, nicks, and small indentations at edges commensurate with age.

72 Sold as-is. Each with wear, scuffs, scratches, soiling, nicks, shrinkage cracks, separation at joints, and indentations commensurate with age. Minor warping to the wood panels and losses to painted exterior. The top with heavy wear and blackening, with a split in the wood. The doors are loose from their hinges. One shelf is stick in an incorrect position. 73 Visual: A 3 x 1 inch pressure mark with an attendant pea-sized tear and paint loss near the center of the right edge. Scattered flecks of paint loss along the outer edges, primarily concentrated in the center of the lower half, the largest area measuring 2 x 8 inches. Stretcher bar creases along each edge, with the lower edge slightly sagging and bulging outwards. Pea-sized (or smaller) paint losses, pressure marks, and reverse pressure marks scattered throughout. The canvas is glue-lined. Blacklight: Scattered small flecks of touch-up occasionally throughout, difficult to read under heavy varnish application. Frame: 54 x 70 x 2 3/4 in. 74 Visual: There is considerable paint loss along each edge. These areas appear delicate, with a likelihood that the surface is continuing to flake. There is an L-shape tear at the lower center of the canvas, one measuring approximately 2 x 3 1/2 inches, with an attendant 9-inch horizontal scratch. Another tear is to the left measuring approximately 3/4 x 2 inches with a 2-inch horizontal scratch. There are additional hairline (for the most part) surface scratches throughout. Bubbling from the lining process is visible throughout, but is most noticeable in the lower right quadrant, along with some attendant paint loss. There are two holes in the upper right corner, the largest is about 1/4 x 3/4 inch. Craquelure throughout and other minor defects, including grime and a very discolored varnish layer. As mentioned, the canvas has been lined (likely glue) and an additional layer of what appears to be gauze was also added to the verso of the liner canvas. Scattered foxing visible verso. Blacklight: there are 2 pea-sized spots of touch up in the central figure’s shoulder. It is likely that there are other areas of touch-up that are not visible under blacklight. Frame: 54 x 70 x 3 in.

Blacklight: A few scattered lines, dots, and small spots of touch-up fluoresce, but most are visible solely with the naked eye. It is likely that there are other areas of touch-up not seen under blacklight. Frame: 60 1/4 x 76 1/2 x 7 1/2 in. 76 Visual: Varnish discoloration and grime. Craquelure throughout. A 2 x 1 inch area of paint loss and a few pinpoint-sized punctures in the lower hand of the woman, with a related patch verso, as well as a 2-inch diagonal surface scuff with attendant paint loss on her skirt to the left of that hand. A 5/8 x 1/2 inch tear with a attendant paint loss, as well two pinpoint-sized punctures with attendant paint loss to the left of the left-most figure’s head. Other smaller flecks of paint loss scattered occasionally throughout. Scattered frame abrasion along each edge, primarily along the left and upper edges. A few surface scuffs or scratches on the child’s face in the lower right quadrant, the largest approximately 6 inches long. Blacklight: A 3 x 2 1/2 area of touch-up in the dark pigment of the lower right quadrant. A 3 1/2 x 1 1/2 touch-up in the dark pigment of the lower left quadrant, with a related patch verso, as well as a few smaller areas of touch-up along the lower portion of the left edge. Other smaller areas of touch-up occasionally in places throughout, including a few small flecks on the woman’s face and handkerchief. Frame: 70 x 58 1/2 x 5 in.

77 Visual: Slight varnish discoloration and grime commensurate with age. Touch-ups visible in the sky of the upper left quadrant, the largest measuring 1 x 4 inches. Scattered pea-sized surface scuffs or visible touch-ups throughout the center. Frame abrasion showing along the right and lower edges. A peasized hole in the right portion of the extreme lower edge. Minor scattered areas of craquelure. Stretcher bar creases along each edge and vertically down the center. The canvas is slightly puckered along the right edge. Four repair patches, verso. Blacklight: Large areas of touch-up throughout, the largest measuring 3 x 4 inches in the rightmost figure’s lower body. A few 2 x 2 inch (or smaller) touch-ups in the lower left quadrant. Other smaller flecks and specks of touch-up scattered in places throughout. Frame: 58 x 75 1/4 x 5 in. 78 Visual: Stabilized craquelure throughout. A discolored varnish layer and some surface grime. The canvas is likely wax-lined. Blacklight: Scattered larger areas of touch-up in the shadows of the Madonna’s cape, the largest is approximately 15 x 1 inches. Also touch-up in her hair and the shadows of the right side of her face. Another larger area of touch-up in the water, measuring 2 x 12 inches. Many other smaller spots of touch-up along the edges where the frame touches the painting, and in other places in the background. The faces appear to be untouched under blacklight. Frame: 44 1/4 x 51 3/4 x 3 1/2 in. 79 Visual: Craquelure throughout. The canvas is gluelined. Blacklight: Different layers of restoration. The most recent consists of a few hairline touch-ups covering craquelure near the center of the right side, as well as a pinhead-sized dot in the lower right. Another layer seems to consist of a vertical line of 1/4 x 1/8 in (and smaller) spots, dots, and dashes of touch-up in the lower right quadrant. There are a number of older lines, dots, dashes, and spots of touch-up in both of the figures, including a 2 x 1/2 inch spot near the hairline of the child, and also scattered throughout the painting. A thick, discolored varnish layer may obscure further touch-ups. Frame: 42 x 27 1/4 x 2 in.

Condition Reports

75 Visual: Heavy craquelure with cupping and lifting paint throughout along with several associated scattered, triangle-shaped paint losses, approximately 1/2 x 1/2 inches (and smaller). There are some scattered surface anomalies which look like possible abrasions or dirt to the naked eye but are likely unmatched touch-up. Other areas of scattered touchup filling older losses are also visible to the naked eye. An old, discolored varnish layer with grime. Other minor defects. The canvas is glue-lined.

507

80 Visual: Craquelure throughout with three rice-sized paint losses in the lower right, near the lower edge. Blacklight: A 1/8 x 1/4 inch upside down U-shaped spot of touch-up on the baby’s chin. There are two 3/4 x 1/2 inch (approx.) spots of touch-up in the lower left corner. A few pea-sized (and smaller - mostly pinhead-sized) spots of touch-up scattered in places. A thick varnish layer may obscure other areas of touch-up. Frame: 30 x 24 3/4 x 4 in. 81 Full margins with deckled edges and indications of old binding holes in places along the extreme right margin edge. Minor surface soiling in the margins and on the verso. Although not visible under normal viewing conditions, when the sheet is backlit, there is an indication of old treatment with a small drop of liquid, approximately pea-sized (possibly for a prior stain?) in the sky to the left of the Virgin’s halo. The sheet is taped to the overmat along the verso of the upper and lower margin edges with long strips of white tape. Framed under Plexiglas: 25 1/4 x 22 1/4 x 2 in. 82 Likely full margins, including a series of old binding holes along the extreme left margin edge (slightly unevenly trimmed along that margin edge as part of the removal process from the original binding). A dime-sized/fingerprint-sized trace of printer’s ink in one place along the lower portion of the right margin edge. Time staining, particularly along the upper and right margin edges. The sheet is hinged to the back mat in four places along the verso of the upper as well as the upper portion of the vertical margin edges.

Condition Reports

Framed under Plexiglas: 22 1/2 x 21 1/2 x 2 in.

508

83 One French mortar with a large older crack in the body below rim and another shorter to the rim. Each with oxidation, soiling, indentations, scuffs, scratches, nicks, and abrasions commensurate with age. Heavy denting to pestles. 84 One with two 2” long vertical cracks in the rim. The middle with chipped losses to feet/base. Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Each with crazing to the glaze. No evidence of restorations or repairs under UV light.

85 Later mirror plate. Each upper corner with repaired breaks. With scuffs, scratches, older losses, rubbed wear to gilding, dust accumulation, soiling, and nicks and indentations commensurate with age. 86 With dust accumulation and wear commensurate with age. A few scattered loose stitches overall. Scattered losses to some slit stitches, primarily in the center right area. Lower edge with abraded wear and losses, with attendant repair stitching. Some minor losses to small areas of silk, with scattered areas of subtle repair to attendant loose warps. Front face slightly faded overall. Unlined, and mounted to a wooden stretcher (depth 1 in.) with staples to the reverse, densely placed. The stretcher bars are pressing into the back of the tapestry. Not examined off the stretcher. 87 Overall good condition with dust accumulation, minor creasing, and wear commensurate with age. Scattered small areas of loose weave and minor stitch losses with a few attendant minor gaps, primarily to silk areas. Scattered small areas of sympathetic previous repair stitching overall, and with other areas of later-added infill stitches. A few minor breaks to slit stitches. The edges with an applied gold and green narrow woven galloon border. Fully lined in green cotton canvas fabric, reverse of tapestry not visible. A few scattered faint stains and marks to lining.

88 Each with uneven rubbed wear and fading to finish, scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. Each with older refinishing. 89 Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. Scattered older small losses and abrasions along edges and extremities. Some soiling to drawer and cabinet interiors. Includes key. 90 Heavy older losses to base. Rubbed wear to paint, soiling, smaller older nicks, abrasions, scuffs, scratches, and small losses commensurate with age.

92 Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. The top with scattered older stains. Possibly with restoration to joints of supports with the top. Oxidation/rust to stretchers and drawer pulls. 93 With two chipped losses and older restorations to rim, one with attendant 2 in. long crack. With older nicks, indentations, abrasions, scuffs, scratches, patina, and shelf wear commensurate with age. 94 Each panel with older repairs breaks, tears, and with losses. One panel with an unrepaired 3 in. long tear. With losses to burlap backing. Each panel with scuffs, scratches, nicks, indentations, and older soiling and and darkening commensurate with age. 95 Each with older losses to fingertips and older repaired breaks to arms. Each with rubbed wear, soiling, and loss to gilding and paint, with flaked or chipped losses as well. Each with scuffs, scratches, nicks, and indentations commensurate with age. 96 One with older repaired break through the middle. Each with older losses and patina commensurate with age. Oxidation to bases, with shelf wear and scuffs and scratches. 97 With older chipped losses at edges. With soiling, staining, scuffs, scratches, nicks at extremities, and general wear commensurate with age. The backing with fading and rubbed wear to the velvet. 98 With inherent splits in the wood, older losses, darkening to the wood, and patination commensurate with age. Some dust accumulation. 99 With older losses, restoration, repainting, and repairs. With soiling, discoloration, rubbed wear, scuffs, scratches, and oxidation to metal components commensurate with age. The underside with mounting putty.

100 With a large repair on the figure’s left shoulder proper. Older losses, wood worm, and other insect grazing throughout. With inherent splits in the wood, older losses, darkening to the wood, and patination commensurate with age. Some dust accumulation. 101 With dust accumulation, older scuffs, scratches, and small losses commensurate with age. The pedestal with scattered scuffs and scratches and slight darkening/oxidation. 102 Repairs to hands, the right hand with losses to two fingers, and repairs to waist robe element, possibly with other older restoration. With inherent splits in the wood, older losses, darkening to the wood, and patination commensurate with age. Some dust accumulation. 103 The top ring was reattached and broken again, with attendant losses to the rim. With shelf and handling wear and general wear commensurate with age. 104 Overall good condition with older oxidation, indentations, scuffs, and general wear commensurate with age. 105 No evidence of repair/restorations. With a red mark verso and hole bored for mounting, but detached from the mounting with stand. With older losses, soiling, patina, and shelf and handling wear commensurate with age. The stand with chips around mounting hole. 106 With shelf wear, scattered scuffs and scratches, inclusions, and inherent firing flaws commensurate with age. With fire clouding. Older fleabites to rim. The base with an inherent protrusion. Surface inclusions throughout. No evidence of restorations or repairs under UV light. 107 Small older chipped losses to rim and scattered ricesized or smaller losses to body throughout. With shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Mounting putty residue to underside. No evidence of restorations or repairs under UV light.

