July Gallery Auction

Live Auction:
Saturday, July 20, 9:00 A.M. EST (Lots 1 - 798)

We invite you to discover your next treasure at auction.  This exciting sale features large selections of Asian Art, Decorative Accessories, Fine Art, English & American Furniture, Garden & Architectural, Glass, Pottery, Porcelain, Prints & Multiples, Lighting, and more.

Leland Little Auctions has been providing world-class auction services for families and collectors for over 20 years, and is now actively consigning for upcoming auctions.  We invite you to contact our gallery today for a confidential discussion to learn more about where selling at auction can take you.

Previews:
Friday, July 19, 10:00 A.M. - 5:00 P.M.
Saturday, July 20, 8:00 A.M.

1   A Chinese Cloud and Immortal Jar with Wooden Cover and Stand 
19th century or earlier, heavily potted jar, glazed in apple green, blue, yellow and aubergine, the outer body with a pierced and sculptured design of ruyi clouds and Chinese immortal figures in high relief, underside is unglazed, comes together with a finely carved wooden cover and fitted stand. 
HOA 19 in.     

 

2   A Chinese Style Flambe Glazed Vase
frog skin type all over dark red glaze with hints of dark gold underglaze, interior of neck with more contrast of glaze colors.
20.75 in.     

 

3   A Pair of Chinese Mantel Vases
contemporary, finely painted in a Famille Rose palette featuring peonies, covers have foo lions, unmarked.
HOA 13 in.     

 

4   A Pair of Rose Mandarin Table Lamps
late 19th century vases with electrical insert, vignettes peopled by courtesans surrounded by classic gold Greek key motif, with silk shades.
13 in. to top of vase.     

 

5   Two Chinese Famille Rose Lamps 
likely early 20th century, carved wooden base, come together with lampshades. 
HOA 29 in.      

 

6   A Group of Chinese Cabbage Leaf Export Porcelain 
20th century, porcelain hand painted with cabbage leaf pattern with butterflies, group includes two pepper shakers, two salt shakers (3.25 in.; one shaker with nicks to top), eight small bowls (diameter: 4.5 in.), and one small creamer (3 in.). 

 

7   Three Chinese Red Cinnabar Cloisonne Bowls 
20th century or older, bowls have red carved cinnabar exteriors decorated with figures in landscape and flora, two larger bowls have metal rim and foot mounts.
Diameter: 8 in. (largest)     

 

8   A Chinese Famille Rose Mandarin Jardiniere and Cachepot
20th century, shaped oblong lobed porcelain body with conforming footed under tray, hand painted with vivid polychrome enamels of birds and flowers and Chinese figures in landscape scenes, six character mark to top of under tray. 
HOA 10.25 in.     

 

9   A Group of Qing Dynasty Chinese Porcelain
includes five 18th century Chinese Imari plates made for the European market with lovely plum blossom trees as central decoration and underside of rims decorated with iron red crosshatch pattern and flora, with two blue circle marks to underside, and a quatrefoil footed dish from the 19th century hand painted in pinks and greens with four different floral plants, the underside of the rim is decorated with bats and peaches, the foot has turquoise blue waves, the underside has a red six character mark.
Length 10 7/8 in. (largest)     
From the Estate of the late Jacqueline C. Harris, Durham, North Carolina

 

10   An Assortment of Eight Chinese Export Serving Pieces
Rose Medallion, early 20th century, to include: a footed center bow (4.5 x 11 in.); a shaped platter (glaze erosion around rim); a shell dish; a quatrefoil dish (2 x 11 x 11 in.); a cream jug; a square dish with canted corners; a gravy boat; a large round platter (16 in.); most stamped "Made in China".

 

11    Chinese Porcelain Footed Dish
and a footed serving dish in lozenge shape decorated with the Buddhist Treasures and peony blossoms, the underside of rim is decorated with auspicious bats and peaches, the foot has bats flying over blue and white waves, six character seal in iron red to underside. 
3 x 11.25 x 9 in.      
Private Collection, Richmond, Virginia

 

12   A Chinese Porcelain Teapot
possibly from the Republic period with understated decoration of figures in an outdoor garden on one side and calligraphy on the other, signed with six characters to underside. 
6.5 in.      
Private Collection, Richmond, Virginia

 

13   Two Chinese Export Plates
mid-19th century, Rose Medallion, an 8 in. plate and an oval serving dish (1.75 x 11.75 in.).
Private Collection, Durham, NC

 

14   A Chinese Famille Rose Vase and Republic Style Tea Cups
20th century, includes a turquoise blue ground diamond shaped vase decorated with the Daoist Immortals and key border in a famille rose palette, with six character Guangxu period mark to underside, and three tea cups lightly potted and hand painted with figures engaged in outdoor pursuits, ruyi border at top, apocryphal Qianlong marks to underside of each. 
6 in. (tallest)     

 

15   A Selection of Export Porcelain, 20th Century
1920s, marked "CHINA" or "Made In China", Rose Medallion, (14) plates (7 in.); four plates (8 3/8 in.) (one large edge chip); seven octagonal side plates; (13) saucers; (13) tea bowls; five cups and four saucers (saucer with edge chip); large oval platter; a covered sugar and cream jug, Total (68) pieces.
Platter 18 3/8 in.     

 

16   Chinese Export Porcelain Accessory Pieces 
Rose Medallion, three leaf dishes, one late 19th century with some gilt wear, two contemporary; a 20th century hat stand, break to side; three bud vases and a cruet, 20th century; a lidded canister and a ginger jar, 20th century; two lidded serving dishes, one 19th century, both with edge roughness or chip (10 in.); a 19th century reticulated platter (9.25 in.) and coffee pot (hairlines to bottom); to 20th century vases, one with gilt chilong (10.25 and 14.25 in. Total (16 ) pieces.

 

17   Pair of Contemporary Yellow Glazed Jardinieres
contemporary, high fired ceramic, monochrome bright yellow glaze, unmarked. 
10 x 12 in diameter.      

 

18   A Chinese Porcelain Rose Mandarin Punch Bowl
19th century or earlier, decorated with a central medallion with Chinese figures in an outdoor courtyard, exterior sides are hand painted with more figures at leisure in outdoor settings alternating with shaped medallions with birds and flowers. 
Diameter 10.25 in.     

 

19   Two Chinese Blue & White Porcelains
19th to 20th century, two blue and white Chinese style porcelain vessels, tallest is a vase with faux attached handles and a decorated with a large peony blossom and butterflies in cobalt blue, the second being a lidded jar with pointed finial decorated with two phoenixes and peony blossoms in cobalt blue.
12.5 in. (tallest)     

 

20   A Chinese Famille Rose Porcelain Tea Set with Basket
20th century, famille rose porcelain teapot and single tea cup in woven lidded basket with cushioning. 
5.25 in. (Teapot)     

 

21   A Chinese Porcelain Hat Stand 
19th or 20th century, decorated with two elderly Chinese scholars in a landscape, calligraphy to opposite side, pierced shaped holes, comes together with stand
11 in.     

 

22   Chinese Export Rose Medallion Style Dim Sum Serving Set
late 20th century, nine-piece set on carved wood stand, each in traditional decoration of flowers and insects, marked "Made in Hong Kong". 
DOA 3.75 in. x 14 x 14.5 in.      

 

23   Pair of Chinese Glazed Tile Table Lamps
early 20th century, green glazed architectural tiles mounted in a hardwood lamp base, with shades.
HOA 32 in.     

 

24   Chinese Export Porcelain Grouping
late 19th century, Rose Medallion, to include; a strainer (13.25 in.); a small oval platter (9 in.); two plates (8.5 in.) and a soup bowl; two cups with saucers; four sauce bowls; and a cream jug (broken and repaired). Total (14) pieces. 

 

25   A Chinese Export Porcelain Charger with Rooster and Peonies
19th century or earlier, made for the European market, with central decoration of large peony blossoms, rook work, and a rooster, a band around the edge heavily decorated with assorted flora against circular dot ground, blue leaf to underside, possibly a Kangxi period mark. 
Diameter 13 3/8 in.     
From the Collection of the late Stig and Eva Scholander, Stockholm, Sweden

 

26   A Group of Rose Medallion Tableware, 20th Century
most marked either "Made in Hong Kong" or "Porcelain Made in Japan Decorated in Hong Kong", to include: sixteen plates (approx. 10.75 in.); eleven soup plates; nine dessert plates (7.25 in.); (33) small rice bowls (2 in. to 3 in. h); eleven soup spoons; eight cups with six saucers. Total (94) pieces.

 

27   Chinese Export Porcelain Serving Group
20th century, most marked "Decorated in Hong Kong", to include: three large bowls, one is a footed center bowl; an oval platter (18 in.); two shaped serving dishes; six other pieces; dim sum server, with small dishes on a hardwood stand; a round platter. Total fourteen pieces.
Center bowl 4 x 10 in.      

 

28   An Assortment of Chinese Porcelain, mid-20th Century
or earlier, Rose Medallion; ten plates (8.5 in.); eleven bowls (7.5 in.); ten bread & butter side plates; a pair of shakers; six small tea bowls and eight saucers; ten sauce bowls; eleven demi-tasse cups and twelve saucers (5.25 in.). Total 80 pieces.

 

29   An Assortment of Chinese Export Porcelain, Contemporary
early to mid-20th century, to include: twelve sauce dishes (3 3/8 in.) and four smaller sauce dishes (two with rim chip); eleven saucers (5 3/8 in.); (16) saucers (4.5 in.); (13) soup spoons; a pewter and porcelain dish (1.75 x 7 7/8 in.); four small can cups; a teapot.
Teapot 7.25 in.     

 

30   Pair of Chinese Figural Table Lamps
late 20th century, composition figures on wood bases, with shades.
Taller HOA 34 in.     

 

31   Two Chinese Embroidered Textile Panels
19th century or earlier, includes a silk embroidered scene on red wool with an elderly couple in a house surrounded by blooming trees and multiple colored craggy rocks, very fine embroidery, has a brocade red and gold floral border around all four sides, and a second panel on light celadon green silk with two foo lions above angled mountains and waves in gold thread, above lions are bats and surrounding are pink and red flowers, both panels are framed, not examined outside of the frame. 
DOA 31.25 x 28.25 in. (largest)     

 

32   A Chinese Framed Silk Embroidery 
early 20th century, silk embroidered with flora and two figures, above in a circle is the character for sun, a colorful craggy rock below, set within a circle with wavy border stitch that is repeated on edges of entire panel, framed, not examined outside of the frame. 
DOA 22.5 x 22.75 in.     

 

33   Three Chinese Jade Carvings in Stands
includes a vertical jade panel embellished with semi-precious stones mounted in a carved wooden table screen mount, a medium carved jade disc with figures and Buddhist symbols is held up in a wooden stand with an ivory butterfly piece, and a small circular jade disc held in a carved wooden stand.
HOA 9 in. (tallest)     

 

34   A Group of Chinese Hard Stone Decorative Items 
includes a pair of purple hard stone trees in cloisonne pots, two candle holders with hard stone flower petals and leaves, a light celadon hard stone snuff bottle (missing stopper, chip to foot), and a light celadon carved finial mounted in metal. 
8 in. (tallest)     

 

35   A Chinese Carved Hard Stone Calla Lily Plant 
20th century, a realistic tree trunk with branches banded in green silk, calla lily blossoms, spinach jade leaves, celadon hard stone planter set in carved wooden base. 
23.5 in.     

 

36   A Group of Pink Quartz Chinese Carvings 
includes a pair of large peaches, a standing goddess figure, and a small seated Buddha with wooden stand. 
7.25 in. (tallest)     

 

37   A Chinese Green Quartz Lidded Jar
Carved in high relief with flowers and birds, with domed lid in same style, wide from front and narrow from the side.
13.75 in.     

 

38   Group of Chinese Carved Quartz Fruit
20th century, including rose quartz and jade colored stones in the form of grape clusters and peaches.
Longest 8 in.     

 

39   A Chinese Export Lacquer Sewing Box
late 18th-early 19th century, decorated overall with black and gold lacquer, central scene on top of figures in outdoor pavilion and garden, the sides are decorated in a similar manner, box sits on four claw feet, two side metal handles, the top inside section pulls out and there is a bottom drawer. 
6 x 13 x 9.5 in.     

 

40   A Group of Chinese Carved Cinnabar Lacquer Items
20th century, includes a small lidded box, small tray, a square shaped vase with faux handles, and a taller baluster style vase. 
12.75 in. (tallest)     

 

41   A Group of Four Chinese Cinnabar Lacquer Snuff Bottles 
includes four bottles with lids and spoons, either decorated with carved images of birds and flowers or of figures in outdoor landscapes, two bottles with seal markings to underside.
3 in. (tallest)     

 

42   A Vintage Chinese Jewelry Box with Carved Cinnabar Panels
20th century, with metal filigree borders around carved red cinnabar decorated with scholars in lush landscape and peony blossoms, interior is divided into three sections, box opens on one side upwards. 
2.25 x 9.5 x 3.5 in.     
Private Collection, Richmond, Virginia

 

43   A Chinese Carved Wooden Dragon Case with Poker Chips
20th century, heavily carved with dragons in swirling Chinese clouds and with a dragon handle, slides open at bottom. 
14 x 13 x 3 in.     

 

44   An Antique Chinese Jewelry Box
circa 1900, mahogany construction with brass fittings, the exterior with applied stone and organic decorations representing people, vessels, plants, and ancient forms of bronze coinage; the lid when raised reveals a mirror, below is an interior with six drawers with brass pulls.
8.25 x 10 x 13.5 in. closed     
From the Collection of Mary Wells, Greensboro, North Carolina

 

45   A Chinese Archaic Hu Style Bronze Vessel
hu shaped wine vessel flanked with two masked face handles with rings, decorated with key motif and geometric lappets around neck and thick band with taotie masks at lower body, raised on a foot with abstract dragon decoration against diamond relief ground.
9.75 in.     
Private Collection, Richmond, Virginia

 

46   Antique Chinese Abacus Table Lamp
a 20th century lamp formed from two 19th century abacus panels, with shade.
HOA 29 in.     

 

47   A Group of 12 Assorted Asian Wooden Stands 
20th and 21st century, various sizes and shapes.
Diameter: 5 in. (largest)     

 

48   A Group of 14 Assorted Black Asian Wooden Stands 
20th and 21st century, various sizes and shapes.
Diameter: 6 in. (largest)     

 

49   A Group of 19 Assorted Black Asian Wooden Stands 
20th and 21st century, various sizes and styles.
Diameter: 9 in. (largest)     

 

50   Chinese Hardwood and Inlaid Stone Screen
first half of the 20th century, three hardwood panels, stone inlay with birds and flowers, in an ebonized frame. 
66 x 55 in.      

 

51   Pair of Chinese Marble Top Stands
circa 1900, carved hardwood with inset rouge marble tops, reticulated carved bamboo skirt, repeating bamboo motif to legs, with mask and carved feet. 
36 x 14 in diameter.      

 

52   Chinese Carved Camphor Trunk
20th century, beautifully relief carved case featuring lily pads, interior with removable tray.
22.5 x 38 x 20 in.     

 

53   A Pair of Chinese Carved Hardwood Nesting Table
first half of the 20th century, hardwood, rectangular form with recessed panel tops, reticulated scrolling skirts on straight legs with relief carved scrolled feet and shaped stretcher supports.
Largest 25 x 18 x 13 in.     

 

54   Pair of Chinese Carved Hardwood Garden Stools
second half of the 20th century, circular raised panel top with relief carved legs on a circular stretcher base with short feet.
18 x 17 in. diameter.     

 

55   Two Chinese Marble Top and Hardwood Stands
circa 1900; the smaller with cherry blossom carving to base (19 x 13 in. diameter); the larger with foliate carving to skirt and raised on anthropomorphic legs (23 x 20.75 in. diameter); each with inset rouge marble top.

 

56   Chinese Carved Hardwood Low Table
20th century, rectangular top with central raised panel, scrolled reticulated skirt on straight legs with stylized scroll feet.
17 x 40 x 22 in.     

 

57   Chinese Lacquered and Painted Cabinet
late 20th century, one part form, black lacquered field with gilt painted decoration featuring a pagoda landscape to the front doors, paneled sides, shelved interior with two drawers and lower hidden compartment, raised on straight legs. 
72.5 x 47 x 22 in.      

 

58   Chinese Carved Hardwood Altar Table
first half 20th century, rectangular top with molded edge, well developed reticulated skirt with floral and geometric panels to all sides, raised on shaped molded legs with stylized whorl feet.
36 x 42 x 15 in.     

 

59   Pair of Chinese Cobalt Glazed Garden Stools
20th century, reticulated top with white glazed detail, body with raised decoration and pierced handles with single character mark painted to underside rim.
18 x 13 in. diameter.     

 

60   Pair of Chinese Cobalt Glazed Elephant Garden Stools
20th century, with incised and polychrome decoration, impressed character marks to light blue saddle cover over head.
20 x 24 x 9 in.     

 

61   Pair of Chinese Red Lacquered Side Cabinets
late 20th century, aged red lacquer surface, each with two hinged cabinet doors and shelved interior, finished on all sides.
25.5 x 28 x 28 in.     

 

62   Vintage Chinese Carved Camphor Wood Trunk
first half of the 20th century, dovetailed case, with allover relief carving, lid featuring a battle scene, with an open interior. 
22 x 41 x 20 in.      

 

63   An Asian Hardwood Kang Table
20th century, nicely grained wooden table with four short curved legs.
10 x 31.5 x 19 in.     
Private Collection, Richmond, Virginia

 

64   A Small Chinese Carved Camphor Wood Trunk
mid 20th century, carved hardwood featuring figures in a courtyard, interior with camphor lining and removable tray.
17 x 33 x 16 in.     

 

65   Small Chinese Lacquered and Stone Inlaid Cabinet
second half of the 20th century, black lacquer with gilt highlight, hinged doors and side panels with stone inlays, shelved interior. 
22 x 18 x 7.5 in.      

 

66   A Chinese Landscape Painting 
ink and colors to silk, a landscape painting with diagonal rays of sun into scene, many different types of brushstrokes used for various trees throughout the composition, two character signature to lower right "Ma Yuan," but not by the artist's hand, five collector seals including some imperial seals, but not original, framed under glass with mat, not examined outside of the frame. 
DOA 43.25 x 20.25 in.     

 

67   A Chinese Landscape Painting in Three Panels
20th century, ink and watercolors on paper, a horizontal format landscape, now cut and framed in three panels, with a calligraphy inscription together with artist's signature and two red artist's seals to upper left corner of left panel. 
DOA 29.25 x 14.5 in. (each panel)     
Private Collection, Richmond, Virginia

 

68   A Chinese Round Ink Landscape Painting
19th century, ink on silk, quiet compact landscape with lush foliage that surrounds entire circle except where calligraphy verse is written in upper right hand side, a faceless scholar stands near a mountain village, professionally framed with double mats, not examined outside of the frame. 
DOA 17 x 17 in.     

 

69   A Chinese Ink Landscape Painting 
ink on paper, painting of a riverscape, a man on a thatched roof boat by a tree lined shore with faint outline of mountains in the background, signed with two characters to lower right corner together with a red artist's seal, in art nouveau style frame, not examined outside of the frame. 
DOA 36 x 16 in.     

 

70   A Chinese Ink Painting of a Horse
20th century, hanging scroll format, ink on paper, a painting of a horse with energetic brushstrokes, calligraphy and signature together with artist's seal to lower right, horses were popular imagery in Chinese art throughout history with a focus on their power and agility as well as their graceful manner.
DOA 63 x 24 in.     

 

71   Three Chinese Stone Inlaid Panels
mid 20th century, including a pair with a mottled green lacquer field, and one with black field, each with figures in a courtyard.
DOA 36 x 18 in.     

 

72   A Pair of Silk Images of a Chinese Imperial Couple with Attendants
20th century, printed silk fabric, frames reading "Coleccion arte chino, Siglo XVIII, Palaccio Real de Aranjuez (Espana)," not examined outside of the frame. 
DOA 21.5 x 19 in.     

 

73   Nichols Chinese Art Deco Area Rug
the gold field depicting an avian and tree motif and flower filled vase on stand within blue guard border.
5 ft.10 in. x 8 ft. 6 in.      

 

74   Chinese Art Deco Rug
navy blue field with fuschia border and floral design elements. 
8 ft. 11 in. x 11 ft. 5 in.      

 

75   Chinese Oriental Rug
pink field, with figural field depicting Immortals and symbols of longevity, dated.
2 ft. 8 in. x 5 ft.      

 

76   Chinese Carpet
ivory field with trellis, pink border with floral design elements. 
9 ft. x 11 ft. 8 in.      

 

77   Chinese Rug
pink field with scroll and vine motif, wide border with scenic design elements. 
6 ft. 3 in. x 8 ft. 9 in.      

 

78   Three Chinese Area Rugs
each with celadon green field with Chinese dogwoods and blossom design elements. 
Larger two 3 ft. x 5 ft.; Round rug 2 ft. diameter.      

 

79   Two Chinese Area Rugs
the first with open green field and foliate design border (3 ft. x 4 ft. 9 in.); the second a shaped area rug with pink field and floral design elements (2 ft. 6 in. x 4 ft. 5 in.).

 

80   Four Chinese Mats
two of circular form (2 ft. diameter and 1 ft. 10 in. diameter) and two shaped (2 ft. long and 3 ft. 11 in. long). 

 

81   A Japanese Meiji Period Silk Embroidered Panel 
Meiji period (1868-1912), featuring a finely embroidered menagerie of birds from the central peacock to a group of cranes, rooster, pheasants, amidst a lush garden of blossoming trees, bamboo, pine, and chrysanthemums, framed in ornate carved wooden frame with floral decoration, not examined outside of the frame. 
DOA: 36.5 x 36.5 in.      

 

82   A Pair of Antique Imari Double Gourd Vases
a fine pair of 19th century Meiji Period vases of double gourd form, the bodies profusely decorated with red, blue and gold glazes upon a white ground. This form was modeled on the Asian calabash squash, long a symbol of protection and blessing.
7.5 in.     

 

83   A Pair of Antique Imari Fluted Vases
19th century, Meiji Period, deeply ruffled rim above a ribbed body, the edge with floral design, the body with offering table and floral bouquet, compositions with bright vibrant colors and great detail to the subject matter. 
9.5 in.     

 

84   A Pair of Antique Imari Vases
late 19th century, having a slightly flared rim above a high shoulder, decorated with a garden and willow tree behind a meandering fence in muted blues and vibrant reds, flared base, comes together with carved wooden stands. 
9.5 in.     

 

85   A Japanese Kutani Floor Vase
late 19th or early 20th century, with fluted rim, slim neck, and bulbous body decorated with high ranking geisha and attendants as well as noblemen at outdoor picnics, four large figures are in high relief on the lower body of the large vase, vibrant colors in the Imari style palette, underside with signature. 
30 in.     
Collection of Suzanne Goldman, Cary, North Carolina

 

86   A Meiji Period Japanese Imari Charger
Meiji period (1868-1912), early 20th century, hand painted in Imari palette with central cloud medallion with two women and a child on the seashore with islands in the background, kimono patterns surround the scene and a brilliant cobalt blue ground border with shaped floral pattern, decorated to underside, unmarked. 
Diameter 18 in.      

 

87   A Japanese Tokoname Redware Dragon Jardiniere and Stand 
early 20th century, jardiniere is decorated with raised three toe dragons, the stand is also decorated with a dragon in relief wrapped around the pedestal, in two pieces, a double mountain mark to the underside of the jardiniere, and marker's marks to pedestal.
HOA 38.75 in.     
From the Collection of Mary Wells, Greensboro, North Carolina

 

88   A Group of Seven Antique Imari Plates
Meiji Period, circa 1870s, each with different decoration in traditional colors, scalloped rims.
9 in.     

 

89   Two Japanese Porcelain Satsuma Cups with Lids
late 19th century, decorated with figures hand painted in Heian period style, interior of both cups fully decorated with calligraphy, marks to underside of both cups. 
HOA 4.5 in. (tallest)     

 

90   A Selection of Four Antique Imari Plates
late 19th century, Meiji Period; a charger (13 5/8 in.) and three plates (8.75 in.).

 

91   A Japanese Bronze Censer
mid to late 20th century, worked in Meiji period style, the pierced lid topped with a crouching foo dog, bird head handles on flank the body, overall decoration of birds, stands on four tall legs to a hexagonal base. 
From the Collection of Mary Wells, Greensboro, North Carolina

 

92   Vintage Japanese Hibachi
20th century, dovetailed hardwood case with coper liner, removable lid. 
13 x 30 x 21 in.      

 

93   A Kakiemon Style Porcelain Tiger 
20th century, well crafted Japanese style tiger with bright white open fanged mouth and tongue inside, bright white intense eyes with black slits, seated with curled tail around his body, with head pushed forward as if ready to attack, faded red mark "CHINA" to underside. 
13.5 in.     

 

94   Four Japanese Satsuma Vases
20th century, includes a pair of Satsuma vases ornately finished with raised decoration of interior and exterior scenes with groups of figures (some loss to gilding on rim), and a smaller vase decorated with male figures at court (chips and loss to rim), and the smallest vase with mirrored decoration of children, all unmarked. 
8.5 in. (tallest)     
Collection of Suzanne Goldman, Cary, North Carolina

 

95   A Large Japanese Satsuma Vase
early 20th century, decorated with figural groupings, faux handles flank the vessel, the rest of the vase is elaborately decorated with kimono style patterns, highlights in gilt over entire vessel. 
24.25 in.     
Collection of Suzanne Goldman, Cary, North Carolina

 

96   An Asian Imari Covered Bowl and a Porcelain Table Screen
includes a small portable four panel screen with flowers from the four seasons hand painted on porcelain panels (5 x 13 in.), and a covered Imari bowl with blue fish to interior and an apocryphal six character mark to lid and underside of bowl (4.75 in.; some small rim chips to bowl).

 

97   Two Partial Sets of Japanese Satsuma Porcelain Tea Ware
includes three small tea cups with saucers, a small creamer, and tall lidded coffee pot decorated with delicate cherry blossom branches over fine ivory crackle with gilded rims signed to underside (hairline crack to one saucer; rim chips to one cup; chip to interior rim of coffee pot lid), and a set decorated with purple and pink wisteria over fine ivory crackle includes four tea cups, a low tea pot without lid, a creamer without lid, a lidded sugar, and two saucers, all unmarked (good estate condition). 
7.5 in. (tallest)     
Collection of Suzanne Goldman, Cary, North Carolina

 

98   A Japanese Lidded Satsuma Vessel
20th century, fancifully decorated in pink, green, and brown moriage featuring figures in Heian period dress and landscapes, foo lion handles and finial to lid, raised on four curved feet. 
HOA 26.25 in.     
Collection of Suzanne Goldman, Cary, North Carolina

 

99   A Japanese Ceramic Sake Jug
20th century, a sake jug with blue characters around the sides and on the underside, a molded rope pattern around circumference and pierced handles at top, bottle opening at top and spout opening towards bottom edge of vessel. 
12.5 in.     

 

100   Two Japanese Lacquer Boxes 
late 20th century, includes a large rectangular box with iridescent plum blossom branches with black background, and a lidded square bento box with three compartments, black ground decorated with gold, green and red floral pattern, underside is marked MMA 1992, Made In Japan.


4.25 x 13 x 9.25 in. (largest)     

 

101   A Large Grouping of Asian Decorative Items 
Mostly late 20th century, includes two pens, one champleve style, in silk presentation boxes, two Korean boxes with mother of pearl style inlay with Myong Ji University to underside (scratches to bottom of one box; light wear to both boxes), a light blue cloisonne box with white flowers (some light wear to exterior, interior with dirt), a Korean small tansu box (chipping and loss to edges, patina to metal hardware), a marble or alabaster dish with inlaid floral decoration (rim chip), a Japanese comb (with ivory ends), a box of notepads with holders, a black lacquer bowl (scratches and wear), a blue cloisonne bowl, and a wooden abacus. 
5 in. (tallest)     

 

102   An Asian Lacquer Inlaid panel and Large Ink Brush with Lacquer Case
20th century, a black lacquer panel with Mother of Pearl and bone inlay of two birds on prunus branch, and a lacquer case decorated with crane and pines containing a large ink brush inside. 
11 x 13.75 in. (panel)     

 

103   A Chinese Reticulated Lantern Light and Japanese Printing Block 
20th century, includes a hexagonal shaped lantern light with reticulated circle and fan design, dark green glaze, raised on six short feet (13.5 in.), and a two sided antique Japanese book printing block (18 1/8 x 9 7/8 in.; some surface wear; some remaining ink on block).

