Winter Antiques, Asian & Fine Art Auction
Totals Over $4.7 Million!

Auction: February 4th-7th, 2014

Preview: February 3rd, 2014 and February 4th-7th, 2014

Please Note: All prices include the hammer price plus the buyer’s premium, which is paid by the buyer as part of the purchase price. The prices noted here after the auction are considered unofficial and do not become official until after the 46th day.

If you have questions please email antiques@jamesdjulia.com.


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Image Lot
Price
Description
1039
Revised: 1/30/2014

Please Note: There was a typographical error the artist is Harry Aiken Vincent, not Harriet Aiken Vincent.

HARRY AIKEN VINCENT (American, 1864-1931) EARLY MORNING GLOUCESTER, MASS. Oil on canvas Housed in a reproduction gold frame Signed lower left “H.A. Vincent 16″ SIZE: 18″ x 24″ Overall: 24″ x 30” CONDITION: Very good with canvas repair to verso having corresponding inpainting 9-93015 (5,000-8,000)

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1259
Revised: 1/30/2014

Please Note: Title should be Mary Magdalene with skull & fire stick, not Maiden.

ARNOUND WYDERVELD (Netherlands, 1823-1888) MAIDEN WITH SKULL AND FIRE STICK. Oil on board Housed in an antique gilt wood frame with gilt liner Signed lower right “A Wydeveld” SIZE: 16″ x 12-3/4″ Overall: 24″ x 21″ CONDITION: Minor touch up, very good 9-92783 (2,000-3,000)

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1318
Revised: 1/30/2014

As noted in the catalog the artist appears to be C. Ellis. The subject was copied by a painting by Sir Edwin Henry Landseer (1802-1873).

C ELLIS? (European, 19th Century) TWO SPANIELS ON A TABLE. Oil on canvas Housed in a good gilt gesso decorated frame Signed lower right “C Ellis” SIZE: 10″ x 12″ Overall: 18-1/2″ x 20-1/2″ PROVENANCE: From a private New Jersey Collection CONDITION: Light scuff on bottom margin otherwise very good 9-90618 (1,600-2,200)

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1399
Revised: 1/30/2014

Please Note: The estimate should be $6,000-$9,000.

THERESA FERBER BERNSTEIN (American, 1890-2002) PARISIAN STREET SCENE. Oil on canvas Housed in a modern gilt carved wood frame with linen liner Signed lower right “T Bernstein 28″ SIZE: 30″ x 37-1/4”. Overall: 38″ x 45-1/4″ PROVENANCE: From a Massachusetts Collection; Sotheby’s 9/23/88 CONDITION: Inpainting, lined on new stretcher 9-29116 (6,000-9,000)

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1406
Revised: 1/30/2014

Please Note: The painting is on thin cardboard, not painted on masonite.

VACLAV VYTACIL (American, 1892-1984) ABSTRACT WITH FIGURES. Oil on masonite Housed in an antique gilt frame Signed lower right & dated “1940” SIZE: 27-1/2″ x 39-1/2″. Overall: 34-1/2″ x 46-1/2″ CONDITION: Very good 9-92762 (3,000-4,000)

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1409
Revised: 2/4/2014

We have been contacted by one individual who maintains that this is not a genuine Savador Dali product, however researching the internet we find multiple examples of this same tapestry sold by various auction houses (including Christies, some of which have sold between $2,000-$3,000) the information is certainly conflicting so under the circumstances we do not guarantee anything about it.

SALVADOR DALI (French/Spanish, 1904-1989) ASHER, OF THE TRIBES OF ISRAEL. Tapestry Signed lower right SIZE: 70″ x 52″ CONDITION: Very good, missing back label indicating # in the edition of 500 9-90262 (1,200-1,800)

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1419
Revised: 1/30/2014

Please Note: The estimate should be $300-$500.

ROMAIN (ERTE) DE TIRTOFF (American/Russian/French, 1892-1990) “LOVE’S CAPTIVE”. Silkscreen in colors Signed in pencil lower right “Erte”, numbered in pencil lower left A.P. 51/60, lower left corner has round embossed stamp Roma Comp Inc. New York SIZE: 33″ x 28″. CONDITION: Very good. 9-29106 (300-500)

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1460
Revised: 1/30/2014

Please Note: The estimate should be $500-$700.