Condition Reports

91 Middle drawer of one side does not open, interior not inspected. With older losses throughout. Wear to finish and soiling throughout. With scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. Soiling to drawer interiors. The later replaced leather top with some staining and a few small burn marks.

509

108 The rim with a 2 1/2 in. long older chipped loss. Small losses to underside. Crazing to the glaze throughout. Soiling and discoloration to the glaze to lower half of one side. With shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. No evidence of restorations or repairs under UV light.

117 Visual: Slight grime. Scattered areas of craquelure, including a few areas of unstable craquelure with occasional pea-sized (or smaller) attendant paint losses. A pinhole and a few small flecks of paint loss in the sky in the upper left quadrant.

109 With restoration and repairs to rim. Older chipped loss to foot rim, and a glaze chip, likely inherent. With shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age.

Frame: 27 x 30 7/8 x 2 in.

110 Each with chipped or otherwise losses to glaze at edges and upper and lower areas. Each with scuffs, scratches, soiling, older losses, and surface inclusions commensurate with age. 111 Each overall good condition with shelf wear, soiling, scattered minor scuffs, and inherent firing flaws commensurate with age. No evidence of restorations or repairs under UV light. 112 With 1/2 in. long chipped loss to foot rim. With minor scuffs and scratches and shelf wear commensurate with age. 113 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Rubbed wear to rim gilding. The body with a quarter-sized yellowish stain from a previous sticker ghost. No evidence of restorations or repairs under UV light.

Condition Reports

114 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Crazing to the glaze throughout. No evidence of restorations or repairs under UV light.

510

115 Scattered nicks and indentations in the pewter. Rubbed wear and losses to enamel. With shelf wear, scattered scuffs and scratches, and inherent firing flaws commensurate with age. No evidence of restorations or repairs under UV light. 116 Each with many tears in the fabric with attendant small losses. Scattered staining. Each frame with scattered scuffs, scratches, small nicks, and rubbed wear at edges. The corners with separation to joints.

Blacklight: No evidence of restoration.

118 Each overall good condition with scattered minor scuffs, scratches, and small nicks commensurate with age. Upholstery with fading and soiling, one with a large brown stain to seat, three others with small stains to seat. 119 The top with a 5 in. long area of loss to inlay, a 19 in. long split, and cracks in the veneer throughout. Tilt top construction added later with added short baluster at top of column. With scuffs, scratches, nicks, indentations, and scattered stains commensurate with age. 120 With scuffs, scratches, oxidation, and dust accumulation 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. 121 Visual: No condition issues to report. Blacklight: No evidence of restoration. Frame: 56 3/4 x 43 3/4 x 2 in. 122 Visual: Slight grime and craquelure throughout, commensurate with age. Stretcher bar creases along each edge, primarily visible in raking light. Blacklight: A few areas of touch-up in the center of the figure’s torso, the largest measuring 2 1/2 x 2 inches, with a related patch, verso. A pea-sized touch-up to the upper left portion of the figure’s forehead. Frame: 38 x 30 x 3 in.

Blacklight: A few scattered areas of touch-up primarily in the background and outer edges, the largest 1 1/2 x 1 inch near the center of the left edge, and the others approximately quarter-sized (or smaller). Frame: 25 1/4 x 20 3/4 x 2 in. 124 Visual: Craquelure throughout, some of which is unstable, with an occasional pinhead-sized (or smaller) paint loss. A 3/4-inch diagonal repaired tear to the left of the center fig, with a related patch verso. Frame abrasion with a few thin bands of attendant pigment loss, the longest is 3/4 inch wide, along the upper and left edges. Blacklight: Scattered areas of possible touch-up throughout the red background of the lower half. A 1/2 x 3/4 inch touch-up in the repaired tear mentioned above. Frame: 14 x 16 1/8 x 2 in. 125 Pea-sized possible surface stains or stray pigment scattered in places, primarily along the lower edge, and a few in the lower right quadrant. Not examined out of the frame. Framed under glass: 26 14 x 36 1/4 x 1 1/2 in. 126 Visual: Slight varnish discoloration and grime. Scattered areas of craquelure. Two pinhead-sized paint losses in the flowers at the center of the right portion and the center of the upper portion of the bouquet. Scattered frame abrasion with attendant pinhead-sized paint losses in places along the upper and left edges. Blacklight: Three areas of touch-up along the lower half of the right edge, the largest measuring 5 x 2 inches. Frame: 36 x 31 x 5 in.

127 Visual: Varnish discoloration and grime. Scattered areas of craquelure. A 6 x 6 inch T-shaped repaired tear and another 1/2 x 10 inch L-shaped repaired tear with attendant paint loss, both in the lower right quadrant with related patches, verso. Small flecks of paint loss scattered throughout, primarily pinpointsized, and a few rice-sized. Blacklight: A 6 x 6 inch thin T-shaped band of touchup with a 2 x 2 inch area of touch-up at the center of the T-shape, all in the lower right quadrant, attendant with the T-shaped repaired tear mentioned above. Unframed 128 Visual: Very fine craquelure. The canvas is glue-lined. Other minor defects. Blacklight: Three 2 x 1 1/2 inch spots of touch-up, upper right, lower right, and center of the left side. Larger areas of touch-up along the entire upper edge with attendant mostly dime-sized spots of touch-up (some larger, some smaller) scattered throughout the sky. Other spots, dashes, and dots of touch-up scattered in places, mostly along the edges. Frame: 31 x 43 1/2 x 4 in. 129 Visual: A small amount of fine craquelure with touchup scattered in places. A rice-sized paint loss within the front shoulder of the white horse. Paint loss with touch-up is visible along the extreme upper edge. The canvas has a slight unobtrusive undulation, visible in raking light. Blacklight: Large areas of touch-up along the upper edge, within the sky, along the left edge, and within the foreground, especially near the white horse. Other scattered smaller spots of touch-up in places. Frame: 29 1/2 x 34 1/2 x 2 1/4 in. 130 Visual: Slight varnish discoloration and grime. A few pinhead-sized (or smaller) paint losses in the sky along the upper portion of the left edge. Blacklight: A few rice-sized areas of possible touchup or scuffed varnish scattered in the sky, difficult to read under uneven varnish application. Frame: 18 3/4 x 15 1/8 x 1 1/2 in.

Condition Reports

123 Visual: Slight varnish discoloration and grime. Craquelure throughout. Stretcher bar creases along each edge.

511

131 Visual: Craquelure throughout and faint stretcher bar cracks on the right and left sides. There are two 2 1/2 x 2 1/2 patches verso. Blacklight: There are two areas of touch-up in the sky, upper right quadrant (2 1/2 x 2 1/2 inches) and upper left quadrant (2 x 2 inches) corresponding with the abovementioned patches. Other larger areas of touchup in the sky along the left and right edges. Other smaller spots, lines, and dots of touch-up scattered throughout the sky and along the upper edge. Lesser areas of touch-up in the lower half, consisting of dots, lines, and spots, mainly relegated to the lower edge. Frame: 28 1/2 x 38 1/2 x 3 in. 132 Visual: Very slight varnish discoloration.

Frame: 41 x 43 x 5 in. 137 Visual: Slight varnish discoloration and grime. Blacklight: No evidence of restoration. Frame: 47 1/4 x 49 x 5 in. 138 Visual: Slight varnish discoloration and grime.

Frame: 32 1/4 x 44 1/2 x 3 1/2 in.

Blacklight: Scattered areas of touch-up, primarily in the sky and the mountains in the background, the largest approximately quarter-sized in the lower left quadrant.

Blacklight: A few pea-sized (or smaller) touch-ups in the sky and the farther trees on the horizon in the upper left quadrant. A 4 x 1/2 inch vertical band of touch-up along the center of the extreme right edge. Frame: 15 5/8 x 19 5/8 x 3 in. 134 Visual: Slight varnish discoloration and minor grime. Stable craquelure throughout, primarily in the sky, with a few attendant tiny flecks of paint loss in the left of center of the sky. A few unobtrusive pinholes along the left portion of the upper edge. The canvas is gluelined.

Condition Reports

Blacklight: A few areas of touch-up in the mountains in the upper right quadrant, the largest 5 x 2 1/2 inches, and a few smaller areas of touch-up scattered in the sky.

Blacklight: A 1 1/2 x 4 inch area with flecks of touchup or crack-fill in the left portion of the lower edge.

133 Visual: Varnish discoloration, slight grime, and scattered areas of fine craquelure, all commensurate with age. The canvas is glue-lined.

Blacklight: A 2 1/2 x 10 inch area of scattered touch-up in the sky. Pea-sized (or smaller) touch-ups scattered primarily in the upper portions of the trees. Frame: 14 x 18 x 2 3/4 in. 135 Visual: Slight varnish discoloration and grime. Scattered areas of fine craquelure. Stretcher bar creases along each edge, primarily visible in raking light. Blacklight: Occasional pea-sized touch-ups scattered in the trees in the left 2/3 of the work. Frame: 25 x 33 x 3 1/2 in.

512

136 Visual: Two pea-sized pressure marks with attendant pigment loss in the sky in the left portion of the upper edge. Scattered areas of fine craquelure. Slight varnish discoloration.

Frame: 40 1/4 x 38 1/2 x 4 1/2 in. 139 Visual: Slight varnish discoloration. A few scattered areas of very fine craquelure. Blacklight: An occasional touch-up alongthe outer edges, the largest 1 x 1/2 inch in the upper portion of the left edge. Possible scattered specks of touchup in places throughout, difficult to read under varnish application. Frame: 43 x 41 x 4 1/4 in.

140 Visual: There is an irregularly shaped approximately 5-inch-long hairline surface scratch (or possibly a mark from a hair when the paint was wet) near the center of the lower edge. Frame abrasions are visible in places along the outer edges, especially on the right side. There appears to be some scattered white soiling in places near the lower edge, one spot near the lower right edge, which is nickel-sized, could be a surface abrasion. Near the center of the left side, at the edge, there is a small grouping of white spots (pea-sized and smaller), some of which are paint losses. There are a few small areas of unobtrusive crazing on the left side (approximately walnut sized). Surface soiling. The canvas appears slightly slack. The canvas in glue-lined.

146 Each overall good condition with shelf wear and scattered minor scuffs and scratches commensurate with age. One shade with a repair to metal juncture. Each with wax residue to nozzles.

Blacklight: It is a bit hard to read under blacklight but it appears as if there are a few pinhead-sized scattered touch-ups in places, as well as the likelihood of several small spots of touch-up in the lower half (mostly pea-sized and smaller, but a few dime-sized), within the forest floor, generally, most in a red-brown color. However, the latter could have been done by the artist.

149 With scuffs, scratches, oxidation, and darkening to bronze commensurate with age. Rubbed wear to patina. Small nicks and losses to underside rim.

141 Each with varying degrees of restoration commensurate with age. Some with repairs to joints and four slightly shaken. Each with scattered scuffs, scratches, nicks, shrinkage cracks, and indentations commensurate with age. 142 Each side with a vertical split in the wood. Craquelure throughout. With older losses at edges. Includes key. Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. 143 Overall good condition with shelf wear and scattered minor scuffs and scratches commensurate with age. 144 Compression areas to fur. Wear and loss to left rear haunch fur, break or separation to right front leg, and indentation to one hoof. Tarnishing throughout. Shelf wear and scuffs to antlers. 145 Each overall good condition with minor scuffs and scratches and mild rubbed wear to gilding commensurate with age.

148 Each with wear and losses to patina, with rubbed wear and loss to gilding. Each with dust accumulation, scattered minor scuffs, and darkening/ oxidation to bronze commensurate with age.