 

104   A Group of Four Japanese Hanging Scrolls
includes four hanging scrolls, the first is a deluxe printed version of original painting of a lady seated in chair under a willow tree, signed together with artist's seal (SS: 35.5 x 11.75 in.; tear to middle to right of lady's head), the second is a standing lady wearing a summer kimono, ink and colors on silk (SS: 42 x 13.25 in.; discoloration and foxing throughout), the third has a painting of the Ise shrine and a poem by Emperor Meiji written in calligraphy, dated Showa 2 (1927) on outside of scroll, ink and colors on silk, signed together with artist's seal (SS: 44 x 14.25 in.; minor spots of foxing above trees on right, ivory knobs), and the fourth a painting of Morning Glories, signed with red artist's seal, ink and colors on silk (SS: 47.5 x 11.5 in.; a few large water spots, some creasing, ivory knobs).

 

105   A Group of Five Japanese Hanging Scrolls
includes five hanging scrolls, the first is a painting of Emperor Jimmu, signed together with artist's seal, ink and colors on silk (SS: 48.75 x 16.5 in.; significant foxing throughout), the second is of a Japanese ambassador, watercolor on paper (SS: 28 x 20.25 in.; foxing to paper, odd mounting), the third is an ink painting of calligraphy, ink on paper (SS: 35 x 13 in.; significant creasing, mount has loss, one roller knob missing), the fourth is a painting of a fisherman by a waterfall with mountain landscape and birds above, signed together with red artist's seal, ink and colors on silk (SS: 44.5 x 16 in.; foxing throughout to silk, ivory knobs), and the fifth is a painting of Genji with little girl under pine trees, colors and ink on silk (SS: 48.5 x 16 in.; discoloration and water spots to top portion of scroll, ivory knobs).

 

106   A Group of Four Japanese Hanging Scrolls
includes four hanging scrolls, the first is a painting of a pine tree with moon behind, signed together with artist's seal, ink on paper (SS: 51 x 22.5 in.; some loss to paper surface, some stray marks), the second is a painting of Mt. Fuji in the mist, ink and colors on silk, signed together with round artist's seal (SS: 36 x 13.5 in.; large areas of discoloration to silk throughout), the third is a painting of a pair of cranes with pine and a red sun above, ink and colors on silk (SS: 43 x 16 in.; some foxing to silk in top half of the painting, ivory knobs), and the fourth is a painting of bamboo, signed together with red artist's seal, ink and colors on silk (SS: 41.25 x 16.25 in.; very good condition).

 

107   Morikawa Chikashige (Japanese, active 1869-1882), Woodblock Print Triptych
framed, not examined outside of the frame. 
DOA 26.5 x 38     

 

108   Morikawa Chikashige (Japanese, active 1869-1882), Woodblock Print Triptych
three actors under cherry blossoms, red background.
framed, not examined outside of the frame. 
DOA 27.25 x 38 in.     

 

109   Utagawa Kunisada (Japanese, 1786-1865), Woodblock Print Triptych
five figures with child
framed; not examined outside of the frame. 
DOA 35 x 26.5 in.     

 

110   Toyohara Kunichika (Japanese, 1835-1900), Woodblock Print Triptych
triptych woodblock print, ink and colors on paper, dark indigo blue background with four figures depicted waist up with expressive faces, each sheet signed together with artist's red circle seal in a cartouche, presented loose, but all three secured together. 
SS 14 x 28.5 in.     
Private Collection, Richmond, Virginia

 

111   Toyohara Kunichika (Japanese, 1835-1900), Woodblock Print Triptych
framed, not examined outside of frame. 
DOA 34 x 26 in.     

 

112   Toyohara Kunichika (Japanese, 1835-1900), Woodblock Print Triptych
thatched roof and lantern light
framed, not examined outside of the frame. 
DOA 26.25 x 38 in.     

 

113   Two Japanese Woodblock Prints by Hiroshi Yoshida (1876-1950)
includes Suzukawa (Mt.Fuji from the Suzu River), 1935, signed together with red artist's seal to lower left corner with red artist's seal, and Chion-in temple gate, 1935, signed together with red artist's seal to lower right corner with red artist's seal, framed identically with mats, not examined outside of frame.

17 5/8 x 21 5/8 in.     
Hiroshi Yoshida was one of the greatest Japanese print makers of the 20th century, a leading master in the shin-hanga movement, influenced by European Impressionism with imagery focused on landscapes, women, and nature. 

 

114   Elichi Kotozuka (Japanese, 1906-1979), Pair of Woodblock Prints of Bamboo 
woodblock prints, ink and colors on paper, two compositions of bamboo, one vertical bamboo grove, and one of them swaying in wind, two black artist seals in lower corners of each, framed identically with silk mats, not examined outside of the frame. 
DOA 20 7/8 x 15 5/8 in.     

 

115   Yoshihara Kimura (Japanese, b. 1934), Flying Cranes at Evening
woodblock print, ink and colors on paper, two silver gray geese flying through reeds with mountains in the background, signed in lower margin with title, artist's name, edition 10/50 and artist's seal, professionally framed with mat, not examined outside of the frame. 
DOA 28.5 x 36.5 in.     

 

116   A Woodblock Print by Funio Kitaoka (Japanese, 1918-2007)
woodblock print, ink and colors on paper, lush green mountain landscape with rocks and waterfall, more mountains in the background mist, signed in lower margin, 116/200, title in Japanese, Funio Kitaoka, 1999, professionally framed with mat, not examined outside of the frame. 
DOA 26.5 x 32.25 in.      

 

117   Koji Terunuma (Japanese, b. 1950), Mt. Fuji with Red Sun
2000, mezzotint, colors on paper, the sacred Mt. Fuji rises up with finely detailed trees in front, toward the red, orange, and yellow sky with solid red sun, a stunning image, signed in lower margin, 11/100, K. Teru, professionally framed with fabric mat, not examined outside of the frame. 
DOA 24.5 x 28.5 in.     

 

118   Shiro Tagaki (Japanese, 1934-1998), Geese in Flight
woodblock print, ink and colors on paper, soft jewel color palette with two black shadows of geese flying towards a forest of dark black winter trees without leaves, signed in lower margin, 79/100, title in Japanese, Shiro Takaki, professionally framed with fabric mat, not examined outside of the frame. 
DOA 20 x 26 in.     

 

119   Morikazu Maeda (Japanese, b. 1932), Port of Shimiza
woodblock print, ink and colors on paper, trees rise up toward the swirling black and dark gray sea with faint green mountains in the background with sun in orange sky, signed in lower margin, 10/44, title, Maeda Morikazu (written backwards), 81, professionally framed with fabric mat, not examined outside of the frame. 
DOA 16.5 x 19.5 in.     

 

120   Kunio Kaneko (Japanese, b. 1949), Two Woodblock Prints of Mt. Fuji
includes Fuji 15, smaller print of Mt. Fuji in silver and gold, signed in lower margin with title, edition 100/200, Kunio Kaneko, and date '86, with red artist's seal above in lower right corner of print, and Fuji 54, a larger print of Mt. Fuji with gold leaf, silver, blues and white, a quiet and stunning image, signed in lower margin with title, edition 33/200, Kunio Kaneko, and date '94, with red artist's seal above in lower right corner of print, both professionally framed with mat, not examined outside of the frame. 
DOA 18.5 x 22.75 in. (largest)     
Kunio Kaneko studied at the Musashino University of Fine Arts, he uses gold leaf in his woodblocks to extremely good effect, and has had exhibitions in New York, Tokyo and regional Japanese cities. 

 

121   Three Japanese Contemporary Woodblock Prints
includes two woodblock prints by Tomikichiro Tokuriki (Japanese, 1902-1999), one featuring rice planters in the rain and a more serene image of a temple in the evening, and a woodblock print by Tadashi Asoma (Japanese, b. 1923) of a beautiful lady in traditional kimono standing under an umbrella looking out at a pond, signed in margin 19/40, "Umbrella," Asoma '88, together with red artist's seal, all three prints have been professionally framed with fabric mats, not examined outside of the frame. 
DOA 20.25 x 23 in. (largest)     

 

122   Two Japanese Contemporary Fine Art Works
includes a woodblock print by Maseo Ido (Japanese, 1945), featuring a dark pagoda tower rising above the trees with a flock of abstract geese flying around and up into the orange and yellow streaked sunset sky, and an etching by Tanaka Ryohei (Japanese, b. 1933), of a his signature meticulous thatched roof house with branches of blooms blossoms giving it a soft look, signed in bottom margin with edition 197/200 and T. Ryohei, 81, both have been professionally framed with mats, not examined outside of the frame. 
DOA 23.25 x 19.25 in. (largest)     

 

123   Japanese School (20th Century), Lotus Pod Arrangement 
monotype in colors, pencil signed at lower right, matted and framed.
DOA 32 1/2 x 25 in.     

 

124   Two Japanese Contemporary Woodblock Prints
includes a woodblock print by Kaoru Kawano (Japanese, 1916-1965), of a lady in yellow kimono standing gracefully with a red flower in her hair, with red artist's seal to lower section of print, and a print by Ini kumo, featuring a lady depicted from waist up in reds and black, signed to lower right corner together with artist's seal, both prints have been professionally framed with mats, not examined outside of the frame. 
DOA 23 x 19 in. (largest)     

 

125   Asai Hidemi (Japanese, 1919 - 2014), Maiko Fan Dance 
signed to lower left together with red artist's seal, title and date in right hand margin, a stunning image of a Japanese maiko, an apprentice geisha who performs songs, dances, and plays the shamisen, she is dressed in a beautiful cherry blossom kimono with flowers in her hair standing with open fan in front of a gold leaf screen, professionally framed with fabric mat, not examined outside of frame. 
DOA 30.75 x 35.25 in.     
Asai Hidemi Learned her painting from the bijin-ga master Ito Shinshu. She was mainly a traditional Japanese painter, and created very few woodblock prints before she died. 

 

126   Nancy Jaekels, Tea Ceremony
20th century, a chigiri-e Japanese torn paper style of composition, framed with double mats, not examined outside of the frame. 
DOA 32.5 x 37.5 in.     

 

127   A Contemporary Korean Celadon Vase Signed
20th century, an elegant vase with inlay decoration in Goryeo dynasty style of flowers and ruyi, with fluted rim and slightly lobed bulbous body on high foot with raised rib detail, beautiful crackle, signed with two characters to the underside. 
10.5 in.     
Private Collection, Richmond, Virginia

 

128   A Tibetan or Nepalese Four Armed Hindu Sculpture
antique, gilt bronze with inlaid turquoise and coral jewels, seated in lotus posture atop a stylized lotus pedestal with small beading around top edge, her four arms hold ritual objects, underside sealed with incised symbol. 
8.25 in.     

 

129   A Sino-Tibetan Standing Sculpture
antique, standing on a double lotus blossom, wearing five tiered crown, elaborate earrings, two hands in mudras and two hands holding attributes, an aureole behind the head. 
24 in.     
Private Collection, Richmond, Virginia

 

130   An Tibetan Brass Offering Bowl and Stand
early 20th century, three parts, with pointed finial on fitted lid, vessel has two mythical beast handles with rings, vessel fits into a base that has winged bird figures holding it up, raised scrolling vine pattern over all. 
HOA 27 in.     
Private Collection, Richmond, Virginia

 

131   Indonesian Carved and Painted Wood Statue of Garuda
late 20th century, solid carved and painted wood, the squatting figure stands atop a swirled green base.
28 x 15 x 15 in.     
From the Estate of the late William L. Bishop, Durham, North Carolina

 

132   Rujiman (Indonesian, b. 1975), Rhythm on the Rain, #4
oil on canvas, gallery wrapped canvas, 2016.
47 x 59 in.     
Ode to Art, Raffles City, Singapore and Kuala Lumpur, Malaysia (accompanied by the original Certificate of Authenticity)

 

133   A Pair of Watercolor Paintings of Persian Patterns
20th century, signed IDA to lower right on each painting, vertical panels with dark indigo blue background and two beautifully decorated circular plates with blue pattern border and colorful floral patterns to the interior, professionally framed in identical style, not examined outside of frame. 
DOA 47.75 x 29 in.     

 

134   Anglo-Indian Teak Blanket Chest
19th century, dovetailed case, with campaign style handles, interior with lidded till, on later bock feet. 
20 x 40 x 18 in.      

 

135   A German Baroque Carved Walnut Aufsatz Kommode (Tower Dresser)
18th century, pine secondary, two-part form, upper concave cabinet with applied cove molded pediment, having two shaped molded doors with relief carved grapevine, surrounded by faux raised panel doors, divided and shelved interior, over a serpentine bombe commode with four shaped raised panel and relief carved drawers, on later turned feet. 
85 x 61 x 26 in.      

 

136   Don Rousseau, French Provincial Style Queen Size Bed
late 20th century, carved wood with distressed painted grayish blue, with relief floral decoration, with embroidered floral upholstery, with conforming footboard and rails, unmarked. Accompanied by matching bedding and custom boxspring. 
Headboard 50 x 60 in.      

 

137   Italianate Bombe Marble Top Painted Commode
late 20th century, hand painted by Lauren Bruce (VA), double stacked shaped black marble top, the exaggerated bombe form case with three drawers, adorned with masks and raised on short cabriole feet, appears unmarked.
37 x 56 x 19 in.     

 

138   Louis XV Style Carved Rosewood Footstool
first half of the 20th century, later floral striped upholstery, down-filled pillow top, relief carved knees, on cabriole legs with whorl foot. 
18 x 18 x 16 in.      

 

139   An Unusual Louis XVI Style Fauteuil
20th century, oak with an antiqued white painted surface, pink plush upholstery on five fluted legs.
40 x 26 x 22 in.     
Private Collection, Durham, NC

 

140   Contemporary Distressed Painted Chest of Drawers
late 20th century, pine with a white distressed painted surface, two over three drawers on short bun feet, unmarked.
34 x 42 x 20 in.     

 

141   French Provincial Style Fauteuil 
20th century, carved and painted oak frame with light blue and pink woven oak leaf upholstery.
35 x 24 x 19 in.     
Private Collection, Durham, NC

 

142   Louis XVI Style Antique Six Piece Parlor Suite, Labeled
19th century, carved and painted wood with later blue striped upholstery including a sofa, pair of chairs, pair of ottomans and a side table, the chairs and ottomans retain the original Stockholm paper labels.
Sofa 43 x 52 x 24 in.     
From the Collection of the late Stig and Eva Scholander, Stockholm, Sweden

 

143   Jean-Baptiste Boulard (French, 1725-1789), Pair of Louis XVI Fauteuil 
circa 1770, walnut, relief carved frames with acanthus leaf ears, ribbon arched crest rail, stop fluted arm supports terminating in acanthus leaf, stylized tulip skirt flanked by rosettes raised on turned and tapered fluted legs, stamped to underside of front seat rail "J.B. Boulard" with later embroidered silk upholstery.
35 x 22 x 20 in.     
Private Collection, Durham, NC

 

144   An Antique Inlaid Italian Marble Top Commode
18th century, mahogany and mixed wood veneers, oak secondary, old white marble top with molded edge, case with three long drawers having banded and line inlays with repeating inlay to recessed panel sides, raised on square tapered legs.
34 x 42 x 19 in.     
Private Collection, Durham, NC

 

145   Louis XVI Style Diminutive Armoire
mid 20th century, king wood and mahogany, shaped case with ormolu mounts, two hinged shaped and beveled mirror doors with shelved interior, flanked by fluted columns on turned and tapered feet, the case featuring detailed ormolu mounts.
75 x 47 x 14.5 in.     

 

146   Italianate Bombé China Press
20th century, two-part form, mahogany, oak secondary, upper cabinet with applied molded cornice with central carved plume, over two hinged glazed doors, with butterfly shelf interior, lower cabinet with three shaped drawers, on scrolled feet. 
80 x 48 x 18 in.      

 

147   French Marquetry Inlaid Diminutive Marble Top Commode
second half of the 20th century, shaped rouge marble top with molded edge, three raised panel drawers with floral panel inlays, with repeating floral inlays to side panels, scalloped skirt, on splayed legs with ormolu mounts. 
33 x 28 x 16 in.      

 

148   French Rococo Style Marble Top Buffet
circa 1900, unusually deep walnut case with inset black marble top, oak secondary, three paneled drawers with floral carving over three hinged panel doors with acanthus leaf and molded details, shelved interior, raised on bun feet.
35 x 72 x 29 in.     
From the Estate of the late William L. Bishop, Durham, North Carolina

 

149   Don Rousseau, Louis XVI Style Child's Fauteuil
late 20th century, carved wood frame with distressed painted surface, caned back, with loose down-filled cushion, on cabriole legs, unmarked. 
26 x 18 x 15 in.      

 

150   French Rococo Style Carved and Painted Ottoman
20th century, oak with an antiqued cream and green painted surface with similar colored textured upholstered seat, well developed frame.
17 x 19 x 19 in.     
Private Collection, Durham, NC

 

151   French Oak and Iron Coffee Table
formed from a 19th century oak parquetry panel mounted to a custom spiral twist iron base.
16 x 39 x 23 in.     
Private Collection, Durham, NC

 

152   Antique French Iron and Marble Table
19th century, rectangular white marble top set on a black painted iron trestle form base, possibly a baker's or pastry table.
29.5 x 39.5 x 19.5 in.     
Private Collection, Durham, NC

 

153   Louis XVI Style Carved Walnut Bench
mid 20th century, oval caned top, with molded and carved skirt, raised on six fluted legs, with beaded stretcher base. 
19.5 x 42 x 16 in.      

 

154   Two Vintage French Fauteuil
the larger mid 20th century, distressed walnut frame with caned back and seat, with suede arms, cross stretcher arms; and an early 20th century carved fruitwood chair with needlepoint upholstery and brass nail head trim, on cabriole legs. 
37 x 22 x 19 in.      

 

155   Louis XVI Style Marble Top Buffet
early 20th century, mahogany, with burlwod veneers, shaped beveled mirror with Greek key and acanthus leaf ormolu mounts, shaped marble top, over two inlaid drawers, with repeating inlaid hinged cabinet doors, with fitted drawer interiors, flanked by stop fluted canted corners, with banded inlaid sides, raised on turned tapered legs with ormolu feet. 
66 x 55 x 24 in.      
Collection of Suzanne Goldman, Cary, North Carolina

 

156   Don Rousseau, Carved and Gilt Mirror
late 20th century, rectangular relief carved frame featuring double mirrored panels. 
36 x 48 in.      

 

157   LaBarge, Italian Rococo Style Carved and Gilt Mirror
late 20th century, pine, asymmetrical relief carved frame, labeled. 
57 x 36 in.      

 

158   Antique Italian Carved and Painted Mirror
late 19th century, shaped rectangular frame with dark red paint and silver highlights.
DOA 41 x 32 in.     
Private Collection, Durham, NC

 

159   A Victorian Needlework Picture, Flight Into Egypt
wool on linen, mid-19th century, on stretchers but unframed.
30.5 x 25.25 in.     
From the Collection of Mr. Owen Walker, Raleigh, North Carolina

 

160   Antique Continental Tapestry
scene depicting a garden view of a family picking cherries with a child and his chickens in foreground. 
80 x 49 in.     

 

161   Prideaux John Selby (British, 1788–1867), Two Ornithological Prints
hand-colored engravings, 19th century, presented in uniform matting and giltwood frames.
DOA 28 1/4 x 23 in.     
Private Collection, Wilmington, North Carolina

 

162   after Nicolas Poussin (French, 1594-1665), Christ healing two blind men outside Jericho
engraving, marked as printed by Picart, framed.
DOA 21 1/4 x 27 3/4 in.; DOA 27 x 33 in.     
From the Collection of the late Stig and Eva Scholander, Stockholm, Sweden

 

163   Jean-Etienne Siry (French, born 1940), Le Shérif de ces Dames
lithographic and offset lithographic poster in colors (linen backed), 1962, poster advertises the French translation of the American film titled Follow that Dream starring Elvis Presley, Arthur O'Connell, Anne Helm, Joanna Moore, unframed.
DOA 66 x 49 in.     

 

164   Antique Chromolithograph after Rosa Bonheur's The Horse Fair
late 19th century, this is a detail after Bonheur's painting of 1852-55, likely all or a portion of a lithograph printed in connection with print publisher and gallery owner Goupil and/or Napoleon Sarony, framed with linen liner, not under glass.
DOA 29 1/2 x 41 1/4 in.     
From the Estate of the late Owen Russel Best Jr., of Charlottesville, Virginia An electrical engineer by profession, Owen Best's long-time passion for and knowledge of horses, horse drawn carriages, and antiques led to his position of Curatorial Services and as Director of the Carriage Museum at Morven Estate, Charlottesvile, Virginia. John Kluge, the owner of the museum and estate, expressed indebtedness to Owen’s expertise, his commitment to the development of the Carriage Museum and his attention to the many details associated with it.

 

165   after Philipp Reinagle (British, 1749-1833), Fishermen (Packing Up)
hand-colored etching and aquatint, this is a rare proof published in 1814, after the painting by Reinagle titled Fishermen Packing Up, matted and framed.
DOA 24 x 28 1/4 in.     
A nice impression and strong coloring.
From the Estate of the late Owen Russel Best Jr., of Charlottesville, Virginia An electrical engineer by profession, Owen Best's long-time passion for and knowledge of horses, horse drawn carriages, and antiques led to his position of Curatorial Services and as Director of the Carriage Museum at Morven Estate, Charlottesvile, Virginia. John Kluge, the owner of the museum and estate, expressed indebtedness to Owen’s expertise, his commitment to the development of the Carriage Museum and his attention to the many details associated with it.

 

166   Jozef Israëls (Dutch, 1824–1911), Peeling Potatoes
etching, 1881, signed in the plate at lower right, matted and framed.
DOA 14 1/2 x 17 3/4 in.     

 

167   att. Andrea Sacchi (Italian, 1599–1661), Portrait Etching
on laid paper, text below portrait reads "And: Sachi," presented in antique giltwood frame, not under glass.
DOA 10 x 8 1/4 in.     
From the Collection of the late Stig and Eva Scholander, Stockholm, Sweden

 

168   after George Brookshaw (British, 1751–1823), Two Strawberry and Cherry Engravings
aquatint with stipple engraving in colors, early 19th century, presented in uniform matting and framing.
DOA 25 1/2 x 21 3/4 in.     
Private Collection, Wilmington, North Carolina

 

169   Charles Vacher (British, 1818-1883), St. Peter's, Rome
watercolor and whitening on paper, signed and dated at lower left, inscribed on the verso, presented under glass in the original frame and within the original gilt liner.
SS 22 x 45.25 in.; DOA 32 x 55 in.     

 

170   Charles Vacher (British, 1818-1883), Cairo (Mosque Ruins)
watercolor and graphite on paper, inscribed and dated March 26th, 1863 along the lower edge of sheet, signed, presented under anti-glare glass in the likely original gilt composition frame.
SS 22 x 28 in.; DOA 29 x 35 in.     

 

171   Charles Vacher (British, 1818-1883), Middle Eastern Ruins
watercolor on paper, signed and dated 1864 at lower left, matted and presented under glass in a gilt composition frame.
DOA 21.25 x 40.5 in.     

 

172   Charles Vacher (British, 1818-1883), Landscape
watercolor on paper laid on board, signed and dated 1851 in pencil at lower right, matted and framed under non-glare glass in the original gilt composition frame.
Sheet 10.25 x 14 3/8 in.; DOA 19.5 x 17.5 in.     
By descent through the artist's family.

 

173   Fritz Westendorp (German, 1867-1926), Ludendorff Bridge (Bridge at Remagen)
oil on canvas, signed at lower left, presented within a period gilt composition frame with wide reeded border and faux bamboo filet.
26 x 34 in.     
A sunset view of large ships on the Rhine as it transects the hilly terrain.

 

174   An Antique Folky Venetian Scene
oil on canvas (lined), 19th century, charming canal scene peopled with characters in 19th century dress, presented in a period gilt frame.
DOA 31.25 x 37 in.     

 

175   Charles Cattermole (British, 1832-1900), Two Original Watercolors
the first depicting a court scene of a petition, signed at lower left (DOA 12.25 x 24 in.); the second depicting a garden scene, signed at lower right (DOA 12.25 x 24.25 in.); each attractively framed under Conservation glass and within matching ebonized and gilt frames.
From the Collection of Mr. Owen Walker, Raleigh, North Carolina

 

176   A Vintage Painting of Royal Ascot, circa 1950
pastel and watercolor on paper, unsigned, presented under Conservation glass within a period gilt frame with linen mat.
DOA 24.25 x 30.75 in.     

 

177   William Lambert Bell (British, 1904-1983), Mousehole, Cornwall, UK
oil on canvas, signed at lower right, titled and dated 1969 on the verso, presented in a later white gold leaf frame with linen liner.
DOA 23 x 31 in.     
From the Collection of Mr. Owen Walker, Raleigh, North Carolina

 

178   Mike Absolon (British), By the River, Entrecasteaux (Roman Bridge), Vaucluse (Provence)
oil on canvas board, signed at lower right, circa 1989, presented in an attractive gilt frame with linen liner.
DOA 22.5 x 26.5 in.     
From the Collection of Mr. Owen Walker, Raleigh, North Carolina

 

179   John Clymer (British, b. 1932), Along the River
oil on canvas, signed at lower left, presented in a likely original gilt frame with linen liner.
DOA 31 x 42.5 in.     
Born in Brighton, England, John Clymer studied at the Royal Academy and is well known for his impressionist landscapes.

 

180   Frederick Roe (British, 1865-1947), View of Colchester from the Roman Balkerne Gate
gouache on paper, signed "Fred Roe" at lower right, matted and framed under Conservation glass.
DOA 21.25 x 27 in.     
From the Collection of Mr. Owen Walker, Raleigh, North Carolina

 

181   British School (mid 20th century), A Fishing Inlet
watercolor on paper, unsigned, attractively matted and framed under Conservation glass.
DOA 22 x 29.25 in.     
From the Collection of Mr. Owen Walker, Raleigh, North Carolina

 

182   J. Barnard David (British, 19th century), Riverscape with Fishermen Below a Castle
watercolor and graphite on paper, signed and dated 1864 at lower right, attractively matted and framed under Conservation glass.
DOA 21.25 x 27.75 in.     
From the Collection of Mr. Owen Walker, Raleigh, North Carolina

 

183   after Fritz von Wille (German, 1860–1941), Lake View
reproduction print in colors, with printed signature at lower left, presented in giltwood frame.
DOA 25 1/2 x 30 in.     

 

184   Maitland Smith, Large Decorative Landscape Painting
late 20th century, oil on board, mountain landscape, labeled, in gold leaf frame. 
DOA 64 x 44 in.      

 

185   Maitland Smith, Classical Style Painting of an Architectural Scene
late 20th century, oil on canvas board, labeled, in gilt frame. 
DOA 69 x 27 in.      

 

186   Three Meissen Display, Cabinet Pieces
19th century attributed to Leuteritz, Rococo style, encrusted with gold in elaborate relief, two plates and a tazza. All with underglaze crossed swords.
Plates 8.75 and 8.25 in.; Tazza 4 x 8 3/8 in.     

 

187   A Set of Six Creil Creamware Plates
mark for 1840-1844, black transfer historical scenes.
8 in.     
Creil was founded in Paris in 1795 and became the first French pottery to use transfer printing on creamware, often painted with historical subjects 
Private Collection, Durham, NC

 

188   A Set of Eight Creil Creamware Plates
mark for 1840-1844, transfer decoration in black with color, wreath and eagle border, Historical scenes relating to Napoleon.
8 in.     
Seven complete series are dedicated to the legendary figure of the Emperor. Five series repeat the military victories and stages of Napoleon's epic, from the Italian campaign to his exile to St. Helena, through the coronation of 1804. The Return of Ashes series commemorates the arrival of the remains of the Emperor in Paris. The last series is dedicated to the Captivity of Napoleon at Saint Helena .
Private Collection, Durham, NC

 

189   A Set of Twelve Service Plates, Heinrich & Co.
Bavaria, 19th century, ornate gilt Arabesque design.
11 in.     
Private Collection, Durham, NC

 

190   A Group of Antique Ashworth Ironstone "Imari"
circa 1870, to include: (18) plates (10.25 in.); five soup plates (10 1/8 in.) also two plates of the same pattern made by Peal Ironstone (9 3/8 in.). Each plate has the Ashworth stamp of the Lion & Unicorn as well as the impressed "Ashworth Ironstone China" on the back. (25) plates in total.

 

191   (22) Piece Nymphenburg Tea Service
German, 20th century, to include: teapot, creamer, covered sugar, waste bowl, six cups and saucers, six dessert plates, decorated with flowers and scalloped gilt rims.
Teapot 5 x 9 in.; Plate 7.5 in.     

 

192   Doulton Burslem "Willow" Punch Bowl and Underplate
circa 1886-1902 mark, black transferware design against a mustard ground, each of octagonal form.
Bowl 5 1/8 x 10 in.; Plate 12 in. diameter     

 

193   A KPM Porcelain Charger
20th century, featuring a hand-painted floral bouquet surrounded by a variety of butterflies, blue scepter mark verso.
1 7/8 x 13.75 in.     

