Across Continents by Freeman's

across continents

Property from the Collection of

Ambassador & Mrs. Alexander Weddell The Virginia House Museum April 10, 2019

he creation of Virginia House may be said to represent an endeavor to evoke for the dweller, as for the friend or stranger within its gates, something of the atmosphere of that serene and stately life, - fruit of gentle traditions and high thinking, - which prevailed through four centuries in the ancient structure whence it sprung. Alexander Weddell

across

continents Property from the Collection of

Ambassador & Mrs. Alexander Weddell The Virginia House Museum

Property deaccessioned by The Virginia House Museum to benefit future preservation, acquisitions, and care of collections

auction Sale 1627 Wednesday, April 10, 2019 at 10am 1808 Chestnut St. | Philadelphia, PA

client services Mary Maguire Director | Client Services mmaguire@freemansauction.com 267.414.1236 Joslyn Moore Bidding Registration jmoore@freemansauction.com 267.414.1207 Melissa Arundel Post-Sale Administrator marundel@freemansauction.com 267.414.1226

departments Tessa Laney | head of sale Specialist | Furniture & Decorative Arts, Textiles tlaney@freemansauction.com 215.940.9826

Grace Fitts | sale administrator Junior Cataloguer | Furniture & Decorative Arts gfitts@freemansauction.com 267.414.1254

David Weiss Senior Specialist | Fine Paintings & Sculpture, Rugs & Carpets dweiss@freemansauction.com 267.414.1214

RaphaĂŤl Chatroux Associate Specialist | Fine Paintings & Sculpture rchatroux@freemansauction.com 267.414.1210

Ben Farina Specialist | Asian Arts bfarina@freemansauction.com 267.414.1219

Darren Winston Specialist | Books, Maps & Manuscripts dwinston@freemansauction.com 267.414.1247

exhibitions Thursday, April 4

10:00 am - 5:00 pm

Friday, April 5

10:00 am - 5:00 pm

Saturday, April 6

12:00 pm - 5:00 pm

Sunday, April 7

12:00 pm - 5:00 pm

Monday, April 8

10:00 am - 5:00 pm

Tuesday, April 9

10:00 am - 5:00 pm

By appointment only on the morning of the sale

client services Mary Maguire Director | Client Services mmaguire@freemansauction.com 267.414.1236 Joslyn Moore Bidding Registration jmoore@freemansauction.com 267.414.1207

Melissa Arundel Post-Sale Administrator marundel@freemansauction.com 267.414.1226

irginia House was presented by Ambassador Alexander Weddell and his wife, Virginia Weddell, to the Virginia Historical Society in 1929, under an agreement that allowed the Weddells lifetime tenancy. The Weddells constructed this singular property as their permanent home, but envisioned it as a future resource for the progress of the Virginia Historical Society, of which Ambassador Weddell served as President after his retirement from the Foreign Service. Following the Weddells’ tragic and unexpected deaths in a train accident on New Year’s Day 1948, the Historical Society took ownership and management of the property. For seventy years, the Historical Society has served as a faithful steward of the house and its diverse collections and gardens as outlined by the Weddells. Virginia House has remained open to the public as a historic house museum through private tours and special events, and in 2017 the Historical Society’s board of trustees approved a plan to increase the use of Virginia House with a focus on donor stewardship, public and private events, and interpretive programs, which are currently limited by the scope and care requirements of the Weddells’ immense collection. After an exhaustive survey of the objects on display and in storage at Virginia House, the Historical Society has thoughtfully identified items unrelated to their primary mission of “connecting people to America's past through the unparalleled story of Virginia.” Deaccessioning these selected contents will enable the Historical Society to better interpret and maintain the most beloved works at Virginia House, as well as objects related to the Weddells themselves–personal items, documents, archives, et cetera. Proceeds from the sale will be placed in a restricted fund for the preservation of the property’s historic structures and landscape features, and the acquisition and direct care of collections used to interpret the site and the extraordinary story of Alexander and Virginia Weddell. interior shot of alexander weddell's bedroom, looking south, virginia house all archival images used in catalogue courtesy of the virginia house museum

across

continents europe, the near and far east & the americas

(detail)

LAST NAME: WEDDELL FIRST NAME: ALEXANDER, WILBOURNE DATE OF BIRTH: APRIL 13, 1876 PLACE OF BIRTH: RICHMOND, VA NATIONALITY: AMERICAN BIOGRAPHY: Alexander Wilbourne Weddell was an American diplomat. A graduate of George Washington University, Weddell worked in the diplomatic corps before serving as US Ambassador to Argentina from 1933 to 1939, and to Spain from 1939 to 1942. In 1923, he married a wealthy widow named Virginia Chase Steedman. While traveling to Arizona for the winter on January 1, 1948, Mr. Weddell's Pullman train car was rammed by another train, and he was killed, along with his wife, upon impact.

LAST NAME: WEDDELL FIRST NAME: VIRGINIA CHASE STEEDMAN DATE OF BIRTH: DECEMBER 20, 1874 PLACE OF BIRTH: EDINA, MO NATIONALITY: AMERICAN BIOGRAPHY: Like every girl from the upper middle class, Virginia Chase Steedman Weddell was educated at Miss Brownâ&#x20AC;&#x2122;s School for Girls in New York City. After graduating in 1894, she departed for Europe and toured many of the traditional tourist and cultural sites. She married James Harrison Steedman in 1900 and he was called into active military during World War I. After her husband died, she remarried Alexander Wilbourne Weddell in 1923. She was killed alongside her husband in a train car accident on January 1, 1948.

top: official portrait of alexander wilbourne weddell as us ambassador to spain, 1939-1942 bottom: mrs. weddell sitting in a chair outside an orphanage near madrid, spain, c. 1940

Lot 14 (detail)

europe including england, northern europe, france, italy, greece & russia

lots 1 - 139

lexander and Virginia Weddell were possessed of a uniquely urbane sensibility, which drew them together as a couple when they first met in Calcutta and, later, aided in the assembly of their worldly and evocative collection at Virginia House. Ambassador Weddell’s far flung assignments provided him and, after 1923, his wife with ample opportunity to pass through the great cities of Europe on their cruises to posts in Athens, the Middle East, Africa, India and Spain, and they frequently undertook dedicated collecting trips to England, France, and Italy. Though they never lived in England, they considered it their intellectual and spiritual home, drawn as they were to its ancient history, love of tradition, and dedication to noble pursuits. Nowhere is this more evident than in Virginia House itself, which the couple built expressly as “an endeavor to evoke for the dweller, as for the friend or stranger within its gates, something of the atmosphere and environment of that serene and stately life—fruit of gentle traditions and high thinking—which prevailed through some four centuries in the ancient structure whence it sprung.” This ancient structure, a priory dating back nearly a thousand years, was acquired by the Weddells in Warwickshire and shipped to Virginia, stone by stone, in 1925 to serve as their permanent home.

opposite, top: alexander and virginia weddell on the grounds of virginia house opposite, bottom: view of the main entrance of virginia house on its north façade

Virginia House today is an assemblage of elements from several different Tudor-era structures, but the primary edifice is reconstructed from the Augustinian Priory of the Holy Sepulcher of Jerusalem in Warwick, England, also known as Warwick Priory. The Priory was first founded in 1109, and remained an important religious seat until the English monasteries were dissolved in the Reformation. In 1546 it was acquired from the Crown by one of Henry VIII’s favored courtiers, Thomas Hawkins, who undertook a significant renovation of the site, completed in 1566. He eponymously renamed the residence “Hawkyns-nest,” or “Hawk’s Nest,” but it remained known in common parlance as The Priory, as it had been called for the preceding 400 years. The Priory enjoyed continued prominence and royal favor, including a visit by Queen Elizabeth I in 1572. In 1709 it was purchased by Henry Wise, superintendent of the royal gardens at Hampton Court and Kensington Palace under Kings and Queens William and Mary, Anne, and George I. The changing tides of the landed aristocracy during the 19th century left The Priory in a state of disrepair by 1910, when it was listed for sale at auction. In 1925 a “Second Demolition Sale” was announced, described as a “Highly Important Unreserved Demolition Sale of the Ancient Mansion House, known as The Priory, Warwick, which is mainly a 16th Century Structure with portions dating back to the 12th Century.” The Weddells were already on a steamer bound for England in search of antiques when they encountered the sale notice, and were able to acquire the remaining shell of the building through tactful negotiations. It was shipped to America as ballast freight on multiple ships, and ground was broken at Virginia House on November 6, 1925. The Weddells traveled extensively throughout England in order to reunite scattered original interior elements from The Priory with their reconstruction in Virginia—finding additional priceless antiques along the way—and rebuilt others from the house’s original oak timbers. An example of this is the recovery of original masons' marks, hidden in the original structure of the house, and rediscovered when the stones were reused in erecting the new building (as shown on page one). Across the European continent they carefully sought paintings and furniture that would complement the Tudor and Jacobean interiors of their new home. Foremost among these are a Jacobean portrait of an English nobleman and his child, thought to be Sir Francis Clarke and his daughter Dorothy; a period portrait of Sir Henry Norris, Baron of Rycote; as well as a rare portrait by German artist Franz Kessler, executed in 1620, likely depicting German Princess Amalia von Sayn Wittgenstein. They furnished their home with period furniture, including several fine Elizabethan and Jacobean court cupboards, two impressive refectory tables of the same period, and a rare pair of Charles II painted cordovan leather chairs, as well as French Gothic wood and limestone sculpture, and magnificent tapestries. These include a 16th century Brussels tapestry and a 17th century Mortlake fragment from ‘The Horses’ designed by Frans Cleyn. The Weddells were also partial to the Italian Renaissance and commissioned furniture upholstered in antique Genoese velvets to accompany their three cassoni. The most exceptional of these is an alla certosina walnut chest, likely Venetian and of the 15th century, inspired by the geometric work of the nearby Byzantine/Ottoman Empires. Indeed, much like these sprawling ancient empires and Virginia House itself, the Weddells’ European collection spans millennia and continents, from Russia to Spain, from Athens to Britain, from antiquity to the early 20th century. top right: the warwick priory, circa 1940 middle right: second demolition sale poster for the warwick priory (before becoming virginia house), 1925 bottom right: the construction of virginia house, h. bagby photoboard

top left: interior shot of virginia house, withdrawing room, north and west angle bottom left: interior shot of virginia house, state bedroom, north angle above: interior shot of virginia house, withdrawing room, east angle opposite, top left: interior shot of virginia house, great hall, west angle opposite, top right: interior shot of virginia house, great hall, east angle opposite, bottom: interior shot of virginia house, gallery, east and north angle

lot 1 AN ENGLISH LIMESTONE ARCHITECTURAL ELEMENT DEPICTING A TUDOR ROSE likely 16th/17th century H: 13, W: 12, D: 11 1/2 in. $800-1,200

lot 2 A CARVED OAK HERALDIC ARMS OF QUEEN ELIZABETH I late 16th century H: 22, W: 27 in. provenance: Gerald Massey, Mayfair, London, 1937. note: Alexander Weddell described this coat of arms as a “contemporary (circa 1595) carved oak panel in relief of the heraldic arms of Queen Elizabeth...and are in a fine state of preservation. The arms displayed are ‘France modern,’ one and four, and ‘England,’ two and three. The supporters, nearly 14” high, are the Golden Lion of England and the Red Dragon of Wales. Two Tudor roses are in the top corners, and the two letters, ‘E’ ‘R,’ nearly 3” high, flank the Royal crown.” $800-1,200

lot 3 AN ENGLISH LATE GOTHIC CARVED OAK JOINED STOOL 15th century H: 19, W: 18 1/2, D: 10 3/4 in. $800-1,200

lot 4 AN ASSEMBLED SET OF TWELVE CROMWELLIAN OAK SIDE CHAIRS 17th century With cordovan leather upholstery. (12). H: 34 1/2, W: 18 1/2 in. (largest) $3,000-5,000

ir Henry Norris (1525-1601) was the son and heir of Henry Norris, a courtier and close friend of Henry VIII until he was executed for allegedly being the lover of Anne Boleyn. After his father’s death, the young Norris inherited much of his father’s fortune and married Marjorie Williams, the daughter of John, Lord Williams of Thame. Queen Elizabeth I rewarded Norris with conspicuous marks of her favor (due in large measure to his father’s unfortunate destiny), knighting him at his seat in Rycote in 1566. In the same year, Norris was appointed Ambassador to France, before eventually being recalled and replaced by Sir Francis Walsingham in 1570. The present portrait depicts Henry Norris seated in a red upholstered armchair, wearing his official robe as Lord-Lieutenant of Oxfordshire, an office to which he had been appointed by Queen Elizabeth I in 1596. He is shown with a lace ruff and a black, sable-lined cape with embroidered sleeves. His eyes are fixed on the viewer, while his left hand is holding rich gloves, and a short staff (swagger stick) is seen in his right hand. Many similar portraits of Lord Norris, English School, c. 1600 have been sold at auction before, including at Sotheby’s New York on July 25, 1951 (lot 86) and on May 17, 1993 (lot 296).