150 Heavy wear and loss to patination. With dust accumulation, scattered minor scuffs, and darkening/ oxidation to bronze commensurate with age. 151 With dust accumulation, scattered minor scuffs, and darkening/oxidation to bronze commensurate with age. Rubbed wear to patina throughout. 152 Each overall good condition with oxidation, scuffs, scratches, soiling, and scattered indentations, concentrated to bases and nozzles commensurate with age. Wax residue to nozzles. 153 With multiple breaks, cracks, repairs, areas of restoration, and losses throughout. With scuffs, scratches, nicks, and abrasions commensurate with age. 154 With antiquing. The center of apron with a 2 x 2 in. chipped loss, primarily visible from the verso. With scuffs, scratches, nicks, and minor indentations commensurate with age. 155 With antiquing. Minor scuffs and scratches throughout commensurate with age. The marble top good condition. 156 Overall good condition with scattered scuffs, scratches, nicks, and oxidation to metal components commensurate with age.

Condition Reports

Frame: 53 1/2 x 87 x 5 1/2 in.

147 Each overall good condition with shelf wear and scattered minor scuffs and scratches commensurate with age. Each nozzle with wax residue.

513

157 One leg repaired. One corner of middle panel with a nickel-sized repair. The crest with small chipped loss. Overall good condition with minor soiling, dust accumulation, scuffs, scratches, nicks, and indentations commensurate with age. The upholstery in good condition with minor rubbed wear and oxidation to tacking. 158 Each overall good condition with minor scuffs and scratches and nicks at edges commensurate with age. The upholstery in good condition with soiling and rubbed wear. 159 Overall good condition with scattered scuffs and scratches, nicks, small losses at edges, rubbed wear and soiling to the gilding and paint, and general wear commensurate with age. The upper right corner with a 1 1/2 in. long split in the wood. 160 Sold as-is. Later mirror. The cornice missing the head of bust and with other losses throughout. Repairs, cracks, and areas of restoration, with two 4 in. long breaks, pieces retained with the lot. The upper area with more concentrated cracks. With scuffs, scratches, nicks, indentations, and shrinkage cracks commensurate with age. 161 Alterations. With scuffs, scratches, and minor nicks at edges commensurate with age.

Condition Reports

162 Later mirrors. Each with craquelure throughout, scuffs, scratches, nicks, and minor soiling and dust accumulation commensurate with age.

514

163 Two of the largest glass panels with horizontal cracks through, lacking two of the medium panels above that. Overall with minor scuffs and scratches and mild dust accumulation. Wiring should be checked by a qualified electrician prior to use. Moran’s does not guarantee the working condition of electronic equipment. 164 Good. However, the workmanship appears crude and hardware has been replaced with contemporary escutcheons and pulls. Marble top is a modern addition, in good condition with scuffs and scratches. With fading and wear to finish concentrated to the upper front upper half. With scuffs, scratches, nicks, and indentations to edges commensurate with age. Includes key.

165 Each overall good condition with minor scuffs, scratches, and nicks at edges commensurate with age. The leather overall good condition with scratches to the bench. 166 The marble with staining and heavy scuffs and scratches. The edges with nicks and small losses to veneer throughout. Scattered stains, scuffs, scratches, nicks, and abrasions commensurate with age. The stretcher with small areas of raising to veneer. Mirror with possible repair at the swivel junctures, with later glass. 167 One leg of support with repaired break. With other small areas of restoration. The together with piece with chipped losses. The tabletop with mild craquelure in the lacquer. Overall with scuffs, scratches, nicks, and dust accumulation commensurate with age. 168 As cataloged, with double cancellation mark through the crossed swords. Loss of the forefinger on right hand. Firing crack visible to her left shoulder. Small fleabite losses to the leaves on the tree stump. A few scattered scuffs overall. 169 Repairs and restoration to the rim. With soiling and possible restoration to ring above the base. Flake chip to underside of footrim. With shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. 170 Not examined under UV light. Each with light wear to gilding and decoration overall. Some light abrasions. One plate with two flake chips to the rim (visible at front), the largest approximately 1/2 x 1/4in. The other plate with one flake chip to the underside of the rim, approximately 1/2 x 3/8in in size, there is a corresponding fleabite visible to the top of the plate above the area. 171 Not examined under UV light. In generally good condition. Light wear and rubbing to gilding and decoration overall. Some glaze pooling to undersides. Scattered pinprick dimples and light abrasions.

173 Each overall good condition with shelf wear, scattered minor scuffs commensurate with age. More scratching to the gilding of portrait plates. Each with rubbed losses to gilding of rim. Not examined under UV light. 174 Gilding on plates worn. Hairline crack to one plate, another plate with rim ground down. Chipped loss to interior of lid of smaller coffee pot. Each with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. 175 Issues including but not limited to: one dinner plate and one soup bowl with small chip to rim, one soup bowl with repaired break down the middle, and tiered tray with loss to gold-toning with attendant oxidation. Most with soiling or dust accumulation. Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Not inspected with UV light. 176 Some pieces are more bright white and others more muted/cream. At least two chargers, one salad plate, and one soup bowl saucer with a warped rim inherent in firing. Each with shelf wear, minor scuffs and scratches, and mild soiling commensurate with age. 177 Heavy losses and rubbed wear to gilding, with attendant oxidation to bronze. Overall good condition with dust accumulation, scattered minor scuffs, and darkening/oxidation to bronze commensurate with age. 178 Overall good condition with dust accumulation, scattered minor scuffs, and darkening/oxidation to bronze commensurate with age. The base with applied metal plaque bearing false information. The base with nicks, scratches, scuffs, and with losses at corners commensurate with age.

179 Overall good condition with dust accumulation, scattered minor scuffs, and darkening/oxidation to bronze commensurate with age. 180 Each with scuffs, scratches, verdigris, oxidation, and soiling commensurate with age. 181 Visual: Craquelure throughout, crazing in places, stretcher bar creases with an occasional crack, a slightly buckled canvas in the upper left corner, and some surface grime. Blacklight: A 2 x 1 inch repaired tear in the neck of the horse with a corresponding patch verso (3 x 2 in.). Other smaller dots and dashes of touch-up within the horse, mainly within the tail, legs, and underbelly, as well as in the lower background. The canvas was unevenly cleaned and is a bit hard to read under blacklight. There may be larger areas touch-up, especially in the upper right quadrant. Frame: 28 5/8 x 32 5/8 x 2 1/2 in. 182 Visual: Slight varnish discoloration and grime. Not examined out of the frame. Blacklight: No evidence of restoration. Framed under glass: 9 7/8 x 9 7/8 x 1 1/2 in. 183 With older losses, concentrated to base, soiling, and possible staining commensurate with age. 184 Quarter-sized loss to rim of base. Chipped losses to handle, concentrated to edges. With older losses and soiling commensurate with age. 185 With older losses, soiling, and possible staining commensurate with age. 186 With older losses, soiling, and possible staining commensurate with age. 187 Large older loss to bottom corner. Each with older losses, soiling, and possible staining commensurate with age. 188 Each with older losses, soiling, and possible staining commensurate with age.

Condition Reports

172 Not examined under UV light. Overall with typical wear and losses to gilding and decoration, light scattered knife marks, glaze pooling and some popped air bubbles. Slight variations to edges of the scalloped rims of the compotes. One compote with firing crack to underside of rim (approximately 1in in length). The other compote with 1/4 x 3/4in chip loss to footrim. Pink dish with some fleabites to rim. Blue plate with some black pitting.

515

189 Each with older losses, soiling, and possible staining commensurate with age. 190 With older losses, soiling, and possible staining commensurate with age. 191 With older losses, soiling, and possible staining commensurate with age. 192 Each with older losses, soiling, and possible staining commensurate with age. 193 Each with older losses, soiling, and possible staining commensurate with age. 194 Each with older losses, soiling, and possible staining commensurate with age. 195 Each with older losses, soiling, and possible staining commensurate with age. 196 Each with older losses, soiling, and possible staining commensurate with age. 197 Each with older losses, soiling, and possible staining commensurate with age. 198 Each with older losses, soiling, and possible staining commensurate with age.

Condition Reports

199 Each with older losses, soiling, and possible staining commensurate with age. 200 Each with older losses, soiling, and possible staining commensurate with age. 201 Each with older losses, soiling, and possible staining commensurate with age. 202 Multiple restorations to the top and joints. With scuffs, scratches, nicks, indentations, older losses, and separation at joints commensurate with age. The supports with cracks.

203 With scattered cracks to exterior including one measuring 3 1/2 in. long to middle of lid. With shelf wear, scuffs, scratches, and oxidation to metal components commensurate with age. The interior updated and clean. Lacking key. 204 With oxidation/verdigris, soiling, weathering, scuffs and scratches commensurate with age. Areas of moisture erosion and heavier verdigris concentrated to front of base. 205 Overall good condition with dust accumulation and wear commensiurate with age. A few scattered loose embroidery stitches. The black silk fabric with a few scattered faint marks. A few scattered areas of abraded wear, including a few horizontal splits to the fabric. slight rippling to the silk near the top and lower edges. The piece is formed of two separate panels placed side by side and framed together. Not examined out of frame. Frame under acrylic: 51 3/8 x 52 3/8 x 2 in. 206 Lid and each tier with abrasions at corners, with attendant losses to the lacquer. Top tier with a 1.5” long chipped loss to the stacking rail underside. Rubbed wear and fading to the decorations throughout. Each tier with losses to lacquer at rims and stacking junctures and adjacent areas. 207 Scattered older repairs or areas of restoration, including but not limited to the upper elements. With a split in the upper edge verso. One door with a vertical crack through. With scuffs, scratches, nicks, abrasions, indentations, and soiling commensurate with age. Rubbed wear to lacquer and gilding. Lacking key. 208 One turtle with a crack in the neck. Each overall good condition with dust accumulation, scattered minor scuffs, and darkening/oxidation to bronze commensurate with age. 209 Each with shelf wear, scuffs, scratches, nicks, and rubbed wear and losses to silvering commensurate with age. Heavier rubbed wear to rims and shoulders. 210 With margins. Pale light-staining and the colors slightly attenuated. Soft cockling along the upper edge of the work. Not examined out of the frame. Framed under glass: 16 x 20 3/4 x 1 in.

516

Framed under Plexiglas: 12 1/2 x 22 x 1 3/4 in. 212 The sheet’s margins have been trimmed. Possible pigment attenuation. Vertical handling marks/wrinkles in the upper left quadrant. A few scattered portions of the sheet’s edge were folded over during framing, the largest area measuring 1 x 1/8 inch, showing the verso. The sheet may have been tipped or hinged at one time but now appears to be loose in the upper left corner, possibly elsewhere. Not examined out of the frame. Framed under Plexiglas: 15 1/4 x 19 x 1 in. 213 Light- and overmat staining. The colors slightly attenuated. A few minor 1-inch soft indentations in the paper scattered occasionally in the margins. A pale foxmark in the lower portion of the right margin. The usual rectangular notch out of the lower right margin corner for the alignment of the various colored blocks. Toning verso. The sheet was unevenly trimmed, with only a small portion of the original deckled edge visible at the verso’s upper right edge, the other edges are not visible due to tape, verso. Taped onto the overmat along the entire perimeter of the sheet’s margin edges with a white plastic-like tape. Framed under glass: 20 1/4 x 15 1/4 x 3/4 in.

214 Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Rubbed wea to gilding at rims. Crazing to glaze throughout. No evidence of restorations or repairs under UV light. 215 One with a 1/2 in. long repaired break along rim and a small chip to foot rim. Each with shelf wear and minor scuffs and scratches commensurate with age. The case with heavy shelf wear, losses to paper at corners, and soiling. 216 Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. No evidence of restorations or repairs under UV light. Each with rubbed wear and losses to gilding at rim, the vases also at shoulder.