 

194   Contemporary Signed Ceramic Charger
scalloped edge with raised and polychrome painted decoration with tree-of-life motif with vine and floral border, marked to underside. 
16 in diameter.      

 

195   Haviland Limoges Demi-tasse Cups and Saucers
12 each, assorted colors with "Tree of Life" pattern, gilt trim.
Cup 2.25 in.; Saucer 4.25 in.     
Private Collection, Durham, NC

 

196   Mettlach Stoneware Tureen / Punch Bowl & Undertray
model number 2087, circa 1890, stoneware with yellow and blue glazes, the undertray with impressed sayings in German, the cover with six German town names, the body of the tureen encircled by a band of revelers and with mask form handle mounts.
Tray 16.25 in. diameter     
Private Collection, Goldsboro, North Carolina

 

197   Italian Pottery Basket of Fruit
20th century, polychrome painted, signed "Innocenti". 
15 x 14 in diameter.      

 

198   Antique Drop Prism Chandelier
late 19th century, brass, cut glass drop prisms, six light form, with ceiling cap. 
46 x 36 in diameter.      

 

199   Pair of Louis XVI Style Five-Stem Wall Sconces
gilt and cobalt decoration, each topped with an urn, electrified with faux candles.
21 in.     

 

200   Vintage Bouillotte Tole Table Lamp
early to mid 20th century, black and gold painted metal shade, two light form, triple candle arm base with acorn finials.
HOA 23 in.     
Private Collection, Durham, NC

 

201   A Pair of Classical Gilt Bronze Girandoles
likely French, 19th century, two light form, unmarked, with cut crystal standard, drop prisms below candle cups, central cut crystal "plumed" finial.
14.75 x 11.5 in.     
Private Collection, Durham, NC

 

202   Pair of Vintage Electric Double Stem Table Lamps
circa 1920s, each consisting of a brass support incorporating two unmarked Pairpoint globes, the whole mounted to a rectangular marble base. 
14.25 in.     
From the Collection of Mary Wells, Greensboro, North Carolina

 

203   Vintage French Tole Table Lamp
early to mid 20th century, gilt brass and painted metal, two light form; rewired.
HOA 26 in.     
Private Collection, Durham, NC

 

204   Pair of Vintage French Sconces
early 20th century, ebonized wood and brass, single light form, with acanthus leaf support. 
13 x 3 x 7 in.      

 

205   Pair of Three-Stem French Gilt Metal Table Lamps
electric with faux candles; floral and acanthus embellishments.
14.5 in. without bulbs     

 

206   A Facing Pair of Putti Porcelain Candle Lamps
early 20th century, each putto enclosed by a gilt metal vine supporting porcelain flower buds and leaves, circular bases.
14 in. to top of candle shaft.     

 

207   Marquetry Inlaid Lap Desk
19th century, Continental, mixed woods with barber pole, starburst and Chinoiserie inlays, rectangular form with document and pen trays above a fold out top which opens to a felt writing surface.
7.5 x 18.75 x 11.5 in.     
From the Collection of Mary Wells, Greensboro, North Carolina

 

208   A Wooden Box with Mother of Pearl and Bone Inlay
19th century, inscribed inside "March 1st 1879, Miss Hannah Wadsworth Box, presented to her by a friend," hinged open top, key hole, missing key.
5.5 x 11.5 x 8.75 in.     

 

209   Antique Lap Desk with Cast Brass Letter Holder
early 20th century, the desk built with applied horizontal strips of ebonized wood; the divided interior retains an embossed leather writing surface and ink canister (5.5 x 16.25 x 9 in.) (exterior with break and loss to one horizontal strip and an edge chip); Bradley & Hubbard brass letter holder (No. 3549/7030) featuring hounds chasing stag (rubbing and pitting).
From the Collection of Mary Wells, Greensboro, North Carolina

 

210   Two Antique Tea Caddies
19th century, each a sarcophagus form, the taller in mixed fruit wood veneers with a divided and lidded interior on brass paw feet with ring handles; the second in rosewood veneers with lids to interior on short bun feet.
Larger 7 x 9 x 5.5 in.     
From the Collection of Mary Wells, Greensboro, North Carolina

 

211   Two English Tea Caddies
19th century, the first a sarcophagus form box veneered in Madagascar rosewood with string inlay at the edges, brass lion pulls, applied scroll feet (7.5 x 8 in.) (small edge inlay loss; inner lids with breaks and repairs); the second features an ebonzied case with applied strips of bone trim, inlaid lid with thistle motif (7 x 9 in.) (some missing trim; lacking canisters).
From the Collection of Mary Wells, Greensboro, North Carolina

 

212   A Victorian Pewter Mounted Hoof Inkwell
mid-19th century, unmarked, with hinged cover to inkwell, no monograms or engravings.
5.5 in.     
From the Estate of the late Owen Russel Best Jr., of Charlottesville, Virginia An electrical engineer by profession, Owen Best's long-time passion for and knowledge of horses, horse drawn carriages, and antiques led to his position of Curatorial Services and as Director of the Carriage Museum at Morven Estate, Charlottesvile, Virginia. John Kluge, the owner of the museum and estate, expressed indebtedness to Owen’s expertise, his commitment to the development of the Carriage Museum and his attention to the many details associated with it.

 

213   Two Antique Lacquered Boxes
19th century, including a paper mache lidded jewelry casket with red/gold/green painted decoration with a sloping and shaped scalloped skirt and red silk lined interior; and a shaped rectangular black lacquered tea caddy with red/gold/white painted decoration having a divided and lidded interior.
Larger 4 x 12 x 10 in.     
From the Collection of Mary Wells, Greensboro, North Carolina

 

214   English Regency Tea Caddy
sarcophagus form, mahogany veneers with lightwood inlay knob side handles; interior retains tea caddy boxes and hinged lids, later mixing bowl.
7.5 x 13 x 5.75 in.     
From the Collection of Mary Wells, Greensboro, North Carolina

 

215   Two English Lap Desks
19th century, both with rosewood veneer and mother-of-pearl inlays; the first with divided interior and embossed leather writing surface, appears to be original; the second with divided interior and later red velvet writing surface.
Larger 5.5 x 13 7/8 x 9 .5 in.     
From the Collection of Mary Wells, Greensboro, North Carolina

 

216   Three Antique Foot Warmers
19th century, including a brown glazed stoneware three-sided vessel with screw lid, marked Schrader; and two copper and brass lidded warming vessels with bail handles. 
Stoneware 14 in.      
From the Estate of the late Owen Russel Best Jr., of Charlottesville, Virginia An electrical engineer by profession, Owen Best's long-time passion for and knowledge of horses, horse drawn carriages, and antiques led to his position of Curatorial Services and as Director of the Carriage Museum at Morven Estate, Charlottesvile, Virginia. John Kluge, the owner of the museum and estate, expressed indebtedness to Owen’s expertise, his commitment to the development of the Carriage Museum and his attention to the many details associated with it.

 

217   Antique English Leather Document/Map Carrier
19th century, bail handle, canvas lined, applied heraldic decal, underside stamped No.56, B.H. & G Ltd.
28 x 7 in. diameter.     
From the Estate of the late William L. Bishop, Durham, North Carolina

 

218   A Cast Iron Animal Doorstop Group
a standing Pointer dog (8.5 x 15 in.); two horses, attributed to Hubley.
Larger Horse 11.75 in. long     
From the Estate of the late Owen Russel Best Jr., of Charlottesville, Virginia An electrical engineer by profession, Owen Best's long-time passion for and knowledge of horses, horse drawn carriages, and antiques led to his position of Curatorial Services and as Director of the Carriage Museum at Morven Estate, Charlottesvile, Virginia. John Kluge, the owner of the museum and estate, expressed indebtedness to Owen’s expertise, his commitment to the development of the Carriage Museum and his attention to the many details associated with it.

 

219   Vintage Iron Clipper Ship Doorstop
early 20th century, painted, stamped 140F. 
7.5 in.     

 

220   Continental Pietra Dura Framed Landscape
late 20th century, inlaid stone depiction of Mediterranean landscape with mountains, in frame. 
DOA 6.75 x 8 in.      

 

221   Group of Vintage Canes and Stand
19th and 20th century, including nine canes, one with sterling handle, one with bone handle, some with relief carving, one signed "Morris" and dated 95, in a painted pottery umbrella stand. 
Tallest cane 38 in.      

 

222   Four Vintage Walking Sticks
early to mid 20th century, including two natural wood canes, one with brass inlay, one relief carved and marked "Mexico." 
Longest 36 in.      
From the Estate of the late Owen Russel Best Jr., of Charlottesville, Virginia An electrical engineer by profession, Owen Best's long-time passion for and knowledge of horses, horse drawn carriages, and antiques led to his position of Curatorial Services and as Director of the Carriage Museum at Morven Estate, Charlottesvile, Virginia. John Kluge, the owner of the museum and estate, expressed indebtedness to Owen’s expertise, his commitment to the development of the Carriage Museum and his attention to the many details associated with it.

 

223   Historic Presentation Cane From American Diplomat in Ecuador
circa 1900, hardwood carved in high relief, carries the seals of the United States and Ecuador over scenes of Andean people engaged in agricultural, domestic, and musical pursuits; interspersed amid the carvings are "From JAS" and "TA Jr." The recipient of this cane is unknown, however the presenter was Archibald J. Sampson, United States Envoy Extraordinary and Minister Plenipotentiary to Ecuador, 1897-1905.
35 in.     
Private Collection, Wilmington, North Carolina

 

224   att. Ken Anger, Bluebill Hen Decoy
Ontario, Canada, unsigned, early to mid 20th century, in original paint, with glass eyes, attributed by paper label to underside. 
14.5 in. long.      
Private Collection, Wilmington, North Carolina

 

225   att. Ned Burgess, Canvas Over Wire Frame Canada Goose Decoy
in likely mostly original paint, unsigned.
21.5 in long.      
Private Collection, Wilmington, North Carolina

 

226   Folky Painted Shorebird Decoy
hand carved, in reddish purple paint with red breast, on later metal stand. 
Decoy 4.5 x 6.75 x 1.75 in.      
Private Collection, Wilmington, North Carolina

 

227   New York Yacht Club and Royal Yacht Squadron Pond Sailer
second half of the 20th century, mahogany, decal reading RYS / NYYC, on custom stand. 
71 x 49 x 10 in.      

 

228   Breasted, James H. A History of Egypt
(New York: Charles Scribner's Sons, 1912), 634 pages with fold-out map, blue 
and gilt pictorial boards, small quarto (9.75 in.), 1928 pencil inscription on front endpaper, owner's library plate.
From the Collection of Dr. Dimitrios Karakitsos

 

229   Library of Southern Literature
(New Orleans: The Martin & Hoyt Company, 1907), Edwin Anderson Alderman and Joel Chanler Harris, Editors in Chief, 17 volumes, small quarto (9.75 x 6.5 in.), three-quarter calf with gilt red linen boards, each volume emblazoned with a Southern state's great seal.

 

230   Three Antique French Books on Carriages and Transportation
to include: A late 19th century sales catalogue for Rémery, Gautier & Cie featuring carriages, wagons and other modes of horse-drawn travel; A Travers Paris (Paris, n.d., circa 1890s), a humorous look at getting around in the capital city; (Voitures et Attelages (Paris, 1942), 18th and 19th century transport is illustrated in 14 color plates-- while the Nazis occupy France!
From the Estate of the late Owen Russel Best Jr., of Charlottesville, Virginia An electrical engineer by profession, Owen Best's long-time passion for and knowledge of horses, horse drawn carriages, and antiques led to his position of Curatorial Services and as Director of the Carriage Museum at Morven Estate, Charlottesvile, Virginia. John Kluge, the owner of the museum and estate, expressed indebtedness to Owen’s expertise, his commitment to the development of the Carriage Museum and his attention to the many details associated with it.

 

231   Cast Iron Book Press
1890s-1900s, all over black paint, marked with a large "B" and carrying a decal touting Premiums from Chicago's Columbian Exposition of 1893 and Atlanta's Cotton States Exposition.
13 x 18 x 11 in.     

 

232   American Cast Iron Book Press
late 19th century, painted or stenciled with "Blade P & P Co. Toledo." 
12.25 x 17 x 12 in.     

 

233   Collection of 65 U. S. Proof Sets and 14 U. S. Mint Sets
proof sets consisting of one each for 1968 and 1969; two each for 1970 - 1991; four for 1992; two for 1993; two for 1994; one for 1999; two each for 2000; 2001; 2002; 2004; 2005. The mint sets as follows: one each for 1965, 1966, 1967, 1976 and two each for 1977-1981.
Private Collection of a Gentleman, from his time in the service 1965-1990.

 

234   World Coin Grouping
to include: Niue Three-Coin "Defenders of Freedom" set of clad $5 in original box; UK 1970 and 1971 proof sets; three Elizabeth II Jubilee Crowns (clad); 1981 Charles and Diana clad crown; £1 notes for UK and Scotland; approximately 125 mid-century European coins, including some silver minors.
Private Collection of a Gentleman, from his time in the service 1965-1990.

 

235   A Collection of Nine Medals and Medallions
the first a bas-relief bronze medal designed by H. Mitchell for the Centennial International Exhibition, Philadelphia, 1876, the reverse is inscribed "Awarded by United States Centennial Commission" and incised in script below "For Services," presented in the original case (3 in. diameter); the second a bronze medal for the World's Columbian Exposition 1893 and presented to Sv. Scholander (3 in. diameter); the third a medal commemorating the Exposition Universelle 1889, designed by F. Chabaud and Daniel Dupuis (2 in. diameter); the fourth a bronze medal commemorating Oscar II Rex Sveciae et Norvegiaerecto and Ex Tenebris per Umbras ad Lucem to verso, dated 1877 (2.25 in. diameter); the fifth a French silverplate medal designed by Daniel Dupuis for the Alliance Francaise and inscribed "Am. Sven Scholander / le Comté de Stockholm / 1899 (2 in. diameter); the sixth a bronze medallion commemorating the "Hundredth Anniversary of American Independence" and issued by the authority of the Congress of the United States (1.5 in. diameter); and three medallions commemorating the bicentennial of the United States and featuring the Great Seal of North Carolina (1.5 in. diameter).
From the Collection of the late Stig and Eva Scholander, Stockholm, Sweden

 

236   Model 1861 U.S. Springfield Rifle-Misket
.58 caliber, percussion, walnut stock with three bands securing 40 in. round barrel stamped with "S" on left side near breech, tulip head ramrod, lockplate stamped with eagle motif, U. S. / SPRINGFIELD and 1862 date.

 

237   Civil War Era Pocket Pistol
unmarked, percussion, single-shot, approximately .38 caliber, 3 1/8 in. barrel, walnut grips. 

 

238   Antique Belgian Single Barrel Percussion Shotgun
19th century, approximately 12 gauge, walnut half-stock, 28 in. octagonal-to-round barrel with ELG* proof in cartouche on top barrel flat; wooden ramrod with brass pipes; iron furniture.

 

239   Decorative Armorial Plaque
second half 20th century, wood and painted metal.
31 x 27 in.     

 

240   South Arabian Jambiya Knife
classic form with a 6 in. curved blade, the face of the scabbard mounted with silvertone repousse metalwork while the back is given to deep purple velvet.
DOA 12 x 10 in.     

 

241   Papua New Guinea, Four Sepik River Totems
carved wood with paint decoration, the figures embellished with cowrie shell eyes, braided cord, hair and feathers.
Tallest 35.5 in.     
From the Estate of the late William L. Bishop, Durham, North Carolina

 

242   Tribal Poison Dart Pipe
late 20th century, composition and bone, appears unmarked.
38 in.     

 

243   2005 Aprilla Scarabeo Motor Scooter
VIN: ZD4PCB0015S002695 Mileage: 7009

This scooter was donated to the Chamber Orchestra of the Triangle. Due to improper storage, the fuel system needs some work and will be sold as a title only transfer. NC Inspection cannot be completed. 

with a 150cc Bombardier Rotax engine and automatic transmission. Equipped with disc brakes front and rear, twin fork front suspension, rear mono shock suspension, and electric start. 

In gray metallic with matching rear hard case and windscreen (not installed). 

When purchased in 2013, it was found that owner was unable to ride the scooter, and it was placed in storage. The mileage on the title is the current mileage. 

Payment accepted only by wire transfer. 15% Buyer's Premium for in-house, telephone & absentee bidding. 20% buyer's premium for live internet bidding through a third party host. 
For winning bidders in NC, titling of vehicle will be obtained by Leland Little Auctions, provided all applicable fees and taxes are paid.

Very clean, low mileage example; clean Carfax.

Using custom Buyer's Premium of 15%
Using custom Sales Tax of 0.00% 
 

244   1993 Bentley Continental R Project Car
VIN: SCBZB03D8PCX42061 Mileage: 26,760 

Equipped with a 6.75 L Garrett-turbocharged V8 engine, GM 4L80-E automatic transmission, and rear wheel drive. It features self-leveling hydraulic suspension (with adaptive ride/Automatic Ride Control) and ventilated disc brakes at the front with twin calipers. A sport mode stiffens the suspension and sharpens the transmission shift to improve already superb riding characteristics. 

Exterior in a light cream paint with a with a medium brown leather interior. This was the first Rolls Royce car to ever have a center console with the shifter mounted. The Continental R was the fastest, most expensive, and most powerful Bentley automobile of its day. It was also the most expensive production car in the world at its introduction at $248,000.00.

This lot will transfer with a title only. NC inspection is unavailable. This lot subject to a reserve. 
Payment accepted only by wire transfer. 15% Buyer's Premium for in-house, telephone & absentee bidding. 20% buyer's premium for live internet bidding through a third party host. 
For winning bidders in NC, titling of vehicle will be obtained by Leland Little Auctions, provided all applicable fees and taxes are paid.

Cars runs and drives great; suspension works as expected; most components operate as they should; new battery and fuel pump; rare car with only 1236 produced. 
Private Estate Wake Forest, North Carolina

Using custom Buyer's Premium of 15%
Using custom Sales Tax of 0.00% 
 

245   1994 Ford F150 XLT Truck
VIN: 1FTEF15H1RNA77162 Mileage: 96,753

with a 351 cubic-inch engine and fuel injection, automatic transmission and rear wheel drive. 

Exterior in Electric Red Metallic with Opal Grey cloth interior with three passenger seat with console. With power windows and mirrors, A/C, intermittent wipers, cruise control, dual fuel tanks for 34.7 gallons capacity, chrome bumpers and wheels, tow package with 3.08 ratio axle, and sliding rear window. 

This lot subject to a reserve. Payment accepted only by wire transfer. 15% Buyer's Premium for in-house, telephone & absentee bidding. 20% buyer's premium for live internet bidding through a third party host. 
For winning bidders in NC, license plate and titling of vehicle will be obtained by Leland Little Auctions, provided all applicable fees and taxes are paid.

Very clean Virginia truck with two-owners and clean Carfax; transmission rebuild in 2003 with 37k miles; original window sticker present. 
Private Consignment Durham, North Carolina

Using custom Buyer's Premium of 15%
Using custom Sales Tax of 0.00% 
 

246   2005 Ford Saleen S281-3V Mustang Convertible
VIN: 1ZVFT85H255233674 Mileage: 24,900

A two-owner car, with a 4.6 litre naturally aspirated engine with three valves per cylinder rated at 330 horsepower, a five-speed manual transmission, and a very long list of Saleen enhancements including Air Management Design, Racecraft Suspension, and styling additions to the interior and exterior. Optioned with the Chrome wheels, and HID headlamps. 

Exterior in Black, and interior in Dark Charcoal with a black powered convertible top. 

The Saleen Mustang was re-designed for 2005. The lineup of Saleen products includes performance and styling re-designs to current models to completely new and original designs such as the S7, the Great American Supercar. Steve Saleen founded Saleen in 1984 with a purposeful goal of bringing race-proven performance to the street. Mr. Saleen is considered one of the most successful and well-known automotive legends in the country. 

This lot subject to a reserve. Payment accepted only by wire transfer. 15% Buyer's Premium for in-house, telephone & absentee bidding. 20% buyer's premium for live internet bidding through a third party host. 
For winning bidders in NC, license plate and titling of vehicle will be obtained by Leland Little Auctions, provided all applicable fees and taxes are paid.

This car is in very good condition; interior shows very little evidence of use; current owner has driven less than 5000 miles in nearly 4 years of ownership; original window sticker and letter from from Steve Saleen; original floor mats present and have been in the trunk with an aftermarket set for use; built in remote radar detector; power tuner by DiabloSport included; cover for top and car cover included; Steeda Induction System with original air box present; undercarriage of car retains many of the factory stickers and is very clean. 

Using custom Buyer's Premium of 15%
Using custom Sales Tax of 0.00% 
 

247   Vintage Slot Machine
25 cent operable slot machine with an oak and metal case, with key, marked 'Pace' to front panel.
17 x 14 x 14 in.     
Acquired by the consignor in Atlantic City.

 

248   Coca-Cola Double Sided Cooler
1948, original paint, iron and stainless steel, with galvanized metal and fiberglass interior, with one bottle cap receptacle, on casters. 
37 x 69 x 27 in.      

 

249   Vintage Enameled Coca-Cola Button Sign
mid 20th century, enamel on iron. 
36 in diameter.      

 

250   Bait Shop Fish Form Trade Sign
20th century, cut plywood fish form in green and shaded paint, applied plywood letters "Bait Shop." 
60.5 x 25 x .75 in.      
Private Collection, Wilmington, North Carolina

 

251   1902 Henley Royal Regatta Painted Oar
pine, single board twelve foot oar with lacquer and painted decoration, the paddle reading "Henley Royal Regatta, 1902, Mens VIIIs, L. Bolton-Symes."
144 in.     
From the Estate of the late William L. Bishop, Durham, North Carolina

 

252   Antique National Cash Register on Stand
early 20th century, faux grain-painted metal case, mounted to a mahogany plinth, on an earlier oak cash register cabinet with paneled sides, labeled. 
DOA 65 x 31 x 21 in.      

 

253   att. Thomas Day, Mahogany Bureau
mid 19th century, Caswell County, North Carolina, mahogany veneers, white pine and poplar secondary, octagonal swivel ogee mirror, supported by distinctive carved and scrolled mirror supports, two upper glove drawers with central dressing space, one upper projecting ogee drawer above three long drawers all with bookmatched highly figured crotch mahogany veneers, above an ogee skirt, flanked by shaped stiles and scrolled feet, rear turned feet. 
72 x 44 x 19.5 in.      

 

254   American Classical Mahogany Sofa
mid 19th century, shaped frame with flame mahogany veneers, heart shaped cut central finial on gooseneck arms with later striped upholstery, serpentine skirt with applied ribboning, raised on gadrooned block feet.
39 x 83 x 27 in.     

 

255   American Victorian Carved Walnut Etagere
mid 19th century, poplar secondary, stylized flower and quatrefoil reticulated backsplashes, turned finials, five graduated shelves, lower hidden drawer, on turned feet. 
67 x 37 x 15 in.      

 

256   Southern Federal Painted Mantel
early 19th century, yellow pine, with old but later white paint, upper shelf with reeded supports and applied molded trim. 
55.5 x 66 x 7 in. Interior 36 x 41.5 in.      

 

257   American Federal Style Tiger Maple Easy Chair
early 20th century, well developed frame with tapestry style upholstery, loose cushion, on square tapered legs. 
40 x 32 x 27 in.      
Private Collection, Wilmington, North Carolina

 

258   Southern Federal Cherry Corner Cupboard
early 19th century, one-part form, broken arch pediment with later turned finial, over two hinged raised panel doors, with fixed shelf and later painted interior, over repeating raised panel doors with painted and shelved interior, applied molded sides on flush feet, with scalloped skirt. 
91 x 50 x 33 in.      

 

259   American Federal Cherry Pembroke Table
19th century, drop leaves with slide support, on square tapered legs. 
28.5 x 36 x 17 in. Each leaf 10.5 in.      

 

260   Southern Folky Hanging Cabinet
late 19th century, walnut, yellow pine secondary, two hinged mirrored doors, with shelved and drawered interior, flanking a central drawer, over a mirrored recessed panel, on flush base. 
24 x 27.5 x 11.5 in.      
From the Collection of Mary Wells, Greensboro, North Carolina

 

261   American Sheraton One Drawer Stand
mid 19th century, white pine secondary, square top with overhang, flush drawer with inlaid escutcheon, on ring turned legs, with ball feet. 
30 x 22.25 x 20.75 in.      
From the Estate of the late Owen Russel Best Jr., of Charlottesville, Virginia An electrical engineer by profession, Owen Best's long-time passion for and knowledge of horses, horse drawn carriages, and antiques led to his position of Curatorial Services and as Director of the Carriage Museum at Morven Estate, Charlottesvile, Virginia. John Kluge, the owner of the museum and estate, expressed indebtedness to Owen’s expertise, his commitment to the development of the Carriage Museum and his attention to the many details associated with it.

 

262   American Sheraton Cherry Two Drawer Stand
mid 19th century, mahogany veneers, poplar secondary, single board top, two drawers with ribbon molding, raised on turned legs. 
29.25 x 21 x 16 in.      
From the Estate of the late Owen Russel Best Jr., of Charlottesville, Virginia An electrical engineer by profession, Owen Best's long-time passion for and knowledge of horses, horse drawn carriages, and antiques led to his position of Curatorial Services and as Director of the Carriage Museum at Morven Estate, Charlottesvile, Virginia. John Kluge, the owner of the museum and estate, expressed indebtedness to Owen’s expertise, his commitment to the development of the Carriage Museum and his attention to the many details associated with it.

 

263   Impressive Eastlake Carved and Gilt Easel
circa 1880, ebonized wood, carved and gilt highlight, lower hinged lid adjustable height portfolio case, on turned legs. 
92 x 31 x 24 in.      
From the Collection of Mary Wells, Greensboro, North Carolina

 

264   Eastlake Easel
late 19th century, ebonized walnut, gilt composition panel, on molded feet. 
72 x 27 x 30 in.      

 

265   Pair of Victorian Marble Top Walnut Side Tables
circa 1880, rectangular molded top with inset rouge marble, with turned drop finials, ring turned standard with four incised legs, featuring a stylized hoof foot. 
26 x 17 x 22 in.      

 

266   Large Antique Oak Rotating Bookcase
circa 1900, four-tiered with column and slat supports, shelves with original stenciled sections, on casters. 
45 x 26 x 26 in.      
From the Estate of the late William L. Bishop, Durham, North Carolina

 

267   American Classical Carved Mahogany Sofa
circa 1840, New York or Philadelphia, well-developed frame featuring flame mahogany veneers and high relief carving of flower baskets, dolphins and acanthus leaf, with old horsehair upholstery, on turned feet with casters. 
42 x 86 x 28 in.      
From the Collection of Mary Wells, Greensboro, North Carolina

 

268   American Late Classical Carved Mahogany Mantel
late 19th century, mahogany, mahogany veneers, oak and pine secondary, one-part form, applied molded cornice, upper ogee shelf, supported by fully turned columns, flanking a rectangular beveled mirror and ogee shelf, on flush base. 
DOA 91.5 x 60 x 11 in. Interior 39 x 41.5 in.      

 

269   Antique Fireplace Tools
19th century, brass, steel, and marble, including shovel, poker, and tongs, with adjustable height stand. 
DOA 34 x 7 x 7 in.      

 

270   Victorian Carved Walnut Etagere
late 19th century, poplar secondary, five graduated molded shelves, with reticulated backsplash, lower hidden drawer, on turned feet. 
64 x 45 x 15 in.      

 

271   Chippendale Style Carved Mahogany Centennial Side Chair
circa 1870, well-developed crestrail with relief carved shell, reticulated and carved backsplat featuring heart cutouts, upholstered slip seat, molded seatrail with central shell carving, raised on cabriole legs with shell carved knee and ball and claw feet. 
39 x 22 x 18 in.      

 

272   Pair of Antique Painted Hitchcock Side Chairs
19th century, original painted surface with grape stencil decorated crestrail, rush seats with old paint, on turned legs with stretcher. 
33.5 x 18.5 x 16 in.      

 

273   Classical Style Mahogany Three Drawer Sewing Stand
early 20th century, mahogany veneers, square molded top, upper ogee drawer above two lipped drawers, acanthus carved stiles, scrolled quadruped base. 
28.25 x 18 x 18 in.      
Private Collection, Wilmington, North Carolina

 

274   Antique New England Stenciled One Drawer Table
mid 19th century, likely Boston, white pine, with original black paint with gilt and stenciled highlights, rectangular top, single flush drawer over lower shelf, with fruit stencil decoration, raised on turned legs. 
28 x 27 x 15 in.      

 

275   American Late Federal Style Pole Screen
circa 1900, cherry with mahogany veneers, shield form adjustable embroidered panel, urn form base on downswept legs with Greek key scroll, and turned foot. 
57 x 14 x 14 in.      