ANTON KAMP (American, 1895-1985) “STUDY OF A BARN”. Oil on canvas Housed in its original partial gilt wood frame Signed lower left “Anton Kamp”, also signed on reverse, titled, and having estate stamp SIZE: 24″ x 32″. Overall: 29-1/2″ x 37-3/4″. CONDITION: Very good. 9-29094 (500-700)

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1461
Revised: 1/30/2014

Please Note: The estimate should be $400-$600.

ANTON KAMP (American, 1898-1985) “GLORIOUS OCTOBER”. Oil on canvas Housed in a gold carved wood frame, on verso is title, artist, and estate stamp Signed lower right “Anton Kamp” SIZE: 27″ x 36″. Overall: 32-1/2″ x 41-1/4″. CONDITION: Small touch-up in sky, very good. 9-29110 (400-600)

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1490
Revised: 1/30/2014

Please Note: The artist is Zedekiah Belknap (American, 1781-1858).

UNSIGNED (American, Mid 19th Century) PORTRAIT OF A WOMAN. Oil on canvas Unframed Unsigned SIZE: 27″ x 22-3/4″ PROVENANCE: From a Maine home CONDITION: Craquelure, consolidated varnish layer, good 9-90247 (2,000-4,000)

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1502
Revised: 1/30/2014

Please Note: This painting is after a famous artist Jean Baptist Great called the Broken Pitcher.

ALICE UNDERWOOD FITCH (American, 20th Century) OVAL PORTRAIT OF A YOUNG WOMAN AFTER GREUZE. Oil on canvas Affixed to a modern rectangular frame with green velvet background Signed lower left “Underwood Fitch After Greuze” SIZE: 32″ x 26″. Overall: 39″ x 33″ PROVENANCE: From a fine Kentucky Estate. CONDITION: Relined, small scrape to upper center, otherwise very good 9-92884 (500-1,000)

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1509
Revised: 1/30/2014

Please Note: The estimate should be $400-$600.

ARTHUR CLIFTON GOODWIN (American, 1866-1929) LANDSCAPE WITH POND AND BUILDING. Pastel Housed in a gold molded wood frame Signed lower left “A.C. Goodwin” SIZE: Sight: 19″ x 24″. Overall: 22-1/2″ x 27-1/2″. CONDITION: Very good. 9-29108 (400-600)

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1603
Revised: 1/30/2014

Please Note: The estimate should be $600-$900.

LOUISE MORRIS (American, 1896-) SOUTHWESTERN MOTIF. Oil on canvas Housed in a flat wood frame SIZE: Sight: 39″ x 48″. Overall: 44″ x 53″. PROVENANCE: Through the Estate of the artist. CONDITION: Very good. 9-29100 (600-900)

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2014
Revised: 1/30/2014

Please Note: We have since learned that the hallmark “AN” represents William Andrews.

VERY FINE LATE 17TH CENTURY ENGLISH STERLING POSSET OR CAUDLE CUP. Fluted base, cord decorated mid rib, cast beaded serpentine handles, one side with repousse cartouche engraved “I*W”. Hallmarked at right side of one handle with markers mark “AN” (unknown), Britannia standard, London 1697-1698. SIZE: 3-3/8″ high. 4-1/8″ diameter. 6-1/4″ wide. 6 oz 2.5 dwt. PROVENANCE: From a fine Kentucky Estate. CONDITION: Very fine to excellent. Lovely unrubbed patina. Hallmarks are very clear. 9-92278 (800-1,200)

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2222
Revised: 2/3/2014

As noted in catalog, the feet are replaced and were done so in the 20th centrury. In addition, this chest originally had 2 drawers which were removed during the period of use, probably in the 18th century.