217 Bottom portion of sage’s staff is broken in two pieces, retained with the lot. The sage also with a 1 1/2 in long area of base with repaired break with attendant small losses. The lady’s head broken and repaired with small losses. The box with a few fleabite chips to rim or lid rim. Each with crazing to the glaze throughout. Each with shelf wear, scattered scuffs, and inherent firing flaws commensurate with age. 218 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. No evidence of restorations or repairs under UV light. 219 The sheet folded vertically, as issued, with evidence of having been carefully disbound along the inside of the fold. The slightest hint of time staining along the extreme sheet edges, both recto and verso. No text or other designs on the rest of the sheet other than a dealer’s inventory number “902921” written in pencil, verso. The folded sheet is hinged to the back mat in two places along the upper edge of the folded sheet’s back section. Framed under glass: 29 x 26 1/4 x 1 3/4 in. 220 With margins. There is a roughly pea-sized, very unobtrusive disturbance to the paper surface in the upper left corner of the pale blue border surrounding the figure. Not examined out of the frame. Framed under glass: 30 1/2 x 26 x 2 in. 221 With margins. No condition issues to report. Not examined out of the frame. Framed under glass: 30 1/2 x 26 x 2 in. 222 With margins. No condition issues to report. Not examined out of the frame. Framed under glass: 30 1/2 x 26 x 2 in. 223 With margins. No condition issues to report. Not examined out of the frame. Framed under glass: 30 1/2 x 26 x 2 in. 224 For a full condition report, kindly contact our Fine Art Cataloguing Department. Framed under Plexiglas: 71 x 51 x 2 1/2 in.

Condition Reports

211 With narrow margins. Pale light-staining. The colors slightly attenuated. Pale foxmarks in the right portion of the upper margin. The sheet is framed floating, tipped to the back mat from the verso of the margin corners. Not examined out of the frame.

517

225 Each with scattered scuffs, scratches, and small nicks at edges, concentrated to legs and crest rail. Each with fading to the upholstery and fading to wood finish. One crest rail with a 1 3/4 in. long chipped loss. 226 The top with a large darkening spot from uneven fading. Heavy uneven fading to finish throughout, with scuffs, scratches, nicks, and minor indentations at edges commensurate with age.

Condition Reports

227 Heavy wear and loss to patina throughout with attendant oxidation. The stone with a crack through. The bronze with scuffs, scratches, dust accumulation, and soiling commensurate with age.

518

235 With margins. No condition issues to report. Not examined out of the frame. Framed under glass: 30 1/2 x 26 x 2 in. 236 With wide (possibly full) margins. The extreme left margin edge ever-so-slightly uneven where it has been disbound from the folio. Additionally, there is a 3/8 inch wide strip of white paper tape (original binding tape?) along the verso of the left margin edge. A gallery inventory number “902937” is written in pencil on the verso. The sheet is hinged to the back mat with white paper tape from the verso of the upper margin corners. Framed under glass: 30 1/2 x 26 x 2 in.

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

237 One with repaired break to base and rim of wax catcher. Each with shelf wear, wax residue, scuffs and scratches, and general wear commensurate with age.

229 Overall good condition with dust accumulation, oxidation to metal components, shelf wear, and scattered scuffs and scratches commensurate with age. Wiring should be checked by a qualified electrician prior to use. Moran’s does not guarantee the working condition of electronic equipment.

238 Overall good condition with shelf wear and scattered minor scuffs and scratches commensurate with age.

230 The lizard’s tail with a 3/4 in. long area of restoration near base. With shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age.

240 Overall good condition with shelf wear and scattered minor scuffs and scratches commensurate with age.

239 Overall good condition with shelf wear and scattered minor scuffs and scratches commensurate with age.

231 Overall good condition with shelf wear and scattered minor scuffs and scratches commensurate with age.

241 Overall good condition with shelf wear and scattered minor scuffs and scratches commensurate with age. With an inherent popped bubble at center of body.

232 With margins. No condition issues to report. Not examined out of the frame.

242 Overall good condition with shelf wear and scattered minor scuffs and scratches commensurate with age.

Framed under glass: 30 1/2 x 26 x 2 in.

243 Overall good condition with dust accumulation, scattered minor scuffs, and darkening/oxidation to bronze commensurate with age. Shade overall good condition, no cracks to glass. Wiring should be checked by a qualified electrician prior to use. Moran’s does not guarantee the working condition of electronic equipment.

233 With margins. Two pinpoint-sized very pale and unobtrusive foxmarks in the left margin, not affecting the image. Not examined out of the frame. Framed under glass: 30 1/2 x 26 x 2 in. 234 With margins. One very unobtrusive, pinpoint-sized foxmark in the vertical white area to the left of the text at center. Not examined out of the frame. Framed under glass: 30 1/2 x 26 x 2 in.

245 Rubbed wear throughout with losses to gilding and cold-painted decorations. With shelf wear, scuffs, scratches, oxidation, and soiling to interior commensurate with age. 246 Overall good condition with shelf wear and mild oxidation commensurate with age. The rim with rubbed loss to gilding. 247 Overall good condition with dust accumulation, oxidation to metal components, shelf wear, and scattered scuffs and scratches commensurate with age. Wiring should be checked by a qualified electrician prior to use. Moran’s does not guarantee the working condition of electronic equipment. 248 Overall good condition with dust accumulation, oxidation to metal components, shelf wear, and scattered scuffs and scratches commensurate with age. Wiring should be checked by a qualified electrician prior to use. Moran’s does not guarantee the working condition of electronic equipment. 249 With a 5/8 in lone shallow crack in the interior flower element, with a small abrasion near the stem. Fleabite chips to rim. The exterior with areas of deeper scratches along the supper half. With shelf wear, scuffs, scratches, and general wear commensurate with age. Staining to the custom stand. 250 Overall good condition with shelf wear and minor scuffs and scratches commensurate with age. Rubbed wear to gilding with attendant oxidation. The center of neck with a large area of glue or adhesive remnants. 251 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. No evidence of restorations or repairs under UV light.

252 The left side detached and the unit is subsequently shaken, with attendant losses at the juncture. The left panel with an 8 x 2 1/2 in. loss at the back edge. Tiles in good condition with some smoke staining verso. Copper with oxidation. Overall with scuffs, scratches, nicks, indentations concentrated at edges, and soiling commensurate with age and use. 253 Overall good condition with oxidation, dust accumulation, scuffs and scratches commensurate with age. 254 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. 255 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. 256 Visual: Slight varnish discoloration and grime, and occasional small flecks of grime scattered in places primarily on the nude figure. Scattered large areas of craquelure throughout. Stretcher bar creases along each edge, most prominently along the lower edge with an attendant 1 x 12 inch band of craquelure along the left portion of the lower edge. Blacklight: No evidence of restoration. Frame: 45 3/8 x 58 1/2 x 2 3/4 in. 257 Visual: A pinhead-sized spot of touch-up over what appears to be a small paint loss in the figure’s shoulder. A pea-sized abrasion along the center of the left edge. Frame abrasion visible along the outer edges, with a few pinhead-sized spots of paint loss, particularly on the right side. Blacklight: Three rice-sized spots of touch-up on the figure, one, as mentioned above, on her shoulder and the other two on her hip. A few rice-sized spots of touch-up scattered amongst the pillows and fabric. Frame: 27 1/2 x 20 1/2 x 1 1/2 in. (oval)

Condition Reports

244 Each shade with chipped losses at the upper mounting juncture, one with sticky residue to lower rim. The upper junctures with updated hardware. Each overall good condition with dust accumulation, shelf wear, and minor scuffs and scratches commensurate with age. Wiring should be checked by a qualified electrician prior to use. Moran’s does not guarantee the working condition of electronic equipment.

519

258 Visual: Slight varnish discoloration. Scattered areas of craquelure with a small, slightly unstable area on the figure’s back with an attendant rice-sized pigment loss and another pinhead-sized pigment loss in the center triangular opening beneath the figure’s arm. Blacklight: A 3 x 1 1/2 inch area as well as a few pea-sized (or smaller) touch-ups on the blanket draped over the figure’s thigh and a 1 x 1 1/2 inch touch-up on the lower portion of the figure’s bare thigh. A thin 1-inch vertical band of touch-up and a few small scattered flecks of touch-up on the figure’s back. A few 3 x 1/4 inch (or smaller) bands of touchup scattered along the extreme left edge, and a few occasional flecks of touch-up in places along the upper edge. Frame: 47 1/2 x 40 1/2 x 2 3/4 in. 259 Visual: Slight varnish discoloration and grime. Stretcher bar creases along each edge, primarily visible in raking light. Blacklight: A 1 1/4 x 1/2 inch touch-up in the background near the center of the left edge. Certain pigments on the right figure’s face and lipstick tube fluoresce under blacklight, though this does not appear to be due to restoration. Frame: 40 x 32 x 3 in.

Condition Reports

260 With a 2 in. long deep divot in the left side cabinet door, the other with a 7 in. long vertical surface crack. Older losses along bottom edge. The mirror with two cracks in the wood that frames it. Front right missing an applied wood button accent. With scattered scuffs, scratches, nicks, and minor indentations commensurate with age. Lacking key. Working condition of lights unknown. Moran’s does not guarantee the working condition of the electrical elements of this item.

520

261 With soiling, dust accumulation, scuffs, scratches, nicks, indentations, and scattered small losses at edges and corners commensurate with age. Oxidation to metal components. Fading to wood finish. Cracks in the marquetry fronts. Scattered hairline shrinkage cracks at joints. Working condition of lamps unknown. Wiring should be checked by a qualified electrician prior to use. Moran’s does not guarantee the working condition of electronic equipment.

262 Overall good condition with scattered scuffs, scratches, nicks, and abrasions at edges commensurate with age. The tabletop with two vertical cracks in the veneer at the sides, a few small chipped losses to veneer at edges, and concentrated nicks. Minor soiling to top surface. 263 Each overall good condition with shelf and handling wear and scattered minor scuffs, scratches, and small nicks commensurate with age. 264 Interior restored, the case with craquelure to the lacquer and fading to the top. With scuffs, scratches, nicks at edges, and minor soiling commensurate with age. The table with similar wear to lacquer with craquelure, but with some losses to lacquer, concentrated to top edges, with in-filling. Includes key. Both the case and table burlwood veneers with losses and heavy fading. 265 Interior restored. The case and cabinet with uneven fading to the wood, concentrated verso. The box case with loose elements at bottom corners. The cabinet with 4 in. long loss to upper trim and another crack in the trim. With scuffs, scratches, nicks, indentations, and minor soiling commensurate with age. The cabinet with more wear and scuffs, with a concentrated area where the doors meet. Lacking key. 266 The case in good condition with scattered scuffs, scratches, nicks, and soiling, concentrated to lower edges, commensurate with age. Lacking key. Working condition unknown. Moran’s does not guarantee the working condition of this item. 267 Comb teeth in good condition. Discs in varying states of wear, some with warping and heavier oxidation, others clean. Overall good restored condition with scattered scuffs, scratches, and small nicks commensurate with age. The front bottom architectural element with heavier wear. Does not include cabinet key. Does include side winding handle. Working condition unknown. Moran’s does not guarantee the working condition of this item. 268 Restored, with scuffs, scratches, nicks, and fading to the finish commensurate with age. Oxidation and slight warping to discs. Working condition unknown. Moran’s does not guarantee the working condition of this item.