 

276   Pak Persian Carpet
ivory field with large palmette design elements and scrolling vine, foliate, and floral motifs, with wide rust border within two minor borders. 
9 ft. 1 in. x 12 ft. 1in.      

 

277   Persian Area Rug
possibly Fereghan Sarouk, center with hexagonal medallion, ivory field with stylized herati, red spandrels, dark blue guard border, with tree and floral design elements. 
4 ft. 2 in. x 6 ft. 5 in.      
From the Estate of the late Owen Russel Best Jr., of Charlottesville, Virginia An electrical engineer by profession, Owen Best's long-time passion for and knowledge of horses, horse drawn carriages, and antiques led to his position of Curatorial Services and as Director of the Carriage Museum at Morven Estate, Charlottesvile, Virginia. John Kluge, the owner of the museum and estate, expressed indebtedness to Owen’s expertise, his commitment to the development of the Carriage Museum and his attention to the many details associated with it.

 

278   Sumak Carpet
cotton and wool foundation, teal green field, with repeating design elements. 
6 ft. 2 in. x 12 ft. 4 in.      

 

279   Oriental Rug
centered with diamond shaped ivory medallion, red field with repeating boteh, with multiple guard borders. 
9 ft. x 12 ft.      
Private Collection, Durham, North Carolina

 

280   Silk Area Rug
ivory field with floral filled urn and with avian motifs. 
2 ft. x 3 ft. 10 in.      

 

281   William Merritt Post (CT/NY, 1856-1935), Landscape
watercolor and gouache on paper, signed at lower left, presented under glass in the likely original frame with remnants of a Poughkeepsie gallery label to the verso.
SS 12.75 x 22 in.; DOA 19 x 28.5 in.     
From the Estate of the late Owen Russel Best Jr., of Charlottesville, Virginia An electrical engineer by profession, Owen Best's long-time passion for and knowledge of horses, horse drawn carriages, and antiques led to his position of Curatorial Services and as Director of the Carriage Museum at Morven Estate, Charlottesvile, Virginia. John Kluge, the owner of the museum and estate, expressed indebtedness to Owen’s expertise, his commitment to the development of the Carriage Museum and his attention to the many details associated with it.

 

282   Gerald Lubeck (NJ, b. 1942), Seascape
oil on Masonite, signed and dated 1979 at lower right, presented in the likely original wood frame with linen liner.
DOA 31.25 x 37.25 in.     

 

283   Elizabeth Lobingier (MA/D.C., 1889-1973), Marblehead Harbor
oil on board, signed at lower right, presented in the original gilt frame, circa 1935-1945.
DOA 8.5 x 10.75 in.     
A charming plein air study of the harbor with bold brushwork.

 

284   Carl Philipp Webber (PA, 1849-1922), Cows Watering
watercolor on paper, signed at lower left, matted and framed under glass in the likely original gilt composition frame.
DOA 23 x 30.75 in.     

 

285   John Franke (American, 20th Century), A Snowy Drive
oil on canvas, signed "J. Franke" at lower right, framed.
DOA 26.5 x 31.5 in.     

 

286   Leonard Cackett (British, 1896-1963), Two Original Watercolors
watercolor on paper; the first depicting pleasure boats at low tide, signed at lower right, matted and framed under Conservation glass (DOA 17 x 20.5 in.); the second depicting low tide at a coastal village, signed at lower left, matted and framed under Conservation glass (DOA 20 1/8 x 25 in.).
From the Collection of Mr. Owen Walker, Raleigh, North Carolina

 

287   Dennis Revitzky (PA/NY) Summer Stream, Landscape Study XV
mixed media on canvas, signed at lower right, titled and dated 2006 on the verso, framed.
DOA 17.25 x 13.25 in.     
Gallery C, Raleigh, North Carolina

 

288   An Antique Charcoal Portrait of a Woman in Wild West Attire
charcoal and graphite on paper, inscribed and signed at lower right "Deed by Nicklis Fournarakis / at North Rochester N. H. / 1913," presented under glass in a period oak frame.
DOA 32.25 x 24.25 in.     

 

289   A Vintage Watercolor of Rowboats in a North Carolina Landscape
watercolor on paper, unsigned, matted and framed under glass.
DOA 31.5 x 39 in.     
R. J. Reynolds Collection, Winston-Salem, North Carolina

 

290   An Antique Graphite Drawing of Celebration in 1917
graphite on paper, indistinct signature and inscription reading "1917 Celebration" at lower right, presented under Plexiglass in a later frame.
DOA 32.25 x 40 in.     

 

291   Frederick Ballard Williams (American, 1871-1956), The Flower Girl
oil on artist board, signed at lower left and appears to be dated 1900, presented in a gilt liner, retaining typed and hand-written letters to the verso.
DOA 12 x 7.75 in.     

 

292   Gustave Cimiotti Jr. (NY, 1875-1969), The Barnyard
oil on board, signed at lower right, inscribed on the verso, presented in a later gilt plein air style frame.
DOA 20 x 24 in.     
Cimiotti studied at the Art Students League in New York and later at the Académie Julian and Académie Delacluse in Paris. He maintained a studio for many years in New York City in the same building as William Merritt Chase, Winslow Homer, and John La Farge. Cimiotti's work was well received and he exhibited frequently throughout his career, including at the Armory Show in 1913, the National Academy of Design, the Corcoran Gallery, Grand Central Galleries, the Salmagundi Club, and other venues.
Clinton Lindley, Hillsborough, North Carolina

 

293   An Antique Still Life Painting of Pink Roses
oil on canvas, unsigned, circa 1900, presented in a period gilt composition frame.
DOA 30 x 26 in.     

 

294   Barbara Erickson (20th/21st century), A Weathered Barn
watercolor on paper, signed at lower right, matted and framed under glass.
DOA 25 x 34.5 in.     

 

295   Lorenz Griffith (NC/FL, 1889-1968), Moonlit Lake
oil on board, signed at lower right, presented in a likely original mahogany frame.
DOA 17.75 x 35.75 in.     

 

296   A Vintage Rocky Mountain Landscape Painting
oil on canvas, signed "De Rose" at lower right, presented in a frame dated 1983 on the verso.
DOA 29 x 53 in.     

 

297   Gerard Tempest (1918-2009), Portrait of a Man
oil on panel, signed and dated 1981 at lower left, framed.
DOA 11.5 x 9.75 in.     
Presented with a copy of Gerard Tempest: Abstract Spiritualism published in association with Bergen Museum of Paramus, New Jersey and The Emil Leonard Gallery in New York, New York.

 

298   George Bethel Howell III (American, 20th century), The Boy Scout Project
oil on canvas board, signed at lower right, an illustration of two cub scouts and a boy scout working on a birdhouse under the watchful eye of their leader, framed, circa 1940s.
DOA 23.5 x 19.5 in.     

 

299   A Vintage NC Watercolor, The Hattie Creef at Wanchese
watercolor on paper, twice signed and dated "Pace '49" and twice inscribed at lower right, matted and framed under glass.
DOA 22.5 x 30.25 in.     

 

300   Stansbury Norse (NY, 1843-1911), Sunset Mountain Landscape
watercolor on artist's board, signed at lower right, inscribed in margin at lower left (partially cut off) When the mist fills all the valleys, As the sun sinks in the west, matted and framed under glass.
Board 21.75 x 31 1/8 in.; DOA 30.5 x 41 in.     
From the Estate of the late Owen Russel Best Jr., of Charlottesville, Virginia An electrical engineer by profession, Owen Best's long-time passion for and knowledge of horses, horse drawn carriages, and antiques led to his position of Curatorial Services and as Director of the Carriage Museum at Morven Estate, Charlottesvile, Virginia. John Kluge, the owner of the museum and estate, expressed indebtedness to Owen’s expertise, his commitment to the development of the Carriage Museum and his attention to the many details associated with it.

 

301   after John Gannam (1907-1965), Tom Sawyer & Huckleberry Finn
oil on canvas board, signed "Hults" at lower right, framed.
DOA 21.25 x 27.25 in.     
A period copy of the original illustration by Gannam for a John Hancock Life Insurance magazine advertisement.

 

302   Elizabeth Lobingier (MA/D.C., 1889-1973), Two Landscapes
the first an oil on canvas board sketch of Mount Monadnock in New Hampshire, circa 1935-1945, signed at lower right and on the verso, mounted and framed (DOA 9.75 x 11.5 in.); the second an oil on canvas board sketch of a lake scene near Winchester, Massachusetts, signed at lower left and on the verso, circa 1935-1945, framed (DOA 8.5 x 10.5 in.).

 

303   A Charming Painting of a Young Flapper
mixed media on paper, signed and dated "Menchine / May 12, 1926," matted and framed under glass.
DOA 32.25 x 25.75 in.     

 

304   Gerard Tempest (1918-2009), Drawing, Chapel Hill
graphite of a house, signed and dated 1976 at lower right, matted and framed under glass.
DOA 24 x 28 in.     

 

305   Charles Lotton (IL), Art Glass Vase
1993, blown cobalt glass with iridescent finish, pulled foliate design, signed and dated.
9.75 in.     
Private Collection, Goldsboro, North Carolina

 

306   Charles Lotton (IL), Multi Flora Glass Vase
1993, blown clear glass with iridescent finish with pink flowers and green/blue leaf and vine decoration, signed and dated.
10.5 in.     
Private Collection, Goldsboro, North Carolina

 

307   Charles Lotton (IL), Persian Water Sprinkler, Art Glass
1992, blown cobalt glass with a crackle iridescent finish, signed and dated near base.
18 in.     
Private Collection, Goldsboro, North Carolina

 

308   Gary Beecham (NC) "Color Study Vessel"
1985, thick clear blown cased glass in pink/amber/purple/blue, signed at underside.
3.5 x 6 in. diameter.     
Private Collection, Goldsboro, North Carolina

 

309   Richard Satava (CA), Art Glass Vase
1989, blown glass with a metallic blue/green/orange iridescent cased field with tooled floral designs, polished base, signed and numbered.
8.5 in.     
Private Collection, Goldsboro, North Carolina

 

310   Kenny Pieper (NC), Figural Glass Compote
1999, titled Sarah, blown glass with intricate red double spiral and air trap bowl over a satin glass figural bust on a ribbon twist foot, signed at edge of foot.
11 x 13 in. diameter.     
Private Collection, Goldsboro, North Carolina

 

311   Three Jack-in-the-Pulpit Art Glass Vases, Signed
late 20th century, each blown glass with multi colored opalescent colors having a tooled rim with tapered standard and bulbous foot, polished base, illegibly signed.
14 in.     
Private Collection, Goldsboro, North Carolina

 

312   Neal Drobnis (RI, 20th Century), Art Glass Center Bowl
2006, blown deep yellow glass with a sand cast four leg base, polished pontil, signed and dated.
6.5 x 21 x 12 in.     
Collection of Suzanne Goldman, Cary, North Carolina

 

313   White Elk (CO, 20th Century), Aurora Borealis Large Art Glass Bowl
2002, blown glass in black, blue, green, purple and pink, signed, titled and dated to pontil.
10 x 23 x 21 in.     
Collection of Suzanne Goldman, Cary, North Carolina

 

314   David Goldhagen (NC), Art Glass Sculpture
contemporary, blown cased glass with multi color and air trap decoration, signed and numbered at bottom edge, polished base.
5.5 x 11 x 4 in.     
Private Collection, Goldsboro, North Carolina

 

315   David Goldhagen (NC), Art Glass Vessel
late 20th century, blown light blue opalescent glass with a cobalt rim, polished base, illegibly signed.
5 x 12 x 11 in.     
Private Collection, Goldsboro, North Carolina

 

316   Red Cameo Glass Vase
late 20th century, acid cut iris design, appears unsigned.
12 in.     
Private Collection, Goldsboro, North Carolina

 

317   J.J. Brown (NC), Art Glass Bowl
late 20th century, blown glass in shades of red and white with a tooled rim, applied and polished foot, signed.
3.5 x 10.5 in. diameter.     
Private Collection, Goldsboro, North Carolina

 

318   Gauthier, Cameo Glass Double Handled Vase
French, early 20th century, white and orange satin glass, blown with applied handles, acid cut leaf and berry design, signed towards base.
6 in.     
Private Collection, Goldsboro, North Carolina

 

319   Four Pieces of Murano Art Glass
to include a a decanter, purple glass with gold speck decorated foot and stopper with gold fleck button motif to center (finial reattached); a green and gold fleck fish (repair to tail; chips to fins); a blue swan-form salt cellar; and a lidded dresser box in white swirl with flower and leaf knop (repair to lid; chip to leaf). 
Decanter 17.5 in.      

 

320   Modernist Silverplate Sculpture of an Elephant
second half of the 20th century, rearing elephant on hind legs, on black marble base, appears to be unmarked. 
19 x 7 x 10.5 in.     

 

321   (60) Pieces of Modern Stainless Steel Flatware
in a brushed finish, including (11) dinner forks, (15) salad forks, (12) table spoons, (11) soup spoons, (16) demitasse spoons, and (5) servings pieces, marked "GS."
Longest 10 in.     

 

322   Pablo Picasso (Spanish, 1881-1973), Pour Roby
etching on wove paper, signed in reverse in the plate, retains Collector's Guild label to backing, framed.
DOA 13 3/4 x 10 3/4 in.     

 

323   Joan Miró (Spanish, 1893–1983), Composition I
lithograph in colors, printed in Derrière le Miroir No. 151-152 (1965), retains certificate of authenticity from outside gallery, matted and framed.
DOA 20 1/4 x 16 1/4 in.     
Park West Galleries
Private Collection, Chapel Hill, NC

 

324   Marc Chagall (French/Russian, 1887–1985), Jour de Printemps (Spring Day)
lithograph in colors, 1972, published by Galerie Maeght for Derrière le Miroir, No. 98, retains certificate of authenticity from outside gallery to frame verso, matted and presented in silvered frame.
DOA 18 1/4 x 16 1/4 in.     
Park West Galleries
Private Collection, Chapel Hill, NC

 

325   Marc Chagall (French/Russian, 1887-1985), Le Ballet: Daphnis et Chloe
lithograph in colors, 1969, from Marc Chagall: Le Ballet, matted and presented in giltwood frame. Mourlot 581.
DOA 27 1/2 x 23 1/2 in.     

 

326   Marc Chagall (French/Russian, 1887–1985), L'Acrobat Vert (The Green Acrobat)
lithograph in colors, 1979, the cover of Derrière le Miroir, with printed signature at lower right, matted and framed. Mourlot 946.
DOA 25 x 20 3/4 in.     

 

327   Pierre-Auguste Renoir (French, 1841–1919), Le Chapeau Épinglé (La fille de Berthe Morisot et sa cousine)
etching, on cream wove paper, likely an early impression, matted and framed.
Platemark 4 5/8 x 3 3/8 in.     

 

328   Marie Laurencin (French, 1883–1956), Dancers
lithograph in colors, with printed signature lower center, printed by the Musée du Louvre Chalcographie, matted and framed.
DOA 25 3/4 x 30 3/4 in.     

 

329   after Fernand Léger (French, 1881-1955), Les Loisirs Sur Fond Rouge (Leisure on Red Background)
lithograph in colors, 1968, published by Musée Fernand Léger, Biot, and sheet bears their blindstamp at lower right, printed signature lower right, numbered 157/250 in pencil lower left, matted and framed.
Image Size 20 x 26 in.; DOA 30 5/8 x 36 1/4 in.     
Private Collection, Charlotte, NC

 

330   Alexander Calder (American, 1898-1976), Damier
lithograph in colors, printed in Derrière le Miroir (1966), left portion of sheet, retains gallery label to frame verso, framed.
DOA 18 1/2 x 14 1/2 in.     
Sakal Galleries, Inc., New Rochelle, New York
Private Collection, Chapel Hill, NC

 

331   after Sally Muir (British, 20th-21st century), Portraits of a Pug and a Terrier
giclée prints, with printed signature at lower right, housed in uniform matting and framing.
DOA 31 x 27 in.     

 

332   Waldemar Sjölander (Swedish, 1905–1988), Two Lithographs
one titled La Serenata I (The Serenade I), 1947, signed, dated, titled, inscribed, and numbered lower margin, presented in uniform matting and framing.
DOA 32 5/8 x 25 1/4 in.     

 

333   Yaacov Agam (Israeli, born 1928), Sun and Moon Galaxy
giclée print in colors on canvas, 2007, ink signed and numbered lower margin, accompanied by certificate of authenticity from outside gallery, framed.
DOA 26 x 26 in.     

 

334   American School (20th Century), Fall Aspen Trees
color photograph, pencil signed what appears to read "Michael Pollard" and numbered 8/50 at lower right, matted and framed.
DOA 41 3/4 x 31 3/4 in.     

 

335   Modernist Silkscreen Print Titled Variations
1994, with indiscernible pencil signature as well as title and date lower margin, matted and framed.
DOA 32 x 24.5 in.     

 

336   Georges Braque (French, 1882-1963), Lithograph from Derrière le Miroir, No. 85-86
lithograph in colors, 1956, accompanied by certificate of authenticity from outside gallery, matted and framed.
21 3/8 x 17 3/8 in.     
Park West Galleries
Private Collection, Chapel Hill, NC

 

337   Giorgio de Chirico (Italian, 1888–1978), Horses by the Shore
print with hand coloring, 20th century, retains label from outside gallery to framing, matted and framed.
DOA 28 3/4 x 24 1/2 in.     

 

338   Design Within Reach, Modernist Leather Sofa
contemporary, upholstery by American Leather Inc., brown leather, two loose cushions, raised on polished steel legs, labeled. 
30 x 81 x 31 in.      

 

339   Design Within Reach, Modernist Club Chair and Ottoman
contemporary, brown leather upholstery, chair with loose cushion, raised on polished steel legs, with conforming cube form ottoman with lift lid for storage, on casters, labeled. 
30 x 31 x 31 in. Ottoman 19 x 19 x 19 in.      

 

340   Barbara Barry for Baker, set of Eight Dining Chairs
late 20th century, to include two arm chairs and six side chairs, mahogany, oval backs with rear cross panel, wide serpentine seats on saber legs, labeled.
Armchair 38 x 25 x 23 in.     

 

341   Barbara Barry for Baker, Dining Table
late 20th century, mahogany, oval top, opens to accept two leaves, raised on turned legs with cross stretcher base, labeled. 
30 x 48 x 68 in. Each leaf 20 in.      

 

342   Charles and Ray Eames, Set of Four Chairs
circa 1970, off-white fiberglass shell with original upholstery, on a swivel aluminum base, marked. 
32 x 26 x 26 in.      

 

343   American Mid-Century Walnut Dresser With Mirror
1960s, Harmony House, nine drawer dresser, shaped pulls, central linenfold drawers, with rectangular mirror, on turned tapered legs, labeled. 
Dresser 30 x 61 x 20 in. Mirror 41 x 30n in.      

 

344   Pair of Modern Brass and Glass Floor Display Cases
late 20th century, lighted form with mirrored backs and adjustable glass shelves.
81 x 32 x 15 in.     

 

345   Milo Baughman, Sofa and Loveseat
1970s, Thayer Coggin, likely original ivory colored plush upholstery, with loose cushions, chrome frame, labeled. 
Sofa 27 x 99 x 35 in. Loveseat 27 x 68 x 35 in.      

 

346   Milo Baughman, Club Chair
1976, Thayer Coggin, original printed velvet upholstery, loose cushions, chrome plated frame, labeled. 
24 x 36 x 36 in.      

 

347   Wesley Allen, Contemporary Regency Style King Size Bed
charcoal painted metal with brushed brass accents, with rails, unmarked.
Headboard 56 x 76 in.     

 

348   Hill Country Woodworks, Dining Table and Chairs
contemporary, cherry, including a solid rectangular top table with incised edge and chip carved skirt on square legs with incised line decoration and a set of six curved slat back chairs with chocolate brown leather upholstery, labeled.
Table 30 x 72 x 40 in.; chair 41 x 19 x 18 in.     

 

349   Herman Miller, Aeron Chair
designed by Don Chadwick and Bill Stumpf, charcoal finish, swivel seat, adjustable height seat, lower tension support adjustment, labeled.

Full height 42 x 26 x 20 in.     
From the Estate of the late William L. Bishop, Durham, North Carolina

 

350   Danish Modern Sculptural Chair and Rocker
to include Nordisk Andels - Eksport, late 20th century, teak and mixed hardwoods, sculptural double panel back, with an upholstered double panel seat, on turned legs; and a teak rocker with original tweed upholstery, detachable headrest, unmarked. 
Rocker 40 x 24 x 33 in.      

 

351   Henredon, Set of Six Modern Dining Chairs
late 20th century, white washed oak frames with off-white woven upholstery, including two arm chairs and four side chairs raised on saber legs, labeled.
Arm chair 42 x 23 x 18 in.     

 

352   Henredon, Contemporary Dining Table with Two Leaves
late 20th century, lacquered faux stone top with wavy edge inset skirt on painted metal legs, label on leaves box.
31 x 44.25 x 68.25 in.; each leaf 24 in.     
Purchased Boyles Furniture.

 

353   Set of Four Italian Modern Folding Chairs
circa 1970, polished steel frame, with oak and cane back and seat, unmarked. 
29 x 18 x 18 in.      

 

354   Barcelona Style Coffee Table
circa 1970, smoky glass square top, on chrome cross form base, unmarked. 
17 x 36 x 36 in.      

 

355   Kyle Highsmith (NC), The Smith-Anderson House in Wilmington
oil on canvas, signed at lower right, presented in an attractive gilt floater frame.
DOA 34.5 x 40.5 in.     
Born in Greenville, NC, Highsmith earned his B.S. from NC State University's School of Design. He is a full time painter with works in many public and private collections including the NC Museum of Art in Raleigh and the Greenville Museum of Art.

 

356   Philip Moose (NC), A South American Street Scene
watercolor on paper, signed "Philip Moose" at lower right, matted and presented in gilt frame.
DOA 25 x 31 3/8 in.     
Private Collection, North Carolina

 

357   Maud Gatewood, Floor Canvas
acrylic on canvas, titled and inscribed on the verso, unframed, retaining a label for Pattern Works of Yanceyville, and with label for Somerhill Gallery.
24 x 36 in.     
Somerhill Gallery, Chapel Hill, North Carolina
Private Collection, Chapel Hill, NC

 

358   Tim Postell (NC), Sky & Water
oil on canvas, signed at lower left, inscribed on the verso, framed.
DOA 32.25 x 25.25 in.     

 

359   Charles Walker (NC), Washington Park, Winston-Salem, NC Triptych
an assembled group of three paintings from his series - numbers CXXXIV, CVIII, and XCII; each signed and inscribed on the verso, acrylic on canvas, gallery wrapped canvas.
12.25 x 12 in. (each)     
Center of the Earth Gallery, Charlotte, North Carolina

 

360   S. Tucker Cooke (NC), Untitled
pencil on paper, signed and dated 1978 at lower right, matted and framed under glass.
DOA 36.75 x 30.25 in.     
Private Collection, Goldsboro, North Carolina

 

361   S. Tucker Cooke (NC), Untitled - Girl with Birds
graphite and colored pencil on paper, signed and dated 1975 at center left, matted and framed under glass.
DOA 28.25 x 31.25 in.     
Private Collection, Goldsboro, North Carolina

 

362   S. Tucker Cooke (NC), Untitled - Woman with Parrots
graphite and colored pencil on paper, signed and dated 1975, matted and presented under glass in a gilt frame.
DOA 34.25 x 28.25 in.     
Private Collection, Goldsboro, North Carolina

 

363   S. Tucker Cooke (NC), Cancelled Flight
graphite and colored pencil on paper, inscribed and dated 1974, signed, matted and framed under glass.
DOA 30.25 x 32.75 in.     
Garden Gallery, Raleigh, North Carolina
Private Collection, Goldsboro, North Carolina

 

364   Jack Saylor (NC), Ugolini at the House of the Faun, Pompeii
graphite on paper, signed and dated 1986, titled on the verso, matted and framed under glass.
DOA 27.75 x 22.5 in.     
Private Collection, Goldsboro, North Carolina

 

365   Jill Troutman (NC), Blooms
oil on canvas, 20th/21st century, signed at lower left, in wooden frame with gilt fillet. 
DOA 32 x 42 in.     

 

366   Jill Troutman (NC), Untitled (Landscape)
mixed media on canvas, signed at lower right, framed.
DOA 24.25 x 30.25 in.     

 

367   Richard Stenhouse (NC, b. 1944), Study for Dickerson Farm
pencil on mylar, signed at lower left, retaining gallery label to the verso, matted and framed under glass.
DOA 13 x 19.75 in.     
Somerhill Gallery, Chapel Hill, North Carolina
Private Collection, Goldsboro, North Carolina

 

368   S. Tucker Cooke (NC), Fall of the White Hunter
graphite and colored pencil on paper, signed and titled at lower left, matted and framed under glass.
DOA 27.75 x 20 in.     
St. John's Art Gallery, Wilmington, North Carolina
Private Collection, Goldsboro, North Carolina

 

369   Nadine Vartanian (NC, 1924-2015), Two Original Watercolors
the first presented under glass in the original frame and matting, very faint inscription to mat board, signed at lower right (DOA 17.25 x 20.25 in.) (toning to mat and sheet, not examined out of the frame); the second depicting a hillside sea town, signed at lower right, framed under glass (DOA 17.25 x 12 in.) (not examined out of the frame).

 

370   S. Tucker Cooke (NC), Untitled - Family Portrait
colored pencil on paper, signed and dated 1974 at lower left, faint pencil inscriptions at lower right and lower left, matted and framed under glass.
Private Collection, Goldsboro, North Carolina

 

371   Two Framed Collages by M. Loly Stoneham
the first composed of wine corks, labels, foils, and seals presented within a custom acrylic box frame (24.5 x 20.5 in.); the second comprised of printed paper, brass rings, and leaves, framed under glass, monogrammed and dated 1963 at lower right (DOA 15.5 x 16.75 in.).
Private Collection, Durham, NC

 

372   A Pair of Contemporary Paintings of Mexican Textiles by Sovero
oil on canvas, both signed, one dated 2009, presented in matching gilt frames.
DOA 50 x 33.5 in. (each)     

 

373   Zdzisław Pabisiak (Polish, 1922-2009), Female Nude
oil on board, signed and dated 1970 at lower right, presented in the likely original frame.
DOA 19.25 x 31.5 in.     
Old Warsaw Galleries, Inc., Alexandria, Virginia

 

374   A Vintage Painting of a Summer Picnic Gathering
acrylic on board, indistinct signature and date at lower right, circa 1980s, presented in a period frame.
DOA 24.25 x 30.25 in.     

 

375   Philip Newton Kellogg (MI/FL, 1922-2009), Untitled
oil on canvas, signed at lower right, presented in the original painted frame.
DOA 30.5 x 24.5 in.     
Kellogg received his master's degree from the Art Institute of Chicago after serving in the Army Air Corps in World War II. He was an art educator for 37 years, teaching art from fifth grade to the university level in Highland Park, Michigan.

 

376   A Portrait Painting of a Woman and her Dog
oil on canvas, signed and dated "Dusty '80" at lower right, unframed.
DOA 32 x 28 in.     

 

377   Gloria Coker (VA), Girl in Red and Guitar
oil and collage on canvas, signed at lower right, inscribed and dated 2005 on the verso, added note reads "collage added 2006," gallery wrapped canvas.
11 x 14 in.     

 

378   Framed Geometric Painting
oil on board, mid/late-20th century, artist monogramed "EAN" at lower right, presented in original framing.
DOA 31.75 x 22.5 in.     

 

379   A Mid-Century Ink Drawing of Mythological Figures
ink on paper, illegibly signed at lower left, unframed, sketches on the verso.
Sheet 12 3/8 x 11.25 in.     
From the Estate of the late Owen Russel Best Jr., of Charlottesville, Virginia An electrical engineer by profession, Owen Best's long-time passion for and knowledge of horses, horse drawn carriages, and antiques led to his position of Curatorial Services and as Director of the Carriage Museum at Morven Estate, Charlottesvile, Virginia. John Kluge, the owner of the museum and estate, expressed indebtedness to Owen’s expertise, his commitment to the development of the Carriage Museum and his attention to the many details associated with it.

 

380   Kentucky KM-140 A-Style Mandolin
serial #011096, made in China, sunburst finish throughout, binding to top, back and fingerboard, "snakehead" headstock with Kentucky logo. With hardshell case.
Plays nicely, stays in tune and produces a deep woody sound.

 

381   Latin Communion Large Folio Manuscript Verse 
19th century or earlier, red and black ink on vellum, two-sided, unframed.
31.5 x 23.5 in.     

 

382   Vintage Sleeper Serenader Radio
No. 58-31577, 1920s, wood veneer cabinet, the painted metal front panel incorporates dials for Wave Length, Vernier, Antenna and Rheostat; a release will open the panel downwards to reveal the five-tube interior.
16 x 34.75 x 11 in.     

 

383   Vintage Radiola Radio
1920s, wood veneers, the metal front panel with five adjustable dials; the interior with five tubes.
34 x 10 x 14 in.     