RARE & IMPORTANT CARVED AND JOINED WETHERSFIELD, CONNECTICUT “SUNFLOWER” CHEST, 17TH/EARLY 18TH CENTURY, POSSIBLY PETER BLIN (CIRCA 1640-1725). This very rare & early “sunflower chest” was the cover lot of Christie’s, New York “Important American Furniture, Silver, Folk Art and Decorative Arts” auction, on Wednesday, June 22, 1994. A copy of their original description follows: “The rectangular hinged and molded top opening to a single compartment fitted with a lidded till, the paneled exterior embellished by a reeded frieze above a carved triptych separated by applied column-and-urn-turned split balusters, each panel centering a relief-carved floral form on a punch-decoration ground, the sides embellished with applied bosses set in molded surround, the hole over an applied molded base on straight bracket feet (feet pieced 5-1/4in.) – 23-3/4in. high, 48 in. wide, 21in. deep”. SIZE: 48″ l x 21″ d x 24″ h. PROVENANCE: Joe Kindig, Jr. and son, York, Pennsylvania 1958. Christie’s New York, June 22, 1994 description continues: “As one of the most celebrated 17th century American furniture forms, the carved and joined Wethersfield “sunflower” chest represents a tour de force of the turner’s and joiner’s art, as well as a significant investment and status statement on the part of the owner. As with other documented examples of the form, the flamboyant carving and classically inspired turned embellishments of the sunflower chest illustrated here raises questions of manufacture, iconography and use. The majority of these case pieces have traditionally been attributed to the workshop of Peter Blin (c. 1639-1725; settled in the Wethersfield area after 1675), on the basis of a documented chest by Blin for Gershom Bulkeley (see Bulkeley, “A Discovery on the Connecticut Chest,” The Connecticut Historical Society Bulletin, XXIII, January 1958, pp. 17-19). While the turned and joined case pieces attributed to Blin share a similar design format, as well as the same wide, flat execution of the flanking tulip panels and additional floral embellishment above the principal flower of the central panel, the sheer number of these flower embellished forms attests to a larger network of shops in the Wethersfield area aware of an capable of producing the current fashion. A comparison of typical Wethersfield carving with English prototypes reveals the rich and significant design sources from which these transplanted English woodcarvers were drawing (see Kirk, John T. American Furniture and the British Tradition, New York, 1982, p. 116, fig. 294-296), and thus supports the idea of the general popularity of the motif, rather than its being the signature of any individual shop. Likewise, the central floral motif has variously been referred to as a peony, a sunflower, a marigold and a Tudor rose; while its flanking tulip motif has been interpreted a Dutch in origin and a popular symbol of the English Restoration. While the possibility exists that these motifs operated on a political symbolic level, it seems unlikely given chronology of the motifs and the larger popularity on an international level of related and easily confused floral motifs. (Kirk, P.91) that these images were anything more than aesthetically pleasing reminders of home. On a functional level, chests such as the example illustrated here served as sumptuous statements of wealth and good taste. They may also have served on a gender identification level as well. Scholarship on the carved chests and boxes of 17th century New England suggests that where plain board chests may have been intended for use by young men, more elaborately carved and joined chests may have been intended as a rite of passage or dowry gift for young women (see Ward, Barbara, et al. A place for Everything: Chests and Boxes in Early Colonial America, Winterhur, 1986, P. 7) Related examples to this include a chest attributed to Peter Blin and illustrated in Maynard, Henry P., Connecticut Furniture: Seventh and eighteenth Centuries. Hartford 1967, fig. 15, p. 11; a chest with similarly elongated pendant lobes on the split-balusters and illustrated in the The Girl Scout Loan Exhibition, New York, 1929, no. 504 (owed by Mrs. Francis P. Garvan); and a chest in the collection of Old Sturbridge Village, illustrated in Comstock, Helen, American Furniture, Exton, Pennsylvania, 1962, fig. 53, Related carved forms include a chest with drawers illustrated in Lefebvre, Judith Connecticut Masters: The Fine Arts and Antiques Collection of the Hartford Steam Boiler Inspection and Insurance Company. Hartford, 1991, pp. 204-205; a chest with drawers with similar pendant lobes formerly in the Fearing Collection and illustrated in Sack, American Furniture from Israel Sack Collection, Vol. 3, brochure 21, P3192; a chest with drawers possibly by Peter Blin with similarly laid out flanking tulips and similar central sunflower with additional crowning foliate motif illustrated in, Ward Gerald W. R., American Case Furniture in the Mabel Brady Garvan and Other Collections at Yale University, New Haven, 1988, fig. 26; and a cupboard attributed to Peter Blin in the collection of Yale University Art Gallery is illustrated in Fairbanks and Trent, New England Begins: The Seventeenth Century, vol. 2 Mentality and Environment, Boston, 1982, fig. 257, p. 266.” CONDITION: Very good overall condition. Minor shrinkage split in top. Very minor worm damage to top. Rectangular feet are replaced. 9-92265 (10,000-20,000)