270 Sold as-is, unrestored. One comb with losses. With fading to finish, scuffs, scratches, nicks, indentations, soiling, staining, separation at joints, and scattered cracks commensurate with age. Scattered losses to veneer, with areas of bubbling. Including key but scutcheon plate is missing. Including winding arm. Working condition unknown. Moran’s does not guarantee the working condition of this item. 271 With a 6” long repair to case at right side of the front. Overall good condition with scattered minor scuffs and scratches and dust accumulation commensurate with age. Working condition of piano unknown, working condition of player piano system also unknown. Moran’s does not guarantee the proper function of music instruments. 272 Sold as-is. Repaired break where the neck meets the soundboard and a 2 in. chipped loss to upper edge of soundboard. With a 6 in. long chipped loss along juncture of base with soundboard. The column possibly lacking a crest element. With scuffs, scratches, nicks, soiling, oxidation, surface grime, and general wear throughout. Needs work to play. Moran’s does not guarantee the working condition of this item. 273 The keys with soiling, dust accumulation, and some yellowing. The interior and soundboard with some soiling and mild oxidation. The case with scattered scuffs, scratches, and minor nicks commensurate with age. The top with a few deeper scratches measuring 6-7 in. Moran’s does not guarantee the working condition of musical instruments. 274 The case with heavy uneven sun fading, cracks in the lacquer, concentrated at edges, the top with scattered nicks and small losses at edges. With scuffs, scratches, and minor soiling and dust accumulation commensurate with age. Does not include sheet music stand. Working condition unknown, electronics untested. Moran’s does not guarantee the working condition of musical instruments.

275 Some chipped losses in the wood, concentrated to lower edges, and slight separation at joints. Missing some of the metal accent caps to sides. With scattered cracks in the veneer, soiling, scuffs, scratches, small losses at edges and corners, nicks, and indentations commensurate with age. The felt and slate with moisture staining. Leather pockets with stiffening and some loose elements. 277 A pin-head sized pigment loss to the lower lid of the sitter’s right eye. An irregular upside-down L-shaped damp stain in the upper left corner measuring 13 x 6 inches, along the left and upper the edges respectively, and 1 1/2 inch (and smaller) wide. A peasized loss along the upper left edge. Light wear along the upper right corner and right edge. Other minor defects. The glass has slid down in the frame, leaving an opening with a sharp edge at the upper portion of the frame opening. Framed under glass: 32 1/2 x 28 x 3 1/2 in. 278 Visual: Slight varnish discoloration and grime. Craquelure throughout. Stretcher bar creases along each edge. The canvas is glue-lined. Blacklight: A 7 x 4 inch irregular area of touch-up in the background of the upper right quadrant. A 3 x 7 inch area of touch-up on the figure’s torso below the brooch. A 6 x 17 inch irregular area of touch-up along the lower edge, primarily on the figure’s skirt and fingers. Other smaller scattered areas of touchup throughout the background, and a few scattered flecks of touch-up on the figure’s face and hair. Frame: 35 x 31 x 2 1/4 in. 279 A 1 x 3/4 inch Y-shaped tear in the center of the upper half, between the two figures’ heads, with a related patch, verso, and a few pea-sized surface scuffs just to the right of the tear. Two 3-inch (or smaller) diagonal surface scuffs on the torso and hand of the right figure, and a few 4-inch (or smaller) thin, horizontal surface scratches in the background in the upper portion of the left edge. A few pinholes in places along the outer edges. Not examined out of the frame. Framed under glass: 50 x 39 1/2 x 2 1/2 in.

Condition Reports

269 Each cabinet with scattered splits in the wood. Small nicks and chips to corners and edges throughout. Lower cabinet base has a surface split along the length as well as vertical splits in the side panels. Music player cabinet with a 3 x 4 in. chipped loss at lower back right. With scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. Each disc warped with heavy oxidation/rust. Lacking key and winding key. Working conditions of clock and musical instrument both unknown. Moran’s does not guarantee the working condition of this item.

521

280 With wide margins, irregularly trimmed. Remains of pale old staining throughout the image, some due to light and some due to foxing or other small stains. The work has been extensively treated and restored both within the image and in the margins. Various sizeable semicircular or other irregularly shaped touched-in repairs and tears are located in places along the margin edges, not affecting the image. Many of these variously shaped margin and blank-of-the-plate repairs, filled areas and touch-ups have begun to pucker and distort either the J Whatman paper or the white wove paper to which it has been laid, resulting in various vertical and horizontal cockles, primarily confined to the outer portions of the sheet, beyond the image. Other lesser defects. As mentioned, the sheet is laid to another sheet of paper. It is hinged to the back mat with one Japanese hinge at the verso of the upper edge of the backing paper. It is additionally secured to the back mat with four clear archival corners. Framed under glass: 30 1/2 x 37 x 1 in. 281 The pediment with multiple breaks and attendant small losses. The case with scattered scuffs and scratches at edges commensurate with age. Repaired chips to tip of the front lower elements of base. The left side proper with a 3 1/2 in. long deeper indentations along one edge. The bonnet door with a pea-sized indentation from where the door meets the fretwork when opened, as well as scratching and general wear in the keyhole area. Includes three weights, case key, and pendulum. Lacking winding key. Working condition unknown. Moran’s does not guarantee the working condition of clocks and watches.

Condition Reports

282 One of the tallest lacking one foot. Each with verdigris/ oxidation, weathering, soiling, and scuffs and scratches commensurate with age.

522

283 One shade with large loss to bottom edge, the other with a pea-sized chip. Each base of lamp with chipped losses at edges and corners. Scattered scuffs, scratches, small nicks, and fading to wood finish commensurate with age. One pedestal with a 1 x 1 in. chipped loss to the marble at back edge. Wiring should be checked by a qualified electrician prior to use. Moran’s does not guarantee the working condition of electronic equipment. 284 With a few older repairs and areas of restoration at joints. With scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. The marble with chipped losses along lower edges and at least two cracks measuring 8 in. long.

285 Each with scuffs, scratches, soiling, heavy oxidation to metal components, dust accumulation, and soiling commensurate with age. One with a peasized conchoidal chip to foot rim. Wiring should be checked by a qualified electrician prior to use. Moran’s does not guarantee the working condition of electronic equipment. 286 The top bowed. With losses to paint, scuffs, scratches, older chipped losses, nicks, indentations, and soiling commensurate with age. 287 With losses to paint, scuffs, scratches, older chipped losses, nicks, indentations, and soiling commensurate with age. The top slightly bowed. 288 With restorations, chips, cracks, and losses to gesso and paint. With scuffs, scratches, nicks, and minor soiling and staining commensurate with age. Oxidation to metal components. 289 With heavy wear, soiling, staining, craquelure, chipped losses to paint, and scuffs, scratches, nicks, and indentations commensurate with age. Scattered splits in the wood. 290 The wood with scuffs, scratches, rubbed wear to finish, nicks and indentations at edges and extremities, and minor soiling commensurate with age. Later reupholstery with even wear, soiling, and the seats with scattered stains. 291 The surface of the pastel does not appear to be fixed. Four 1/4-inch thick wooden spacers affixed along each of the edges. Framed under glass: 36 3/4 x 32 x 6 1/2 in.

292 Visual: A pea-sized puncture in the background, just to the left of the sitter’s eye, with attendant touchup. Scattered crazing in places. Impression lines and slight abrasions from the frame are visible along the left and upper edges. Dust accumulation.

297 Overall good condition with even pile-wear, minor soiling, and typical signs of wear commensurate with age and use. Issues include, but not limited to: several breaks in the selvage edges and fringes cut with some loose threads and fraying.

Blacklight: The signature (in red) may possibly be enhanced or added. As mentioned above, there is a pea-sized spot of touch-up to a puncture near the sitter’s eye, along with a pinhead-sized spot of touchup in the eye. Just above the signature there is 1 1/2 x 2 inch area of touch-up with a pea-sized spot of touch-up nearby. Other larger areas of likely touchup in the dark red background, especially along the upper edges, and possibly touches in the hair. An older, uneven varnish layer makes it a bit hard to read under blacklight and it may obscure other areas of restoration.

298 Overall good condition with even pile-wear, soiling, and typical signs of wear commensurate with age and use. Issues include, but not limited to: out of square, abrash in the red, a few scattered small hardened stains, and fringes cut.

293 Pale light-staining. Not examined out of the frame. Framed under Plexiglas: 26 x 22 1/4 x 3 in. 294 Visual: Craquelure throughout and stretcher bar creases along the left and right edges, primarily visible in raking light. The canvas is glue-lined. Blacklight: A 3/4 x 2 inch touch-up on the wall in the upper right quadrant. Frame: 32 3/4 x 28 7/8 x 2 1/4 in. 295 Visual: Heavy but stable craquelure throughout, with a few pinpoint-sized paint losses in the lower left quadrant. Stretcher bar creases along each edge. The canvas is slightly slack. Blacklight: No evidence of restoration. A heavy varnish layer has been applied. Frame: 26 x 20 1/4 x 2 1/4 in. 296 Pale light-staining. A soft horizontal folding crease spanning the width of the work across the center. A 1/2-inch diagonal reverse pressure mark or abrasion in the lower left quadrant. An occasional pale scattered fox mark. Soft handling marks scattered throughout. Not examined out of the frame. Framed under glass: 19 1/2 x 16 1/4 x 2 in.

300 Overall good condition with even pile-wear, soiling, and typical signs of wear commensurate with age and use. Issues include, but not limited to: one corner with less pile wear and one margin with a 2 x 1 in. stain. 301 Overall good condition with even pile-wear, soiling, and typical signs of wear commensurate with age and use. Issues include, but not limited to: rug out of square, scattered small stitch repairs, one area of repair measuring 2 x 1 in., repairs to selvage edges and one corner, and a 3 x 2 in. area of dye migration at one short end border. 302 The sheet is trimmed approximately to (or just inside) the platemark on all sides. Two very unobtrusive, minute (pinhead-sized or smaller) surface abrasions in the sky at upper center (well above the top hat of the man gathered with other figures on the distant cart at center). Scattered delicate, nearly invisible foxing as well as slight surface soiling and surface rubbing in the blank outside the image. Pale light-, time, and backboard staining also showing in the blank outside the image. As mentioned, the sheet is laid to board. Framed under glass: 32 x 39 x 1 1/2 in.

Condition Reports

Frame: 40 x 34 1/2 x 6 in.

299 With uneven pile-wear, soiling, and typical signs of wear commensurate with age and use. Issues include, but not limited to: many stitched repairs, concentrated to one half, some small holes, selvage breaks and losses, soiling, and fraying to fringe ends with losses.

523

303 The margins trimmed to the platemark. Scattered surface scratches, abrasions, and nicks primarily confined to the upper third of the image (namely the sky and top of the building at left). An irregular, drip or splatter-type reverse stain originating at the upper sheet edge, of which approximately 7 1/2 x 1 1/2 inches shows within the sky of the image itself. A few other, darker stains, generally pinhead-sized or smaller, in the sky at center and left of center. Light-, time, and backboard staining showing in the blank outside the image. Damp staining in places along the left and center portion of the lower sheet edge, some of which slightly affects the lower lines of explanatory text. Other lesser defects. As mentioned, the sheet is laid to another sheet of heavier paper. Framed under glass: 31 1/2 x 41 x 1 1/2 in. 304 Each overall good condition with scuffs, scratches, nicks, and indentations commensurate with age. Leather with heavy wear, cracking, but soft. 305 One side with a 5 in. long split in the wood. Drawer front with cracking to veneer. With scattered scuffs, scratches, nicks, shrinkage cracks, and indentations commensurate with age. 306 Missing one book rest. With scattered scuffs, scratches, and minor nicks at edges commensurate with age. The base with a few deeper indentations. Some soiling to the top.

Condition Reports

307 At least three wings with older repaired breaks. With older losses, darkening to the wood, rubbed wear and loss to gilding, soiling, staining, and patination commensurate with age. Some dust accumulation and wax residue to candle holder areas.