lot 5 BRITISH SCHOOL (16TH CENTURY) portrait of sir henry norris, baron of rycote, three-quarter length Dated ‘A.N.1597,’ with sitter's age ‘aeta: 76’ upper left, oil on canvas. 35 3/4 x 29 1/2 in. (90.9 x 74.9cm) provenance: Acquired directly from Charles of London, London, United Kingdom. literature: Virginius Cornick Hall, Jr., Portraits in the Collection of the Virginia Historical Society: A Catalogue, Published for the Virginia Historical Society by University Press: Charlottesville, 1981, p. 185. $2,000-3,000 Illustrated Right

lot 6 A JAMES I CAST IRON ARMORIAL FIREBACK dated 1617 H: 26 1/4, W: 26 1/2 in. $800-1,200

lot 7

lot 8

AN EARLY ENGLISH TWOHANDLED LEATHER FIRE BUCKET

A TUDOR CARVED OAK REFECTORY TABLE WITH PLANK TOP

likely 17th century With lion-form appliqué. H: 10 3/4, W: 15, Dia: 7 1/4 in. $300-500

16th century H: 33, W: 30 1/2, L: 90 1/2 in. $3,000-5,000

his group of halberds, and likely the breastplate in lot 10, were acquired from a surplus sale at the Tower of London in 1927. Much like their discovery of the sale of The Priory, the Weddells were already in England when they came across the sale notice. As Alexander recalled: “In the summer of 1927 [we] were in England and motored down to Surrey to spend the day with old friends—Lord and Lady Gladstone. At luncheon the host remarked casually that in his ‘Times’ of that morning was an advertisement of a sale at the Tower of ‘surplus arsenal equipment,’ which doubtless meant a lot of old armor; that if, by chance, his guests were interested—He hardly finished his sentence, for with just the time for decent good-byes, [we] ‘lit out’ at Tam o’ Shanter speed for London and the Tower! Alas! Not much was left. However, a few troopers’ helmets of the type described effective against saber-cuts but not against thrusts; several parade halberds or partisans; also breast and back plates; and a ‘battered morion piece’; were secured.”

lot 9 THREE STEEL HALBERDS likely english, 17th century L: 84 in. provenance: The Collection of the Tower of London. Acquired from the above, 1927. $600-800

lot 10 TWO PIECES OF ARMOUR various dates The first an English breastplate, likely 16th century; the second a Qajar bazuband, Persia, 19th century. (2). H: 14 1/2, W: 12 7/8, D: 7 in. (breastplate) $600-800

lot 11 AN ENGLISH ARMORIAL PENNANT WITH THE COAT OF ARMS OF THE CORNELL FAMILY OF CORNWALL 19th century With gold thread passementerie. H: 19, W: 18 1/2 in. $300-500

lot 12 A PAIR OF WILLIAM & MARY CARVED OAK FIGURAL SOLOMONIC COLUMNS late 17th century H: 75 1/2 in. $1,500-2,500

lot 13 A MODIFIED JACOBEAN CARVED OAK JOINED STOOL 17th century The sides with attached drop leaves. H: 18 1/2, W: 23, D: 22 3/4 in. $300-500

lot 14 A PROVINCIAL CHARLES II OAK SCHOOLBOY’S DESK FROM BLUNDELL’S SCHOOL late 17th century H: 27 3/4, W: 40 1/4, D: 21 1/2 in. provenance: Blundell’s School, Devon, England. Acquired in Biddeford, England, circa 1920s. $400-600

lot 15 A PAIR OF JACOBEAN STYLE TURNED MAHOGANY HALL CHAIRS first half 20th century With crimson velvet upholstery and 18th century silver embroidered armorial appliqués. (2). H: 41, W: 18 1/2 in. $400-600

lot 16 A PROVINCIAL CHARLES II CARVED OAK TABLE SLOPE dated 1674 H: 12, W: 26, D: 17 in. $800-1,200

lot 17 A GROUP OF THREE CAST COPIES OF WARWICK PRIORY SEALS 20th century Dia: 2 1/2 in. $50-100

lot 18 A JACOBEAN CARVED OAK JOINED WORKSTAND 17th century The interior with four fitted compartments. H: 17 1/4, W: 17 1/4, D: 14 in. $300-500

lot 19 A PAIR OF JACOBEAN CARVED OAK CHOIR STALLS 17th century H: 43, W: 30 in. $800-1,200

lot 20 A JACOBEAN CARVED OAK WAINSCOT CHAIR 17th century H: 45 1/2, W: 25 in. $600-800

ir Francis Drake (1540-1596) was born near the Devonshire village of Tavistock around 1540 to a poor family of yeoman stock. Through an acquaintance with a family of influential shipping merchants, Drake learned to be an exceptional man of the sea. He owned his first vessel by the age of 20, and soon gained wider maritime experience on a slaving trip to Guinea, followed by a mission to the West Indies in 1566, when he was given command of a ship in Captain John Hawkin’s fleet. A key element to England’s naval successes and riches, Drake won unofficial approbation among his troops, and a certain reputation for courage and daring (he was nicknamed “the Dragon” by the Spanish, who saw him as a pirate). In 1580, Drake became the second man after Ferdinand Magellan to ever voyage around the world, and the first Englishman to do so. In recognition of his remarkable achievement, Queen Elizabeth I knighted him aboard his ship the Pelican (later renamed the Golden Hint) on April 4, 1581. In the ensuing war with Spain, Drake became an incredible asset, capturing Santo Domingo and Cartagena, and later destroying the Spanish fort at Saint Augustine. In 1588, the year after his fleet inflicted heavy damage at Cadiz, Drake famously served as Vice Admiral to Lord Howard of Effingham’s fleet, who destroyed the Spanish Armada in the English Channel. His subsequent voyages were largely unsuccessful, and he died on January 28, 1596 in the course of yet another expedition against the Spanish West Indies. On his death, his considerable estate was passed to his youngest and only surviving brother, Thomas Drake, the companion of most of his voyages. The present portrait of Sir Francis Drake is a reduced version of a type associated with Marcus Gheeraerts the Younger (1561-1636), now in the National Maritime Museum in London. Drake is shown here according to his 17th century likeness: light-colored eyes, dark hair, fair moustache and pointed beard, as well as the famous wart which was located on the left-hand side of his nose, and which appears in many lifetime images of Drake. He wears a black doublet with a white ruff, as well as a large jeweled medallion around his neck, whose top half is only visible. The National Maritime Museum’s version of the portrait of Sir Francis Drake shows him in full-length, surrounded by his coat of arms and a globe before him. Another version showing Drake with the sash and pendant medallion was for a long time in the Drake family. It was later included in a miniature by Henry Bone (1755-1834) and a print by William Holl the Elder (1771-1838).

lot 21 AFTER MARCUS GHEERAERTS THE YOUNGER (FLEMISH 1561-1636 - AN 18TH CENTURY WORK) portrait of sir francis drake, bust-length Inscribed with sitter’s name verso, oil on canvas. 21 5/8 x 18 3/4 in. (54.9 x 47.6cm) provenance: Purportedly acquired at the Talbot Art Gallery, London, United Kingdom, 1930. $4,000-6,000 Illustrated Right

lot 22 A NEAR PAIR OF CHARLES II OAK SIDE CHAIRS late 17th century With cordovan leather upholstery. (2). H: 39 3/4, W: 19 1/2 in. $500-700

lot 23 A JAMES II/WILLIAM & MARY CARVED WALNUT AND CANED SIDE CHAIR 17th century H: 41, W: 20 1/2 in. $300-500

lot 24 A LATE ELIZABETHAN MARQUETRY OAK LIVERY CUPBOARD late 16th century H: 46, W: 44, D: 18 1/2 in. $4,000-6,000

lot 25 AN ENGLISH IRON-MOUNTED OAK MINIATURE DOWER CHEST dated 1691 H: 8 1/4, W: 11 1/4, D: 6 1/2 in. $400-600

lot 26 A JAMES I CARVED OAK LOW WAINSCOT CHAIR early 17th century With elaborately carved stylized floral backrest, sold together with later grospoint cushion. H: 32 1/4, W: 21 1/4 in. $1,000-1,500

lot 27 A CHARLES II CARVED OAK SLANT-FRONT TRAVELING DESK ON STAND 17th century H: 58, W: 37, D: 20 3/4 in. $800-1,200

lot 28 A JACOBEAN CARVED OAK THREE-PANEL FLOOR SCREEN 17th century elements Originally wall panels later assembled as a screen. H: 70, W: 90 in. $1,000-1,500

lot 29 A LARGE JACOBEAN ELM AND OAK REFECTORY TABLE early 17th century Possibly associated, the single plank elm top raised on two carved oak pedestals. H: 31 1/2, W: 33, L: 158 1/2 in. $4,000-6,000 See Additional Illustration Next Page

lot 30 A NEAR PAIR OF ELIZABETHAN ASH TURNERS CHAIRS late 16th/early 17th century With some replaced elements and later crimson velvet tasseled cushions. (2). H: 30, W: 23 in. $2,000-3,000

lot 31 A LARGE AND FINE ELIZABETHAN/ JAMES I CARVED OAK COURT CUPBOARD early 17th century H: 53, W: 73, D: 21 1/2 in. $6,000-8,000

he coat of arms in the upper right corner of this double portrait appears to be that of the Clarke of Houghton Conquest family of Bedfordshire. This explains why the subjects of the present work have previously been identified as Sir Francis Clarke and his daughter Dorothy. However, the Visitations of Bedfordshire record the birth of Dorothy Clarke in 1596, and her marriage in 1617. As the girl in the portrait is said to be aged 7, and the work is dated 1616, the figure cannot be taken for Dorothy Clarke, who was 20 years old at the time. The Clarkes had many relatives, and the portrait may represent another branch of the family, wherein a girl was born circa 1609. All Tudor and Jacobean portraits of the 16th and 17th centuries follow the same fundamental rule of recording and defining the societal position of the sitter in visual terms. According to Roy Strong (b. 1935) though: “It has needed the revolution of aesthetic values effected by the twentieth century abstractionism to make us understand the bizarre, lost loveliness, of the art of the courts of Elizabeth and James I.” Through their use of extremely luxurious and richly decorated garments, which remained under the Hispanic and French influence (and therefore contributed to a still, artificial appearance), the portraits of the reigns of Elizabeth I (1558-1603) and James I (1603-1625) may appear derivative and decayed. Yet, portraiture reached its pinnacle in England at that time, and changed from an instrument of royalty into a true icon of aristocracy. Portraiture became critical among the upper class, who used it to link their personal pride with their desire to own and display their likeness. With their rich costumes and magnificent jewels, the sitters in the present work seem to follow the trend. Their portrait is a symbol of the Clarkes’ glory and well-establishment. Both figures look at the viewer with a certain pride, especially the father who gently wraps his arm around his daughter - almost encouraging her to engage with us.