 

384   Stewart-Warner, Demilune Cabinet Radio
circa 1940, featuring Magic Keyboard, hinged front panel, raised on tall cabriole legs, labeled. 
32 x 27 x 14.5 in.      

 

385   Danby Silhouette Wine Cooler
model DWC512BL-1, seven shelves, with interior thermostat. 
34 x 24 x 24 in.      

 

386   A Large Pair of Antique French Confit Jars
terra cotta with yellow glaze, applied ribbed loop handles, high shoulder, tooled base.
14.25 x 15 in.     
Confit, or food storage jars, were used in provencal France as a means to preserve items that would spoil otherwise, mainly meats, packed in salted lard and then buried. The unglazed lower half allowed the coolness of the surrounding earth to penetrate the clay.

 

387   Two Antique French Confit Jars
large and medium size, terra cotta with yellow half glaze, applied grooved loop handles on the smaller and strap handles on the larger. 
13 and 10 in.     

 

388   Antique French Terra Cotta Pair of Confit Pots
yellow glazed with green accent, high shoulder, applied loop handles. 
9.5 in.     

 

389   Antique French Terra Cotta Cruche
yellow glazed with top strap handle between two spouts, inscribed "5".
10.5 in.     

 

390   Unusually Large French Antique Provencal Pottery Batter Bowl 
or tian, yellow glazed with two side handles and a wide pouring spout.
7 x 20 in.     

 

391   A Set of Antique French Provencal Storage Jars
yellow glazed terra cotta, flat rim above applied ear handles, slightly graduated.
7.25 to 8 in.     

 

392   A Pair of Antique French Confit Jars
medium size, terra cotta, having rolled rims, applied grooved loop handles, high shoulder, yellow glazed.
10.5 x 10.25 in.     

 

393   Three Larger Size Antique French Confit Jars
yellow glazed terra cotta, rolled rim, high shoulder, tooled base, applied grooved handles.
11.5 x 10 in.     

 

394   A Pair of Antique French Confit Jars
terra cotta with yellow glaze with rolled rim, grooved loop handles, straight tapered base, one with dark glaze streaks.
10.5 in.     

 

395   Three Antique Small Confit Pots
French, yellow glazed terra cotta, high shoulder, applied loop handles.
Tallest 6.5 in.     

 

396   Three Large Antique Stained Glass Windows
1850s, likely from a Church, one reading "Junior", another reading "Senior", in original painted wood frames. 
Each approximately 45 x 35 in.      

 

397   An Antique Stained Glass Portrait Plaque
leaded and painted glass, likely 19th century, unidentified male figure.
12 x 12 in.     

 

398   Vintage Copper Full-Bodied Eagle Weathervane
second half of the 20th century, copper and brass, featuring a spreadwinged eagle with directionals. 
21 x 25 x 22 in.      

 

399   Pig and Cow Weathervanes
iron directionals, the two-piece animals of stamped and painted sheet metal.
Pig 22 in.; Cow 21 in.     

 

400   Antique Figural Rooster Mill Weight
19th century, iron, old painted surface. 
18 x 19 x 4 in.      

 

401   Cast Iron Architectural Eagle
three-part construction, black paint.
11 x 31 x 9.5 in.     

 

402   Cast Iron Architectural Eagle
three-part construction, black paint.
11 x 31 x 9.5 in.     

 

403   Wrought Iron Architectural Panel
early to mid 20th century, with acanthus leaf and floral decoration, later painted surface, mounted to a pine board. 
DOA 50 x 76 in.      

 

404   Pair of Classical Style Cast Iron Garden Urns
20th century, one-part form, urns featuring egg and dart border, reeded waist, on square plinths. 
30 x 22 in.      

 

405   Large Vintage Copper Cauldron
second half of the 20th century, four ring handles. 
28 x 33 in diameter.      

 

406   Antique Continental Carved Architectural Panel
19th century or earlier, carved and gilt with deep relief vines and leaves. 
10 x 51 x 2 in.      

 

407   Three Iron Architectural Elements
to include a 19th century iron fence post with later purple paint; and two 20th century scrollwork panels. 
Tallest 37 in.      

 

408   Vega Metals, Three Metal Wall Hangings
contemporary, cut steel, including a tree with gilt highlights, a holly wreath in gold and red iridescent finish with detachable bow, and laurel wreath in green and purple iridescent, appear to be unmarked. 
Tallest 31 in.      

 

409   Cast Iron Architectural Panel
early 20th century, rectangular form, with reticulated rosette and scrollwork. 
20 x 33 in.      

 

410   Antique Cast Iron Eagle Architectural Ornament
circa 1900, spreadwinged eagle atop a rocky plinth, with two mounted brackets. 
13 x 30 x 9 in.      
From the Collection of Mary Wells, Greensboro, North Carolina

 

411   Wrought Iron Hanging Planter
second half of the 20th century, green paint, hinged spiral twist panel, with interior tray. 
31 x 19 x 15 in.      

 

412   Pair of Ornate Cast Brass Door Latches
decorated with scrolled acanthus leaves, lion masks and a youth's head.

 

413   A Balinese Relief Carved Door Frame with Doors
late 20th century, mahogany, thick carved posts, arched surround with flowers and diapered panels having inset peg hinged doors with repeating floral carved surrounds and central panel featuring birds, flowers and dragons, flush base.
80 x 43 x 3.25 in.     
From the Estate of the late William L. Bishop, Durham, North Carolina

 

414   Pair of Carved Mahogany Pedestals
late 20th century, each carved from a single board with acanthus leaf capital on fluted columns with a stepped base.
59 x 13 x 14 in.     
From the Estate of the late William L. Bishop, Durham, North Carolina

 

415   Painted Ceramic Jardiniere
contemporary, manufactured ceramic with earth tone painted foliate decoration, unmarked.
12 x 13 in. diameter.     

 

416   Classical Style Solid Marble Fluted Pedestal
late 20th century, one-part form, black marble, circular top with octagonal cut-out for inset, on molded base. 
34 x 27 in. diameter. Top 18 in. diameter; inset 11 in. diameter.      

 

417   An Italian Faience Glazed Table Top
second half 20th century, hand painted terra cotta with masked figures, floral sprays and scrollwork, appears unmarked.
40 x 1.25 in.     

 

418   Henry Link, Eight Piece Rattan Suite
circa 1990, including a pair of loveseats, pair of club chairs, coffee table and three side tables, labeled.
Loveseats 28 x 52 x 28 in.     

 

419   "Rozane" Vase, Roseville and Three Others
"Rozane" brown glaze with portrait of a horse, artist signed (8.25 in.) (glaze scraped off the bottom; some glaze 'crawling" on the back side of the vase); included is a Weller vase, a Roseville creamer, and an unsigned bowl (good estate condition).
Weller 5.25 in.     
From the Collection of Mary Wells, Greensboro, North Carolina

 

420   Four Roseville Art Pottery Vases 
a cornucopia, a basket, and two dual handled vases.
Basket 10 x 10 in.     
From the Collection of Mary Wells, Greensboro, North Carolina

 

421   Tall Roseville "Bleeding Heart" Vase and Five Others
to include: the large blue field flared "Bleeding Heart" vase (16.75 x 11.5 in.) (1 in. base chip); Zephyr Lily vase with small base chips; other four in good estate condition.
Magnolia vase 6.25 in.     
From the Collection of Mary Wells, Greensboro, North Carolina

 

422   Weller, Aurelian Jardiniere and Pedestal
circa 1900, handpainted with dark earth tone glazes, on shaped art nouveau pedestal, marked. 
38 x 13.5 in diameter.      
From the Collection of Mary Wells, Greensboro, North Carolina

 

423   after Frederic Remington (1861-1909), Polo
late 20th century, cast and patinated bronze, mounted on a black marble base, signed in casting, titled by plaque. 
20 x 20 x 14 in.      

 

424   An Antique Grand Tour Bronze of Mercury
circa 1900, unsigned, mounted to a marble socle base.
32 in.     

 

425   A Grand Tour Bronze of Diana
circa 1900, unsigned, mounted to a marble socle.
26 in.     

 

426   Frank Vittor (PA, 1888-1966), Bronze Sculpture
bronze, inscribed "F. Vittor" and with foundry mark reading "National Art Bronze Works," depicting a man and woman seated with a basket.
9 in.     
Private North Carolina Collection

 

427   after Charles Cumberworth (French, 1811-1852), Venus Clipping Cupid's Wings
bronze tone figural sculpture signed "Cumberworth / Statuaire," affixed to an ebonized hardwood plinth, with holes to verso of sculpture for original intention as a lamp base, early 20th century.
14.5 x 12 1/8 x 8.75 in.     

 

428   Jim Sams (KY), A Carving of Two Doves
unsigned, circa 1980s, the birds mounted to a driftwood branch and mounted to a hardwood stand.
13.75 x 16 x 9.25 in.     
Private Collection, Goldsboro, North Carolina

 

429   Two Carvings of Birds by Bobby W. Ackiss (NC, 1937-2015)
the first of a wild turkey (HOA 11.25 in.), the second of a water bird (HOA 11 1/8 in.), each signed "B. W. Ackiss" to the hardwood stand, circa 1980s.
There is an Ackiss family 
Private Collection, Goldsboro, North Carolina

 

430   A Pair of Grand Tour Bronzes of Ares and Athena
19th century, likely Grand Tour souvenirs, unmarked, attractive copper and golden patination, presented atop black marble plinths.
17 in.     

 

431   A Cloisonne Mantel Clock
labeled "Made in the People's Republic of China" to the verso of the case, beveled glass and brass case, enamel dial, surmounted by a domed top, with hand-painted pendulum featuring a sailing ship before a mountainous landscape.
18.5 x 12.75 x 7 in.     

 

432   An Art Deco Swiss Guilloche Enameled .935 Silver Gilt Desk Clock
with French import marks, cobalt blue guilloche enameling, domed form with twelve points, black and gold dials.
3 3/8 in. diameter     3.45 troy oz.

 

433   An Antique French Carriage Clock
circa 1900, the works marked "S F" and numbered 14230, beveled glass and brass case, with delicate floral garland painted on the enamel face, with strike platform-escapement movement, with key.
HOA 6.5 in.     
From the Estate of the late Owen Russel Best Jr., of Charlottesville, Virginia An electrical engineer by profession, Owen Best's long-time passion for and knowledge of horses, horse drawn carriages, and antiques led to his position of Curatorial Services and as Director of the Carriage Museum at Morven Estate, Charlottesvile, Virginia. John Kluge, the owner of the museum and estate, expressed indebtedness to Owen’s expertise, his commitment to the development of the Carriage Museum and his attention to the many details associated with it.

 

434   A Tiffany & Co. Swiss Made Desk Clock
quartz movement, with chrome and brushed steel case, in the Art Deco style, late 20th century, with original paperwork.
6.25 x 5 5/8 x 2.5 in.     
From the Estate of the late Owen Russel Best Jr., of Charlottesville, Virginia An electrical engineer by profession, Owen Best's long-time passion for and knowledge of horses, horse drawn carriages, and antiques led to his position of Curatorial Services and as Director of the Carriage Museum at Morven Estate, Charlottesvile, Virginia. John Kluge, the owner of the museum and estate, expressed indebtedness to Owen’s expertise, his commitment to the development of the Carriage Museum and his attention to the many details associated with it.

 

435   Japy Freres, Rococo Style Brass Clock
20th century, ornately decorated brass case with urn finial having caryatid handles, the case with lion maks handles to each side, on stepped base with scroll and trefoil pad feet, enamel face with Arabic numerals, marked to works. 

 

436   Ansonia Sheet Iron Mantel Clock
late 19th century, the case painted to simulate slate with jasper panels; a spelter lion mask appliqué to either side; time and strike brass movement signed "Ansonia Clock Co. / New York"; the dial also signed; includes brass key and lead alloy pendulum.
10.25 x 15.25 x 6.25     

 

437   An Antique Marble Mantel Clock with Open Escapement
retailed by J. E. Caldwell & Co. of Philadelphia, works partially marked but of an unknown manufacturer, carved grey marble case in a Classical design, enamel dial with Roman numerals.
10.75 x 18 x 6 in.     

 

438   Black, Starr & Frost, Banjo Wall Clock
early 20th century, painted metal dial with Arabic numerals, and marked "Black, Starr & Frost, New York", brass eagle finial, center eglomise panel with eagle and shield, lower hinged pendulum door with eagle and shield flanked by sailing ships. 
33 x 10 x 3.75 in.      
Private Collection, Wilmington, North Carolina

 

439   Antique Seth Thomas Eglomise Banjo Clock
early 20th century, painted metal face with glass cover, eglomise waist panel and lower door featuring Mount Vernon, gilt metal eagle finial and lower acorn drop, appears unmarked. 
41 x 10 x 4 in.      
From the Estate of the late Owen Russel Best Jr., of Charlottesville, Virginia An electrical engineer by profession, Owen Best's long-time passion for and knowledge of horses, horse drawn carriages, and antiques led to his position of Curatorial Services and as Director of the Carriage Museum at Morven Estate, Charlottesvile, Virginia. John Kluge, the owner of the museum and estate, expressed indebtedness to Owen’s expertise, his commitment to the development of the Carriage Museum and his attention to the many details associated with it.

 

440   Sessions Regulator Wall Clock
19th century, printed paper face, pressed oak case, hinged door, with eglomise panel, with pendulum. 
39 x 18 x 5 in.      

 

441   French Wall Clock with Barometer & Thermometer
circa 1880, carved walnut case with foliate and drapery motifs, surmounted by a bold pediment, the clock face with enameled Roman numerals, an enameled thermometer to waist and a barometer below, unknown manufacturer.
40.5 x 15.25 x 5.5 in.     
Private Collection, Goldsboro, North Carolina

 

442   Antique Austrian Wall Clock
19th century, enamel face with Roman numerals, walnut case, with ebonized highlights, carved and turned finial pediment, hinged door with fluted columns, over acanthus leaf step carved base, with pendulum, weights, and clock key. 
54 x 16.5 x 7 in.      

 

443   C. Ives, Federal Mahogany Mantel Clock
circa 1825, painted wood face, cloud shaped open escapement, over a mirrored panel, flanked by fully turned columns, with lower eglomise drawer, with an acanthus carved pediment, on turned feet, with partial label, with pendulum, two weights, and two keys. 
38 x 18 x 6 in.      

 

444   E. Gubelin, Grandmother Clock
early 20th century, mahogany, lightwood inlays, one-part form, arched hood with plexiglass panel, silverplate face with chime dials, waist with applied molding and banded inlays, with repeating designs to base, raised on turned feet. 
67.5 x 11 x 8 in.      

 

445   Austrian Cold Painted Figural Desk Lamp With Removable Garment
consisting of a young lady descending steps, her hinged robe being easily swept aside by the curious.
HOA 17.5 in.     

 

446   Vintage Brass Whale Oil Style Table Lamp
early 20th century, four-light form, with armorial crest reticulated screens. 
HOA 27 in.      

 

447   Pair of Spanish Style Wrought Metal Sconces
late 20th century, hand wrought, likely steel with three curved arm candle supports.
26 x 18 x 11 in.      

 

448   Vintage Steel and Brass Floor Lamp
circa 1920, with winged griffin support, on hammered finish base, with later tassel shade.
HOA 62 in.      
From the Collection of Mary Wells, Greensboro, North Carolina

 

449   Pair of Large Antique Sheffield Silverplate Table Lamps
circa 1900, silver over copper, three-light form, with a bold turned candlestick form base. 
DOA 38 in.      

 

450   George III Mahogany Looking Glass
circa 1800, pine secondary, pierced crest with carved phoenix bird, mirror with carved and molded liner, scalloped ears, lower drop with applied shell. 
39 x 22.5 in.      
Private Collection, Wilmington, North Carolina

 

451   Federal Style Carved and Gilt Mahogany Looking Glass
late 20th century, wood and composition, broken arch pediment with spreadwing eagle, over rectangular mirror, flanked by graduated laurel vines. 
45.5 x 22 in.      

 

452   Adam Style Walnut Mirror
circa 1940, carved and arched pediment with painted urn and griffins over a diamond inlaid frieze, rectangular mirror flanked by fluted half columns.
44 x 25 in.     
From the Estate of the late William L. Bishop, Durham, North Carolina

 

453   George III Inlaid Mahogany Butler's Chest
18th century, mahogany, white pine secondary, rectangular top with brass line inlay to edge, double panel fall-front drawer with oval banded inlays, opening to reveal embossed leather writing surface, with fruitwood inlaid drawers and floral inlaid hinged prospect panel with divided and drawered interior, over two circular banded inlaid cabinet doors opening to reveal three linen drawers, raised on shaped bracket feet with line inlays. 
44 x 49 x 22 in.      

 

454   English Chippendale Style Antique Mahogany Footstool
circa 1860, mahogany veneer, oak secondary, rectangular form with needlepoint slip seat, banded veneer edge, cabriole leg with shell carved knee and ball and claw foot. 
18 x 25 x 19 in.      
Private Collection, Wilmington, North Carolina

 

455   Gothic Style Carved Oak Linen Press
circa 1900, one-part form, cove molded cornice with relief carved frieze, over two hinged panel doors featuring eight relief carved linenfold panels, with louvered shelf interior, with repeating linenfold paneled sides, raised on straight feet. 
84 x 56 x 25 in.      

 

456   Five Antique English Armchairs
19th century, elm and mixed woods, including a Windsor spindle and reticulated back armchair and a set of four spindle barrel-back armchairs, with plank seats, on turned legs. 
Windsor 45 x 27 x 19 in. Set 32 x 26.5 x 20 in.      

 

457   William and Mary Style Galvanized Blanket Chest
19th century, oak, hinged top with molded edge, front panel with four shaped raised panels with floral relief carved surrounds, paneled sides with gilt metal mask handles, interior fully lined with galvanized metal, raised on short recessed feet.
26 x 59 x 20 in.     

 

458   William and Mary Style Oak Stepback Cupboard
first half of the 20th century, two-part form, upper cabinet with open shelves and two hinged doors with incised decoration, lower cabinet with central hinged door and three relief carved panels, raised on straight molded legs. 
81 x 50 x 18 in.      

 

459   William and Mary Style Diminutive Blanket Chest
19th century, oak, hinged lid with applied molded edge, interior with till, front with two relief carved panels, raised on turned feet. 
21 x 35 x 19 in.      

 

460   William and Mary Oak Gateleg Side Table
18th century, oak, oval top, with turned leg supports, on stretcher base. 
27 x 34 x 13 in. Each leaf 14 in.      

 

461   Set of Four Antique English Leather Dining Chairs
late 19th century, oak, light brown leather with oversized brass nail head trim on turned legs with double molded box stretcher base.
34.5 x 17 x 16 in.     
Private Collection, Durham, NC

 

462   Vintage English Oak Pub Table
early 20th century, breadboard top with draw leaves, molded skirt, rosette returns, on baluster turned legs, on a cross stretcher base. 
30 x 60 x 33 in. Each leaf 15 in.      
From the Estate of the late William L. Bishop, Durham, North Carolina

 

463   William and Mary Style Chest of Drawers
early 20th century, rectangular top with molded edge, two over two geometric paneled drawers, paneled sides on bun feet.
36 x 36 x 20 in.     
Private Collection, Durham, NC

 

464   Two Antique Continental Baroque Carved Armchairs
late 17th century, the first, with a relief carved crest with central pierced rosette, relief carved stiles, arms, and legs, front stretcher pierced and with carved rosette, on stretcher base, later red velvet upholstery (55 x 25 x 23 in.; crest with break and repair; replaced red velvet upholstery; cut and repair at stiles; other restoration); the second with scrolled knuckles, fluted front legs, shaped front stretcher (39 x 26.5 x 22 in.; missing right finial; red velvet upholstery in poor condition with losses and tears; both stiles with breaks and repairs; other restoration). 

 

465   Nest of Three English Jacobean Style Tables
circa 1900, oak, rectangular molded tops, shaped skirts, turned legs, stretcher base. 
Largest 19.5 x 20 x 13 in.      
Private Collection, Wilmington, North Carolina

 

466   English Queen Anne Style Burl Veneered Dressing Table
circa 1900, rectangular top with two beautiful burl veneered matched panels, with herringbone and banded veneer border, molded edge, single center drawer above a shaped kneehole, flanked by two hinged small cabinet doors, raised on front cabriole legs with pad feet. 
30 x 36 x 19.75 in.      
Private Collection, Wilmington, North Carolina

 

467   George III Inlaid Mahogany Slant Front Desk
18th century, pine secondary, slant front lid with banded and line inlay, divided and drawered interior, over four graduated drawers, raised on shaped bracket feet. 
44 x 36 x 17 in.      

 

468   Antique Campaign Trunk
19th century, camphor wood, brass mounts, open interior, flush base, bail handles. 
19 x 41 x 20.5 in.      
From the Estate of the late William L. Bishop, Durham, North Carolina

 

469   Georgian Style Antique Pine Linen Press
mid 19th century, two-part form, top with an applied cornice, two upper hinged panel doors, four interior linen shelves, the base with two side-by-side drawers above two graduated drawers, on shaped bracket foot base, door panels and base drawer and side stiles with faux bamboo stylized molding. 
84 x 48 x 20.5 in.      
Private Collection, Wilmington, North Carolina

 

470   Queen Anne Inlaid Dressing Table
18th century, walnut, pine secondary, rectangular top with herringbone and banded inlay, with shaped molded edge, three lipped drawers with repeating inlays, scalloped skirt, on cabriole legs. 
28 x 34 x 20.5 in.      

 

471   Pair of Adam Style Demilune One Drawer Tables
mid 20th century, satinwood veneers, oak secondary, with dark and lightwood inlays, with hand painted floral swags and cameo, on square tapered legs, with stretcher base and spade feet. 
32 x 24 x 13.5 in.      

 

472   Antique Continental Inlaid Cabinet on Stand
19th century, mahogany, pine secondary, hinged rectangular top with banded edge, divided interior, case with three central drawers, banded inlays, on later custom saber leg base. 
28 x 37 x 9.5 in.      

 

473   George III Oak Dressing Table
late 18th century, pine secondary, rectangular top with molded edge, three lipped drawers, scalloped skirt, on cabriole legs. 
26.5 x 32 x 21.5 in.      

 

474   Antique Renaissance Style Carved Walnut Hall Chair
circa 1920, floral tapestry upholstery with brass nail head trim, well-developed arms with relief floral carving, cabriole legs with cross stretcher base. 
46 x 32 x 27 in.      
Collection of Suzanne Goldman, Cary, North Carolina

 

475   Edwardian Inlaid Mahogany Coal Scuttle
circa 1900, mahogany with lightwood inlays, brass handles, with floral, ribbon, and paterae inlays, with metal liner and shovel.
14 x 15 x 18 in.      

 

476   George III Mahogany Dining Table
late 18th century, mahogany, mahogany veneer, oak and pine secondary, including one demilune table with gateleg leaf, together with a conforming demilune table, raised on straight molded legs.
28 x 48 x 20 in.; leaf 15.5 in.     

 

477   Four William and Mary Style Small Joint Low Tables
mid 20th century, each with breadboard top, through tenon construction, turned legs, with molded stretcher base, including a pair of rectangular low tables (18.5 x 18 x 24 in.); and a pair of stools (18.5 x 12 x 18 in. ). 
From the Estate of the late Owen Russel Best Jr., of Charlottesville, Virginia An electrical engineer by profession, Owen Best's long-time passion for and knowledge of horses, horse drawn carriages, and antiques led to his position of Curatorial Services and as Director of the Carriage Museum at Morven Estate, Charlottesvile, Virginia. John Kluge, the owner of the museum and estate, expressed indebtedness to Owen’s expertise, his commitment to the development of the Carriage Museum and his attention to the many details associated with it.

 

478   William and Mary Style Low Joint Table
late 19th century, oak, rectangular top with molded edge, scroll carved skirt with rosette ends raised on tulip carved and fluted legs with turned stretcher supports.
20 x 20 x 16 in.     
Private Collection, Durham, NC

 

479   Jacobean Carved Pine Side Chair
18th century, scalloped back paneled, molded plank seat, with repeating scalloped skirt, on straight molded legs. 
38 x 20 x 13 in.      

 

480   Vintage William and Mary Style Walnut Low Table
circa 1940, top with incised and molded edge, scrolled skirt, turned legs, with molded stretcher base. 
24 x 17 x 24 in.      
From the Estate of the late Owen Russel Best Jr., of Charlottesville, Virginia An electrical engineer by profession, Owen Best's long-time passion for and knowledge of horses, horse drawn carriages, and antiques led to his position of Curatorial Services and as Director of the Carriage Museum at Morven Estate, Charlottesvile, Virginia. John Kluge, the owner of the museum and estate, expressed indebtedness to Owen’s expertise, his commitment to the development of the Carriage Museum and his attention to the many details associated with it.

 

481   Antique Continental Lacquered Sewing Stand
19th century, black lacquered wood case with rectangular hinged lid sewing box with mother of pearl inlay and hand painted decoration, interior with removable divided tray on a baluster standard with rectangular shaped base on scrolled feet having all over painted floral sprays and gilt highlights.
30 x 16 x 12 in.     

 

482   Neoclassical Style Carved Walnut Credenza
mid 20th century, top with gardooned edge, case with three hinged recessed panel doors, divided and shelved interior, on hairy paw feet. 
46 x 67 x 21 in.      

 

483   Vintage Brass and Glass Mirrored Vanity
first half 20th century, hinged shaped beveled mirror with griffin supports, inset black glass top with a single drawer on fluted legs with foliate relief feet.
50 x 40 x 18 in.     

 

484   Antique Brass and Marble Three Tiered Stand
late 19th century, applied backsplash over a single flush drawer, two lower shelves, on casters. 
41 x 18 x 15 in.      

 

485   Continental Carved and Inlaid Parlor Table
circa 1940, oval banded top with line inlay, foliate carved skirt, on cabriole legs, with floral carving, reticulated cross stretcher base, on paw feet. 
31 x 33.5 x 23 in.      

 

486   Caucasian Long Rug
navy blue field with repeating medallion and rosette design elements, ivory guard border with crab motif. 
3 ft. 7 in. x 13 ft. 9 in.      
From the Estate of the late Owen Russel Best Jr., of Charlottesville, Virginia An electrical engineer by profession, Owen Best's long-time passion for and knowledge of horses, horse drawn carriages, and antiques led to his position of Curatorial Services and as Director of the Carriage Museum at Morven Estate, Charlottesvile, Virginia. John Kluge, the owner of the museum and estate, expressed indebtedness to Owen’s expertise, his commitment to the development of the Carriage Museum and his attention to the many details associated with it.

 

487   Turkoman Yomut Rug
rust red field with allover gul design elements, with ivory guard border to two sides. 
5 ft. 11 in. x 9 ft. 3 in.      

 

488   "Woven Spirits" Area Rug, Capel
red field with repeating black zig zag stripes. 
5 ft. 2 in. x 7 ft. 11 in.      

 

489   Ivory Field Sarouk Carpet
center floral medallions, field with floral spray design. 
9 ft. 10 in. x 20 ft. 11 in.      

 

490   Oriental Carpet
oval pink medallion on beige field, field with flower-filled baskets and foliate design, with pink border and scrolling vine and floral motif. 
10 ft. x 14 ft. 3 in.      

 

491   Persian Runner 
navy field with floral decoration.
2 ft. 8 in. x 9 ft. 7 in.      

 

492   Eugène Henri Cauchois (French, 1850-1911), Still Life with Chrysanthemums
oil on canvas (lined), signed with the artist's pseudonym Frédéric de Montaland, presented in a very fine period gilt composition frame.
DOA 17.75 x 23 in.     

 

493   Wilhelm Geissler (German, 1848-1928), Portrait of Josephine Heimbach
oil on canvas (lined), monogrammed and dated 1911 at lower right, presented in a later gilt frame.
DOA 26.25 x 21 in.     

 

494   after Henrietta Ronner (1821-1909), Kittens with Momma
oil on canvas (lined), bears signature at lower right, framed.
DOA 22.75 x 27 in.     

 

495   An Antique Painting of a German Manor House
oil on canvas, unsigned, circa 1900, presented in a later gilt composition frame.
DOA 23.75 x 30.5 in.     

 

496   Frederick Jacobsen (Norway/France, 1878-1948), Winter Landscape
oil on canvas, signed at lower right, presented in a period frame.
DOA 33 x 44 in.     

 

497   An Antique Continental School Genre Scene Painting, circa 1800
oil on canvas wrapped on panel, unsigned, presented in a gilt composition frame.
DOA 15.25 x 12.75 in.     
From the Collection of the late Stig and Eva Scholander, Stockholm, Sweden

 

498   An Antique Portrait of a Portly Englishman
oil on canvas (lined), unsigned, mid-19th century, the man depicted seated and three-quarter length, he holds a lit cigar cavalierly by his belly, presented in a period gilt frame.
DOA 43 x 35 in.     