524

308 Lacking about 1/3 of the folios including but not limited to: the Seventh Day of Creation, Adam and Eve’s Temptation, and more. With repairs and restoration throughout. Pages with soiling commensurate with age, some with staining in the margins. Issues include but not limited to: large loss/repair to world map and a tear in the margin of Antichrist folio. The binding in good condition with shelf wear and bumping to corners and edges and scuffs and scratches to the boards.

309 With shelf wear, darkening to leather and rubbed wear to boards, bumping at corners, spine ends, and board edges, and fading to spine, and fading to page edge marbling commensurate with age. The front hinge loose, with separation to both hinges. Each plate with heavy darkening to margins, with offsetting verso of previous text block, the frontispiece and half-title obtrusive to the illustrations. Offsetting to xiv and xv. Pages with some cockling, many with staining, and several with small tears to page edges. Likely bound from original serialized issues. 310 Overall good condition with minor shelf wear. The pages with some cockling throughout. Volume one lacking the errata slip of verso pg. 1. Volume one also with a pea-sized brown mark at center of page obtrusive to pages 1-11. Volume II with some foxing to first several pages. Several light pencil marks to plates verso or in inner margins of pages. Blue wrappers and advertisements with some small losses at pages ends and/or staining at margins. 311 The dust jacket with fading and tanning (concentrated to spine), abrasions at corners and spine ends, a large stain to front at bottom, another partial ring stain to the back, and a 3/4 in. tear along front left corner. Slight tanning to spine, with shelf wear and bumping to corners and spine ends commensurate with age. Offsetting to front fixed endpapers. Bookseller’s penciled notes to upper right corner of first free end paper and previous seller/s label applied to bottom right of first fixed end paper. Slipcase in good condition with minor shelf wear and slip fading to spine. 312 Dust jacket unclipped, with a 1/2 in. loss to top of spine, tanning to spine, and abrasions at spine ends and corners. With shelf wear and light bumping to spine ends and board corners. Bookseller’s penciled notes to upper right corner of first free end paper. Slipcase in good condition with minor shelf wear and slip fading to spine. 313 Older restorations to joints with attendant small losses. Each with scuffs, scratches, nicks, indentations, and wear to finish commensurate with age. Upholstery of each with wear and fading, one with tear in the seat cushion, each with conforming pillows.

315 Overall good condition with scattered minor nicks and scratches commensurate with age. The right painting is slipping in its mat. 316 Overall good condition with scuffs, scratches, nicks, and oxidation commensurate with age. The leather good condition, the top with a drink ring area slightly raised. 317 With possible restoration to leg joints. The top with cracking to veneer, concentrated to edges and particularly the back edge, with more concentrated scratches and scuffs. Overall with scuffs and scratches and nicks at edges. 318 With scuffs, scratches, nicks, and minor nicks to edges commensurate with age. Leather with scuffs and scratches. Drawer interiors with some soiling. Includes two keys. 319 Heat damage and ring stains to the finish on top and nicks and scratches throughout. With scuffs, scratches, soiling, and small losses at edges and corners commensurate with age. The upper front edge with a 4 in. long loose bit of stringing and scattered losses to the veneer, as well as losses to upper rear edging. 320 The stop with a large ring stain with wear to finish, scattered other areas of nicks or indentations in the finish of the top. With scuffs, scratches and minor wear throughout. Includes key. 321 The top with a large crack in the veneer, scattered chipped losses to veneer concentrated to corners, and a 8 1/2 x 5 in. area of wear to the lacquer. One scroll element of base broken and partially mounted. The base with scattered veneer cracks and small losses at edges. With scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age.

322 Not examined under UV light. In generally good condition. There is an approximately 3in darkened hairline extending from the internal rim reaching downwards. Typical wear and rubbing to gilding overall, more noticeable at the high points. Some scattered areas of glaze pooling and bubbling. Some areas of crazing visible under raking light. Small chip to underside of the footrim. 323 One plate with a pea-sized rim chip, at least one with a glaze fleabite, and each with soiling. Each with shelf wear, scattered scuffs and scratches, and inherent firing flaws commensurate with age. Not examined under UV light. 324 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. No evidence of restorations or repairs under UV light. 325 Not examined under UV light. In generally good condition with typical wear and rubbing to gilding and decoration from use. Some stacking wear. A few scattered chips to edges. 326 Not examined under UV light. In generally good condition with mild wear and rubbing from light use. Some scattered black pitting and small chips to edges of basket. Stand with some chips to rim, some with gilt overpaint. 327 The formerly adjustable tiers are now fixed. The tripod base with repaired break. Scattered small losses to edges. With scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. 328 One leg of X-form pedestal base with a crack and separation at its mounting juncture. Chipped losses to lower three steps of left side of stand where the easel back rests to adjust angle. With wear to finish, scuffs, scratches, nicks, and indentations commensurate with age. Wiring should be checked by a qualified electrician prior to use. Working condition of light unknown. Moran’s does not guarantee the working condition of electronic equipment.

Condition Reports

314 Lower cabinet with vertical crack in the veneer of drop front and vertical cracks to sides, as well as a repaired break to the upper molding of left side. Upper cabinet with possible restorations to finials and cornice. Soiling to drawer interiors throughout. Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and slight separation at some joints commensurate with age. Includes keys.

525

329 The center support with a break in the brass hinge, minimally unobtrusive to its functionality but subsequently loose. The left side with a 1 1/2 in. long chipped loss to the veneer. Uneven fading to the wood finish. With scattered scuff, scratches, nicks, and minor indentations commensurate with age. Lacking key.

337 Overall with dust accumulation, minor scratches, scattered slack or broken strings, and general slight fading commensurate with age. Possibly with missing or unoriginal components, with possible restorations. The case with a 1 1/2 in. long crack and dust accumulation. Previous owner’s notes inked to one panel interior measuring 1 1/2 x 3/4 in.

330 Legs possibly with restoration to joints. Overall good condition with scuffs, scratches nicks, and small older losses commensurate with age. The leather with cracking but soft, with a few marks from areas where tape was previously applied.

338 Overall good condition with scuffs, scratches, shelf wear, and dust accumulation commensurate with age. The feet with possible fleabite chips.

331 Each with heavy losses to paint and gilding, with attendant oxidation commensurate with age. With scuffs, scratches, and nicks. Later 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. 332 With scuffs, scratches, fading to decoration, rubbed wear, losses to lacquer, dust accumulation, nicks at edges and corners, and generally shaken. The handle with two repaired breaks. 333 With scuffs, scratches, and dust accumulation commensurate with age. Some oxidation and staining to interior decorative brass plates. Includes pendulum. It would require some wiring to function. Working condition unknown. Moran’s does not guarantee the working condition of clocks and watches.

Condition Reports

334 With dial of wall clock with chipped losses to the enameling, the case with darkening to the brass. Each case with scuffs, scratches, nicks, and general wear commensurate with age.

526

335 With oxidation, scuffs, scratches, shelf wear, and small nicks commensurate with age. Working condition unknown. Moran’s does not guarantee the working condition of clocks and watches. 336 Overall good condition with dust accumulation and some handling wear commensurate with age. The edge of the frame with abrasions, nicks, and small losses. Peeling to the flag elements and paper labels, some only partially affixed.

339 Each with heavy de-silvering to mirror. Each with dust accumulation, scuffs, scratches, rubbed wear to gilding, and oxidation commensurate with age. 340 With dust accumulation, scattered scuffs, scratches, nicks, tears, indentations, gouges, minor splits to wood, and overall extensive wear commensurate with age and use. Heavy scratches and oxidation to the hardware. A few scattered missing rivets. Scattered minor soiling, marks, and spots to exterior and interior, with minor foxing and minor spots to interior fabric and to some drawer linings. Wear and damage to top drawer left corner; top drawer lacking one divider. Some scattered cracking to exterior shaped leather handle and interior leather components, with breaks and losses to the leather handles of all drawers, four retained. The top drawer, when closed, activates an integral lock to secure all the drawers below, operation is stiff. One end with painted monogrammed initials in yellow: A.A.B. Shoebox height 3 1/2 in., width 19 in., depth 12 3/8 in. 341 Overall good, little-used condition with light dust accumulation and a few faint scuffs and minor scratches commensurate with age. Scattered small areas of light oxidation to metal components. With LV retail labels. 342 Scuffs, scratches, and tarnishing to the brass oklad. The underpainting with minor pinpoint-sized surface scuffs and darkening. The gilt wood liner with losses to the gilding. The kiyot with cracks and losses (most prominently in the lower right corner), scuffs, scratches, loose hinges, and missing the glass panel. Framed in kiyot without glazing: 11 3/4 x 9 3/4 x 2 3/4 in.

Blacklight: No evidence of restoration. Unframed 344 Grime, surface scuffs and scratches, wear to the paint, losses of gilding and refreshed accents with gold paint, darkening, and abrasions, all commensurate with age. Other lesser defects. Unframed 345 With dust accumulation, scattered minor scuffs, and darkening/oxidation to bronze commensurate with age. With rubbed wear to gilding. Wood plinth with nicks and losses at edges. 346 Overall good condition with dust accumulation, scattered minor scuffs, and darkening/oxidation to bronze commensurate with age. Rubbed wear to gilding throughout. 347 Overall good condition with dust accumulation, scattered minor scuffs, and darkening/oxidation to bronze commensurate with age. 348 Loose connections and junctures of most elements, subsequently somewhat shaken. With a small loss to the foliate element of one end. With soiling, oxidation, wax remnants, and scuffs, scratches, and nicks commensurate with age. 349 Issues including but not limited to: one dinner plate with a 2 1/4 in. crack at the middle, one with a pea-sized chipped loss to underside of rim, one with radial cracks at center, and one with a 3/8 in diameter chip at rim underside with restored areas adjacent, one salad plate with a nickel-sized conchoidal chip to rim underside, another with a 2 in. long area of restoration to underside of rim with attendant chips to the restoration material, one bread and butter plate with glaze cracks to underside, one round platter with a small repaired chip to foot rim, and the gravy boat underplate with a 1 in. long area of restoration to rim. Each with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Not examined under UV light.

350 Small areas of fine craquelure scattered primarily in the areas of thicker paint application, primarily visible in raking light. Uneven toning and pale scattered foxmarks showing only on the verso. The paperboard is loose within the frame. Framed under glass: 15 x 20 x 2 in. 351 Visual: Slight varnish discoloration and minor grime. Blacklight: No evidence of restoration. Frame: 34 3/4 x 47 x 5 in. 352 Visual: Varnish discoloration and scattered areas of fine craquelure. A few pinhead-sized reverse pressure marks or air bubbles possibly due to being laid down, primarily in the upper half. A very unobtrusive, thin, 1-inch band of scattered tiny flecks of paint losses along the upper portion of the left edge. As mentioned, the canvas has been laid to board. Blacklight: No evidence of touch-ups. Frame: 20 1/8 x 24 1/8 x 2 3/4 in. 353 Visual: Slight varnish discoloration and grime. Craquelure throughout, primarily in the upper half. A few scattered rice-sized (or smaller) paint losses in the lower right portion of the gazebo and in the hills and trees to the left of the gazebo. A pea-sized reverse pressure mark in the orange trees to the right of the gazebo. Blacklight: No evidence of restoration. Frame: 33 1/2 x 35 3/4 x 2 1/2 in. 354 Visual: No condition issues to report. Blacklight: No evidence of restoration. Frame: 23 1/4 x 27 1/2 x 3 3/4 in. 355 Pale light-staining and pale foxing throughout. A few scattered 2-inch (or smaller) vertical abrasions along the unpainted left edge of the sheet. The upper right and left sheet corners with possible abrasions or dog-eared, not fully visible as framed. Not examined out of the frame. Framed under glass: 21 1/2 x 28 x 2 in.

Condition Reports

343 Visual: Extensive paint loss, wear, and attenuation. Burn marks along the lower edge of the panel, likely from candles placed under where it hung. The panel is warped, with several vertical cracks throughout. Worm tunneling, especially visible in the lower left corner and other losses to the panel.