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2223
Revised: 2/4/2014

The upper portion of the bonnet is original but we believe that it may have fallen off the clock at one time and needed to be attached as there is small finish nails in some of the upper parts of the bonnett.

CHERRY CONNECTICUT TALL CASE CLOCK BY SIMEON JOCELIN. Fine late 18th century New Haven Connecticut cherry tall case clock marked on engraved brass dial “1771 Sim’n Jocelin New Haven”. This wonderful example of 18th century New England clock making has a brass weight driven, time and strike movement with calendar dial with four posts separating the front plate from the dial to accommodate the calendar dial. It has a brass and silvered brass engraved tombstone face with smaller second hand dial and window to reveal date from calendar dial. Face decorated with applied cast brass decorations having signature and date in upper engraved rosette. Works sitting on original seat board, mounted in beautifully crafted original cherry case. The bonnet having an arched crest above door leading to a tall step molded pediment. Door flanked by full turned columns. The simple case having tombstone lip molded center door atop base with flat molded base. Case constructed with forged “T” head nails and wood pegs. Simeon Jocelin 1746-1823 most likely was apprenticed to Isaac Doolittle and first appeared in business in 1768 pursuing the trade until 1776 at which point the revolution made the demand for clocks limited. Jocelin turned to other interests such as manufacturing salt and watch crystals. Jocelin followed other pursuits until 1790, at which time, he re-opened his clock trade. In March of 1800 he received a patent for “SILENT MOVING TIMEPIECE”. With this his business prospered and Jocelin continued to make clocks until his death in 1823. Biographical information from “The Book of American Clocks” by Brooks Palmer and “American Shelf and Wall Clocks” by Robert W.D. Ball. SIZE: 21″w x 11″d x 95″h. PROVENANCE: Accompanying this clock are two early 20th century photographs. One being of the tall clock and the other being a photograph of “Room from Curtis-Rose house, North Branford, Conn. Gallery of Fine Arts. Yale University, New Haven, Conn.”, the home where the clock originated. On note attached to interior of clock “This clock belonged to Dr. Sheldon Beardsley of Long Hill and North Branford, Conn. Dr. Sheldon Beardsley was a prized grad of Yale College….) Family lineage follows… CONDITION: Superb original condition. Original dark finish intact. Movement and dial all original. Original two lower finials intact missing top finial. 9-90634 (12,000-18,000)

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2226
Revised: 1/31/2014

The bonnet either was restored or worked on at one time.

FINE QUEEN ANNE TRANSITIONAL MAHOGANY MASSACHUSETTS TALL CASE CLOCK. Last quarter of the 18th century, Boston, John Rogers, maker (1724-1815). The fine and elaborate 8-day weight driven brass movement with time and strike apertures, the silver dial mounted on four columns. The dial with seconds, Roman numeral, and Arabic calendar dials centering time and strike apertures beneath a subsidiary seconds dial within which is written in script “By faith improves each moment until he consider what faith is to him that dies“. Within the arch is a silvered moon face dial on a blue star-filled ground. The dial is mounted with an unusual arrangement of three hands; minutes, hours, and the third probably for the calendar. Beneath the dial and visible through a keystone aperture is a subsidiary disc which rotates to reveal the days of the week embellished with finely engraved images of Greek Gods and Goddesses; Saturn, Jupiter, Venus and Mars, etc. At the base of dial ring is engraved “John Rogers, Newton”. The movement housed in a finely crafted mahogany case, the glazed door with tombstone arch flanked by full-turned mahogany columns with brass capitals. The bonnett with deep crown molding beneath reeded columns and an elevated top in the arch. The throat with figural grained door with elaborate frame molding mounted with brass strap hinges. The box base with wide molding on carved bracket feet. NOTE: John Rogers was born in 1724 and died in Newton 1815 at the age of 91. He was listed as a blacksmith and apparently trained under Joseph Ward. He maintained two shops. One in Newton and the other in Waltham. He was also known to have dealt with Benjamin Willard. SIZE: 93″h x 19″w x 10″d. PROVENANCE: by descent through the family, with homes New York and Connecticut. CONDITION: Front and back plate of movement separated. Movement remains intact but will need professional restoration and adjustment. Surfaces of case dry, case with old shrinkage crack repair. 9-90974 (4,000-6,000)