lot 32 BRITISH SCHOOL (EARLY 17TH CENTURY) portrait of a gentleman and his daughter, three-quarter length Inscribed ‘Anno Dni 1616’ upper left, with the sitters age ‘aetatis suae 67’ and ‘aetatis suae 7’ upper left and upper right respectively; also with the family’s coat of arms upper right, oil on panel. In a 19th century frame. 45 x 34 in. (114.3 x 86.4cm) $10,000-15,000

lot 33 A CHARLES II IVORY AND MOTHER-OF-PEARL INLAID OAK CHEST late 17th century H: 24 1/2, W: 44 3/4, D: 24 in. $1,200-1,800

lot 34 A SET OF FOUR CHARLES II WALNUT CHAIRS 17th century Comprising two arm chairs and two side chairs, with original cordovan leather upholstery. (4). H: 36, W:18 in. $2,000-3,000

lot 35 A CHARLES II IVORY INLAID OAK COFFERED CHEST 17th century With hinged lid now fitted for silver flatware. H: 35 3/4, W: 50, D: 24 3/4 in. $2,000-3,000

lot 36 A RARE PAIR OF CHARLES II OAK AND POLYCHROME PAINTED CORDOVAN LEATHER CHAIRS 17th century Each decorated to backrest, seat, and backs with allegorical scenes of courtly love. (2). H: 39 3/4, W: 20 in. $1,500-2,500

lot 37 TWO GEORGIAN DUMMY BOARDS 18th century H: 37 in. (taller) $800-1,200

lot 38 TWO ENGLISH PIERCED BRASS BEDWARMERS early 18th century L: 35 1/2, W: 12 1/2 in. (larger) $400-600

lot 39 A PAIR OF GEORGIAN LEATHER ARMORIAL FIRE BUCKETS 18th century H: 12, Dia: 10 3/4 in. $800-1,200

lot 40 A GEORGE III POLYCHROME LACQUER TRAY second half 18th century Depicting hunt scenes. H: 11 3/4, W: 22 1/4 in. $300-500

ccording to Alexander Weddell, this bookcase was “bought in London in about 1930 from a reputable dealer who declared that it once stood in the library of the mansion in Bloomsbury Square, the home of William Murray, first Earl of Mansfield, (1705-1793), England’s great Chief Justice. If true this would indicate that members of the mob who sacked and burned the house during the Lord George Gordon riots in 1780 were like to John Gilpin’s wife, (who, ‘though on pleasure...bent’ yet ‘had a frugal mind’), and took pains to remove this massive piece to safety with a view to sale! But [we] bought the bookcase without regard to its possible historical associations.”

lot 41 A LARGE WILLIAM & MARY CARVED OAK BOOKCASE late 17th/early 18th century with later restorations H: 102 3/4, W: 139 1/4, D: 27 1/2 in. (approx.) provenance: By repute William Murray, first Earl of Mansfield (English, 1705-1793). Purchased in London, 1930. $3,000-5,000

188000/1171

A LARGE WILLIAM & MARY CARVED OAK BOOKCASE

late 17th/early 18th century with later restorations H: 102 3/4, W: 139 1/4, D: 27 1/2 in. (approx.) provenance: By repute William Murray, first Earl of Mansfield, (English, 17051793). Purchased in London, 1930. The Collection of Ambassador and Mrs. Alexander Weddell, Richmond, Virginia. Deaccessioned by The Virginia House Museum to benefit future preservation, acquisitions, and care of collections. $3,000-5,000

lot 44 A PAIR OF WILLIAM IV/VICTORIAN MAHOGANY WINGBACK CLUB CHAIRS FROM THE ATHENEUM CLUB mid 19th century With leather upholstery, the backrests each painted with polychromed arms of the Atheneum Club. (2). H: 45, W: 29 1/2, D: 24 in. provenance: The Atheneum Club, London, England. Acquired from Richard W. Lehne, New York, 1929. $2,500-3,500

lot 42

lot 43

A REGENCY 15-INCH CELESTIAL GLOBE

A PROVINCIAL GEORGIAN OAK TRESTLE TABLE

j. & w. cary, london, 1820 H: 22 in.

18th century H: 28, W: 37, D: 21 in.

$2,500-3,500

$400-600

lot 45 A NEAR PAIR OF WILLIAM & MARY STYLE MAHOGANY ARMCHAIRS 19th/early 20th century With 17th century Spanish tapestry upholstery, the chair backs upholstered in 18th century Italian damask depicting St. Lucy. (2). H: 48 1/2, W: 26, D: 28 in. $800-1,200

lot 46 A WILLIAM & MARY CARVED AND MOULDED OAK CHEST OF DRAWERS late 17th century H: 40 3/4, W: 38, D: 21 3/4 in. $1,000-1,500

lot 47 A QUEEN ANNE GILTWOOD MIRROR circa 1700 Mirror plate replaced. H: 39, W: 23 in. $1,200-1,800

lot 48 A WILLIAM & MARY CARVED WALNUT CANED SIDE CHAIR possibly 17th century H: 42 3/4, W: 20 in. $300-500

lot 49 A JACOBEAN STYLE CARVED WALNUT ARMCHAIR WITH FIGURAL ARM RESTS probably late 19th/early 20th century Possibly incorporating earlier carved figures, with 19th century silver-embroidered chartreuse silk velvet upholstery. H: 41, W: 26 1/2 in. $400-600

lot 50 AN ENGLISH PAINTED WOOD FIRESCREEN IN THE FORM OF A FLOWER BASKET 18th/19th century H: 32, W: 26 in. $500-700

lot 51 A QUEEN ANNE OYSTER VENEERED WALNUT CHEST OF DRAWERS circa 1700 H: 33 1/4, W: 38, D: 22 in. $1,500-2,500

his rare tapestry was one of the jewels of the Weddells’ collection. It originally hung directly across from the front entrance in full view of guests as they entered the home or descended the stairs. Alexander Weddell discussed the tapestry at length in his book on their collection: “The one on the south wall, back of the balustrade, is one of the well-known ‘Horse’ tapestries, and is a good example of the earlier work of the Mortlake looms. The Mortlake factory, although favored by James I from its founding in 1619, and later by Charles I, barely survived the century, its doors closing in 1703. This was perhaps due in part to the exotic nature of its inspiration and stimulus—Flemish weavers and others with no deep roots in the country—and the disorders of the Civil Wars. The tapestry in question...depicts the familiar story of the unfortunate Niobe and her children—the destruction of these latter by Apollo and Artemis, because of their mother’s ill-advised boasting of her offspring. For the superb chargers seen in this tapestry the artist of the cartoon, Francis Clein, is said to have found inspiration in animals in the Royal Mews. The date of its weaving may be placed between 1625 and 1635, the ‘golden age’ of Mortlake. This tapestry was bought in England in 1925. It is without borders, but has elaborate floral festoons across the top. (In the Metropolitan Museum is a similar tapestry, with borders and the arms of Mordaunt impaled with Thomond. This is described in the Museum’s Bulletins, Vol. XXXII, Nos. 2 and 8.)”

‘The Horses’ series, of which this fragment is but one scene, was originally designed as a series of six tapestries depicting stories from Ovid’s Metamorphoses. As Ambassador Weddell notes above, another example of this rare tapestry is in the collection of the Metropolitan Museum of Art, accession number 36.149.1, along with another of the six scenes, ‘The Seizure of Cassandra by Ajax.’ That series was commissioned by Henry Morduant, Earl of Peterborough, and woven at Mortlake or Lambeth, circa 1660-80. Those examples retain their borders of black ground decorated with fruiting and floral arabesques in a typically English style. The present lot is without borders, but the beribboned fruiting swags visible at top suggest that the original border may have been of an architectural style, as seen on another Mortlake tapestry circa 1645, ‘The Stag’ from ‘The Hunters’ Chase’ series after Bernard van Orley (Flemish, 1492-1541), also at the Metropolitan Museum of Art (accession no. 57.127). We now know that Cleyn’s design for ‘The Horses’ was executed circa 1635-36, rendering inaccurate Ambassador Weddell’s dating of this tapestry prior to 1635. More than likely it was produced sometime in the middle of the 17th century. It is intriguing to note, however, that at least three full sets of the six tapestries in ‘The Horses’ were produced circa 1636-37. A fragment believed to be from such a set, depicting ‘Perseus and Andromeda,’ is in the collection of the Victoria & Albert Museum, London, museum number T.228-1989. This fragment has typically been associated with one of two sets that belonged to Charles I, and the borders in this example are also cut. An interesting argument has been made by Wendy Hefford, however, in her essay in Tapestry in the Baroque: Threads of Splendor (New York: Metropolitan Museum of Art, 2007). She suggests that ‘Perseus and Andromeda’ may in fact have belonged to Francis Crane (English, 1579-1636), the founder of the Mortlake Factory, and was then transferred to private ownership, where it remained until its discovery at Wentworth Castle in 1904 and subsequent sale at Christie, Manson and Woods in 1919. Hefford cites warrants for payment issued to Francis Crane which describe the original borders, now lost, as “having a ‘Stone’ border,” perhaps of an architectural nature also related to the border likely originally present in the offered lot. This evidence may suggest the possibility of its manufacture as an important commission alongside or close to that series during the reign of Charles I.

lot 52 A MORTLAKE TAPESTRY FROM ‘THE HORSES’ DEPICTING THE DESTRUCTION OF THE CHILDREN OF NIOBE designed by frans cleyn (german/english, 1582-1658), mid 17th century Cut down at borders; backed with linen. 9 ft. 10 in. x 14 ft. 3 in. provenance: Acquired in England, 1925. $8,000-12,000 See Additional Illustration Next Page

lot 53 A QUEEN ANNE FLORAL MARQUETRY MAHOGANY TALL CASE CLOCK early 18th century The dial apparently unsigned, with eight day movement. H: 91, W: 17, D: 9 in. $3,000-5,000

lot 54 A DUTCH ROCOCO MOTHER-OF-PEARL INLAID FLORAL MARQUETRY WORKSTAND late 18th/early 19th century With unusual shoe-form feet. H: 28, W: 26 1/2, D: 19 in. $700-900

lot 55 A VICTORIAN SILVER-GILT COVERED PRESENTATION CUP robert garrard ii, london, 1838 With finely modeled shell-form finial and elaborate rocaille base, the body with removed inscription; marked to body and beneath lid. H: 17 1/2 in. Weight: 128.8 oz. t. $3,000-5,000

lot 56 A GEORGE V STERLING SILVER FOUR PIECE DRESSING SET william garrard, london, 1911 Comprising brush, hand mirror, comb, and tray; all pieces marked. (4). L: 11 5/8 in. (tray) $800-1,200

lot 57 A GEORGE III STERLING SILVER DISH STAND samuel herbert & co., london, 1763 L: 13, W: 13 in. Weight: 23.45 oz. t. $1,000-1,500

lot 58 A PAIR OF EDWARD VIII ENGLISH PARCELGILT STERLING SILVER COVERED CUPS arthur martin parsons & frank herbert parsons (tessiers ltd.), london, 1937 In the early English Renaissance style, marked along upper rim of the cup, lower edge of cover, and under side of foot, the bases signed “Tessier Ltd. London.” (2). H: 14 1/2 in. Total weight: 48.5 oz. t. $800-1,200

lot 59 TWENTY-TWO IRISH VICTORIAN STERLING SILVER ARMORIAL SERVICE PLATES william law, dublin, 1870 Marked to underside, with engraved armorial at rim. (22). Dia: 10 in. Total weight: 420.2 oz. t. (approx.) $7,000-9,000

lot 60

lot 61

A VICTORIAN STERLING SILVER MINIATURE MONTEITH

AN ENGLISH GILT AND SILVERPLATED DISH COVER

e.s. barnsley & co., birmingham, 1886 With lion masque handles, marked to side of the bowl. H: 4 3/4, Dia: 6 in. Weight: 13.6 oz. t.

apparently unmarked, likely second quarter 20th century With British Royal Ducal Arms. W: 10 3/4 in.