527

356 No condition issues to report. Framed floating, likely hinged in places to an unseen mounting board. Not examined out of the frame. Framed under Plexiglas: 34 x 26 3/4 x 1 1/4 in. 357 Visual: Slight varnish discoloration and grime. Scattered areas of craquelure throughout. Stretcher bar creases along each edge. As mentioned, the canvas has been relined. Blacklight: A pea-sized touch-up in the background of the upper left quadrant. A thin 2-inch curved band of touch-up in the center of the lower edge. Other scattered small flecks of possible touch-up, difficult to read under uneven varnish application. Frame: 40 3/4 x 58 3/4 x 3 in. 358 The lid with splits in the wood at right and left edges. With newer chipped losses to back edges and newer nicks to front edges. Overall with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. Lacking key. 359 Each stand with oxidation, soiling, scuffs, scratches, nicks, and verdigris commensurate with age. One planter with cracks around the rim, each with soiling to interior.

Condition Reports

360 Later replaced mirror. The frame with evidence of older insect grazing, with scattered older repairs/ areas of restoration, and a 2 in. diameter loss to top left corner. With scuff, scratches, nicks, hairline cracks, nicks, and indentations commensurate with age. Rubbed wear and soiling to the gilding, with chipped losses to layers of gilding and gesso.

528

361 With multiple repairs and areas of restoration, concentrated at junctures. The front of base with chipped losses. Crazing throughout. With scuffs, scratches, nicks, and soiling commensurate with age. 362 Two panels with a horizontal wavy line running about 3 in. below the top of unknown origin, lately a later repair or adjustment. With minor craquelure and touch-ups throughout, dust accumulation, and minor soiling commensurate with age. The fabric with uneven fading, the bottoms and edges of frame with rubbed wear.

363 Losses to gilding and enamel and craquelure throughout. With scuffs, scratches, nicks, indentations, small losses, soiling, and staining/ darkening commensurate with age. Lacking key. 364 With scattered small losses and areas of restoration. Framed 11 1/2 x 15 1/2 x 1 in. 365 Surface wear, losses, areas of abrasion consistent with age and material. Missing the fine beige top layer and polychromy. 366 With wear and deterioration to patina, soiling, darkening/oxidation, and general wear commensurate with age. The interior with some infilling. 367 With older losses throughout, concentrated to shoulders and hair. Rubbed wear and loss to gilding and lacquer. With scuffs, scratches, soiling, and overall wear commensurate with age. 368 Horizontal and diagonal buckling and deep creasing throughout, including two vertical creases in the center of the work and which are most noticeable in the upper half. Discoloration and pigment losses throughout. Attenuation to the black fabric border. Other minor defects. Not examined out of the frame. Framed under glass: 31 1/4 x 19 1/8 x 1 in. 369 Craquelure throughout. Wear along the outer edges with two pea-sized losses in the extreme lower and left edges. Losses to the wood throughout, soiling, and fading commensurate with age. 370 Each with heavy losses to paint, scuffs, scratches, nicks, and indentations commensurate with age. 371 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. No evidence of restorations or repairs under UV light. 372 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. No evidence of restorations or repairs under UV light.

374 Each with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Soiling and scattered stains throughout. Slight rubbed wear to decorations and gilding. No evidence of restorations or repairs under UV light. Each stand with scuffs and scratches and slightly shaken. 375 One with a 2 1/2 in. long crack issued from rim, another with a 1 1/4 in. long repaired break to rim with attendant 2 1/2 in. crack. Each with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. 376 Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. No evidence of restorations or repairs under UV light. Included with the lot are two wood stands. 377 The single figure with white beard with an area of restoration to upper end of staff. Each with soiling, surface grime, shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. No evidence of restorations or repairs under UV light.

384 Overall good condition with dust accumulation and light wear commensurate with age. A few scattered faint marks. With visible stitch marks/dimples near edges from display mounting technique. The frame with a missing section to lower left corner, 6 x 2 3/4 in. Not examined out of frame. Frame: height 3 ft. 5 1/2 in., width 6 ft. 7 in., depth 2 3/4 in. 385 The top of case with nicks to edges and corners, and a 1/4 in. diameter chipped loss. With shelf wear and scattered minor scuffs and scratches commensurate with age. Working condition unknown. Moran’s does not guarantee the working condition of clocks and watches. 386 Overall good condition with scattered scuffs, scratches, nicks, and minor soiling commensurate with age. Sticker ghost to underside. Lacking caviar spoons. 387 With minor shelf wear and scattered scuffs and scratches. Includes key and pamphlets. 388 Each with oxidation, soiling, scuffs and scratches, and minor indentations to base commensurate with age.

378 Overall good condition with minor shelf wear and scattered minor scuffs and scratches commensurate with age.

389 One with dent in the upper rim interior. Each overall good condition with oxidation, soiling, and scattered scuffs and scratches commensurate with age. Each glass with some scratches.

379 Several rims ground down. One with two fleabite chips to rim. Each with shelf and mild handling wear commensurate with age.

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

380 One with a 1 in. long crack issued from rim. Each with shelf wear and minor handling wear commensurate with age.

391 Multiple lions re-mounted, the top re-mounted, and possibly with other repairs. Abrasions and older small losses at corners and edges. The top with rippling in the veneer. With scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age.

381 Each overall good condition with shelf and handling wear commensurate with age. 382 Each overall good condition with shelf and handling wear commensurate with age. 383 Overall good condition with scattered minor scuffs and scratches commensurate with age.

Condition Reports

373 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. No evidence of restorations or repairs under UV light. Glaze slips to rim.

529

392 Each with oxidation, scuffs, scratches, nicks, indentations, and minor soiling and staining commensurate with age. 393 With scattered scuffs, scratches, nicks, indentations, and separation at joints commensurate with age. Scattered stains throughout, concentrated verso. Heavy wear to stretcher and legs, with some losses. Upholstery in good condition with some soiling and dust accumulation. 394 Issues include but not limited to: heavy wear to veneer throughout with small losses, the top with separation between individual pieces, with a 1 1/2 in. loss, one drawer front with a 1 1/2 x 1 in. loss. With scuffs, scratches, indentations, shrinkage cracks, and separation at joints commensurate with age. Includes two keys. 395 Each chair front leg somewhat loose form its mounting. With scattered minor scuffs and scratches commensurate with age. The table interior with some soiling. Game pieces not counted to check if complete. Moran’s does not guarantee the working condition of this item.

Condition Reports

396 With repairs and restoration at the seams of each legs and at the neck, with slight separation at the seams. One leg broken and repaired at the knee, with other repairs including but not limited to the ears. The head with a 7 1/2 in. long split in the wood, the haunches with a 7 in. long horizontal split. With scattered older losses, in-filling, chips, nicks, indentations, scuffs, and scratches commensurate with age.

530

397 Multiple repaired breaks to tail, with a 6 x 3 1/2 in. repair to figure’s back. Scattered shrinkage cracks throughout, and small chipped losses or abrasions at extremities. With dust accumulation, rubbed wear to paint or white washing, scuffs, scratches, nicks, and minor abrasions throughout commensurate with age.

531

Condition Reports

John Moran Auctioneers, Inc SPECIALISTS

Head of Sale, Senior Specialist, Furniture & Decorative Art Angela Past President, Auctioneer Jeffrey J. Moran Director, Fine Art Katherine Halligan, AAA Director, Native American Art Kim Jarand Director, Furniture and Decorative Arts Jen Kurtz Specialist, Post-War & Contemporary Design Matthew Grayson Specialist, Fine Art Robert Cullen Associate Specialist, Fine Art Madison Ari Senior Cataloguer, Fine Art Anne Spink Cataloguer, Fine Art Lori Kassabian Cataloguer, Fine Art Christine Weir Department Administrator, Fine Art Jacob Baer Department Administrator, Furniture & Decorative Arts /Jewelry Jessica Crosbie Cataloguer, Furniture & Decorative Arts Grant Stevens Cataloguer, Silver Jewelry & Decorative Art Sally Andrew Director, Jewelry & Watches Senior Specialist, Jewelry & Watches

Tom Burstein Kelly Sitek

TRUSTS & ESTATES

Senior Vice President, Director Trusts & Estates Morgana Blackwelder, ISA AM Vice President, Director Trusts & Estates Maranda Moran Director, Appraisals Mariam Whitten, ISA AM Associate Appraiser Shannon Dailey Business Development Specialist Julia Kelley

CLIENT SERVICES

HR Manager Mario Esquivel Client Services Ella Fountain Finance Administrator Jamie Holthauser Accounts Receivable / Customer Service Tiffany Hansen

OPERATIONS

Vice President, Business Director, Auctioneer Stephen Swan Controller Joseph Scott Consignment Coordinator Jean Rapagna Warehouse Supervisor, Senior Art Handler Richard Corral Transport Supervisor, Senior Art Handler Joe Miranda Art Handler Romero Corral

MARKETING

Director, Advertising & Marketing Manager, PR/Social Media Media & Website Designer

PHOTOGRAPHY

Senior Photographer, Head of Photography Photographer Photographer Photographer

FOUNDERS

Nathan Martinez Brenda Smith Brian Olivas Keith Berson Madison Torres Wyatt Beserra Chloe Daniels

Founder John H. Moran (1942-2017) Co-Founder 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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Conditions of Sale These Terms and Conditions of Sale (“Terms“) set out the terms by which the sale or purchase of property at auction through John Moran Auctioneers, Inc. (“Moran”) will be governed. These Terms constitute a legal and binding agreement between You and Moran. AUCTION HOUSE AS AGENT Except as otherwise expressly stated in writing, Moran acts as an agent for the seller. Thus, any contract for the sale of property through Moran is made between the respective seller and buyer. BEFORE THE AUCTION (a) Public Preview. All property is available for inspection by public or private preview according to the auction information posted online and in the catalogue. In many cases, particular lots can be examined in advance by private appointment by contacting a customer service representative at info@johnmoran. com or by dialing 626-793-1833. Prospective buyers are strongly encouraged to personally examine any property in which they are interested. (b) Buyer’s Responsibility. Buyers are responsible for determining to their own satisfaction the true nature and condition of any lot prior to bidding. Though buyers are not legally required to inspect lots prior to purchase, failure to do so may constitute a waiver of complaint that an item was not delivered in a condition equal to the existent condition at the auction. (c) Property Sold “As Is”: Neither Moran nor the seller provides any guarantee in relation to the nature of the property, or to any errors or omissions in the catalogue or supplemental material, apart from the Limited Warranty stated in Section 5 below. ALL PROPERTY IS SOLD “AS IS.” Condition reports are offered as a courtesy and are typically published in Moran’s catalogue, or online, or can be made available upon request. The absence of a condition report does not imply that an item is free from defects or restoration, nor does reference to particular defects imply the absence of others. AT THE AUCTION (a) Admission. Moran’s auction is open to the public, although Moran reserves the right to, in its sole discretion, refuse admission or participation to anyone at any time. The auction may be recorded (visually, aurally, or otherwise) and all participants or attendees at the auction consent to such recording. (b) Buyer Registration. Prospective buyers must register with Moran before bidding. Moran may, in its sole discretion, require identification, financial references, or a deposit in advance of buyer eligibility. Registered bidders accept personal liability to pay the purchase price, including the Buyer’s Premium, as described in Section 4(a) below, plus all applicable charges, unless Moran agrees in advance that the bidder is acting as agent on behalf of an identified third party that Moran, in its sole discretion, deems acceptable. In such case, Moran will look to the third party for payment. Successful bidders may be required to further verify their identity before property is released. (c) Bidding Guidelines. Bidding, whether in person or by agent, absentee bid, telephone, or internet, constitutes a bidder’s acceptance of these Terms. The highest bidder acknowledged by the auctioneer shall be the buyer. The auctioneer retains the absolute right to reject any bid; withdraw, pass, or divide any lots; combine multiple lots; advance the bidding at their absolute discretion; and—in the case of error or dispute, whether during or after the sale—determine the successful bidder; continue the bidding; cancel the sale; or re-offer and sell the lot in question. Under no circumstances are sellers, or agents acting on their behalf, permitted to bid on their own property. In the event of any dispute after the auction, Moran’s sale record shall be conclusive as to the successful bidder and the price of the successful bid. (d) Absentee, Telephone, and Internet Bidding. Moran offers absentee, telephone, and internet bidding as a convenience to clients and does not accept liability for errors or failures to execute bids. Absentee and telephone bids must be recognized by Moran prior to auction day. When identical absentee bids are submitted that become the highest bids at the auction, the bid first received by Moran shall be accepted as the winning bid. Telephone bidders are encouraged to leave minimum bids in case of technical failure.