 

499   A Victorian Watercolor of Boaters at Sunrise
watercolor on paper, unsigned, late 19th century, presented under Museum Glass in a period gilt frame.
DOA 13.75 x 14 7/8 in.     
From the Collection of Mr. Owen Walker, Raleigh, North Carolina

 

500   A Vintage Painting of a Dutch Flower Market
oil on canvas (lined), indistinct signature at lower left, presented in a period painted and gilt frame with linen liner.
DOA 38.5 x 48 in.     

 

501   An Antique English School Painting of Children Playing
oil on canvas, unsigned, presented in a period gilt frame.
DOA 27 x 42 in.     

 

502   An Antique Continental School River Landscape with Figures
oil on canvas on board, unsigned, 19th century, presented in an antique gilt composition frame.
DOA 27.25 x 33.25 in.     

 

503   A Large Antique Painting of a Music Lesson
circa 1900, oil on canvas, possibly for use in a stage set, the figures in early 19th century dress and depicted within a high style music room, framed.
DOA 85 x 53 in.     

 

504   Sarah Ellen Sanford (British, fl.1887-1927), A Young Girl
oil on canvas, signed at lower right, presented in a period gilt frame.
DOA 36 x 21.75 in.     

 

505   A Pair of Georgian Watercolor Landscapes
watercolor on paper, unsigned, early 19th century, matted and framed under Conservation Glass.
DOA 11.75 x 15.75 in.     
From the Collection of Mr. Owen Walker, Raleigh, North Carolina

 

506   British School (20th century), Seated Nude in a Chinese Robe
gouache on paper, unsigned, mid-20th century, matted and framed under Conservation glass.
DOA 19 x 15 5/8 in.     
From the Collection of Mr. Owen Walker, Raleigh, North Carolina

 

507   An Antique Dutch School Interior Genre Painting
oil on canvas (lined), unsigned, 19th century, presented in a later gilt frame.
DOA 21.75 x 27 in.     

 

508   A Contemporary Decorative Painting of a Grand Manner Portrait
oil on canvas, signed at lower right, presented in a gilt frame.
DOA 45 x 32.5 in.     

 

509   A Contemporary Decorative Orientalist Painting
oil on canvas, signed "Hassan" at lower right, unframed.
24 x 36 in.     

 

510   att. Giuseppe Rossi (Italy, 1876-1952), Funchal auf Madeira
oil on paper on canvas, signed and dated at lower left, retaining an old hand-written label on the verso and dated 1891, presented in a period gilt composition frame.
DOA 22 x 24 in.     

 

511   A Large Herend Figurine of Two Snuggling Ducks
rust fishnet porcelain, #5035.
7.5 x 13 in.     

 

512   Herend Porcelain Pelican
#5073, green fishnet with gold bill, on a white canted corner platform base.
8.5 x 6 in.     

 

513   Three Herend Porcelain Animal Figurines
a blue fishnet ram (4 x 4.5 in.); rust fishnet elephant (3.75 x 5 in.); an aquatic grouping of fish around a sea grass (8.25 in.).

 

514   Three Herend Porcelain Items
an egg shaped trinket box, a leaf form bowl, a green "Chinese Bouquet" basket.
Basket 5.5 x 5.25 in.     

 

515   Two Herend Porcelain Items
a covered trinket box and a blue fishnet seated dog #15567, First Edition. 
Dog 4.5 in.     

 

516   Herend Porcelain Cache Pot
green "Chinese Garden" pattern #7213.
5.5 in.     
Private Collection, Durham, NC

 

517   Herend Porcelain Table Ware Selection
to include: a small lidded tureen with asparagus form handles (DOA 6 x 7 in.); two bone dishes "Chinese Garden"; two bon-bon or trinket dishes.

 

518   A Beatrix Potter Grouping
eight figures by Beswick, made in England, including Timmy Tiptoes, Mrs. Rabbit and Bunnies, Pigling Bland, Ribby etc. Also in the group is a Wedgwood Beatrix Potter theme cup "The Kitten".
Pigling 4.25 in.     

 

519   A Group of Four Royal Doulton Figures
to include: two dogs holding a bone; a ginger seated cat; a girl "Darling" HM 1985.
Girl 5 3/8 in.     

 

520   Royal Dux Porcelain of a Young Nude Running With Her Dog
hand-painted, with Bohemian Royal Dux mark and embossed pink triangle on underside.
14.5 in.     

 

521   Two Staffordshire Pearlware Pieces
early 19th century, the first is a basketweave-molded hood and bed molded on two rockers, enclosing a small figure of a baby lying asleep, on a green blanket, the cradle painted with sponged green and red; a seated cat on green base (nicks on ears; molding defect to front of base).
Cat 3.5 in.     

 

522   Two Cat Related Figurines, Bing & Grondahl
made in Denmark, a girl holding a kitten, #1779, "Little Mother", and a seated cat bathing #2256.
Cat 7.25 in.     

 

523   Two Antique German Porcelains
a Nymphenburg lidded teapot, stamped (5.5 x 8 in.); a Schierholtz low vase in the form of an egg pulled by a putto with a yoke of fruit, stamped (6.25 x 6.5 in.).
Private Collection, Goldsboro, North Carolina

 

524   Three Royal Vienna Porcelain Items
a framed portrait plate, gilt gesso frame (DOA 15 x 15.5 in.) (bottom of frame broken off); two vases each hand-painted with allegorical scenes, scrolled gilt handles, one signed.
Taller vase 10 in.     

 

525   Four Pieces of Art Nouveau Style Porcelain
to include a three-piece Pickard Limoges set with center bowl signed "Richter", and two candlesticks signed "Potlaha", all in the Aura Argenta pattern; along with an Austrian handled serving dish, likely by Julius Dressler, with gilt decoration and handle, impressed mark "Austria" to underside. 
Dish 5 x 11.5 x 7 in. Bowl 3.5 x 9 x 9 in. Candlesticks 9 in.      

 

526   A Four Piece Porcelain Monkey Band
19th century, likely Dresden, a bagpipe player, a trombone, a flutist on the Rococo bases.
4.5 to 5 in.     

 

527   A Set of Vietri Pottery Tableware "Solimene" (46 Pieces)
made in Italy, eight plates (10 in.); eight plates (8.25 in.); seven soup bowls; six cereal bowls; eight bread & butter plates; five small sauce bowls; a platter (16.5 in.); a jug and two serving bowls.

 

528   Eleven St. Louis "Trianon" Burgundy Wine Goblets
France, green cut to clear, marked.
4.75 in.     

 

529   Baccarat, Set of Twelve "Lafayette" Cordials
with a Rococo style etched pattern, acid stamped to underside.
3.5 in.     

 

530   St. Louis, Set of Six Crystal Stems
France, mid to late 20th century, wheel cut fan and diamond pattern on a tapered and paneled stem with circular foot, marked.
6 in.     
Private Collection, Durham, NC

 

531   (23) Tiffany & Co., Crystal Stems
RCR, including (11) goblets (7 in.), and (12) wine stems (6 3/8 in.), with fan and diamond pattern on a faceted stem and circular foot, marked.
Private Collection, Durham, NC

 

532   Holme Gaard, Set of (13) Ship Glasses
circa 1970, clear mold blown glass, signed.
6 in.     

 

533   A Collection of Four Baccarat Crystal Animals
including a swan (4.5 in.), a seal, and (2) dolphins, each signed.

 

534   Three Signed Clear Glass Animals
a Baccarat seated cat (2 in.); a Steuben sea lion (5 x 4.25 in.); a Baccarat walking dog (5 x 7 in.)

 

535   Two Baccarat Crystal Accessories
the first a dark amythest sugar bowl with cover, signed (6 in.); and the second a vase, signed (8 1/8 in.).

 

536   Two Pieces of Lalique Art Glass
the first a pin dish with bird, etched signature, clear and frosted glass (4 in. diameter); the second a daisy patterned tumbler / votive holder, etched signature (2.75 in.).

 

537   Two Art Glass Accessories, Steuben and Tiffany & Co.
the first a Steuben olive dish with scrolled handle, signed; the second a Tiffany & Co. crystal wave cut rose bowl, signed and dated 2001 by Emil Brost (7 in.).

 

538   Two Steuben Glass Bowls
the first an elegant pedestal bowl with scrolled openwork support, signed (5 x 10 in. diameter) (significant scratching to base); the second a low bowl on four scrolled feet, signed (3 x 7.75 in. diameter) (good estate condition).
Private Collection, Durham, NC

 

539   Two Tiffany & Co. Crystal Vases
the first a tall vase with falling leaf design, signed (12 5/8 in.); the second a rose bowl with trailing vine design, signed (7 in.).

 

540   Two Art Glass Acessories
the first an art glass and brass basket, possibly Palme Koenig, unmarked (8.5 in., glass vase is drilled to form basket); and a silverplate and art glass epergne, with four flower-form receptacles (14.5 x 9 x 9 in.; good estate condition). 

 

541   A Pair of Mirrored Delft Vases
circa 1950s, windmill scene within scrolled relief panel, electrified as table lamps with wooden base and cap, silk shades with harp.
Vase only 10.5 in.     

 

542   A Set of .800 Silver Austrian Flatware Service
(25) pieces, service for six, including: (6) knives (10 in.); (6) forks (8.25 in.); (6) oval soup spoons / dessert spoons (8 3/8 in.); (6) teaspoons; and a soup ladle. Presented in the original fitted case as retailed by Robert Macher in Vienna; each with period script monogram "MT."
37.8 total weighable troy oz.

 

543   Lebolt & Company Sterling Silver Wine Caddy
Chicago, early 20th century, two-part pierced cylindrical form, both elements with escutcheons, one engraved with an "R."
13.61 troy oz.

 

544   A Victorian Silverplate Fish Serving Set and Breakfast Server
the fish serving set with mark attributed to Thomas Wilkinson & Son, presented in the original velvet lined case with decorative star and moons design to interior of hinged lid, each with engraved foliate design to silverplate blade and tines and carved handle (good estate condition); the large breakfast server of unknown manufacturer and unmarked, retaining original pierced tray and liner, raised on four hoof feet with goat mask knees, no monogram (some wear to plating) (LOA 13.75 in.).

 

545   An Antique Austria-Hungarian .800 Silver Cup & Cover
with hallmarks to foot and cover, parcel gilt, period engraving reads "VI. Section / Jubiläums - Pferde - Austellung / Wien 1898 / Gespendent von / Julius von Kwizda / Korneuburg," the baluster form cup featuring engraved and chased decoration and supported on an urn form standard and with applied oval cameo of a Roman soldier in profile, the removable cover with applied openwork fleur-de-lis brackets and surmounted by an urn form finial.
11.75 in. (including finial)     14.6 troy oz.
Collection of Suzanne Goldman, Cary, North Carolina

 

546   A Pair of .950 Silver Candelabra
Japanese, mid-20th century, two-light form with scrolled arms, one retaining a flame form finial, no monograms, weighted base.
10 x 10.75 in. (excluding finial)     
Private Collection, Goldsboro, North Carolina

 

547   An .800 Silver Soup Ladle
Continental, with hallmarks, period script monogram "KG."
14 in.     6.9 troy oz.
Private Collection, Goldsboro, North Carolina

 

548   A Pair of Neoclassical Swedish Silver Master Salts
1810 hallmarks, "IFB" sponsor's mark, boat form raised on a diamond form base with openwork design, parcel gilt, no monograms.
LOA 4 5/8 in.     5 total troy oz.
From the Collection of the late Stig and Eva Scholander, Stockholm, Sweden

 

549   A Group of Sterling Silver & Silverplate Flatware
including a Gorham "Jac Rose" sterling silver fish serving set with "S" monogram (6.15 total troy oz.); a two-piece sterling silver handled carving set in the "Old Empire" pattern by Poole; an English parcel gilt silverplate berry spoon; (2) unmarked silver baby rattles; and (6) unmarked silver flower form pins.
Private Collection, Wilmington, North Carolina

 

550   A Sterling Silver Mint Julep Cup by Mark J. Scearce
(of Shelbyville, Kentucky), marked with the eagle cartouche and the initials of President William Jefferson Clinton, engraved to the front "Keeneland / The Wimbledon / 1994 / Takeawakatlove," with beaded detail to rim and foot.
3.75 in.     5.4 troy oz.
From the Estate of the late Owen Russel Best Jr., of Charlottesville, Virginia An electrical engineer by profession, Owen Best's long-time passion for and knowledge of horses, horse drawn carriages, and antiques led to his position of Curatorial Services and as Director of the Carriage Museum at Morven Estate, Charlottesvile, Virginia. John Kluge, the owner of the museum and estate, expressed indebtedness to Owen’s expertise, his commitment to the development of the Carriage Museum and his attention to the many details associated with it.

 

551   Lalique Quail and Sterling Silver Box
including a French mid 20th century frosted and polished crystal, marked, and a sterling silver hinged lid box with CRU monogram with wood liner, marked.
Box 1.5 x 7.5 x 3.5 in.     

 

552   An Antique Silverplate Jewelry Box
mark of Middletown Plate Co. of Connecticutt, circa 1870s, model number 25, rectangular form with hinged dome cover surmounted by a finial of a cardinal, raised on four leaf-form bracket feet, with ornate foliate and floral scrollwork banding.
5 x 7.25 x 7.25 in.     
Private Collection, Goldsboro, North Carolina

 

553   Two Vintage Talleros Monasticos Modernist Christian Wall Plaques
Mexico, sterling silver and silver gilt modernist Christian designs on ebony plaques, marked to the verso.
The Last Supper - 4 7/8 x 12 1/8 in.; Loaves & Fishes - 6.5 x 6 3/8 in.     
Private Collection, Wilmington, North Carolina

 

554   Three Antique & Vintage Silverplate Holloware Servers
including a 19th century silverplate wine ewer (11.5 in.) (wobble, some minor scattered denting); the second a 19th century silverplate water pitcher (12 in.) (minor denting); and the third a vintage circular gallery tray (15 in. diameter).
Private Collection, Wilmington, North Carolina

 

555   English Silverplate Spirit Kettle and Coffee Pot
the spirit kettle with mark of Robert Pringle & Co. of London, circa 1900 with delicate Neoclassical style engraving, no monogram (13.5 in.) (light scratching, wear to finish on wooden handle); the coffee pot with unidentified mark, early 20th century, no monogram (8.25 in.) (some scratching).

 

556   A Guilloche Enameled Sterling Silver Pill Box
with Russian import marks for St. Petersburg, circular form, parcel gilt, the removable cover with floral and foliate design, spring green enamel.
2 1/8 in. diameter     1.95 troy oz.

 

557   A Swedish .830 Silver Tea Strainer on Stand
hallmarked, with a Rococo decorative motif, in a Rococo style, no monograms.
HOA 2 in.; LOA 5 in.     2.55 total troy oz.
From the Collection of the late Stig and Eva Scholander, Stockholm, Sweden

 

558   A Group of Sterling Silver and Silverplate Flatware
(5) pieces including a sterling silver ladle; a sterling silver lemon fork; a sterling silver child's spoon; a silverplate child's fork; and a silverplate child's spoon.
2.7 weighable troy oz.
Private Collection, Goldsboro, North Carolina

 

559   A Set of Five Georg Jensen Silver and Coral Buttons
with circa 1904-1908 period hallmark, .826 silver standard, each a round button with bezel set coral.
.75 in. diameter     .4 total troy oz.
From the Collection of the late Stig and Eva Scholander, Stockholm, Sweden

 

560   Assorted Fine & Costume Jewelry
to include: one pair of gold and lapis studs (stamped 18K); one gold and lapis horse shoe pendant (stamped 18K); one jade and gold bead bracelet, necklace and a pair of earrings (stamped 14K), two costume rings, two pairs of costume cufflinks, one coin pendant, nine costume pairs earrings, two tie tacs, one plaque, one button, twenty two costume brooches, seven silver brooches (stamped or tested silver), sixteen costume bracelets (one broken); eight beaded necklaces.
Silver: 2.275 total troy oz Gold: 2.5 dwts.

 

561   Group of Brooches
to include: a silver bug brooch with an amber body (tested silver; 1.75 in.); a twig motif brooh with a blue druzy stone and a gold round disc dangle (tested silver; stamped 14K; 3.5 in.); a bee motif brooch with opal eyes (stamped STERLING; signed Courtney; 2.25 in.); a modern square brooch (stamped SYDNEY / LYNCH / STERLING; 1.5 in.); a modernist brooch (damaged; tested silver; 2.25 in.); a black and white striped bug stick pin (3.25 in.); and an artistic profile of a face brooch (3 x 4 in.).
Silver: 2.73 total troy oz.
From the Estate of Mary L. Hill, Chapel Hill, North Carolina

 

562   Group of Silver & Silver Tone Jewelry Items
to include: a pair of silver tone cufflinks, a large round pendant, a beaded necklace, four silver necklaces, three pairs of silver earrings, a pair of silver and enamel cufflinks, two silver pendants, and five silver brooches; all silver is either stamped STERLING / 925 or tested silver, content unknown.
Silver: 8.025 total oz.
From the Estate of Mary L. Hill, Chapel Hill, North Carolina

 

563   Group of Silver Earrings & Rings
to include: eight pairs of earrings (all stamped STERLING or 925; range from 1 - 2 in.) and fifteen rings (all stamped STERLING / 925 or tested silver, content unknown except for 1; ring sizes range 5 - 9).
Silver: 6.525 total troy oz.
From the Estate of Mary L. Hill, Chapel Hill, North Carolina

 

564   Group of Silver Jewelry Items
to include: six bracelets, and five necklaces; all either stamped STERLING / 925 or tested silver, content unknown.
13.655 total troy oz.
From the Estate of Mary L. Hill, Chapel Hill, North Carolina

 

565   Group of Costume Jewelry
to include: ten costume necklaces, some signed.
From the Estate of Mary L. Hill, Chapel Hill, North Carolina

 

566   Group of Silver & Silver-tone Jewelry Items
to include: one cuff bracelet with a turquoise stone (signed W. Denetdale; stamped STERLING; 1.5 x 6.75 in.); one cuff bracelet with raised lozenge and beaded detailing (stamped 925; 3/4 x 6.75 in.); a silver-tone cuff bracelet with bird and fish motif detailing (3/4 x 7.5 in.); a floral motif link necklace (tested silver; 17 in.); a pair of pear shape turquoise drop earrings (stamped STERLING; 1.25 in.); one turquoise enamel ring (tested silver, ring size 8); and a coral ring (tested silver, ring size 7.25).
Silver: 4.51 total troy oz.
From the Estate of Mary L. Hill, Chapel Hill, North Carolina

 

567   Group of Beaded Costume Jewelry
to include: five bracelets, thirteen necklaces, and two pairs of earrings.
From the Estate of Mary L. Hill, Chapel Hill, North Carolina

 

568   Group of Costume Jewelry
to include: thirteen bracelets, and twenty one pairs of earrings.
From the Estate of Mary L. Hill, Chapel Hill, North Carolina

 

569   Group of Costume Jewelry Items
to include: eight necklaces, and five pairs of earrings.
From the Estate of Mary L. Hill, Chapel Hill, North Carolina

 

570   Group of Costume Jewelry Items
to include: three pairs of cufflinks, six rings, one notepad, one belt buckle, and fifteen brooches / pins. 
From the Estate of Mary L. Hill, Chapel Hill, North Carolina

 

571   Group of Silver & Costume Jewelry
to include: two silver necklaces (stamped 925), a pair of silver and amethyst earrings (stamped 925), ten costume necklaces, nine pairs of costume earrings, one costume ring, a beaded watch, three costume brooches, and a shell pendant.
Silver: 1.675 total troy oz.

 

572   Silver Cinnabar Bead Necklace
a strung, knotted cinnabar bead (14.5 mm) necklace with a silver filigree clasp; stamped silver.
30 in.      

 

573   Fendi Watch Set
a gold tone Fendi watch with nine various colored leather straps, complete with box.
From the Estate of Mary L. Hill, Chapel Hill, North Carolina

 

574   Group of Costume Jewelry Items
to include: a matching silver and gold tone collar and cuff bracelet, four pairs of earrings, and four necklaces.
From the Estate of Mary L. Hill, Chapel Hill, North Carolina

 

575   Group of Gemstone Jewelry Items
to include: a costume coral bead necklace (signed Miriam Haskell; 2 x 13.5 in.); a pair of coral and faux pearl floral brooches (signed Miriam Haskell; 1.5 in.); a pair of faux coral and faux diamond ear clips (signed Boucher; 1 in.); a faux coral bead necklace with gold-tone bead accents (20 in.); a pair of gold-tone coral elephant motif brooches (1.5 x 1.75 in.); and a pair of gold-filled turquoise and pearl dangle earrings (1.5 in.).
From the Estate of Mary L. Hill, Chapel Hill, North Carolina

 

576   Four Silk Scarves
all with horse or carriage related designs, two made by Gucci (34 x 34 in.); a Mark Cross (34 x 34 in.); and an unsigned one (40 x 40 in.).
From the Estate of the late Owen Russel Best Jr., of Charlottesville, Virginia An electrical engineer by profession, Owen Best's long-time passion for and knowledge of horses, horse drawn carriages, and antiques led to his position of Curatorial Services and as Director of the Carriage Museum at Morven Estate, Charlottesvile, Virginia. John Kluge, the owner of the museum and estate, expressed indebtedness to Owen’s expertise, his commitment to the development of the Carriage Museum and his attention to the many details associated with it.

 

577   Vintage Cashmere and Fox Full Length Coat
circa 1960s, retailed through Neiman Marcus, black cashmere with reddish brown fox collar, labeled Regency Cashmere.
Length 43 in.; shoulder 19 in.; sleeve 22 in.     
Private Collection, Durham, NC

 

578   Two Vintage Boudoir Chandeliers
mid 20th century, including a glass flower prism five light chandelier with brass and black painted metal frame, with ceiling cap and chain; and a white tole painted six light chandelier with applied flowers, ceiling cap and chain.
Glass flower chandelier 17 x 14 in. diameter; tole chandelier 21 x 17 in. diameter.     

 

579   Pair of Paris Porcelain Table Lamps
19th century porcelain double handled vases with pink and gold field having a hand painted floral spray cartouche with later brass lighting mounts.
HOA 30 in.     
Collection of Suzanne Goldman, Cary, North Carolina

 

580   Pair of Vintage James Mont Style Brass Table Lamps
unmarked, circa 1950, in Chinese archaistic bronze style, with linen shades.
28.25 in.     
Private Collection, Goldsboro, North Carolina

 

581   Vintage Bronzed Dutch Girl Table Lamp
a tree-form standard supports a glass tulip blossom shade under which stands a maiden in traditional garb.
13.5 in.     

 

582   Vintage CrackleWare Porcelain Table Lamp
1960s, white glaze with gilt crackle, on gold tone base, with shade. 
HOA 31 in.      
Private Collection, Wilmington, North Carolina

 

583   New England Federal Inlaid Mahogany Sideboard
circa 1800, white pine, chestnut, and mixed woods secondary, rectangular case with banded veneer edge and lightwood line inlay highlight, upper central drawer above two hinged cabinet doors, flanked by a left hinged cabinet door and a right deep drawer, all with distinctive light and dark wood delicate chain inlays, upper stile of each leg with distinctive delicate geometric light and dark wood inlays, raised on six tall square tapered legs with line and cuff inlays, legs appear to be original but all use a mortise and tenon joint seven inches up the leg and a front mahogany veneer facing to conceal this construction technique. 
38 x 72.25 x 24.5 in.      
Private Collection, Durham, NC

 

584   Set of Four American Greek Revival Carved Oak Chairs
likely Philadelphia, circa 1810, well developed frames with relief carving of acanthus leaves and rosettes, with needlepoint slip seats on molded saber legs with acanthus carved knees and quatrefoil front rail.
34.5 x 18.5 x 18 in.     

 

585   Antique American Carved Oak Dining Table
circa 1890, circular top with relief carved skirt, pedestal base with rosette carving and hairy paw feet, opens to accept two leaves.
30 x 54 in. diameter; each leaf 15 in.     

 

586   Pair of New England Tiger Maple Side Chairs
19th century, solid maple, rush seats, on turned legs, with stretcher base. 
33 x 17 x 15 in.      

 

587   Queen Anne Style Easy Chair
early 20th century, mahogany, salmon colored velvet upholstery, on cabriole legs, with turned stretcher base. 
48 x 35 x 25 in.      
Private Collection, Wilmington, North Carolina

 

588   American Late Classical Chest of Drawers
19th century, mahogany, mahogany veneers, poplar secondary, upper projecting drawer over three graduated drawers flanked by tapered half columns on turned feet.
45 x 44.5 x 20 in.     

 

589   Antique American Pine Tool Chest
late 19th century, hinged molded lid, interior with fitted drawers and trays, with bail handles, on recessed feet.
24 x 40 x 26 in.      

 

590   Pair of Hessian Soldier Andirons
early 20th century, black painted iron, appear unmarked.
20 x 9 x 20 in.     

 

591   New England Bow Back Windsor Arm Chair
circa 1800, probably chestnut, white pine shaped plank seat, seven spindle back, shaped arms, turned splayed legs, stretcher base. 
36 x 24.5 x 19 in.      
Private Collection, Wilmington, North Carolina

 

592   Vintage Pair of Tavern Themed Andirons
early 20th century, coppertone metal and iron, with reticulated plaques with beer drinkers. 
27 x 15 x 20 in.      

 

593   Pair of American Classical Carved Walnut Three-Quarter Size Headboards
mid 19th century, with well-developed posts featuring pineapple, tobacco leaf, and spiral twist columns, with wavecrest headboards having leaf and berry carved ends on ring turned feet. 
55 x 57 in.      

 

594   Late Sheraton Walnut Work Table
circa 1860, poplar secondary, top with drop leaves having a slide support, two drawers with carved lipped pulls, raised on turned legs. 
29 x 17 x 24 in.      

 

595   Maitland Smith, Pair of Irish Chippendale Style Arm Chairs
late 20th century, mahogany, well developed frame, beige striped over upholstery, relief carved arms terminating in eagle heads, lion mask knee, on hairy paw feet, labeled. 
44 x 30 x 27 in.      

 

596   Kittinger George Washington Mahogany Executive Desk
mid 20th century, deep rectangular form, mahogany top with removable shelves to both ends, seven drawers to one side with cock beading and brass bail handles, having false drawers to other three sides, tapered fluted legs with brass casters, unmarked.
30 x 60 x 34 in.     

 

597   Baker, Chippendale Style Sofa
contemporary, mahogany, dark green corduroy upholstery, brass nail head trim, down filled loose cushion with brass nail head trim on straight molded legs, labeled.
35 x 75 x 33 in.     

 

598   Council Craftsman, Queen Size Carved Mahogany Tall Post Bed
late 20th century, solid carved mahogany posts featuring wheat and tobacco leaf designs, brass caps, on marlboro feet, labeled, with wood rails and bolts.
Headboard 86 x 64 in.     

 

599   Council Craftsman, Chippendale Style Mahogany Dresser and Mirrors
late 20th century, oak secondary, banded top with molded edge, ten drawers raised on ogee bracket feet, labeled, together with a pair of Queen Anne Style shaped and beveled mirrors.
Dresser 34 x 66 x 20 in.; mirrors 44 x 17 in.     

 

600   Council Craftsman, Chippendale Style Mahogany Night Stand
late 20th century, top with applied backsplash, open shelf with single lower drawer, reticulated returns on straight molded legs, labeled.
32 x 22 x 16 in.     

 

601   Bradington Young, Chippendale Style Leather Recliner
late 20th century, dark red leather upholstery with brass nail head trim, raised on carved mahogany ball and claw feet, labeled, back reclines with pop-out foot rest.
41 x 31 x 31 in.     

 

602   Biggs, Mahogany Chippendale Style Lowboy
mid 20th century, rectangular top with molded edge, over five lipped drawers featuring lower shell carved panel, flanked by fluted corners, scalloped skirt with shell carving, on cabriole legs, with acanthus carved knee and ball and claw feet, labeled. 
33 x 38 x 23 in.      

 

603   Royal Furniture Co., Queen Anne Style Mahogany Partner's Desk
mid 20th century, rectangular form, top with molded edge, each side with seven drawers, acanthus carved knee and foot, labeled. 
30 x 66 x 35 in.      

 

604   Set of Four Queen Anne Style Leather Office Chairs
late 20th century, mahogany, dark blue tufted leather with brass nailhead trim, on casters, labeled "Classic". 
42 x 27 x 23 in.      

 

605   Set of Four Queen Anne Style Leather Office Chairs
late 20th century, mahogany, dark blue tufted leather with brass nailhead trim, on casters, labeled "Classic". 
43 x 27 x 23 in.      

 

606   Set of Four Queen Anne Style Leather Office Chairs
late 20th century, mahogany, dark blue tufted leather with brass nailhead trim, on casters, labeled "Classic". 
43 x 27 x 23 in.      