$300-500

$250-350

lot 62 A PAIR OF GEORGE III STERLING SILVER SAUCEBOATS likely robert mitchell & co., birmingham, 1800 Each marked below rim. (2). H: 4 3/4, L: 7 in. Weight: 19.5 oz. t. $400-600

lot 63 A PAIR OF GEORGE V STERLING SILVER TAZZE lionel alfred crichton, london, 1911 Both marked to underside of bowl, retailed by Crichton Bros., New York & London. (2). H: 3 1/2, Dia: 7 7/8 in. Total weight: 36.5 oz. t. $600-800

lot 64 A GERMAN TAPESTRY FRAGMENT late 16th/ early 17th century H: 35, W: 35 in. $1,000-2,000

lot 65 A FRENCH OR GERMAN SILVER-MOUNTED GREEN LEATHER CASKET 19th century H: 8 1/2, W: 7, D: 4 1/2 in. $400-600

lot 66 AN ARTS AND CRAFTS METAL, GLASS AND LEATHER-MOUNTED CASKET IN THE VIKING REVIVAL STYLE late 19th century H: 7 1/4 W: 13 3/4, D: 8 1/2 in. $300-500

lexander Weddell noted that this strong box is “of a type which was made in Germany...and exported to the British Isles and to France. The false keyhole ostentatiously shown could hardly deceive even a casual searcher! This was bought in Norwich in 1929.”

lot 67 A GERMAN WROUGHT IRON STRONG BOX 16th century The front with decoy lock, the top with hidden lock, the interior with additional locked compartment; raised on castors. H: 22, W: 31 3/4, D: 19 in. provenance: Acquired in Norwich, England, 1929. $1,500-2,500

lot 68 A GERMAN SILVER RENAISSANCE REVIVAL REPOUSSÉ CHARGER apparently unmarked, likely hanau, circa 1900 L: 21 in. Weight: 29.37 oz. t. $500-700

lot 69 A GROUP OF FIVE WROUGHT IRON FLOOR LAMPS AND CANDLESTANDS 19th century and earlier H: 73 1/2 in. (tallest) $600-800

lot 70 TWO CONTINENTAL CARVED OAK DOOR PANELS 17th century Likely from a cupboard or cabinet. (2). H: 20 1/4, W: 18 1/2 in. $600-800

lot 71 A GERMAN RENAISSANCE CARVED OAK CUPBOARD 17th century With central hidden fall-front compartment and hidden keyholes. H: 70 3/8, W: 53 3/4, D: 23 in. $2,000-3,000

Book of Esther, 5-10:

n the third day Esther put on her royal robes and stood in the inner court of the palace, in front of the king's hall. The king was sitting on his royal throne in the hall, facing the entrance. When he saw Queen Esther standing on the court, he was pleased with her and held out to her the gold scepter that was in his hand. So Esther approached and touched the tip of the scepter.

Detail of Maker's Mark Along Proper Left Selvage

lexander Weddell described this spectacular tapestry in great detail in his Description of Virginia House: “The initials ‘B B,’ flanking an escutcheon, seen in the lower left-hand corner, prove its proud Brussels-Brabant origin, while on the opposite corner is a variant of the mark of the great Brussels tapestry-maker, Willem de Pannemaker. For his cartoon the artist drew inspiration from the familiar Biblical story of Esther before Ahasuerus. The brave Jewish queen is here depicted as daring at the risk of her life to run counter to rigid court etiquette and to appear unsummoned before the Oriental despot, drawing courage from the knowledge that her people’s very existence was at stake. Esther, with head bowed and body inclined in a gesture of humility and respect, stands with her handmaidens, awaiting the signal of forgiveness for her temerity—the inclined sceptre of the Monarch. The borders of this tapestry are unusually good in breadth and variety of subject. The work was bought in Spain in 1941.”

This tapestry is indeed quite fine and in a good state of preservation. The story is one oft depicted in tapestries of the 16th century, and examples of Brussels tapestries with this subject can be found in important collections in museums throughout the world. The present lot is notable for its two maker’s marks: the first indicates it was produced in a Brussels workshop, acknowledged to be the finest in Europe in the 16th century; the second is a cypher that relates to the weaver or specific workshop. Few tapestry maker’s marks today have been positively identified, and Ambassador Weddell’s attribution to Willem de Pannemaker (Flemish, 1512-1581) is considered unlikely. Nevertheless, its fine handling of human forms and the highly complex border demonstrate that it was without doubt woven in an elite workshop, and then likely exported to a royal or aristocratic residence in Spain.

lot 72 A FLEMISH BIBLICAL TAPESTRY DEPICTING ESTHER BEFORE AHASUERUS brussels, mid 16th century With “B B” Brussels-Brabant mark at lower proper right selvage and maker’s mark at proper left side selvage. 10 ft. 3 in. x 17 ft. 5 in. provenance: Purchased in Spain, 1941. $10,000-15,000

lot 73 A FRENCH OR FLEMISH LATE GOTHIC CARVED WALNUT OCTAGONAL CASKET 17th century H: 6 1/2, W 12, D: 11 in. $400-600

lot 74 A NORTHERN EUROPEAN CHASED AND ENGRAVED PEWTER COOLER dated 1623 H: 9 3/4 in. $300-500

lot 75 AN ASSEMBLED GROUP OF FIVE CONTINENTAL MINIATURE CHESTS 17th/18th centuries H: 5, W: 15 1/4, D: 10 1/2 in. (largest) $800-1,200

lot 76 A LATE GOTHIC CARVED OAK COURT CUPBOARD likely french or flemish, 16th century with 20th century restorations H: 65, W: 43, D: 20 in. $2,000-3,000

lot 77 A LATE GOTHIC CARVED OAK COURT CUPBOARD likely french or flemish, 16th century H: 64 3/4, W: 48, D: 22 in. $3,000-5,000

student of German artist Gortzius Geldorp (1553-1618), Franz Kessler spent most of his career in Cologne, where he painted portraits of the city’s wealthy citizens while also exploring the neighboring towns. Many of Kessler’s portraits date to the 1620s, such as the present one. They may be found in the Szépmüvészeti in Budapest, as well the Wallraf-Richartz Museum in Cologne.

In his 1947 book entitled Description of Virginia House, Alexander Weddell says: “On the north wall is a portrait on panel of a lady of the Court of Elizabeth or James I by Franz Kessler. Worthy of notice is the costume. The filmy lawn about the neck, the delicate lace collar framed on wires, whose pattern is repeated in the cuffs, and the elaborate jewels, worn as if forming a heraldic collar, add to the generally pleasing quality of the portrait.”

Although Kessler is known to have travelled inside and outside of Germany between 1620 (the date of our portrait) and 1624, there is no concrete evidence that the artist, a member of the Artists Guild of Cologne, ever went to England. As such, we must assume that this portrait was done on the continent, probably in the close vicinity of Cologne. The painting appears very close to the style (and size) of another 1620 portrait by Kessler, that of a young girl aged 15 (now in the Memorial Art Gallery in Rochester, NY). The two works share the same dark, abstract background and each figure is depicted with a very pale face, which contrasts with their fresh red lips and soft rosy cheeks. The careful rendition of the ladies’ costume, particularly the delicate lace around their necks, as well as the shiny jewels on their black dresses, indicates that the two models came from a wealthy background. To some extent, we may even suggest that the two were related (mother and daughter) and part of the same, bigger, image. In his 1972 article (p. 120), Horst Veys argues that both paintings were probably cut down, ours being trimmed at the bottom and on its left side; a hypothesis which the (unusual) narrow composition seems to confirm. Although our lady was certainly not a member of the Elizabethan court as explained above, her costume might suggest that she was in fact a member of the court of Frederick V and Elizabeth Stuart, who both lived in Heidelberg and became King and Queen of Bohemia in 1619 (for just a year, which granted them the nickname of the “Winter King and Queen”). Elizabeth Stuart was originally from England, and when she moved to Germany, she influenced the style of many German princesses who copied her elaborate dresses, such as the one depicted here. When studying the birth records of the time, only one German princess seems to fit the date and the age of the sitter inscribed on the portrait: Amalia von Sayn Wittgenstein. Born in 1586, she married Georg von Nassau Dillenburg in 1607 and both had a daughter named Margaretha von Nassau Dillenburg (1606-1661). Margaretha would have been 15 years old in 1620, which seems to corroborate our hypothesis based on the aforementioned portrait in Rochester. We wish to thank Ms. Sabine Craft-Giepmans at the Rijksbureau voor Kunsthistorische Documentatie, also known as R.K.D., for her assistance in cataloguing this lot.

lot 78 FRANZ KESSLER (GERMAN 1580-C.1650) portrait of a court lady, bust-length Inscribed with sitter’s age, dated and signed ‘Anno AEtatis Suae 44/1620/Frantz [sic] Kessler fecit’ upper and center right, oil on cradled panel. 27 7/8 x 23 3/4 in. (70.8 x 60.3cm) provenance: (Possibly) Collection of William Randolph Hearst. (Possibly) Hammer Galleries, New York, sale of March 25, 1941, no. 455-1002, p. 283 (as "Portrait of a Princess, Spanish School, 17th Century"). (Possibly) Acquired directly from the above sale. literature: Horst Vey (with contributions of Wolfgang Stechow), “Franz Kessler, Conterfeyter von Wetzlar. Die Wiederentdeckung eines ingeniösen Kopfes,” in Wallraf-RichartzJahrbuch, Vol. 34, 1972, pp. 119-174 , p. 142, fig. 13 (illustrated). $7,000-10,000

his tapestry is one of two panels from the same series owned by the Weddells, the other of which remains in situ at Virginia House. Though it is unclear what the primary scene depicts, the story is almost certainly mythological in nature. The present lot does not appear to relate to any recognizable event or depiction of Alexander the Great, as Alexander Weddell suggests: “In the absence of inscriptions it becomes difficult to determine what subjects or events they illustrate. One conjecture is that they represent the Triumphs of Alexander the Great. Their martial character and ‘the pomp and circumstance’ dedicated, worthy of a world conqueror, lend weight to this supposition. Yet another surmise is that Biblical scenes and incidents inspired the makers of the cartoons, their simple faith prompting them to give to leaders of primitive and pastoral folk a setting of opulence and splendor only to be found surrounding the sovereigns of rich and powerful peoples. The various subjects treated in the unusually beautiful borders are too diverse in character to help toward a solution for they are of a pagan or mythological or renaissance character. In one panel is recorded the story of the noble Euphrasia visiting her father, Evander, in prison, where he lies condemned to die by starvation, and herself suckling him to keep the vital spark alive. In still other divisions are sibyls, and shepherdesses and swains, and miniatures of mediaeval [sic] gardens. Also depicted is the tragi-comedy of the fall of the Welfic fortress of Weinberg to Conrad of Hohenstaufen in 1140. The women alone were to be spared with what they could carry away. The study Swabian came forth bearing on their shoulders their condemned husbands or sweethearts! One of these appears in the medallion on the lower right.”