(e) Reserves. Unless Moran expressly indicates otherwise, lots may be offered subject to a reserve, which is the confidential minimum price below which the lot will not be sold. The reserve for any lot shall not exceed its published estimate. Moran shall act to protect the reserve by bidding through the auctioneer, who may open bidding on any lot below the reserve by placing a bid on the seller’s behalf. The auctioneer may continue to bid on behalf of the seller up to the reserve amount, either by placing consecutive bids or by placing bids in response to other bidders. Lots without reserves are typically opened for bidding at 50% of their low estimate. In the absence of a bid at that level, the auctioneer may proceed backward at their discretion or deem the lot unsold if a bid is not recognized. AFTER THE AUCTION (a) Payment and Title Transfer. The buyer agrees to pay the sum of the hammer price plus Buyer’s Premium, plus any applicable sales tax. The Buyer’s Premium will be calculated as follows: 27% on the first $1,000,000 of the hammer price, plus 21% on any amount between $1,000,001 and $5,000,000, and 15% on any amount above $5,000,000 when paying by cash, check, or wire transfer. Successful bidders using Live Auctioneers or Invaluable platforms will be charged a Buyer’s Premium calculated as follows: 32% on the first $1,000,000 of the hammer price, plus 26% on any amount between $1,00,001 and $5,000,000, and 20% on any amount above $5,000,000 when paying by cash, check, or wire transfer. Credit card payments made directly to Moran will be subject to an additional 3% acceptance fee. This fee is not more than the cost of accepting these cards. The name and address associated with the credit card must match the name and address of the successful bidder. Credit Cards are not an accepted form of payment for buyers outside the United States. Buyers are strongly encouraged to provide full payment at the auction. Payment must be received by Moran within five business days immediately following the auction. The buyer does not acquire title to and may not take possession of the lot until all amounts (including the hammer price, premium, and applicable taxes) due to Moran have been paid in full. Unless alternate payment arrangements are made immediately following the auction, successful Live Auctioneers bidders will be automatically charged via Live Auctioneers’ LivePayments 24 hours after the auction. Payments made through Live Auctioneers LivePayments are subject to an additional processing fee and any applicable state sales tax. (b) Collection: Buyers are strongly encouraged to collect purchased items from the sale site at the time of the auction. Packing material and labor are provided free of charge at the sale site during the auction. Packing and handling of purchased lots is undertaken by Moran solely as a convenience to customers. If a buyer opts to use this courtesy packing and handling service, Moran is not liable for damage to property, regardless of cause. (c) Storage and Abandonment. Following the auction, uncollected lots shall be relocated to and stored in Moran’s warehouse. Moran shall retain possession of all purchases until full payment has been received from the buyer. Lots remaining uncollected after the fifth business day following the sale, regardless of payment status, are subject to a per-lot daily storage charge of $10.00. In addition to other remedies available by law, Moran reserves the right to impose upon delinquent buyers a separate 1% monthly charge (of the purchase price, or the maximum permitted by law) commencing on the sixth business day after the sale date. If a buyer fails to retrieve a purchased lot within thirty (30) days after the date of sale (the “Retrieval Period”), Moran may, without further notice, (a) continue to store the lot in Moran’s warehouse, or at the warehouse of a third-party, subject to the storage charge described above; (b) deliver the lot to the buyer at the buyer’s expense; or (c) sell the lot at auction without reserve at a place and time determined by Moran in its sole discretion.

Conditions of Sale Cont’d (d) Consequences of Late Pick-Up/Abandoned Property. Notwithstanding the foregoing, Moran has no duty to store any lot indefinitely. Any purchased lot that remains in Moran’s possession sixty (60) days after the Retrieval Period (collectively, ninety (90) days) will be deemed abandoned (“Abandoned Property”) and title to it will pass to Moran. Moran may, in its sole discretion, discard or sell any Abandoned Property and may keep any proceeds from any such sale. Moran may not be held liable for any claims related to Abandoned Property. Moran is not responsible for damage or loss that occurs to Abandoned Property and Moran is not responsible for insuring Abandoned Property after the Retrieval Period. (e) Shipping. As a courtesy to buyers, Moran provides a list of preferred shippers who are in the business of transporting antiques and works of art. Buyers are responsible for arranging their own shipping estimates and deliveries. Moran, in its sole discretion and as a courtesy to buyers, may arrange to have purchased lots packed, insured, and forwarded by a third-party shipper at the request, expense, and risk of the buyer. In circumstances where Moran arranges for such third-party services, Moran may apply an administration charge of 15% of that service fee. Moran assumes no responsibility for acts or omissions in such packing or shipping by other packers or carriers, even if recommended by Moran. Moran also assumes no responsibility for any damage to picture frames or to the glass therein. (f) All Sales Final. Notwithstanding other terms mentioned herein, refunds may be given in Moran’s sole discretion. Refunds requested on the grounds of authenticity must be made within 180 days of the auction and accompanied by a supporting written statement from a recognized authority (defined as a person who has authored, edited, or substantially contributed to a monograph on the artist; a person who has curated, organized, or substantially contributed to a solo exhibition on the artist; or a person who has represented the artist’s estate or someone who represented or worked closely with the artist while they were alive and, in any of the foregoing instances, physically handled works of the period, medium, and subject matter in question during the course of their duties) stating that the object sold is incorrect or not the work of the artist. Dealers, appraisers, and representatives of other auction firms do not qualify as authenticators of individual artists unless they have had such specific involvement with that artist’s work, as specified above, in addition to their daily duties. Refunded lots must be returned to Moran in the same condition as when sold. Moran does not grant extensions to refund considerations based upon authenticity due to shipping delays. There are no exceptions to this refund policy. LIABILITY AND LIMITED WARRANTY (a) Liability. The buyer expressly agrees that (i) neither Moran nor the seller shall be liable, in whole or in part, for any special, indirect, or consequential damages, including, without limitation, loss of profits, and (ii) the buyer’s damages, if any, are limited exclusively to the original purchase price paid for the lot. (b) Limited Warranty. ALL PROPERTY IS SOLD AS IS. Neither the seller nor Moran or its associates make any representation, express or implied, warranty (including merchantability and fitness), or guarantee in condition, age, size, provenance, medium, signature, inscription, exhibition history, importance, rarity, country of origin, genuineness, historical relevance, monetary or other value, framing or lack thereof, mounting, conservation, coloring, palette, inscription, edition, style, label, or other descriptor. No statement in the catalogue, brochures, website, bill of sale, invoice, any supplementary material, or statements by any Moran employee shall be deemed a warranty, representation or assumption of liability. (c) Descriptions. No warranty, whether express or implied, is made with respect to any description contained in this auction or any second opinion. Any description of the items or second opinion is for the courtesy of identifying the items for those bidders who do not have the opportunity to view the lots in person, and no description of items has been made part of the basis of the transaction or has created any express warranty that the goods would conform to any description made by the auctioneer. Color variations can be expected in any electronic or printed imaging and are not grounds for the return of any lot. (d) Estimates. All estimates provided are carefully considered opinions of Moran’s specialists and are merely suggested guidelines for interested buyers. Buyers must be aware that all property sold is subject to fluctuating values depending on the subjective interests of collectors and a wide variety of other uncontrollable factors. The lots auctioned may sell at prices above, within, or below estimate. (e) Notices, Demands, and Refunds. Any demands for refunds, problems with the lot(s) sold or notices of any kind concerning the auction shall be made (1) in writing and addressed to John Moran Auctioneers, Inc, 145 East Walnut Avenue, Monrovia, CA 91016 or (2) via email at info@johnmoran.com.

(f) Notices, Demands and Refunds: Any demands for refunds, problems with the lot(s) sold or notices of any kind concerning the auction shall be in writing and addressed to John Moran Auctioneers, Inc, 145 East Walnut Avenue, Monrovia, CA 91016. ADDITIONAL MATTERS (a) Copyright. The copyright on all images, illustrations, and written material produced by or for Moran for its auction is and will remain at all times the property of Moran. Moran and the seller make no representation or warranty that the buyer will acquire any copyright or reproduction rights to a purchased lot. (b) Buyer’s Breach of Conditions. If a buyer fails to comply with any of these Terms, Moran may, in addition to asserting all remedies available by law, including the right to hold that buyer liable for the purchase price, (i) cancel the sale, retaining as liquidated damages any payment made by the buyer; (ii) resell the property without reserve at public auction or privately upon notice to the buyer; or (iii) take such other action as Moran deems necessary or appropriate. If Moran resells the property, the original defaulting buyer shall be liable for the payment of any deficiency between the original sale price and any subsequent mitigation sale, including warehousing, the expenses of both sales, reasonable attorney’s fees, commissions, incidental damages, and all other charges due hereunder. In the event that such buyer pays a portion of the purchase price for any property, Moran’s shall apply the payment received to such property that Moran, in its sole discretion, deems appropriate. Moran shall have the benefit of all rights of a secured party under the Uniform Commercial Code as adopted in the State of California. (c) Governing Law. The rights and obligations of the parties with respect to these Terms and the conduct of the auction shall be governed and interpreted by the laws of the State of California. (d) Arbitration. Any dispute, claim, or controversy arising out of or relating to these Terms or the breach, termination, enforcement, interpretation, or validity thereof, including the determination of the scope or applicability of this agreement to arbitrate, shall be determined by private arbitration before an arbitrator. The arbitration shall be administered by JAMS pursuant to its Comprehensive Arbitration Rules and Procedures. Judgment on the award may be entered in any court having jurisdiction. This clause does not preclude the parties from seeking provisional remedies in aid of arbitration from a court of appropriate jurisdiction. The parties shall maintain the confidential nature of the arbitration proceeding and the award, including the hearing, except as may be necessary to prepare for or conduct the arbitration hearing on the merits, or except as may be necessary in connection with a court application for a preliminary remedy, a judicial challenge to an award or its enforcement, or unless otherwise required by law or judicial decision. In any arbitration arising out of or related to these Terms, the arbitrator shall award to the prevailing party, if any, the costs and attorneys’ fees reasonably incurred by the prevailing party in connection with the arbitration. If the arbitrator determines a Party to be the prevailing party under circumstances where the prevailing party won on some but not all of the claims and counterclaims, the arbitrator may award the prevailing party an appropriate percentage of the costs and attorneys’ fees reasonably incurred by the prevailing party in connection with the arbitration. (e) Severability. Should any of these conditions be deemed unenforceable, invalid, or illegal in any court having jurisdiction, that part shall be severed from these Terms and shall have no effect on the enforceability of the remaining provisions contained herein, which shall remain valid to the fullest extent permitted by law.

SINCE 1969

AUCTIONEERS & APPRAISERS

johnmoran.com · info@johnmoran.com · (626) 793-1833

The Traditional Collector — October 13, 2026 | John Moran Auctioneers