 

607   Lillian August, Leather Upholstered Classical Style Bench
late 20th century, mahogany, tan leather with tufted loose cushion, brass nailhead trim, reeded skirt, on turned feet, with brass casters, labeled. 
30 x 57 x 21 in.      
From the Estate of the late William L. Bishop, Durham, North Carolina

 

608   Stoneleigh, Pair of Over Upholstered Crescent Form Loveseats
contemporary, beige damask upholstery, with loose down cushions, tufted backs, with rope twist fringe skirt, on block feet, labeled. 
30 x 64 x 38 in.      

 

609   Equestrian Theme Glass and Iron Dining Table
late 20th century, circular glass top with molded edge, on painted iron base, with lion mask legs having cross supports, on hoof feet. 
30 x 63 in diameter.      

 

610   Set of Eight Over Upholstered Dining Chairs
contemporary, dark green plush upholstery, brass nail head trim, paneled skirt, on mahogany legs. 
40 x 20 x 22 in.      

 

611   Berkey & Gay, Inlaid Mahogany Writing Desk
mid 20th century, bowfront form with banded top, with upper recessed drawers and open shelf, over four cockbeaded and banded drawers, raised on cabriole legs, labeled. 
40 x 42 x 24 in.      

 

612   Otto Zenke Collection, Chippendale Style Mahogany Wall Shelf
mid 20th century, three graduated shelves with alternating reticulated supports, labeled.
36 x 37 x 9 in.      

 

613   Maitland Smith, Chip Carved Console Table
late 20th century, wood and leather with brass nailhead trim, demilune form, single drawer on tapered legs with bronze feet, labeled.
33 x 52 x 18 in.     
From the Estate of the late William L. Bishop, Durham, North Carolina

 

614   Restored Factory Cart Coffee Table
early 20th century oak and iron with full restoration, reset and refinished.
14 x 28 x 51 in.     
From the Estate of the late William L. Bishop, Durham, North Carolina

 

615   Maitland Smith, Regency Style Glass and Mahogany Dining Table
late 20th century, two-part form, rectangular glass top with molded edge and canted corners, on mahogany and iron trestle-form base with carved and silver leaf dolphins, on flush molded foot, appears to be unmarked. 
30 x 45 x 84 in.      

 

616   Neoclassical Style Curule Bench and Side Table
late 20th century, including a carved and ebonized wood bench with gilt highlights, moire silk upholstery, acanthus and reeded carvings with paw feet; together with a drum style side table with later ebonized and gilt surface on a tripod base.
Bench 27 x 31 x 21 in.     

 

617   Queen Anne Style Leather Lolling Chair
late 20th century, cherry, distressed leather tufted upholstery with brass nail head trim, on cabriole legs. 
43 x 25 x 22 in.      

 

618   Two Pair of Brass Andirons
20th century, the larger pair with griffin and acanthus leaf decoration and the shorter pair in the French Rococo style.
Taller 26 in.     

 

619   Spanish Style Wrought Iron and Glass Coffee Table
late 20th century, thick circular glass top with molded edge, on scroll and foliate iron base with green painted surface. 
18 x 36 in diameter.      

 

620   Kashan Area Rug
center with lobed medallion on light blue field, field with floral design elements, with red guard border with scrolling vine and floral motifs. 
4 ft. 1 in x 6 ft. 7 in.      

 

621   Needlepoint Rug
magenta field with large ivory cartouche to center, with gold elements, border with repeating medallions with floral motifs. 
5 ft. 9 in. x 7 ft. 3 in.      

 

622   Bakhtiari Carpet
with center ivory lobed medallion, on dark red field, with floral design elements. 
8 ft. 6 in. x 12 ft. 6 in.      

 

623   Indo Persian Rug
red field, navy medallion, beige border.
7 ft. 2 in. x 9 ft. 8 in.      

 

624   Hamadan Area Rug
navy blue field with multiple medallions, floral design elements. 
4 ft. 2 in. x 6 ft. 9 in.      

 

625   Oriental Area Rug
dark blue field with floral and vine motifs. 
4 ft. 2 in. x 5 ft 11 in.      

 

626   Oriental Area Rug
green field with red medallions. 
2 ft. 11 in. x 6 ft. 8 in.      

 

627   Friedman Brothers, Rococo Style Carved and Gilt Looking Glass
late 20th century, wood and composition, asymmetrical frame, the pediment featuring an eagle, over shaped and beveled mirror, labeled. 
62.5 x 31 in.      

 

628   LaBarge, Pickled Pine Foliate Carved Frame Mirror
late 20th century, carved pine frame with white washed surface, labeled. 
44 x 28 in.      

 

629   Italianate Rococo Style Carved and Gilt Mirror
late 20th century, wood and composition, with gilt surface featuring a flower basket pediment and acanthus leaf frame surrounding a shaped beveled mirror. 
42 x 26 in.      
From the Estate of the late William L. Bishop, Durham, North Carolina

 

630   A Venetian Boudoir Mirror
mid-20th century, unmarked, with etched design to cut mirrored panels, shield form.
DOA 21.75 x 13.25 in.     

 

631   after John James Audubon (Amerian, 1785–1851), American White Pelican
offset lithograph in colors, Princeton Edition and sheet bears their stamp at lower right, presented in giltwood frame.
DOA 42 x 29 in.     

 

632   Ivan Edwin Hugentobler (Swiss, 1886-1972), Pferderennen, A Vintage Swiss Horse Racing Poster
lithographic poster in colors, dated 1932, marked to verso as previously from the Metromedia / Metzl Poster Collection, framed.
DOA 51 1/4 x 36 1/4 in.     
From the Estate of the late Owen Russel Best Jr., of Charlottesville, Virginia An electrical engineer by profession, Owen Best's long-time passion for and knowledge of horses, horse drawn carriages, and antiques led to his position of Curatorial Services and as Director of the Carriage Museum at Morven Estate, Charlottesvile, Virginia. John Kluge, the owner of the museum and estate, expressed indebtedness to Owen’s expertise, his commitment to the development of the Carriage Museum and his attention to the many details associated with it.

 

633   Bois (French, 20th Century), Donett
lithographic poster in colors, circa 1930, framed.
DOA 51 x 36 in.     

 

634   Vintage Eagle Brand Condensed Milk Advertisement
chromolithograph, circa 1900, matted and framed.
DOA 19 3/4 x 16 1/4 in.     
Private Collection, Wilmington, North Carolina

 

635   O. M. "Otto" Wise (American, 20th Century), An Original Lucky Star Poster Painting
hand-painted and collaged film poster circa 1929, signed "O. M. Wise" at lower right, framed.

Accompanying this poster is a personal letter to the consignor from Bruce Davis - former Executive Director of the Academy of Motion Picture Arts and Sciences - thanking him for his help compiling works and information for Anthony Slide's book Now Playing: Hand-Painted Poster Art from the 1910s through the 1950s. A copy of this book is included in this lot.
DOA 47 1/2 x 31 1/2 in.     
In addition to the printed lithographic posters that were made to showcase films in the early 20th century, local theaters hired artists to create one-of-a-kind, hand-painted advertisements such as this example to attract audiences.
From the Estate of the late Owen Russel Best Jr., of Charlottesville, Virginia An electrical engineer by profession, Owen Best's long-time passion for and knowledge of horses, horse drawn carriages, and antiques led to his position of Curatorial Services and as Director of the Carriage Museum at Morven Estate, Charlottesvile, Virginia. John Kluge, the owner of the museum and estate, expressed indebtedness to Owen’s expertise, his commitment to the development of the Carriage Museum and his attention to the many details associated with it.

 

636   Edward S. Curtis (American, 1868–1952), Four Photogravures
to include Nine Pipes - Flathead, Quinault Female Type, Red Owl - Flathead, and Mat Lodge - Yakima, small format photogravures, presented in attractive uniform matting and framing.
Image Size 7 1/4 x 5 in. (each approximately); DOA 15 3/8 x 12 1/4 in.     
From the Estate of the late William L. Bishop, Durham, North Carolina

 

637   Gifford Beal (American, 1879–1956), Bareback Act, Old Hioppodrome
lithograph, 1950, pencil signed at lower right, matted and framed.
DOA 19 5/8 x 25 3/4 in.     

 

638   Luigi Lucioni (American/Italian, 1900–1988), Two Silo Scenes
to include Vermont Castles and Shadow and Substance, etching, each pencil signed at lower right, one retains original AAA label, presented in uniform matting and silvertone framing.
DOA 15 5/8 x 19 5/8 in.     

 

639   Group of Four Roman Views
hand-colored prints, after earlier original prints, housed in uniform matting and framing.
DOA 24 1/4 x 29 3/4 in.     

 

640   after Stefano Tofanelli (Italian, 1752–1812), Two Engravings of Roman Gladiator Sculptures
early 19th century, housed in uniform matting and framing.
DOA 27 1/8 x 21 3/4 in.     

 

641   after Henri de Toulouse-Lautrec (French, 1864–1901), Le Tub
a reproduction print in colors published by the Bibliotheque Nationale and sheet bears their blindstamp at lower right, printed on Arches wove paper, matted and framed.
DOA 23 1/2 x 27 1/2 in.     

 

642   Annie L. Simpson (British, Late 19th/Early 20th C.), Three Views of Tunisia and Venice
aquatint in colors, to include 'The Blue Shop' - Tunis, Tunis - (Le Souk el Belat.), and 'Santa Maria della Salute' - Venice, each pencil signed, numbered, and titled lower margin, two with copyright information marking dates as 1920 and 1921, presented in uniform giltwood frames with matting.
DOA 22 3/4 x 16 1/2 in. (one slightly larger)     
Each a nice, bright impression.

 

643   Adriaen Lommelin (Belgian, 1637- circa 1673), Les Poulins (The Foals)
hand-colored copperplate engraving, from a 17th or 18th-century edition, published in William Cavendish, Duke of Newcastle's book on horse training titled La Méthode et Invention Nouvelle de Dresser les Chevaux, sheet with center crease as issued, matted and framed.
DOA 29 3/4 x 44 1/4 in.     
From the Estate of the late Owen Russel Best Jr., of Charlottesville, Virginia An electrical engineer by profession, Owen Best's long-time passion for and knowledge of horses, horse drawn carriages, and antiques led to his position of Curatorial Services and as Director of the Carriage Museum at Morven Estate, Charlottesvile, Virginia. John Kluge, the owner of the museum and estate, expressed indebtedness to Owen’s expertise, his commitment to the development of the Carriage Museum and his attention to the many details associated with it.

 

644   after Franz von Stuck (German, 1863–1928), Dissonanz (Dissonance)
gravure, printed by Franz Hanfstaengl, presented in attractive carved wooden frame with matting.
DOA 19 1/2 x 17 in.     

 

645   after George Morland (British, 1763–1804), The Country Butcher and The Cottager's Wealth
hand-colored aquatints, housed in uniform matting and framing.
DOA 31 1/2 x 37 1/2 in. (the second slightly smaller)     

 

646   Gould & Richter, Columba Rivia
hand-colored lithograph, 19th century, matted and framed.
DOA 28 3/4 x 22 in.     

 

647   J. F. Barry Pittar (American/British, 1880-1948), Under Waterloo Bridge
etching and drypoint, pencil signed and titled lower margin, matted and framed.
DOA 12 x 15 3/4 in.     

 

648   Édouard Jeanmaire (Swiss, 1847–1916), Two River Views
etchings, each signed and titled in the plate, each retains gallery label to verso, both housed in giltwood frames.
DOA 15 1/2 x 18 in. (the second slightly smaller)     
Kennedy Galleries, New York, New York

 

649   Hugo Bantau (German, 1890-1945), Landscape with Stream
etching, pencil signed at lower right, sheet also bears etched remarque, with gallery label affixed to verso, matted and framed.
DOA 21 x 17 in.     
Kennedy Galleries, New York, New York

 

650   Heinrich Jakob Ziegler (1888-1973), Locarno - Madonna del Sasso
drypoint, pencil signed and titled lower margin, retains gallery label to frame verso, matted and framed.
DOA 11 3/8 x 13 in.     
Kennedy Galleries, New York, New York

 

651   Theodore Roussel (French, 1914–1989), Figures in a Landscape
etching in blue ink, pencil signed on attached paper tab lower left, sheet trimmed at the platemark, framed.
DOA 13 3/8 x 16 1/4 in.     

 

652   Kaj Kligaard (Denmark, 1888-1954), The Holy Land
a lithographed historical map depicting Egypt and the Levant. Behind mat under glass in frame.
DOA 32.5 x 25.5 in.     

 

653   Two Diminutive Early Views of Ibiza, Spain
to include two diminutive reproduction print views of Ibiza, Spain, 20th century, each pencil signed and titled, matted and framed together.
DOA 14 1/8 x 8 3/4 in.     

 

654   An Early 19th Century Drawing of an Old Man
graphite on paper, signed and dated "Carl Gustaf Blom, 1813" at lower right, matted and framed under glass.
DOA 21 x 15 in.     
From the Collection of the late Stig and Eva Scholander, Stockholm, Sweden

 

655   Brass Surveyors Compass by C. T. Amsler of Philadelphia
19th century, signed on its engraved steel dial; the instrument's platform is affixed with two levels, two sighting posts and a socket mount. Included is a lidded wooden case, its interior with remnants of green felt and a fragmentary makers' label for Amsler & Wirz, Chestnut Street, Philadelphia.

 

656   Vintage C.S. Hamond & Co., Terrestrial Globe on Stand
circa 1900, mounted in a copper tone metal stand with stylized paw feet, marked.
48 in. tall.     

 

657   Quack Medical Device and Price Tag Dispenser
the first item a "No. 4 D. D. Home Medical Apparatus with Standard Dry Cell Battery," circa 1900, lacking accessories and attachments, unknown use, but considered a quack's device, in two-part wooden box (4.5 x 8.75 x 5.5 in.) (Wear and losses to label under lid); the second piece a Monarch Pathfinder price label maker and dispenser (mid-20th century) with drawer containing type (10.25 in. high) (wear to finish on the wooden base; possibly not working properly).

 

658   A Large Archive of Material Relating to the Ice Capades
including a large number of black and white publicity photos of skaters; a collection of Ice Capades programs; several autographed photos; (9) sterling silver Ice Capades and Ice Cycles pendants (3.1 total troy oz.); (16) assorted pendants, brooches, and buttons; (2) money clips; and a miniature skating trophy (1.75 in.). Dates range from 1949 to 1956.
From the Estate of the late Owen Russel Best Jr., of Charlottesville, Virginia An electrical engineer by profession, Owen Best's long-time passion for and knowledge of horses, horse drawn carriages, and antiques led to his position of Curatorial Services and as Director of the Carriage Museum at Morven Estate, Charlottesvile, Virginia. John Kluge, the owner of the museum and estate, expressed indebtedness to Owen’s expertise, his commitment to the development of the Carriage Museum and his attention to the many details associated with it.

 

659   Two American Revolutionary Era Engravings
to include William Penn's Treaty with the Indians and Winter Camp at Valley Forge, late 18th/early 19th century, presented in uniform antique wooden frames with gilt fillet.
DOA 10 x 12 1/2 in.     

 

660   Early United Daughters of the Confederacy Stars and Bars Delegate's Badge
being a diminutive First National Confederate flag of dyed silk, its canton incorporating 13 stars for each of the seceded states, the horizontal bars imprinted with "DELEGATE / WILMINGTON, N. C. / NOV. 13-16, 1901" in gilt. This was made to wear at the organization's 8th Annual Meeting being held in Wilmington. Presented behind glass in a modern gilt frame.
Private Collection, Wilmington, North Carolina

 

661   Scarce History of Hillsborough, NC and Eleven Related Vintage Postcards
the book, as follows: Lloyd, Allen Alexander and Pauline O. History of the Town of Hillsborough 1754-1991 (Hillsborough: Lloyd & Lloyd, 1991), contains numerous photos of long-gone residents and vanished landmarks, creme paper covers, octavo (9 in.) (soiling to front; splits to spine); plus eleven unused postcards showing notable sites that still exist today (light aging, else fine condition).

 

662   Pre-Columbian Pottery Mounted to Wooden Board
five figural fragments are amid 32 decorated pot shards.
DOA 10 x 15.75 in.     

 

663   Rare Period View of Gibraltar's Fortifications Under Attack
Plan of the Combined Attacks by Land and Sea to Take by Assault the Fortress of Gibraltar / Done by an Engineer in the French Army (London: S. Hooper, 1782), copperplate engraving with outline color, depicting a combined effort mounted by the French and their Spanish allies during the "Great Siege of Gibraltar" of 1779-1783.
DOA 26 x 17 in.     
Private Collection, Wrightville Beach, North Carolina

 

664   Homann, Johann Baptist. Achaia Vetvs et Nova
(Nurenburg: Christopher Homann, circa 1730), copperplate engraving with hand-coloring, blank verso, showing Attica in the Greek heartland. Under mat behind glass and presented in a plain wooden frame.
DOA 26.5 x 29 in.     

 

665   Antebellum Maps of North Carolina and South Carolina
(Philadelphia: Augustus Mitchell, 1846-1847), the North Carolina map with inset maps of the Piedmont's "Gold Region" and New Bern; the South Carolina map with an inset plat of Charleston. Presented behind mats in matching wooden frames with gilt liner.
DOA 23 x 26 in.     

 

666   Two Framed Johnson & Browning Maps
steel engravings with color, 1860s, to include: Johnson's New Jersey (DOA 23.25 x 19.5 in.) (behind mat covering portions of vertical borders); Johnson's Austria Turkey in Europe. And Greece. (DOA 22.25 x 28.5 in.) (browning to edges; damp stain lower margin).

 

667   Facsimile of the Hereford Mappa Mundi
(Stuttgart: Schuyler-Verlag, 20th century), this print is faithful to the original 14th century medieval English map on vellum that was held by the Hereford Cathedral for centuries. Presented under glass in a wooden frame.
DOA 41.5 x 34.75 in.     

 

668   Two 19th Century Maps of Cuba and Adjacent Areas
to include: West Indies (Philadelphia: Thomas, Cowperwait & Co., 1850), plate 39 from atlas, presented behind mat in wooden frame with gilt (DOA 20.25 x 23 in.) and Johnson's Cuba, Jamaica and Porto Rico (New York: Johnson & Ward, 1863), plate 62 from atlas, presented behind mat in silvertone wooden frame (DOA 21.5 x 24.5 in.).

 

669   Antique Pacific Northwest Coast Carved Walking Stick
19th century, bird totem surmounted by snake, with lizard and fish. 
36.5 in.      
Retains an old warm finish. 
From the Estate of the late Owen Russel Best Jr., of Charlottesville, Virginia An electrical engineer by profession, Owen Best's long-time passion for and knowledge of horses, horse drawn carriages, and antiques led to his position of Curatorial Services and as Director of the Carriage Museum at Morven Estate, Charlottesvile, Virginia. John Kluge, the owner of the museum and estate, expressed indebtedness to Owen’s expertise, his commitment to the development of the Carriage Museum and his attention to the many details associated with it.

 

670   Two Northwest Coast and Inuit Prints
the first: pictures a seal hunt; print in colors (frosted glass obscures determination of print type), with pencil inscription, signature, and date (1973); the second: a block print titled Vision in Autumn, pencil signed and inscribed; both matted and framed.
DOA 24 1/4 x 30 1/2 in. (the first), 24 1/4 x 26 5/8 in. (the second)     

 

671   A Group of Five Green Painted Baskets
southern origin, early 20th century, various shades of green.
Largest 12 x 13.5 in.     
From the Collection of Mary Wells, Greensboro, North Carolina

 

672   A Group of Five Market Baskets
two round oak splint, and two rectangular, wicker and twig construction, the fourth 'double gourd' form.
Large round 15.5 x 14 in.     
From the Collection of Mary Wells, Greensboro, North Carolina

 

673   A Group of Miniature Baskets (14)
early 20th century to contemporary.
3.5 to 5.5 in.     
From the Collection of Mary Wells, Greensboro, North Carolina

 

674   Five Pine Needle Baskets
a 2008 sewing basket by Margaret Roby, tagged as such (pine finial broken); three pine needle baskets bound with raffia attributed to Coushatta Indians, LA.; and a lidded sewing basket with green tinted bands.
Tall sewing basket 7 x 6 in.     
From the Collection of Mary Wells, Greensboro, North Carolina

 

675   A Group of Five Early Baskets of Interest
a long handled tithe basket (rim and base break; loss of wrapping fibers); an oak split pie basket (breaks and losses mostly at handle bases); a cutlery basket (good vintage condition); an open sided footed kindling basket (breaks to vertical weavers on one side); a splint oak hamper (scattered breaks).
Kindling basket 21.5 x 21 x 14 in.; Hamper 18.5 in.     
From the Collection of Mary Wells, Greensboro, North Carolina

 

676   A Group of Seven Vintage Baskets
oak splint, five rectangular in form, two oval; two of the rectangular ones have black tinted bands.
Larger Basket with black bands 10 x 10.5 in.     
From the Collection of Mary Wells, Greensboro, North Carolina

 

677   Three Scalloped Rim Baskets
vintage, oak splint with bentwood handles.
Tallest 14 x 8.5 in.     
From the Collection of Mary Wells, Greensboro, North Carolina

 

678   Five Flower Gathering Baskets
20th century, two likely made in Southeast Asia, one vintage basket in fair condition with rim wrapping losses.
Largest basket with partial sides 14 x 16 in.     
From the Collection of Mary Wells, Greensboro, North Carolina

 

679   A Group of Five Lidded Baskets
a vintage oak splint basket; a paint decorated footed basket (bottom lacquer peeling); a cylindrical wicker basket (one hinge strand broken); a rectangular wood sided one (handle twigs unraveling); a basket of intricately braided strands to resemble a pine cone (top loose, handle with braided strands lifting).
Painted sewing box 4 x 10 in.     
From the Collection of Mary Wells, Greensboro, North Carolina

 

680   A Vintage Pine Needle Beehive Basket and Two Rye Baskets
coiled construction; an early large circular rye basket probably PA.; the second rye basket second half 20th century.
Early 20th century rye basket 11 x 15 in.     
From the Collection of Mary Wells, Greensboro, North Carolina

 

681   Three Contemporary Coiled Baskets
sweet grass or raffia.
Oval basket 4 x 17 in.     
From the Collection of Mary Wells, Greensboro, North Carolina

 

682   A Group of Four Market Baskets
two contemporary baskets; a splint one with tinted bands and leather thong bindings; an intricately made river cane covered basket (break at one corner; other small defects); two vintage oak splint high sided baskets (both with scattered small breaks).
River cane basket 23 x 14.5 x 3 in.     
From the Collection of Mary Wells, Greensboro, North Carolina

 

683   A Group of Six Wall Baskets
four with white paint; one red painted; one natural oak splint.
Largest white basket 12 x 13.5 8.5 in.     
From the Collection of Mary Wells, Greensboro, North Carolina

 

684   Large Catawba Pottery Vase
20th century, unsigned, wide-mouth form with two chief's head handles.
8 1/8 in.      

 

685   An Impressive Ben Owen III Melon Vase
streaky blue, green, yellow glaze over an ovoid form, footed base, ridged shoulder, flared collared rim, inscribed "Ben Owen III 1993."
20.5 x 13 in.     
Private Collection, Goldsboro, North Carolina

 

686   Three NC Pottery Vessels, Ben Owen III
an Oriental translation covered jar, 1997 (HOA 12 in.); a teapot; a Mirror Black melon vase 1997 (8.25 in.).
Private Collection, Goldsboro, North Carolina

 

687   A Large Folk Art Face Jug, Charles Lisk and a Churn
two color swirl clay, double handled form with sine wave shoulder decoration, single applied eyebrow, open mouth with china plate teeth, stamped "CL" (15.25 in.) (large right ear flake); an alkaline glazed churn (13.75 in.) (no apparent condition concerns). 
From the Collection of Mary Wells, Greensboro, North Carolina

 

688   Three Folk Art Pottery Face Vessels, Charles Lisk
a laughing face with cobalt glaze, double row of teeth; an alkaline pitcher (firing lines on the handle); a brown glazed jug with inscribed beard.
Pitcher 10.5 in.     
From the Collection of Mary Wells, Greensboro, North Carolina

 

689   Three NC Pottery Crystalline Glazed Vases
a shoulder vase, Phil Morgan 1985 (10 in.); a miniature bud vase, also by Phil Morgan; a globular vase signed "Smyth" (7 in.).
Private Collection, Goldsboro, North Carolina

 

690   Western NC Folk Pottery Face Jug, Steve Abee
alkaline glazed stoneware buggy jug, large applied features, single eyebrow, open mouth with teeth, stamped "SA".
11.75 in.     

 

691   Two NC Folk Pottery Devil Jugs, Albert Hodge
a clear orange glazed jug with yellow slip highlights, protruding tongue (chip to right horn) (9 in.); a large face jug with pointy clay teeth, goatee, sine wave band at the upper shoulder (12 in.) both signed.
From the Collection of Mary Wells, Greensboro, North Carolina

 

692   A Group of Folk Art Pottery Face Jugs, G. F. Cole
five total, three composed of swirl clay.
Tallest 8.5 in.     
From the Collection of Mary Wells, Greensboro, North Carolina

 

693   Three NC Pottery Items
a studio pottery glazed red vase (10.25 in.); a lidded canister by Teague Pottery, signed (8.5 x 7 in.); a low vase by Nell Cole Graves (5 in.).
Private Collection, Goldsboro, North Carolina

 

694   Two NC Pottery Birds
a quail by Archie and Yvonne Teague (7 x 9 in.) and a Charles Moore salt glazed rooster (8 x 6.5 in.) dated 1990.
From the Collection of Mary Wells, Greensboro, North Carolina

 

695   Two Georgia Pottery Works by Marie Rogers
mixed glaze with Albany slip; the face jug entitled "Trust in the Lord---" (10.5 in.); a pitcher, not signed.
Pitcher 7.5 in.     
From the Collection of Mary Wells, Greensboro, North Carolina

 

696   NC Chinese Blue Pottery Lamp
attributed to Vernon Owens, a very ovoid form with dogwood handles, wooden base, black silk shade.
DOA 21.5 in.     

 

697   Two Pottery Works by Walter Fleming
a slip glazed face jug, buggy jug form with china teeth (12 in.); a vase with scalloped rim and decorative band at mid-section (8 in.).
From the Collection of Mary Wells, Greensboro, North Carolina

 

698   Jack Phillips (NC), Pottery Vase
stoneware bottle vase "Blue Rain Forest", signed.
12 in.     
Private Collection, Goldsboro, North Carolina

 

699   Ten Folk Art Carved and Painted Lures
20th century, carved wood and metal, including a mermaid signed Kasey Edwards; a beaver; a spotted trout pencil signed PW 01; blue salamander; jointed rainbow trout stamped B; (2) patriotic painted fish; a patriotic painted turtle; a natural painted turtle; and a painted red/blue fish.
Longest 11.5 in.     

 

700   Gustaf Miller (NY, 20th Century), Folk Art Figure
1999, assembled and painted wood and metal, dated to underside and signed on the side of the base.
22 x 9 x 6 in.     
Miller spent his childhood in Nyack, New York. He received a BFA and MFA from Syracuse University, and pursued post graduate work in Rome, Italy. Miller has exhibited his work in fine art galleries and museums across the east coast. His work is currently in the collections of the Museum of Fine Arts, Boston, MA; Vero Beach Museum, FL; Addison Gallery of American Art, Andover, MA; Margulies Collection, Miami, FL; Graham Gund Collection, Cambridge, MA; and the DeCordova Museum and Sculpture Garden, Lincoln, MA. 

 

701   A Vintage Folk Art Church
constructed of painted wood, with steeple and open interior, paper 'stained glass' windows.
23.5 x 19.5 x 12 in.     
From the Collection of Mary Wells, Greensboro, North Carolina

 

702   A Vintage Folk Art Model of a Medieval Church 
constructed of wood with faux painted stones and tiles.
10 x 26.5 x 10.5 in.     
From the Collection of Mary Wells, Greensboro, North Carolina

 

703   Folk Art Coco Chanel Model Tugboat
possibly by a North Carolina maker, mostly painted wood construction; placed on a custom wooden stand.
14.5 x 18.5 x 9 in. on stand     

 

704   Tramp Art Carved and Painted Wooden Wall Plaque
unsigned, first half 20th century, a rose bordered frame surrounds a tablet dominated by two high relief trees, one flowering and one bare.
18.25 x 27 in.     
From the Collection of Mary Wells, Greensboro, North Carolina

 

705   Folky Grain Painted Sewing Stand
19th century, white pine, with original faux grain painted surface, octagonal rotating top, on branch form tripod base with lower basket. 
34 14 x 13 in.      
From the Collection of Mary Wells, Greensboro, North Carolina

 

706   Vintage Hooked Rug
early 20th century, with ship and lighthouse. 
34 x 49 in.      

 

707   Two Framed Ship Needleworks
20th century, both depicting full-rigged sailing ships and presented in wooden frames.
DOA 26.5 x 20.5 in. and 22.5 x 13 in.     