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2229
Revised: 1/30/2014

Please Note: The estimate should be $600-$900.

FIRKIN IN GRAY PAINT WITH HANDLE. Late 18th century, New England. This rare example in pine and ash with tapering body and finger joint bands, with shaped ash handled joined with wood mushroom knobs fastened with rosehead nails in pewter gray paint. SIZE: 9″ T x 9″ Diameter. CONDITION: Small chip to top band, small spot of filler in top, otherwise very good. 9-90999 (600-900)

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2277
Revised: 1/30/2014

Please Note: We have been contacted by one knowledgeable carousel person who indicated that this could also be by Frederick Savage of Kings Lynn, circa 1900.

RARE CAROUSEL HORSE ATTRIBUTED TO CHARLES DARE. Third quarter of the 19th century. This carved jumper with glass eyes and wavy mane appears to be from the workshop of C. W. Dare & Co New York, and retains an old crusty polychrome surface. SIZE: 51″h x 66 1/2″l x 12″d. CONDITION: Ears lacking, tin patch repair, wear and loss to paint, structural repairs with no apparent wood replacements, seam cracks, checking and separations typical for age. 9-90258 (5,000-7,000)

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2279
Revised: 1/30/2014

Please Note: We can not guarantee this is American and now believe this to be 20th Century made.

CARVED AND PAINTED CAROUSEL HORSE. Late 19th century, American. Modeled after an outside row stander found in period carousels. Heavily carved decorative sculpture with exuberant paint and jewel and tack decoration. SIZE: 50″ T overall x 44″ L. CONDITION: Very good. 9-91977 (2,000-3,000)

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2300
Revised: 2/4/2014

Note: As noted in the catalog the family understood this picture depicted the 1st Philadelphia Cavalry. One person has contacted us and indicated he does not believe this to be so. We make no guarantee of what unit this is.

THOMAS C SAVORY (American, Fl. 1837-1852) MILITARY PARADE OF THE PHILADELPHIA CAVALRY. Oil on canvas Housed in a gesso decorated gilt frame with magnificent crest having a shield supporting six draped flags & helmet flanked by two full bodied standing horses Signed lower right Savory NOTE: According to the Estate this painting depicts the Philadelphia Cavalry in formation- The horse regiment on parade is the First Troop Philadelphia City Cavalry on the Belmont Plateau, overlooking the city of Philadelphia, honoring their participation in the War of 1812. It is believed that this painting previously hung in the 23rd armory in Philadelphia at the turn of the 20th century. SIZE: 30″ x 72″. Overall: 52″ x 79″ PROVENANCE: From a fine Kentucky Estate. CONDITION: Lined, inpainting, very good 9-92257 (50,000-75,000)

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2310
Revised: 1/30/2014

Please Note: The carver participated in the re-enactment of Arnould’s March to Quebec in Revolutionary War time which inspired him to make the carving.