lot 79 A FLEMISH MYTHOLOGICAL OR HISTORICAL TAPESTRY mid to late 16th century 13 ft. 10 in. x 12 ft. 9 in. provenance: Acquired in Spain, 1941. $6,000-10,000

lot 80

lot 81

A NORTHERN EUROPEAN GILT WALNUT PIETA

TWO LATE GOTHIC CARVED WALNUT FIGURAL GROUPS DEPICTING THE CIRCUMCISION

likely 17th century H: 15 1/2, W: 10 1/2 in. $500-800

likely flemish, 15th/16th century H: 15 3/4, W: 10, D: 6 in. provenance: Acquired in Spain, 1940. $1,000-2,000

lot 82 TWO POLYCHROME PLASTER MOURNERS FROM THE TOMB OF ISABELLA OF BOURBON 19th century After the originals by Reiner van Thienen, circa 1475-1476, now in the Rijksmuseum, Amsterdam. (2). H: 23 in. $400-600

lot 83 A NORTHERN EUROPEAN ENGRAVED IVORY AND EBONY CRUCIFIX likely 17th century H: 16 1/2 in. $600-800

lot 84 A FRENCH OR SOUTH NETHERLANDISH IRONMOUNTED OAK CHEST 15th/16th century H: 29 1/2, W: 63, D: 24 1/2 in. $1,000-1,500

lot 85 A LATE GOTHIC LIMESTONE GARGOYLE WATER SPOUT 14th/15th century H: 11, L: 23, D: 9 1/2 in. $1,500-2,500

he Weddells’ love for Gothic and Renaissance architecture is plainly exhibited in the structure of Virginia House. While they sought elements that could be repurposed in their construction of the house, some pieces were never used in the building or may have been acquired for their decorative use only.

Alexander tells a charming story about acquiring a set of Spanish columns in Granada, which is telling of the passionate and serendipitous nature of their collecting. Some of the columns he describes were used in the Loggia of Virginia House, and remaining fragments may be present in the offered lot: “[We] were in the south of Spain in 1941, and while there visited warm friends in Granada—the Duque del Infantado and his family. Although already the owner of several superb palaces in various parts of Spain, the late Duque was an enthusiastic acquirer and restorer of buildings, and at the moment was carrying out a brilliant piece of work in the recently purchased house in the old Moorish capital in which [we] were being entertained. Perhaps warmed by the enthusiasm of his guests for his plans he enquired what objects were being especially sought at the moment for their beloved Virginia House and Gardens. “Columns,” was V’s duosyllabic reply! To this [our] host remarked that perhaps he had a few, then lying in a temporarily abandoned garden on his property, being the remains of an ancient colonnade formerly encircling a pool. These were accordingly examined. V was delighted with them, and shyly asked: “How does one acquire such things?” for vulgar traffic with a grandee of Spain seemed indelicate, while acceptance of these elaborate objects as a gift—which following the best Spanish tradition might be anticipated—was unthinkable. Accordingly, and following some verbal fencing, the Duque’s steward was sent for, who came with inventories and figures of costs, and the delicate transaction was concluded. That very day, as it happened, certain American Red Cross trucks which had brought food supplies to Granada were returning empty to Cadiz where an American ship was lying. This happy coincidence made it possible to forward the columns promptly to the United States. Thus it happens that these columns, similar to and contemporaneous with those in Charles V’s Renaissance palace in the old Moorish Capital of Granada, found their setting in Virginia.”

lot 86 A COLLECTION OF SIX CONTINENTAL MARBLE AND SANDSTONE COLUMN CAPITALS gothic period and later H: 11 3/4 in. (tallest) provenance: Some acquired in Caen, France, 1930. Some acquired in Granada, Spain, 1941. $1,500-2,500

lot 87 TWO LATE GOTHIC LIMESTONE FIGURAL ARCHITECTURAL ELEMENTS likely french H: 9, W: 7 1/2, D: 12 in. (head), H: 18, W: 13, D: 12 in. (man) $1,000-1,500

lot 88

lot 89

A FRENCH GOTHIC CARVED SANDSTONE SCULPTURE OF CHRIST IN THE ARMS OF THE FATHER

possibly limoges, possibly 14th century H: 5 in.

13th/14th century H: 10 1/2, W: 8 1/2 in.

A FRENCH COPPER CORPUS

$400-500

$1,000-1,500

lot 90 A FRENCH LATE GOTHIC CARVED WALNUT FIGURE OF SAINT ROCH WITH TRACES OF ORIGINAL PIGMENT 14th/15th century H: 28 1/2, W: 14 1/2 in. $1,500-2,500

lot 91 A FRENCH GOTHIC OAK EQUESTRIAN STATUE OF SAINT MARTIN DE TOURS WITH TRACES OF ORIGINAL PIGMENT likely 15th century H: 34 1/2, W: 19 in. provenance: Acquired in Dijon, France, 1930. $1,000-1,500

lot 92

lot 93

A BRETON CARVED OAK MARRIAGE ARMOIRE

A PAIR OF LARGE WROUGHT IRON LANTERNS

late 17th/early 18th century Carved with charming scenes of domesticity. H: 80, W: 59 1/2, D: 27 in.

19th century H: 58 1/2, Dia: 26 in.

$2,000-3,000

$600-800

lot 94 A FRENCH WROUGHT IRON LIGHTNING ROD WEATHERVANE 17th/18th century Later converted to a hall tree. H: 92, Dia: 20 in. $1,000-1,500

lot 95 TWO CONTINENTAL WROUGHT IRON KITCHEN ELEMENTS likely french, 17th/18th century Comprising a hanging rack and a toast fork. (2). H: 18 in. W: 24 in. $600-800

lot 96

lot 99

AN AUBUSSON VERDURE TAPESTRY OF A STAG HUNT

AN IMPRESSIVE HENRI IV BURGUNDIAN CARVED OAK LINEN PRESS

late 19th century H: 101, W: 153 in.

17th century with early 20th century conversions H: 80, W: 54, D: 27 in.

$2,000-3,000

note: Alexander Weddell acknowledged that this linen press was altered from its original form, noting that it has been “adapted to serve as a wardrobe, without sacrificing the outside lines.” $3,000-5,000 Illustrated Right

lot 97 TWO SILK REPUBLIQUE FRANÇAISE FLAGS late 19th century H: 20, W: 21 in. $200-300

lot 98 A NAPOLEON III BRASS-BANDED AMBOYNA AND ROSEWOOD INLAID JEWEL CASE 19th century H: 7, W: 11 3/4, D: 8 3/4 in. $600-800

lot 100 A LOUIS XIV GILT-TOOLED LEATHER DOCUMENT BOX 18th century H: 9 1/4, W: 16, D: 12 in. provenance: By repute owned by Philippe, Duc d’Orléans. $1,000-1,500

lot 101 A PAIR OF FRENCH EMPIRE ENGINE-TURNED BRASS CANDLESTICKS early 19th century H: 11 in. $700-900

lot 102

lot 103

A LOUIS XIV PROVINCIAL BEECHWOOD FAUTEUIL À LA REINE WITH GROS POINT UPHOLSTERY

A FRENCH VERMEIL FLATWARE SERVICE FOR TWENTY-FOUR

late 17th/early 18th century H: 40, W: 26 in. $700-900

glachant, paris, circa 1870 Comprising 24 each dinner forks, table spoons, hollow-handled knives with vermeil blades, hollow-handled knives with steel blades, and a berry spoon; sold in original fitted leather box. (97). L: 8 1/4 in. (serving spoon); Total weight: 120.4 oz. t. (approx.) $2,000-3,000 Illustrated Right

lot 104 A FRENCH SILVER EWER AND BASIN martial fray, paris, mid 19th century Marked at foot with décharge marks. (2). H: 12 1/2, Dia: 13 in. Weight 56.7 oz. t. $800-1,200

lot 105 A CONTINENTAL COBALT GLASSMOUNTED SILVER ROCOCO REVIVAL INKSTAND unidentified maker, late 19th/early 20th century Marked “.900.” H: 8 1/2, W: 9 1/2, D: 4 1/2 in. $700-900

lot 106 A FRENCH VERMEIL EWER AND BASIN edmond tetard, paris, late 19th century Each stamped with 1st standard silver décharge marks, the basin with maker’s mark at foot. (2). Dia: 5 3/4, H: 15 in. Weight: 144.68 oz. t. $2,500-3,500

lot 107 A KNOLE STYLE SOFA UPHOLSTERED IN CRIMSON SILK VELVET second quarter 20th century Upholstered in 17th/18th century Genoese silk velvet embellished at backrest with Spanish silk, silver, and gold embroidered galloons. H: 40, W: 74, D: 30 1/4 in. note: This sofa was commissioned by Virginia Weddell in Mexico circa 1925-28, en suite with lot 108. $2,000-3,000 See Additional Illustration Next Page

lot 108 A RENAISSANCE STYLE VELVET UPHOLSTERED CURULE ARMCHAIR AND FOOTSTOOL second quarter 20th century Upholstered in 17th/18th century Genoese silk velvet. (2). H: 44 1/2, W: 30 in. $700-900

lot 109 TWO LATE RENAISSANCE BRONZE BELLS the first italian, dated 1598, the second spanish of similar date H: 8, Dia: 6 1/2 in. note: The Italian bell was found by Alexander Weddell in the rubble of a monastery in Messina, Italy, following the earthquake of 1908. $1,200-1,800

lot 110

lot 111

FOUR ITALIAN ALBARELLI

AN ITALIAN LATE RENAISSANCE CARVED WALNUT CASSONE

18th/19th centuries H: 9 in. (tallest) $500-700

17th century H: 27, W: 64, D: 24 in. provenance: Acquired in Nice, France, 1924. $2,000-3,000

lot 112 AN ITALIAN RENAISSANCE CARVED WALNUT CASSONE 16th century H: 20 1/2, W: 71, D: 23 in. provenance: Acquired in Nice, France, 1929. $2,000-3,000

lot 113 FOUR ITALIAN BLUE AND WHITE ALBARELLI 17th/18th century H: 10 1/2 in. (tallest) $500-700

lot 114 AN ITALIAN BAROQUE WALNUT STOOL 17th century H: 21, W: 14, D: 10 in. $300-500

lot 115 A NORTH ITALIAN CARVED BONE, IVORY AND FRUITWOOD INLAID WALNUT TRIPTYCH ALTARPIECE likely early 19th century In the style of the Embriachi School, possibly with some earlier elements. H: 24 1/2, W: 9 3/4 in. (closed), W: 19 3/4 in. (open) $3,000-5,000

lot 116 ITALIAN SCHOOL (18TH CENTURY) two italian illuminated manuscript sheets The first depicting “Christ Blessing the Disciples”, the second showing “The Birth of the Virgin”, pair inks on vellum. (2). Sheet size: 10 1/2 x 10 in. (26.7 x 25.4cm) $800-1,200

lot 117 A PAIR OF NEOCLASSICAL GESSOED PINE CANDLESTICKS 18th/19th century H: 12 1/2 in. $200-300

lot 118 AN ITALIAN PASTIGLIA CIRCULAR BOX possibly venetian, 16th/17th century Dia: 5 in. $600-800