 

708   Three American Art Pottery Pieces
a Louwelsa pitcher hand decorated with grape clusters by Weller impressed K / 580 (glaze losses around rim); a Rookwood footed vase, standard glaze, decorated by Anna M. Valentien circa 1900 (tiny base hairlines / crazing); a pair of Rookwood Lotus candle holders 1929 form 2992 .
Pitcher 12 in.     
Private Collection, Goldsboro, North Carolina

 

709   Three Stoneware Salt Glazed Jugs
a stamped "WHITE & SON" approx. two gallon, 1880s, (spout askew as made); a Rowe Pottery Works bird jug, 1982; a Continental jug with cork in the spout (12.5 in.).
White & Son Jug 13 in.     
From the Collection of Mary Wells, Greensboro, North Carolina

 

710   Antique Stoneware Jug, Nashville, Tenn.
two gallon size with stencil label "SPINE (?) & HILL (?)'' above a star symbol.
13.5 in.     
Private Collection, Wilmington, North Carolina

 

711   A Group of Four Storage Jars
19th century, with brushed cobalt decoration, three are one gallon size, one is approximately half gallon. 
From the Collection of Mary Wells, Greensboro, North Carolina

 

712   Antique Liquor Jug, 'W H HOLMES & SON"
Pittsburgh, PA., five gallon size, label is stenciled in cobalt, hand-written capacity number.
19 in.     
Private Collection, Wilmington, North Carolina

 

713   North Carolina Advertising Whiskey Jug
Riverside Manufacturing, Shore, N.C., stoneware, three painted bands. 
14 in.      
Private Collection, Wilmington, North Carolina

 

714   Four Antique Salt Glazed Storage Crocks
three gallon size, the first is decorated with a bird (flaking at base and inner rim; lacking handles); the second with bee decoration (3 in. hairline from rim); the third crock has a misshapen rim, stylized tree decoration; the fourth is lined with Albany slip. All marked "3".
10 x 11 in. average size.     
From the Collection of Mary Wells, Greensboro, North Carolina

 

715   Four Vintage Stoneware Pieces
a No. 6 dispenser (spout frozen); a marked three gallon jar, Albany slip interior (rim chip); an over-fired Goodwin & Webster jar (rim chips, hairline from base, base chip) (9 in.); a three gallon stoneware jug lacking cobalt to the design (old rim chips).
Jar 12 in.;      
From the Collection of Mary Wells, Greensboro, North Carolina

 

716   Paul Lucien Dessau (British, 1909-1999), Harlequin & Dancer
oil on canvas, signed at lower center, presented in the likely original gilt frame with wide velvet liner and gilt filet.
DOA 22.75 x 18.75 in.     
Private Collection, Durham, NC

 

717   Dianne Flynn (British, b. 1939), Two Original Watercolors
watercolor on paper, signed, each depicting a woman in antique dress in quiet contemplation while knitting or sewing, matted and framed under Conservation glass.
DOA 15.75 x 12.5 in.     
From the Collection of Mr. Owen Walker, Raleigh, North Carolina

 

718   R. W. H. Hartley (British, 19th/20th century), A Bathing Idyll
watercolor and whitening on paper, signed at lower left, early 20th century, attractively matted and framed under clear Museum Glass.
DOA 20 x 26.25 in.     
From the Collection of Mr. Owen Walker, Raleigh, North Carolina

 

719   Two 18th Century Watercolor Topographical Views in Algeria
watercolor on paper laid on paper, each with unidentified artist's monogram at lower right and inscribed and dated "Algér 1793," later matting and framing.
Sheet size 19 x 13.5 in.     
From the Collection of the late Stig and Eva Scholander, Stockholm, Sweden

 

720   A Vintage Painting of a Parisian Street Scene
oil on canvas, signed and dated 1969 at lower left, presented in a period oak frame.
DOA 26.25 x 30.5 in.     

 

721   Henry Webster (British, exh. 1922-1939), Old Lynmouth, Devon
watercolor on paper, circa 1930, signed at lower left, matted and framed under Conservation Clear Glass within a period appropriate gilt frame.
DOA 20 x 16 in.     
From the Collection of Mr. Owen Walker, Raleigh, North Carolina

 

722   Harold Savery (British, 20th century), View Towards Rye
watercolor on paper, signed at lower right, matted and framed under Conservation Clear Glass.
DOA 20 x 15.5 in.     
From the Collection of Mr. Owen Walker, Raleigh, North Carolina

 

723   19th Century Italian Watercolor of Putti with Goat
watercolor on paper, unsigned, 19th century, attractively matted and framed under "Tru Vue" Museum glass.
DOA 13.25 x 15.25 in.     
From the Collection of Mr. Owen Walker, Raleigh, North Carolina

 

724   Lewis Mortimer Watts (British, fl. 1900-1920), St. Winifred's Church, Branscombe, Devon
watercolor on paper, signed at lower left, matted and framed under Conservation Glass.
DOA 16.25 x 20.25 in.     
From the Collection of Mr. Owen Walker, Raleigh, North Carolina

 

725   Peter Frederick Anson (British, 1889-1975), Sestri Levante
watercolor and whitening on paper, signed and dated 1929 at the lower right, matted and framed under Tru Vue Conservation glass.
DOA 18.5 x 16.75 in.     
From the Collection of Mr. Owen Walker, Raleigh, North Carolina

 

726   F. Denner Smith (British, exh. 1901-1908), The Tidal Flats
watercolor on paper, inscribed on the verso of work "The Studios / Edith Terrace / Chelsea S. W. 10" (not currently visible due to framing), attractively matted and presented under Conservation glass within a period gilt frame.
DOA 19.25 x 23.25 in.     
From the Collection of Mr. Owen Walker, Raleigh, North Carolina

 

727   An Antique British Illustration Watercolor
watercolor and graphite on paper, unsigned, first half of the 20th century, attractively matted and framed under Conservation glass.
DOA 21.5 x 21.5 in.     
From the Collection of Mr. Owen Walker, Raleigh, North Carolina

 

728   A Still Life Watercolor Painting of Daffodils
watercolor on paper, signed and dated "Waring '83" at lower left, matted and framed under glass.
DOA 16.5 x 16.5 in.     

 

729   Haitian School Village Scene
oil on linen, 20th century, signed "Hilaire" at lower right, unframed.
24 1/8 x 36 in.     
Collection of Suzanne Goldman, Cary, North Carolina

 

730   Caribbean School Painting of African Animals
oil on linen, 20th century, appears unsigned, unframed.
37 x 27 in.     
Collection of Suzanne Goldman, Cary, North Carolina

 

731   A Haitian School Painting of Animals in the Rainforest
oil on canvas, signed "Ernst Maxime" at lower center, late 20th century, framed.
DOA 60.5 x 39.5 in.     
Collection of Suzanne Goldman, Cary, North Carolina

 

732   A Vintage Haitian School Painting of Three Women with Fruit
oil on canvas, signed "Antoine" at lower right, presented in a period frame.
DOA 22.5 x 26.5 in.     

 

733   An Early 20th Century South American Landscape Painting
oil on canvas, indistinct signature at lower left, inscribed "al inteligente caballero / Dr. Raul E. Smith(?)" on mat board at lower right and indistinctly dated and signed below, later matting and presented under glass in a period gilt composition frame.
DOA 11.5 x 21.5 in.     

 

734   Robert Peterson (NM/IL, 1943-2011), Red & White Onions
pastel on paper, initialed at upper left, 1990, gallery label to the verso, attractively matted and framed under glass.
DOA 31 x 37.25 in.     
Jerald Melberg Gallery, Charlotte, North Carolina
Private Collection, Goldsboro, North Carolina

 

735   A Collection of Original Paintings for the Ice Capades, El Lew & Joe De Mers
the first the original cover illustration for the 1956 program by El Lew and featuring Donna Atwood as Peter Pan, gouache on illustration board, signed at lower right, retaining a MetroMedia Inc. label to the verso (DOA 26 x 22 in.) (some pinholes along left edge; small paint flake to one cloud); the second the original cover illustration for the 1957 program by El Lew and featuring Rosemary Henderson in mid jump, gouache on illustration board, signed at lower left (DOA 24.25 x 19.5 in.); the third the original cover illustration by Joseph De Mers (CA/SC, 1910-1984) for the 1951 program featuring Donna Atwood, signed at lower right, gouache on illustration board (DOA 20 1/8 x 15 in.); the fourth the original cover illustration for the 1954 program and featuring Donna Atwood, gouache on board, unsigned (DOA 21.75 x 18 in.) (remnants of original mat board); the fifth the original cover illustration for the 1958 program by El Lew, signed at lower left, gouache on illustration board, with label for MetroMedia Inc. to the verso (DOA 24 x 20 in.); and the sixth the original cover illustration for the 1959 program, unsigned, gouache on illustration board, unsigned (DOA 24 x 18.75 in.) (unevenly trimmed board, scratching and re-touch to image, scattered water spots).
From the Estate of the late Owen Russel Best Jr., of Charlottesville, Virginia An electrical engineer by profession, Owen Best's long-time passion for and knowledge of horses, horse drawn carriages, and antiques led to his position of Curatorial Services and as Director of the Carriage Museum at Morven Estate, Charlottesvile, Virginia. John Kluge, the owner of the museum and estate, expressed indebtedness to Owen’s expertise, his commitment to the development of the Carriage Museum and his attention to the many details associated with it.

 

736   Three Original Ice Capades Illustrations by Joe De Mers (CA/SC, 1910-1984)
the first a preliminary sketch for the 1950 program, signed at lower right, matted and framed (DOA 33.5 x 28.5 in.) (smudge in upper right quadrant, several light scratches to image, toning to mat board and rubbing to frame); the second the original illustration for the 1952 program, signed at lower center, matted and framed under glass (DOA 26.5 x 22 in.) (some smudges to image and mat board); and the third the original illustration for the 1949 program, signed at lower right (DOA 28.5 x 33.5 in.) (some accretions under glass). Each is gouache on illustration board and each retains a MetroMedia Inc. label to the verso.
From the Estate of the late Owen Russel Best Jr., of Charlottesville, Virginia An electrical engineer by profession, Owen Best's long-time passion for and knowledge of horses, horse drawn carriages, and antiques led to his position of Curatorial Services and as Director of the Carriage Museum at Morven Estate, Charlottesvile, Virginia. John Kluge, the owner of the museum and estate, expressed indebtedness to Owen’s expertise, his commitment to the development of the Carriage Museum and his attention to the many details associated with it.

 

737   Louis Spiegel (OH, 1901-1975), Floral Still Life
oil on canvas board, signed at lower right, circa 1960, boldly painting in high relief palette knife technique, presented in the likely original frame.
DOA 32 x 27.75 in.     

 

738   Savina Berkley (FL), French Garden Collection
acrylic on canvas, signed at lower right, gallery wrapped canvas, late 20th century, inscribed on the verso.
DOA 40 x 60 in.     
Collection of Suzanne Goldman, Cary, North Carolina

 

739   A Florida School Painting of Roses and Fresia by Ronald Thomas
oil on canvas, signed at lower right, framed.
DOA 53.75 x 27 in.     
Collection of Suzanne Goldman, Cary, North Carolina

 

740   Bill (William) Roberts (NY/CA), Jockeys Up
oil on card and board, typed label identifying the artist on the verso, presented in the original frame.
DOA 22 5/8 x 16.5 in.     
Bill Roberts is an artist who works and lives in Aurora, New York and Carlsbad, California. His work is informed by his love of birds and the environment and painting and drawing. Roberts taught painting and drawing at Kent State University and Wells College.
From the Estate of the late Owen Russel Best Jr., of Charlottesville, Virginia An electrical engineer by profession, Owen Best's long-time passion for and knowledge of horses, horse drawn carriages, and antiques led to his position of Curatorial Services and as Director of the Carriage Museum at Morven Estate, Charlottesvile, Virginia. John Kluge, the owner of the museum and estate, expressed indebtedness to Owen’s expertise, his commitment to the development of the Carriage Museum and his attention to the many details associated with it.

 

741   Serge Clement (Canadian), Portrait d'un Waif
oil on canvas, signed and dated 1960 at lower right, presented in the original frame.
DOA 33.5 x 29.5 in.     
Newman Galleries, Philadelphia, Pennsylvania

 

742   Bernard Kohn (PA, 1905-1989), Untitled
mixed media on laid paper, signed and dated 1953 at lower right, mounted and framed under glass.
Sheet 11 1/8 x 8.75 in.; DOA 17 x 14 in.     

 

743   Elizabeth Erlanger (NY/MD, 1901-1975), Monhegan
watercolor on paper, signed at lower right, attractively and archivally framed under glass. 
DOA 15.5 x 18 in.     
The Bodley Gallery, New York, New York

 

744   A Pair of Contemporary Paintings, Restaurant Kitchens
oil on canvas, indistinct signatures at lower left, presented in matching frames.
DOA 16.5 x 21 in.     

 

745   Joyce Roybal (American/French/Italian, born 1955), Hot Air Balloon Musicians
oil on canvas, signed at lower right, presented in giltwood frame.
DOA 41 1/2 x 29 1/2 in.     

 

746   Yale Epstein (NY/CT, b. 1934), Ancient Memories
mixed media on panel, signed at lower right, presented in a black floater frame, retaining two gallery labels on the verso.
DOA 19.5 x 16 1/8 in.     
Somerhill Gallery, Chapel Hill, North Carolina
Private Collection, Chapel Hill, NC

 

747   Jean McQuillan (VT/CT), Three Original New England Coastal Watercolors
watercolor on paper, each signed, presented under glass in matching mats and frames.
Fishing Cove DOA 27 x 21 in.; Lighthouse DOA 22.75 x 18.75 in.; and Harbor DOA 27.25 x 21 in.     
Private Collection, Wilmington, North Carolina

 

748   Two Chippendale Style Armchairs
mid 20th century, mahogany, each with shaped crestrail, pierced backsplat, over upholstered seats, with one having molded and tapered legs, with reeded stretcher base; other with straight legs with inside chamfer and molded stretcher base. 
Larger 39 x 24 x 19 in.      

 

749   Antique Oak S-Scroll Desk
early 20th century, three-part form, upper tambour desk opening to reveal a divided and drawered interior, on two pedestals with writing slides, over four drawers, on flush base. 
35 x 47 x 29 in.      

 

750   Vintage Walnut Tea Cart
mid 20th century, removable glass tray, drop leaves, lower shelf, on casters. 
28 x 19 x 29 in.      

 

751   Federal Style Mahogany Game Table
mid 20th century, shaped swivel top with drop finials, acanthus leaf standard and downswept legs, with brass paw feet. 
30.5 x 32 x 16 in.      

 

752   Two Continental Needlepoint Armchairs
including a Queen Anne style mahogany armchair with needlepoint and petitpoint, on cabriole legs with turned stretcher base; with a French provincial style carved fruitwood bergere with needlepoint and petitpoint floral upholstery, on cabriole legs. 
Larger 42 x 27 x 22 in.      

 

753   Chippendale Style Walnut Executive Desk
mid 20th century, Paine Furniture Co, top with applied rope twist edge, four drawers, raised on ball and claw feet, labeled, finished on all sides. 
31 x 63 x 28 in.      

 

754   Victorian Carved Walnut Parlor Chair
late 19th century, molded crestrail with reticulated backsplat, later red velvet over upholstered seat, on stylized cabriole legs. 
33 x 17 x 17 in.      

 

755   American Sheraton One Drawer Drop Side Table
mid 19th century, white pine and poplar, hinged leaves with slide support, flush drawer, on turned legs. 
27 x 19 x 21 in.      
From the Estate of the late Owen Russel Best Jr., of Charlottesville, Virginia An electrical engineer by profession, Owen Best's long-time passion for and knowledge of horses, horse drawn carriages, and antiques led to his position of Curatorial Services and as Director of the Carriage Museum at Morven Estate, Charlottesvile, Virginia. John Kluge, the owner of the museum and estate, expressed indebtedness to Owen’s expertise, his commitment to the development of the Carriage Museum and his attention to the many details associated with it.

 

756   Dictionary Stand and Three Volume Dictionary Set
20th century, walnut stand, with book lip, turned legs, on casters, along with Webster's Third New Internation Dictionary Volumes 1, 2, and 3, 1966. 
33 x 24 x 13 in.      
Private Collection, Wilmington, North Carolina

 

757   Federal Style Inlaid Pembroke Table
late 20th century, mahogany, with light and dark wood inlays, drop leaves with butterfly support, single drawer, raised on square tapered legs, featuring bellflower, diamond, and line inlays. 
27.5 x 21 x 28 in. Each leaf 10 in.      

 

758   Wicker Plant Stand and Floor Lamp
to include a late 20th century white painted wicker plant stand; and an early 20th century steel floor lamp, with shade. 
Lamp 62 in.      

 

759   Antique Maple Rope Bed
19th century, turned posts with shaped headboard and conforming footboard with turned rail, on tall turned legs, lacking rails. 
Headboard 49 x 52 in.      

 

760   Four English Chairs
to include a pair of early 20th century oak barley twist caned back side chairs, a bicentennial edition Tree of Promise chair with caned back and low seat; and a mid-20th century Welsh style ladderback armchair with rush seat. 
45 x 24 x 21 in.      

 

761   Regency Style Tilt Top Table
early 20th century, mahogany, circular top, turned baluster standard, on downswept legs with ball feet. 
27.5 x 22 in diameter.      

 

762   Georgian Style Mahogany Canterbury 
late 20th century, four slat compartments raised on turned legs with casters.
19 x 20 x 14 in.      

 

763   Antique Carriage Trunk
late 19th century, wood and leather, with iron straps and brass bosses, later paper lined interior, with hinged lid and lift out tray. 
14 x 28 x 16 in.      

 

764   Edwardian Oak Three Tiered Cart
circa 1910, rectangular form, top with applied backsplash, lower shelved with molded edges, raised on original casters.
39 x 30 x 17 in.     
From the Estate of the late William L. Bishop, Durham, North Carolina

 

765   Victorian Hall Chair and Footstool
late 19th century, ebonized wood with a ring turned frame, later blue/white striped upholstery with an iron footstool in matching upholstery.
Chair 48 x 27 x 25 in.     

 

766   G. Stewart (American, 20th21st Century), Still Life with Birds and Fruit
giclée print with hand coloring, contemporary, signed "G. Stewart," presented in a giltwood frame.
DOA 46 1/4 x 34 1/2 in.     

 

767   Louis Charles Moeller (American, 1855–1930), Genre Scene
hand-colored print, likely 19th century, with printed signature and date (1892?) at lower right, housed in wooden frame.
DOA 23 1/2 x 33 3/4 in.     

 

768   Two Large Antique English Engravings
both hand colored, to include The Putting Green after Douglas Adams (British, 1853–1920) and The Melton Breakfast after Grand and Lewis, both matted and framed.
DOA 32 x 40 in. (the first), 33 x 41 in. (the second)     
Private Collection, Wilmington, North Carolina

 

769   Sandy Scott (American, born 1943), Three Etchings
to include Feel's So Good! (Mule Deer), Hunter's Shack, Bald Eagle, each pencil signed, numbered, and titled, all matted and framed.
DOA 17 3/8 x 21 1/2 in.     
From the Estate of the late William L. Bishop, Durham, North Carolina

 

770   Three Antique Equestrian Prints
to include a lithograph by Cecil Charles Windsor Aldin (British, 1870–1935) titled After the Hunt/The Hunt Breakfast; Retour de Poissy, 1830 by Albert Feuillastre (French), circa 1900; and a vintage advertisement for Mark W. Cross & Co., a company making leather goods for horse and buggy riders; each framed.
DOA 17 x 24 1/2 in. (the first), 12 x 32 1/4 in. (the second), 23 x 16 3/4 in. (the third)     
From the Estate of the late Owen Russel Best Jr., of Charlottesville, Virginia An electrical engineer by profession, Owen Best's long-time passion for and knowledge of horses, horse drawn carriages, and antiques led to his position of Curatorial Services and as Director of the Carriage Museum at Morven Estate, Charlottesvile, Virginia. John Kluge, the owner of the museum and estate, expressed indebtedness to Owen’s expertise, his commitment to the development of the Carriage Museum and his attention to the many details associated with it.

 

771   Bob Timberlake (NC), Well at the Studio
offset lithograph, 1994, pencil signed, titled and numbered lower margin, with label to frame verso, presented in wooden frame with matting.
DOA 31 1/2 x 26 1/4 in.     

 

772   Bob Timberlake (NC), Watered and Sour Pie Cherries
reproduction prints in colors, pencil signed and numbered lower margin (one signature appears printed), both matted and framed.
DOA 32 1/2 x 25 1/4 in. (the first), 28 x 21 in. (the second)     

 

773   Bob Timberlake (NC), Jonquils
offset lithograph, pencil signed, titled and numbered lower margin, retains gallery paperwork, matted and framed.
DOA 35 x 28 in.     

 

774   Antique Eastlake Picture Frame with Portrait Print
19th century, with faux tortoise shell finish, incised decoration, and gilding, also has fanciful matting and with decorative fabric and gilding, image is a 20th-century reproduction print.
DOA 14 3/4 x 12 3/4 in.     
From the Estate of the late Owen Russel Best Jr., of Charlottesville, Virginia An electrical engineer by profession, Owen Best's long-time passion for and knowledge of horses, horse drawn carriages, and antiques led to his position of Curatorial Services and as Director of the Carriage Museum at Morven Estate, Charlottesvile, Virginia. John Kluge, the owner of the museum and estate, expressed indebtedness to Owen’s expertise, his commitment to the development of the Carriage Museum and his attention to the many details associated with it.

 

775   Three Small Framed Prints
to include an etching by Artur Popek (Polish, born 1960); a woodblock portrait print of a man; and an etched view of St. James Cathedral from the Thames; all pencil signed; each framed.
DOA 11 x 8 in. (the largest)     

 

776   Currier & Ives, The Four Seasons of Life (Complete Series)
hand-colored prints, possibly later printings, to include "Childhood," "Youth," "Middle Age," "Old Age," presented in uniform matting and framing.
DOA 25 1/2 x 31 1/2 in.     

 

777   Harold Altman (American, 1924–2003), Dusk, Luxembourg
intaglio print, pencil signed, titled, and numbered 132/140 lower margin, presented in wooden frame with matting.
DOA 17 3/8 x 19 3/8 in.     

 

778   Julius J. Lankes (American, 1884–1960), The Church at Jamestown
wood engraving, 1931, pencil signed at lower left, retains original corresponding text to framing, matted and framed.
DOA 9 1/4 x 11 1/2 in.     

 

779   after Elizabeth O'Neill Verner (SC, 1883-1979), Avenue at the Oaks, Goose Creek
reproduction print in colors, pencil signed and inscribed "Elizabeth O'Neill Verner, repro" at lower right, matted and framed.
DOA 15 3/4 x 18 3/4 in.     
From the Estate of the late Owen Russel Best Jr., of Charlottesville, Virginia An electrical engineer by profession, Owen Best's long-time passion for and knowledge of horses, horse drawn carriages, and antiques led to his position of Curatorial Services and as Director of the Carriage Museum at Morven Estate, Charlottesvile, Virginia. John Kluge, the owner of the museum and estate, expressed indebtedness to Owen’s expertise, his commitment to the development of the Carriage Museum and his attention to the many details associated with it.

 

780   Two Horse-Related Prints
to include a Currier & Ives hand-colored lithograph titled 'A Crack Trotter' Between the Heats; to also include an etching titled Buggy Ride by Philip Anthony Sage (American, b. 1942); both matted and framed.
DOA 25 1/4 x 30 1/2 in. (the first), 29 x 21 3/4 in. (the second)     

 

781   Two Antique Prints
both likely 19th century, to include a hand-colored lithograph with two figures on a gondola; to also include Full Cry after W. J. Shayer, hand-colored etching and aquatint; both matted and framed.
DOA 16 1/2 x 13 in. (the first), 22 x 26 in. (the second)     

 

782   Two Framed British Prints
to include a lithograph after David Roberts and a hand-colored reproduction fox hunting print after John Goode; both matted and framed.
DOA 21 x 27 in. (the first), 28 1/2 x 33 1/2 in. (the second)     

 

783   Two Nature Prints with Birds
offset lithographs in colors, 20th century, to include a work by David Maass and a work by C. Ford Riley, both matted and framed.
DOA 34 1/2 x 30 in. (the first), 29 3/4 x 33 1/2 in. (the second)     

 

784   A Gentleman's Traveling Accessory Group
the first a Victorian leather pipe and tobacco case with silver mounts, London (1871) hallmark, mark of Henry William Dee, retailed by Thornhill on New Bond Street (some wear to leather); the second a set of four graduated nesting horn tumblers in a leather traveling case (the largest and smallest tumblers with stable crack); and the third a glass conical flask with leather carrying case (LOA 10 in.).
The horn cup set and the pipe tobacco case were purchased from Stanhope Bowery in London on October 18, 1989 (accompanied by a photocopy of the invoice).
From the Estate of the late Owen Russel Best Jr., of Charlottesville, Virginia An electrical engineer by profession, Owen Best's long-time passion for and knowledge of horses, horse drawn carriages, and antiques led to his position of Curatorial Services and as Director of the Carriage Museum at Morven Estate, Charlottesvile, Virginia. John Kluge, the owner of the museum and estate, expressed indebtedness to Owen’s expertise, his commitment to the development of the Carriage Museum and his attention to the many details associated with it.

 

785   Six Pair of Antique Brass Push-Up Candlesticks
19th century, including King, Queen, Prince and Princess marked diamond candlesticks; along with a ring turned pair and a tall unmarked pair of diamond push-up candlesticks. 
Tallest 14 in.      
Private Collection, Wilmington, North Carolina

 

786   Six Vintage Desk Accessories
to include a Spanish silverplate swan form cigar lighter, by Raimond Silverplate; along with five small desk picture frames including one in 24KT gold plate with enamel decoration, one Art Nouveau style marked "Made in Italy", a small brass frame with Calla Lily decoration, a gilt metal frame, and an antqie metal frame with simulant cabochon gems and antique photograph. 
Largest frame 7.5 x 6 in.      

 

787   American Painted Pine Lidded Box
mid-19th century, lightly feathered brown paint to exposed surfaces, natural underside and interior; brass hinges with steel lock and key.
4.5 x 10.75 x 6.5 in.     
From the Collection of Mary Wells, Greensboro, North Carolina

 

788   Two Mid-Century Modern Decorative Accessories
the first a bronze dish with patinated surface and featuring a relief design to well of a young child with butterfly on a lily pad, mark of Tinos of Denmark (8 1/8 in. diameter); the second a lidded canister designed by Bjørn Wiinblad for Nymolle of Denmark (3 5/8 in.).

 

789   Pair of Vintage Cobalt Blue Avian Candlesticks
marked MADE IN FRANCE on gilt metal base raised on a marble disc; porcelain roses are interspersed along the brass stem that terminates above the bird. Drilled for electricity.

 

790   Three Small Dresser Boxes
to include: a 19th century Napoleon III lady's glove box, ebonized rosewood with glass top, silk liner and brass mounts (3 x 11.5 x 5 in.) (fracturing to silk; lacking key); late 19th century wooden box with mixed hardwood inlays, brass paw feet and silk lining, latch on bottom (3.5 x 9 x 5.5 in.) (light wear and aging as expected); ornate box with interior and exterior silk, gilt brass mounts (3.75 x 8 x 5 in.) (wear and light soiling).

 

791   Pair of Three-Stem Hanging Gilt Sconces for Candles
cast brass, scrolled arms, the whole topped with an ornate suspension loop.
14.5 in.     

 

792   Group of Antique Brass Candlesticks and Decoy
19th century, including four push-up candlesticks, and a carved and painted wood duck decoy with glass eyes.
Tallest 13 in.     

 

793   Three Antique Cold Painted Bronze Miniature Cat Sculptures
Austrian, the largest with illegible signature (possibly "_ _ Schultz") depicts a cat stalking a birdhouse (4 in.); two smaller figures include a basket of kittens and a cat holding up a Japanese lantern.

 

794   Three Desk Accessories
to inlcude a set of Sharper IMage BAK4 tactical binoculars, incase; a sterling silver framed desk clock inset; and an Indian shell decorated box. 
Box 4 x 8 x 4 in.      

 

795   Two Egyptian Style Accessories
late 20th century, to include a patinated bronze sphinx form candlestick and a candle stand / base with three sphinx supports, metal and composition. 
Candlestick 10.5 in.      

 

796   Pair of Brass Ship's Lanterns
unmarked, each with three beveled glass panels.

 

797   Pair of Brass Violin Bookends
each one fashioned as a bent body supporting a detached neck and peghead.
7.25 in.     

 

798   Pair of Louis XVI Style Two Stem Sconces
cast brass with gilt and white paint; electrified, each arm with faux candle cover the the bulbs.