DAVID J HOLMES (American, 20th Century) “REFLECTION”. Fine carved wood figure of a Revolutionary War soldier resting with his foot on a stump eating an apple. Signed on base & titled. Cut from the solid and having a removable musket. Figure stands on a custom fluted column in two parts. David J. Holmes carved in Plymouth Maine & then worked at Trenton Quarry. SIZE: Figure: 25-1/2″ h. Column: 40-1/2″ CONDITION: Very good, musket with chip on hammer. 9-90517 (500-1,000)

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2315
Revised: 1/30/2014

NOTE: We have continued to research for more information regarding this reliquary chest and recently spoke with an associate of the late doctor who collected it. It was the associates understanding and belief that the chest had been purchased through Blumka Gallery in New York, a prestigious firm which for many years has dealt with medieval, Renaissance and Baroque works of Art. According to the associate, it was his understanding that someone known to the doctor purchased the reliquary chest in the 1980’s from Blumka and since that time the doctor had continually attempted to purchase the chest from the original owner. It was not until a short while ago (prior to the doctor’s death) that he was able to acquire it and it was in his vault at the time we removed the contents of the estate. We have no receipt; we have no paperwork or proof of this statement only verbal input from an associate of the late owner.

RARE AND IMPORTANT 13th CENTURY LIMOGES GILT-COPPER AND POLYCHROME ENAMEL RECTANGULAR RELIQUARY CHASSE. The front of the reliquary having six enameled poupees. The engraved and gilt decorated background set with various colored round and oval glass, also inserts having enameled colors of white, turquoise and medium lapis blue. The inset eyes are blue lapis colored beads. The edge of the chasse applied with narrow white enamel and gilt copper trim affixed with small cast nails. The background having an engraved, stippled and four-petal flower decoration. The back of the chasse having a bottom hinged door with lock present (no key). The back decoration in rows of squared alternating four-petal flowers in champleve enamel of dark lapis, sky blue, turquoise, green, yellow, wine red and white. The chasse on four squared high legs. The top crest having pierced work with three ball finials (middle ball missing). The ends in champleve of lapis with a standing gilt and engraved Figure of Saint with enameled sky blue and white halo. The core of the chasse of ancient wood (probably oak) and having hand forged iron hinges and lock mechanism. Beginning in the 12th century, Limoges became the premier center of production of polychrome enamels. Originally art forms with Limoges enamel were reserved for liturgical works of art. These reliquary containers (or in French, chasses) were sacred repositories for the holiest of objects, often the physical remains such as saint’s bones, pieces of cloth, etc. They were usually modeled in the form of a church with a pitched roof such as this one. Very few of these rare treasures survive in private hands. Today most that have been removed from churches through the ages now reside in museum collections. This represents an extremely rare opportunity to acquire one of these genuine treasures.REFERENCE: For a 13th century example with similar applied poupee see Enamels of Limoges 1100-1350, the Metropolitan Museum of Art page 327. SIZE: 9-3/4″ h x 3-1/2″ d (including projected heads). 3″ across side. 8-3/4″ across crest. 8-1/4″ across base. PROVENANCE: From a doctor’s estate. An old time collection from Kentucky. CONDITION: Shows consistent wear for age, some jewels cracked with one having small, loss all are worn, enamel generally in very good condition with scattered losses dispersed over the surface, gilt worn all over. 9-92284 (50,000-150,000)

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2330
Revised: 1/30/2014

Please Note: There is a hairline crack on the front of the plate which may have been there at the time the plate was decorated??

SAN ILDEFONSO PUEBLO BLACKWARE PLATE, SIGNED. San Ildefonso Pueblo blackware plate in the feather pattern signed by Maria and Santana. Maria Martinez, ca. 1887-1980 was the foremost Pueblo potter that worked in the blackware form collaborating with her daughter-in-law Santana from 1943-1956. SIZE: 11-3/4″ dia. PROVENANCE: From a fine Kentucky Estate. CONDITION: Very good condition. 9-92253 (1,000-2,000)

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2361
Revised: 1/20/2014

Please Note: Upon inspection we determined that the arrow is actually a cascading wave and never had a bottom helf to the arrow point tip.

THREE DIMENSIONAL COPPER LIGHTHOUSE WEATHERVANE. Circa 1920, Cape Cod, Massachusetts. This nice graphic example with conical form lighthouse applied with windows, doors, and widow’s walk, the beacon fashioned from a glass electrical insulator used as light beacon. The lighthouse depicted on a landscape outcrop, with three dimensional waves and arrowhead on a ball with scroll brackets. Now offered with museum stand. SIZE: 41″ L x 25″ T. CONDITION: Very good, nice verdigris surfaces. Widow’s walk railing slightly askew, missing bottom half of arrow point. 9-92079 (2,000-4,000)

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2395
Revised: 2/4/2014

One leg restored at base.