lot 119 ITALIAN SCHOOL (16TH CENTURY) the mass of saint gregory Oil on carved panel with gold ground. Overall: 19 1/8 x 17 3/8 in. (48.6 x 44.1cm) Image: 11 3/8 x 10 1/8 in. (28.9 x 25.7cm) $3,000-5,000

lot 120 A LARGE PAIR OF NEOCLASSICAL CARVED GILTWOOD WALL BRACKETS 19th century H: 19, W: 14 1/2, D: 7 3/4 in. $600-800

lot 121

lot 122

AN ITALIAN ROCOCO GILTWOOD TABLE MIRROR

A VENETIAN GILTWOOD AND ETCHED GLASS SPECCHIERA

late 18th/early 19th century H: 22 1/2, W: 15 in. $600-800

18th/19th century H: 28, W: 12 in. $500-700

lot 123 A PAIR OF VENETIAN ROCOCO CARVED GILTWOOD AND ETCHED GLASS SPECCHIERE 18th century H: 36 1/2, W: 24 1/2 in. $2,000-3,000

lot 124 A PAIR OF ITALIAN NEOCLASSICAL GILTWOOD BANDED PIER MIRRORS late 18th century The central mirror plates replaced. (2). H: 55, W: 20 1/4 in. $2,500-3,500

lot 125 AN ITALIAN NEOCLASSICAL COPPER-LINED GILT-BRASS JARDINIÈRE early 19th century H: 8 1/4, W: 13 1/2 in. $800-1,200

lot 126 TWO LATE ROMAN TERRACOTTA HEADS 2nd-4th century c.e. H: 5 in., 3 7/8 in. $400-600

lot 127 A COLLECTION OF EIGHT LARGE CONCH SHELLS L: 15 in. (approx.) $400-600

lot 128 A ROMAN GLASS UNGUENTARIUM AND RIBBED BOWL 2nd century c.e. H: 2, Dia: 4 1/2 in. (bowl) $300-500

lot 129 A PAIR OF ROMAN SEA SALVAGED AMPHORAE WITH WROUGHT IRON STANDS likely 2nd-3rd century c.e. with 19th/20th century stands H: 41 1/2 in. (overall); H: 20 1/2, Dia: 14 in. (amphorae, approx.) $2,000-3,000

lot 130 GREEK SCHOOL, CYPRUS (MID-16TH CENTURY) triptych icon of the dormition of the most holy theotokos The exterior panels show local saints (most likely Saint Kosmas and Saint Damianos). The interior shows the Nativity (on the left), the Dormition (center), and the baptism of Saint John the Baptist (on the right), oil on carved panel with gold ground. Open: 9 1/4 x 14 1/2 in. (23.5 x 36.8cm) | Closed: 9 1/4 x 7 1/4 in. (23.5 x 18.4cm) $2,000-3,000

lot 131 A RUSSIAN ROSTOV ENAMEL-MOUNTED REPOUSSÉ SILVER-GILT GOSPEL COVER DECORATION apparently unmarked, likely moscow, circa 1800 Of foliate form, allover decorated in repoussé scrolling foliate motifs and centering a Rostov enamel cross depicting the crucifixion and the four evangelists, now mounted on chain as a panagia, but likely having once served as a Gospel cover decoration. H: 5, W: 4 in. $300-500

lot 132 A RUSSIAN SILVER LAMPADA maker’s mark in cyrillic i.d., moscow, 19th century Marked to underside of lid. L: 3 1/4 in. (body); Weight: 5.2 oz. t. $400-600

lot 133 A RUSSIAN ICON OF THE SAINT AND PROPHET ELIJAH IN THE WILDERNESS WITH SILVER AND SILVER-GILT OKLAD the oklad with unknown maker’s mark, moscow, 1830 The icon 19th century and Moscow school, depicting the St. and Prophet Elijah in the wilderness attended by the Holy Spirit, the conforming pierced oklad with repoussé molded depiction of same, the flange marked with unknown maker’s mark (cf. Postnikova-Losseva, Zolotoe i serebryanoe delo XV-XX vv., Moscow, 1995, no. 2871, p. 226), and with Moscow assay master’s mark of Nikolai Lukich Dubrovin and dated 1830. H: 12 1/2, W: 10 3/4 in. $1,000-2,000

lot 134 A FINE RUSSIAN MEDAL-SET SILVER, PARCEL-GILT AND NIELLO SNUFFBOX unknown maker ab, moscow, circa 1784 Circular, the lid set with a medal depicting Grand Duke Paul Petrovich and Grand Duchess Maria Feodorovna in double profile and signed Wæchter created for their wedding on 26 September, 1776, the interior struck with unknown maker’s mark AB (cf. Postnikova-Losseva, Zolotoe i serebryanoe delo XV-XX vv., Moscow, 1995, no. 2152, p. 207) and indistinct assay master’s mark, dated 1784. H: 7/8, Dia: 3 7/8 in. Weight: 7.13 oz. t. note: An identical box is pictured in Solodkoff, A., Russian Gold and Silverwork 17th-19th Century, New York: Rizzoli, 1981, pp. 132, fig. 163. $4,000-6,000

lot 135 A FINE RUSSIAN MEDAL-SET SILVER, PARCEL-GILT AND NIELLO SNUFFBOX unknown maker, moscow, circa 1780 Circular, the cover set with a medal depicting Empress Catherine II Alexeievna “The Great” in profile, signed Timofei Ivanov, and with surrounding inscription in Cyrillic “B.M. Ekaterina II Imperat[ritsa] I samoderzh[itsa] Vseross[isskoi];” allover decorated in niello with geometric patterns, the interior silver gilt and struck with the Moscow mark for 1780. H: 3/4, Dia: 3 1/4 in. Weight: 5.22 oz. t. $4,000-6,000

lot 136 A FINE RUSSIAN MEDAL-SET SILVER, PARCEL-GILT AND NIELLO SNUFFBOX unknown maker, moscow, circa 1777-1779 Circular, the lid set with a medal depicting Empress Catherine II Alexeievna “The Great” signed Wæchter after a portrait by I.B. Gass, with surrounding inscription in Cyrillic “B.M. Ekaterina II Imperat[ritsa] I samoderzh[itsa] Vseross[isskoi]” and depicting the Empress in profile as an allegory of her accession to the throne on 28 June 1762, the box allover nielloed in geometric patterns and silver gilt, the underside with niello military trophies, struck to interior of base with Moscow marks for 1777-1779. H: 7/8, Dia: 3 5/8 in. Weight: 6.4. oz. t. note: This box is interesting in that when disassembled, it revealed pieces of 18th century Russian lubok prints used in the interior construction. For another box using the same Wæchter medal but by J.P. Ador, St. Petersburg, please see: A. von Solodkoff, Russian Gold and Silverwork 17th-19th Century, New York: 1981, p. 146, fig. 183. $4,000-6,000

lot 137 A RUSSIAN SILVER-GILT NIELLO COVERED COMPOTE maker’s marks indistinct, likely moscow, 19th century The body and lid with cartouches containing townscapes and port scenes, the underside struck with indistinct and partially effaced marks, as well as an import mark, likely Persian. H: 7 1/4 in. Weight: 14.9 oz. t. $800-1,200

lot 138 A RUSSIAN GEM-SET SILVER, SILVER-GILT AND SHADED CLOISONNÉ ENAMEL KOVSH feodor rückert, moscow, 1896-1908 Of typical form, set with hardstone agates dyed green, blue, and rose color and allover cloisonné enameled centering a landscape with swans (enamel damaged); the base struck with the maker’s mark and the left-facing kokoshnik mark for Moscow, 1896-1908, 84 zolotniki. L: 4 1/2 in. $1,000-2,000

lot 139 A RUSSIAN SILVER-GILT AND NIELLO CHAMPAGNE FLUTE unknown maker’s mark of ak, moscow, 1837 Of typical fluted form and turned base decorated with two cartouches, one depicting the Alexander Column and Palace Square, the other with Falconet’s “Bronze Horseman,” overall decorated with scrolling foliate motifs, the base struck with unknown maker’s mark AK (cf. Postnikova-Losseva, Zolotoe i serebryanoe delo XV-XX vv., Moscow, 1995, no. 2199, p. 208), with Moscow assay master’s mark of Nikolai Lukich Dubrovin and dated 1837. H: 7 1/4 in. Weight: 6.5 oz. t. $1,000-1,500

far east the near &

including turkey, india, nepal & tibet

lots 140 - 209

he story of Alexander and Virginia Weddell’s sweeping romance began in Asia, specifically Calcutta, India where they met in 1923. Alexander Weddell, by this time, had served in Zanzibar, Tanzania; Catania, Italy; Athens, Greece; and Cairo, Egypt, before his appointment as Consul-General to Calcutta in 1920. His travels throughout Africa, the Mediterranean, and the Middle East brought him in close proximity to important collectors, antiquities, and works of art throughout this region. It was in Athens, for instance, that he met the family of the late archaeologist, Dr. Heinrich Schliemann, from whom he acquired his alla certosina walnut chest, believed at that time to be of Byzantine or early Ottoman origin. Examples of Ottoman tombak, silver, and portraiture were also acquired during these years. Ambassador Weddell deeply admired the arts of the Islamic world, and particularly appreciated the ornate and elegant workmanship of Ottoman and Indo-Persian arms and armour. Arriving in India, Alexander enjoyed easy sociability with both the elite of the British Raj and leaders of the Indian intellectual and independence movements; he commissioned a suite of teak furniture for the consul’s residence, for example, believed to be designed by the Indian Modernist artist Abanindranath Tagore, to whom he was introduced by Tagore’s cousin, the Nobel prizewinning poet Rabindranath Tagore. Virginia Chase Steedman, recently widowed, was herself interested in the world beyond North America. Shortly after her first husband’s death in 1921, she embarked on a round-the-world tour which took her through Europe to Istanbul and, finally, on to Calcutta in February of 1923. Through her travel companions, Mr. and Mrs. William Cocke, she was introduced to their friend and fellow Virginian, Alexander Weddell. Meeting for afternoon tea at a fashionable Calcutta hotel, their connection was instantaneous. When Virginia’s tour continued on to Burma, Alexander arranged for a leave of absence at the consulate to meet her for a romantic rendezvous in Rangoon, from which they departed on a months-long cruise back to New York. They were married immediately upon their arrival on U.S. soil, on May 31, 1923. They returned to Calcutta later that year, and together traveled throughout Southeast and East Asia where they partook of their mutual love of art and collecting. Though the couple had not yet embarked on their endeavour with Virginia House, it is here that we see the aesthetic of their collection begin to coalesce. A thread of spirituality runs throughout, from the carved IndoPortuguese ivories of the Christian faith—made by local artisans for the first wave of European explorers and conquerors of the globe, and later for export to Latin America—to Buddhist and Hindu devotional sculptures slowly being released from Tibetan monasteries where they had been reverently preserved for centuries. This convergence of the visual and spiritual is also true of the Tibetan carved and giltwood sutra covers which hung on the walls of the Virginia House library. The most significant works in the Weddells’ collection of Asian Arts, much like the their collection as a whole, are indeed such devotional Buddhist and Hindu figures, all of which Alexander notes were acquired in India, Nepal, and Burma prior to 1925. In 1925, the Weddells were transferred to Mexico for Alexander’s new post as Consul-General to Mexico City. Though vastly different in culture and visual expression, the arts of Latin America provided the Weddells with fruitful occasion to expand their collection along the tenets established during their time in Asia: innate beauty imbued with divinity. Characterized by the warm glow of gold and the swirling arabesques of textiles and metalwork, these works represent the highest manifestation of human arts, celebrated by the Weddells as an evocative memory of travels in past and distant lands, to capture some of the feel and mystery of a fulsome age in darkened monastery or noble villa. clockwise, from top left: mr. and mrs. weddell on an elephant in india; virginia chase steedman with colonel and mrs. william cocke on a camel in giza, egypt, 1922-1923; alexander weddell in zanzibar on april 13, 1912; virginia weddell in rickshaw, darjeeling, india in april 1924; alexander weddell in zanzibar on april 13, 1912; mr. weddell standing beside an indian statue, india

Illustrated Clockwise from Left:

lot 140

lot 141

A NORTHWESTERN PERSIAN/KURDISH RUNNER

A TABRIZ RUG circa 1900 4 ft. x 5 ft. 5 in. $800-1,200

$1,500-2,500

$800-1,200

late 19th century 21 ft. x 3 ft. 8 in.

lot 142

lot 143

lot 144

AN INDIAN CARPET

A SIVAS RUG

circa 1900 10 ft. x 12 ft. 9 in.

early 20th century 5 ft. 10 in. x 4 ft. 4 in.