GEORGE III MAHOGANY TILT TOP TEA TABLE. Second half 18th century, England. The circular top with dish rim hinged and tilting on a ring-turned cannon barrel shaft raised on a tripod base with arched carved legs terminating in oversized pad feet. SIZE: 26″ dia x 27″ h. CONDITION: Very good, old if not original finish. 9-92146 (500-800)

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2457
Revised: 1/30/2014

Please Note: The estimate should be $500-$900.

CARVED AND PAINTED DOUBLE SIDED GAMEBOARD. Mid-19th century, American. The relief carved checkerboard with black and green squares and green carved “keeper” bins, the opposing side with black outlined “Mill Game”, the whole on a single plank. SIZE: 22″ x 13″. CONDITION: Untouched dry original painted surfaces, single minor chip loss, board with slight warp. Otherwise good. 9-91552 (500-900)

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2551
Revised: 1/30/2014

Please Note: The lock and escutcheon area is an addition. The wood liner for holding decanters is also an addition.

FINE EARLY 19TH CENTURY SATINWOOD CELLARETTE. Fine ball foot cellarette with gently flaring sides with ogival molded pediment top. Fitted interior for 6 bottles. Having cast brass lion and ring handles. Retain original brass escutcheon. SIZE: 16-1/2″ x 13-1/4″ x 19-1/2″ T. CONDITION: Fine condition with original finish. 9-92020 (1,200-1,800)

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2590
Revised: 1/30/2014

Please Note: Gray marble support beneath white marble top shelf is cracked in half. It has apparently been that way for a long, long time.

NEOCLASSICAL MARBLE FIREPLACE SURROUND. Third quarter 19th century, Continental. The stepped marble mantle with molded edge above the frieze carved with a central Eastern European displayed eagle within a wreath flanked by rectangular panels, each carved with urns emitting scrolling floral sprays within molded edges. The supports in the form of classical female figures on brackets with decorative floral necklaces flanked by scrolled valutes, the maiden’s hair comprised of acanthus leaves. Each mounted on a contrasting breschia marble support. Accompanied by a conforming slab with molded edge. SIZE: Overall: approx. 56″ h x 67″ l. CONDITION: Very good overall. The carved elements with highly polished surfaces. 9-90186 (1,000-2,000)

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2670
Revised: 1/30/2014

Please Note: One viewer contacted us stating they felt the Mason canvas back is a Challenge or Premier grade because of the glass eyes.

FOUR WORKING DECOYS. 20th century. 1) Detroit grade Mason canvas back, with glass eyes; 2) carved and painted canvas back attributed to Madison Mitchell; 3) folk art red head decoy with cork body and carved and painted wood head; 4) carved and painted pintail decoy. SIZE: 1) 19-1/2″; 2) 15-1/2″; 3) 14″; 4) 16″. CONDITION: 1) Very good with old repaint; 2) very good with old repaint; 3) working decoy with original paint; 4) significant paint loss, waxed surface. 9-90546 (800-1,200)

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3031
Revised: 1/30/2014

Please Note: This is not a “Grande Sonnerie” carriage clock however it does have a striking and repeating mechanism.

FRENCH REPEATING “GRANDE SONNERIE” CARRIAGE CLOCK. French repeating carriage clock with gilt brass and beveled glass on four sides and top, swinging handle, with enamel Roman Numeral dial and three subsidiary dials below, marked on dial “Charles Oudin Paris” and “Palais Royal”, and 8-day time, strike and grande sonnerie movement with platform escapement. SIZE: 7″ h. CONDITION: Very good. 9-90521 (1,000-1,500)

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3040
Revised: 1/30/2014

Please Note: The artist name is Alfred Daguet not Daquet.