A LAVER KERMAN CARPET late 19th century 16 ft. 3 in. x 12 ft. 7 in. $1,000-1,500

$1,000-1,500

100

lot 145 A MALAYER RUG

lot 146

circa 1900 6 ft. 2 in. x 4ft. 10 in.

A KERMANSHAH CARPET

$600-800

late 19th century 11 ft 3 in. x 8 ft. 1 in.

lot 147

$400-600

A BELOUCH CARPET late 19th century 14 ft. 5 in. x 6 ft. 11 in. $500-700

lot 148 AN UZBEKISTANI SUZANI 19th century 5 ft. 1 in. x 3 ft. 6 in. $1,000-1,500

his early and extraordinary chest, though with extensive losses, bears notable similarities to a Venetian example, circa 1500, at the Rijksmuseum, Amsterdam, object number BK-16629, as well as to an example of Spanish or Venetian origin at the Victoria & Albert Museum, London, museum number 7224-1860. A similar but likely later example was sold at Christie’s New York, September 27, 2007, lot 191. The present lot was in the collection of legendary archaeologist Heinrich Schliemann (German, 18221890), best known for his discovery of the ruins of ancient Troy in the 1870s. At that time, the chest was attributed to an Arabo-Byzantine origin. Alexander Weddell served as Consul-General to Athens during World War I, where he became friends with the family of Dr. Schliemann. According to Alexander, “[j]ust before the outbreak of hostilities the Berlin Museum had made an offer for this chest; delivery becoming impossible, it was finally bought by A[lexander].”

lot 149 A NASRID-STYLE EARLY MARQUETRY AND IVORY INLAID CASSONE venice or barcelona, late 15th century Elaborately geometrically engraved and inlaid with ivory and specimen wood to top, front, sides, and interior of lid; base and most interior fittings now lost. H: 19, W: 51 1/2, D: 22 in. provenance: The Collection of Heinrich Schliemann (German, 1822-1890). By descent. Acquired from the above, Athens, 1914. $6,000-8,000 See Additional Illustration Next Page

101

102

103

lot 150 CONTINENTAL SCHOOL (19TH CENTURY) portrait of an ottoman ruler; together with nine companions All portraits inscribed with the sitter’s name, including Dante and Louis V, oils on panel. (10). Each: 10 1/2 x 8 1/4 in. (26.7 x 21cm) $1,000-2,000

lot 151 A PAIR OF OTTOMAN BRASS OIL LAMPS turkey, 18th century H: 30 1/2 in. $300-500

lot 152 AN OTTOMAN HAMMERED COPPER VESSEL 18th century With traces of brass banding at shoulder and Arabic inscription at rim. H: 12, Dia: 13 1/2 in. $700-900

lot 153 A PAIR OF OTTOMAN COPPER BASINS turkey, 18th century Each of squat form, with rounded body and everted rim. (2). H: 9, Dia: 16 in. $500-700

104

lot 154 A GROUP OF OTTOMAN TURNED AND CAST BRASS OIL LAMP STANDS turkey, 18th century Comprising a pair of tall columnal oil lamp trays, and a large lamp. (3). H: 14, Dia: 5 1/2 in. (tallest) $400-600

LOT 001

lot 155 A LARGE PAIR OF OTTOMAN CAST AND TURNED BRASS CANDLESTICKS 17th/18th century H: 16, Dia: 10 in. $1,000-2,000

lot 156 AN OTTOMAN GILT-COPPER (TOMBAK) EWER AND BASIN early 19th century Engraved with Rococo-style decoration, the basin stamped with maker’s mark. (3). H: 15, Dia: 16 3/4 in. $4,000-6,000

105

106

lot 157 AN OTTOMAN SILVER EWER AND BASIN STAMPED WITH THE TUGHRA OF SULTAN ABDULHAMID II (R. 1842-1918) Elaborately decorated in the Rococo style, the basin and ewer each inscribed in Arabic with owner’s name, “Layla Khanim,” and dated AH 1312/AD 1898. (3). H: 11 1/4 in. Weight: 29.1 oz. t. $2,000-3,000

lot 158 AN OTTOMAN SILVER BONBONNIÈRE STAMPED WITH THE TUGHRA OF SULTAN ABDULHAMID II (R. 1842-1918) In the form of a fruit with elaborate repoussé and chased decoration; marked along each leaf, hinge and side. H: 9 1/2, Dia: 8 3/4 in. Weight: 26.4 oz. t. $1,000-2,000

107

lot 159 AN OTTOMAN SILVER-MOUNTED AND IVORY-INLAID FLINTLOCK RIFLE probably balkans, late 18th century Together with a similar flintlock blunderbuss. (2). L: 64 1/2 in. $800-1,200

lot 160 AN OTTOMAN HORN-HILTED SWORD (KILIJ) WITH SILVER-MOUNTED LEATHER SCABBARD turkey, 18th/19th century With tapering and curved steel blade, the scabbard with elaborate silver repoussé decoration, with almond-shaped gold damascened steel mounts filled with inscriptions. L: 39 in. $800-1,200

lot 161 AN OTTOMAN SILVER NIELLOMOUNTED POWDER HORN

lot 162 TWO OTTOMAN SWORDS

caucasus, 19th century Engraved with vegetal and animal decoration. L: 12 1/2 in.

19th century The first from Ottoman Turkey, the second, a tapering sword with leather scabbard, likely from Sudan. L: 40 in.

$1,000-2,000

$600-800

108

lot 163 AN OTTOMAN SILVER NIELLO AND PARCEL-GILT POWDER HORN caucasus, late 19th century The finial in the form of a duck’s head with elongated beak, with turquoise-set eyes. L: 26 in. $300-500

lot 164 FOUR MUGHAL DAGGERS WITH SCABBARDS 18th/19th century Comprising an Ottoman silver and ivory-hilted steel dagger, 19th century; an Indian koftgari steel dagger, 19th century; an Indian steel dagger with bird-form hilt, 19th century; and an Indian steel dagger. (4). L: 14 in. (longest) $1,000-1,500

lot 165 TWO SAFAVID STEEL AXES persia, 18th century L: 34 in. (largest) $1,000-2,000

lot 166 TWO LANCE HEADS 17th/18th century The first likely Ottoman with Kufic inscriptions, the second likely English. (2). L: 17 in. (Ottoman) $300-500

109

lot 167 A QUAJAR SILVER AND GOLD-OVERLAID STEEL HELMET (DAHL) AND MATCHING SHIELD (KHULA KHUD) persia, 19th century The helmet in the form of a peacock, incised with floral details, with inscription-filled cartouches around the rim, a sun-boss to the forehead; the shield with a central sun-formed boss with facial features, with inscriptions-filled cartouches around the rim. (2). Dia: 18 1/4 in. (shield), Dia: 13 in. (helmet) $3,000-5,000

110

lot 168 A BRITISH RAJ SILVER TROPHY hamilton & co., calcutta, circa 1920 Marked to underside with “H&Co.” mark, elephant mark, and “Silver.” H: 8 1/4 in. Weight: 17.5 oz. t. $300-500

lot 169 A LARGE SILVER FOOTED CENTER BOWL likely indian, apparently unmarked, late 19th/early 20th century H: 9 1/2, Dia: 13 5/8 in. Weight: 69.3 oz. t. $1,000-1,200

lexander Weddell commissioned this suite in Calcutta, where he served as Consul-General from 1920 to 1924. He wrote that he had them designed “by an artist brother of the poet [Rabindranath] Tagore.” This “artist brother” in fact likely refers to Abanindranath Tagore (Indian, 1871-1951), Rabindranath’s cousin, the influential Indian modern artist and founder of the Indian Society of Oriental Art.

lot 170 AN INDIAN INLAID TEAK DAYBED AND PAIR OF STOOLS attributed to abanindranath tagore (indian, 1871-1951), circa 1920-24 The stools with rattan seats. (3). H: 19, L: 78, D: 42 in. $600-800

111

lot 171 A CEYLON-PORTUGUESE CARVED IVORY FIGURE OF THE PENITENT MAGDALENE 17th century Retaining original polychromy, on later red velvet base. L: 6 1/4 in. $800-1,200

lot 172

lot 173

AN INDO-PORTUGUESE CARVED IVORY FIGURE OF A SAINT WITH FLAMING HEART

AN INDO-PORTUGUESE CARVED IVORY FIGURE OF THE MADONNA IN PRAYER

18th/19th century On later wood base. H: 3 1/2 in. (figure)

17th/18th century H: 3 3/4 in. $300-500

$400-600

lot 174 AN INDO-PORTUGUESE PARCELGILT CARVED IVORY FIGURE OF A SAINT 18th century With traces of original polychromy, on later giltwood base. H: 6 1/4 in. (figure) $1,000-1,500

lot 175 AN INDO- OR CEYLON-PORTUGUESE PARCEL-GILT CARVED IVORY FIGURE OF THE VIRGIN OF THE IMMACULATE CONCEPTION 17th/18th century Standing on a crescent moon with three cherubim, on later giltwood base. H: 6 3/4 in. (figure) $800-1,200

112

lot 176 A CEYLON-PORTUGUESE CARVED IVORY FIGURE OF THE CHRIST CHILD AS THE GOOD SHEPHERD 17th century Retaining elements of original polychromy, on later red velvet base. L: 5 3/4 in. note: This example bears extremely notable similarity to an example in the Roberta and Richard Huber Collection, exhibited in Journeys to New Worlds: Spanish and Portuguese Colonial Art from the Roberta and Richard Huber Collection at the Philadelphia Museum of Art from February-May 2013, and illustrated on p. 107 of the catalogue of the same name (Philadelphia: Philadelphia Museum of Art, 2013).

lot 177 AN INDO-PORTUGUESE CARVED IVORY FIGURE OF ST. FRANCIS

$1,000-1,500

17th century With gilt-metal nimbus and later wood stand. H: 4 in. (figure) $700-900

lot 178

lot 179

AN INDO- OR CEYLON-PORTUGUESE CARVED IVORY FIGURE OF ‘THE DREAM OF THE GOOD SHEPHERD’

AN INDO-PORTUGUESE CARVED IVORY FIGURE OF THE CHRIST CHILD SEATED

17th century The sleeping seated shepherd on a rocky mount above a fountain, sheep and Mary Magdalene, retaining traces of gilding and polychromy. H: 7 1/4 in.

17th/18th century His right arm raised in benediction and holding an orb and cross in his left hand, later wood and velvet base. H: 4 in. (figure)

note: All known examples of this form were carved in the Portuguese colonies in Goa and Ceylon (now Sri-Lanka). The present lot is most closely related to an example at the Metropolitan Museum of Art from the collection of J. Pierpont Morgan, accession number 17.190.297. Particularly associated is the stylized modeling of the ‘Fountain of Life,’ with the Magdalen carved into a niche at the base.