FINE ART NOUVEAU BOX ALFRED DAGUET (1875-1942). Box having bowed front, wood clad with hammered and ornately tooled gilt copper, jeweled with inset glass cabochons, velvet lined interior, signed on base, “Alfred Daguet, Paris 1909”. SIZE: 5 1/2″ h x 8 1/2″ w x 5 1/2″ d PROVENANCE: Fairfield County, CT Estate; By descent to our consignor CONDITION: Very good condition, most of the gilding worn. 9-92169 (1,000-2,000)

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3064
Revised: 1/30/2014

Please Note: The catalog states one is 7-1/2″ and one is 5-1/2″, however as can be seen in the catalog image they are both approx. the same size (around 7-1/2″ +/-).

TWO FRENCH REPEATING CARRIAGE CLOCKS. First is a French carriage clock with brass and beveled glass case with four Corinthian columns at the corners having a porcelain dial with Arabic Numerals with silvered brass surround, 8-day time, strike and hour repeating movement. Second is a French carriage clock with brass and beveled glass case with four Corinthian columns at the corners having a silvered brass dial with brass rosette center and Arabic Numerals, 8-day time, strike and hour repeating movement, marked on back plate “E.M. & Co.”. SIZE: 7-1/2″ h and 5-1/2″ h respectively. CONDITION: Both are very good. 9-90528 (1,000-1,500)

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3126
Revised: 1/30/2014

Please Note: The top central pediment of the clock has a beautiful gilt bust of Goethe which was inadvertently left out of the photograph and description. This beautiful figure is original to the mirror.

VICTORIAN ARCHITECTURAL GILTWOOD OVER MANTEL MIRROR. Third quarter 19th century, New England. The rectangular mirror plate within a molded frame beneath a deep shell crest with scrolled volutes flanked by fluted engaged half-column pilasters with Corinthian capitals, the bases faceted and molded. SIZE: 67″ h x 72″ w. CONDITION: Retains original gilded surfaces, but with losses and damages throughout, with some old repairs. Mirror plate and backboards original. Central platform beneath shell crest now absent. Proper left ear crest with extensive damage. 9-90156 (1,500-2,500)

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3345
Revised: 1/30/2014

Please Note: There are small chips on the lip of the bottle.

PEKING GLASS SNUFF BOTTLE. 19th century, China. Cameo decorated of a pair of chih lung cut ruby to snowflake. SIZE: 2-3/8″ t. CONDITION: Very good. 7-74208 (200-300)

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3429
Revised: 2/3/2014

Since the catalog description at the consignor’s request we have had the piece tested. Test results show this to be Natural and original coloring.

CARVED JADEITE PIN. End of 19th century, China. Jadeite carved pin in light green with apple green areas. Carving of a pair of foo dogs and lotus plants with heavy 14k gold mount. SIZE: 2-1/4” l x 1-1/4” w. CONDITION: Very good. 9-90962 (1,500-2,500)

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3775
Revised: 1/30/2014

Please Note: The estimate should be $4,500-$5,000.

PAINTED FAN ATTRIBUTED TO ZHANG DAQIAN (1899-1983). China, ink on gilt paper, finely depicting a lotus, with lengthy inscriptions, signed “Shuren Daqian ju shi Zhang Yuan yu Dafengtang,” dated “the seventh month of wuyin year,” with two seals; the reverse with calligraphic writing, signed “Yuan,” with one seal CONDITION: Good condition, carving to the fan stick 9-90841 (4,500-5,000)

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3895
Revised: 1/30/2014

Please Note: This is Korean not Chinese.

PAIR OF FRAMED PAINTINGS. China, early 20th century, ink and colors on paper, depicting birds and butterflies amidst flower branches on rockery. SIZE: 20-1/2″ x 12″. CONDITION: Stains, losses. 7-74331 (400-600)

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4322
Revised: 1/30/2014

Please Note: The gold fleck bottle has a couple teeny chips on the top lip.

PEKING GLASS SNUFF BOTTLE. 19th century, China. Flattened, elongated pear shaped. Confetti type with gold, brown, and yellow specks. With top. SIZE: 3″ t. CONDITION: Very good. 7-74210 (200-300)

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4423
Revised: 1/30/2014

Please Note: The estimate should be $300-$500.

FOLDING FAN. 19th/early 20th century, China. Folding fan in ink and color on paper with goldfish on one side and a poem on the reverse. SIZE: 12” l. CONDITION: Very good. 9-90840 (300-500)

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