$800-1,200

$2,000-3,000

113

lot 180 AN INDIAN CARVED WHITE MARBLE FIGURE OF A SIX-HEADED BRAHMA probably rajasthan, 19th century or earlier Holding prayer beads and fruit, a peacock to front of base; traces of ink inscription at base. H: 10 1/2 in. (approx.) $800-1,200

lot 181 A CARVED IVORY FIGURE OF A BODHISATTVA STANDING, HAND IN ANJALI MUDRA possibly nepalese, 18th/19th century With draped garments and bodhisattva jewelry. H: 6 1/2 in. $400-600

lot 182 A SOUTHEAST ASIAN CARVED STUCCO AND TERRACOTTA ARCHITECTURAL FRAGMENT possibly 16th/17th century Depicting figures beneath a tree. H: 5 1/2 in. $150-250

114

lot 183 A NEPALESE GILT COPPER ALLOY SMALL MANDALA ON LION SUPPORTS 19th century or earlier Of square shape with four small lions supports at the corners. H: 3 in. $300-500

lot 184 A GILT COPPER ALLOY OF SEATED WHITE TARA probably nepalese, 18th/19th century Well-cast and finished, seated on a separate doublelotus base, the applied base plate inscribed with Sanscrit characters and a double-vajra. H: 6 5/8 in. $1,200-1,500

lot 185 A COPPER ALLOY FIGURE OF SEATED BUDDHA SHAKYAMUNI probably 19th century Possibly Nepalese, seated in bhumisparsha mudra, with inset turquoise stone, the loose base plate stippled with a double-vajra. H: 7 1/2 in. $800-1,200

115

lot 186 AN OTTOMAN GEM-SET NEPHRITE AND SILVERGILT BOX turkey, 17th century Set with faceted and cabochon pink tourmaline and beryl, missing some gemstones; the top with rose-cut diamond set lion, some stones deficient. H: 1 5/8, W: 3 1/8 in. note: For related examples, see Christie’s London, October 8, 2015, lot 90 and Sotheby’s London, October 7, 2009, lot 192. $4,000-6,000

lot 187 A NEPALESE GEM-SET GILT-COPPER ALLOY PETAL-FORM BOX newar, kathmandu or tibet, 18th/19th century Set with cabochon rubies, turqoise, sapphires, and beryls, some stones deficient. L: 4, W: 3 7/8 in. note: For a related example, see Michael Backman, Ltd., London, inventory number 5074. $3,000-5,000

116

lot 188 A PAIR OF NEPALESE BRASS ALTAR ORNAMENTS DEPICTING FEMALE DEITIES UNDER A FLOURISHING PLANT 19th/early 20th century The plant with a goose and stupa in the branches, each deity with a ring in hand. (2). H: 18 in. $2,000-3,000

lot 189 A NEPALESE COPPER ALLOY FIGURE OF A SEATED TANTRIC DEITY 19th/early 20th century Possibly depicting Namgyalma, with four heads, eight arms, bearing various symbolic implements, such as trident, bow, goad, vajra, dart and blade, seated in padmasana, with lotus petal stand, on scrollpierced base, similar mandorla, and a subsidiary flaming mandorla. H: 16 1/2 in. $1,500-2,000

117

lot 190 A LARGE NEPALESE GILT REPOUSSÉ AND CAST BRASS FIGURE OF A STANDING BODHISATTVA 19th/early 20th century Depicted crowned, standing on a double-lotus base, clad in engraved draperies, and with applied necklace and earrings, a flaming mandorla behind. H: 30, W: 17, D: 7 1/2 in. $10,000-15,000

n A Description of Virginia House, Alexander Weddell writes, “On the East wall...is a Buddha in bronze dore, its overall height being 32”. The enlightened one stands in a hieratic pose on a conventionalized double lotus; on his head is an elaborate crown (which conceals the familiar cobra hood), and from his ears are suspended large earrings; irregular nimbi of stylized lotus leaves add to the majesty of the figure, while the symbolic third eye in the forehead gives intensity to the mystical, introspective expression of the face. This statue was bought in India in 1924.”

For an earlier example, with repoussé jewelery and crown, compare the larger gilt and repoussé copper figure of seated Vajradhara, dated to the 17th/18th century, sold at Christie’s, Paris, June 20, 2017, lot 165. Compare also the Bodhisattva, dated to 18th/19th century, illustrated in Barbara Lipton et. al., Treasures of Tibetan Art, Collections of the Jacques Marchais Museum of Tibetan Art, pp. 156-157, no. 79, which also has separately formed arms and repoussé jewelry and mandorla, with the lotus base separately formed from the figure, and with similar lobed petals.

118

lexander Weddell discusses this figure at length in A Description of Virginia House: “On this chest is set Parvati, the wife of Siva, in bronze dore, which is a good example of the curious blending of Buddhism and Brahmanism to be remarked in Hindoo mythology and finding expression in sculpture and other forms of art. The Goddess is seaed on the conventionalized lotus leaf in one of the varied symbolical postures. She is crowned, wears huge earrings [now lost] and the maleficent third eye is seen on her forehead. She is only partially clad, and the scanty robe and elaborate necklace are adjusted to emphasize her feminine gifts and attributes. The palms of her hands and soles of the feet are visible, and bear a symbolic design.”

Compare the Bodhisattva, dated to 18th/19th century, illustrated in Barbara Lipton et. al., Treasures of Tibetan Art, Collections of the Jacquais Marchis Museum of Tibetan Art, pp. 156-157, no. 79, which also has separately formed arms and repoussé jewelry, with the lotus base separately formed from the figure.

lot 191 A NEPALESE REPOUSSÉ AND CAST GILT COPPER ALLOY FIGURE OF SEATED TARA 19th/early 20th century Depicted with bodhisattva jewelry and trailing scarves, the arms, braids crown, and one foot separately cast and joined, the lotus base repoussé. H: 19 1/2 in. (approx.) $7,000-9,000

119

lot 192 A PAIR OF NEPALESE GILT BRASS REPOUSSÉ PLAQUES DEPICTING SHIVA WITH PARVATI (UMA-MAHESHVARA) AND KUMARA possibly 10th-12th century The deities, seated on their vehicles, now mounted as bookends. H: 7 1/4 in. (panels, approx.) note: The sturdy build of the figures, the relative simplicity of ornament, and the general modeling of the face all suggest a 10th-12th century date. Compare the much larger repoussé plaque of similar arched silhouette, deriving from Pala models, depicting Vishnu seated on Garuda, dated 1004, in Pratapaditya Pal et. al., Art of the Himalayas, Treasures from Nepal and Tibet, Japan, 1991, pp. 46-47, no. 10. $1,000-1,500

lot 193

lot 194

A PAIR OF TIBETAN CARVED, PARCEL GILT AND RED-LACQUERED WOOD SUTRA COVERS

A TIBETAN CARVED WOOD AND PARCEL-GILT SUTRA COVER 16th/17th century or earlier With five Buddhas in elaborate niches, scrolled borders, the ends carved, one with a Sanskrit letter, the reverse with inscription in gold on red ground. H: 11 1/2 in. W: 28 3/4 in.

16th/17th century or earlier Carved with losenges, triangles and scrolls, one short end of each carved, and possibly incorporating a Sanscrit letter, reverse painted with two rows of concentric circles. H: 6 in. L: 28 1/2 in.

note: For related examples, see the cover dated to the 16th/17th century, illustrated in Valrae Renolds, Tibet, a Lost World, New York, 1978, p. 90; and another dated to the 14th century from the collection of John and Berthe Ford, illustrated in Pratapaditya Pal, Desire and Devotion, Art from India, Nepal and Tibet, London, 2001, pp. 240-241, no. 139. See also the example sold Bonham’s, New York, September 14, 2015, lot 74, dated to the 15th century.

$400-600

$2,500-3,500

120

lot 195 A TIBETAN CARVED GILT WOOD AND OPENWORK WOOD SUTRA COVER WITH PARCEL GILDING 16th/17th century or earlier With three main seated figures in elaborate niches, numerous subsidiary figures among scrollwork, multiple lobed borders, one end carved and incorporating a Sanskrit letter, underside enameled red. H: 10 1/4, W: 27 1/2 in. note: Alexander Weddell refers to this sutra cover and the other examples displayed in the library at Virginia House in A Description of Virginia House, "Along the east wall, above the bookshelves, are several Tibetan book bindings,-wood panels elaborately carved with representations of the Buddha in various hieratic poses.” $3,000-5,000

lot 196 A SMALL TIBETAN CARVED WOOD AND PARCEL-GILT SUTRA COVER 16/17th century or earlier Depicting five seated crowned Buddhas, lobed borders, one end carved with a vajra, the other a stupa. H: 4 3/4, L: 14 1/2 in. $1,000-1,500

lot 197 A TIBETAN CARVED BONE DANCE APRON PANEL 18th century or earlier Finely carved, the center depicting a female bodhisattva holding a kapala. H: 5 3/4 in. note: For a complete bone apron, dated to 14th/15th century, see Pratapaditya et. al., Art of the Himalayas, Treasures from Nepal and Tibet, Japan, 1991, pp. 122-123, no. 63. $1,000-1,500

121

122

123

lot 198 A FINELY CAST AND ENGRAVED SINOTIBETAN GILT COPPER ALLOY FIGURE OF A SEATED BUDDHA 17th/18th century or earlier The Buddha separately cast from the base, right hand in vitarka mudra, holding a bottle in left hand, with an unusual engraved scrolled collar, underside with stipple-engraved double vajra. H: 8 1/2 in. note: The present lot and the related examples offered are the gilt bronze Buddhas described by Alexander Weddell in the Virginia House drawing room: “The several small figures of the Buddha or Bodhisattvas’ on table or cupboard were brought from India and Burma when [we] were residing in Calcutta, and are museum pieces” $5,000-7,000

lot 199 A FINELY CAST AND ENGRAVED TIBETAN GILT COPPER ALLOY FIGURE OF A SEATED BUDDHA 16th/17th century or earlier Depicting either Shakyamuni Buddah or Akshobhya, the separately cast Buddha’s robe comprised of a series of finely-engraved lotus “embroidered” patches, seated in bhumisparsha mudra with an alms bowl in the left hand. The lower border of the lotus petal base finely incised, sealing plate engraved with a double vajra, parcel-gilt. H: 8 1/2 in. $8,000-12,000

124

lot 200 A TIBETO-CHINESE GILT COPPER ALLOY FIGURE OF A SEATED ARHAT, CUDAPANTHAKA/LAMTRENDE 16th to 18th century Adorned with floral scroll-engraved robes and seated in dhyani asana, back of lotus petal base inscribed “phags pa gnas stan(sic) lam ‘gran stan la na mo” which may be translated as “Homage to the arhat Cudapanthaka (Lamtrende)!”, underside of baseplate incised with double vajra centered by a Yin/Yang symbol. H: 7 3/4 in. note: Compare the examples, dated to the 16th century, illustrated in ed. Donald Dinwiddie, Portraits of the Masters, London and Chicago, 2003, pp. 76-77, 80-81, and later sold Bonham’s, New York, as 18th century, March 14, 2017, lot 3201, part. $2,500-3,500

lot 201

lot 202

A TIBETAN GILT COPPER ALLOY FIGURE OF SHAKYAMUNI BUDDHA

A SINO-TIBETAN COPPER ALLOY FIGURE OF A MEDICINE BUDDHA

17th/18th century or earlier On a double lotus petal pedestal, seated, in bhumisparsha mudra, sealed base. H: 8 in. $4,000-6,000

18th/19th century Seated in dhyani mudra, bearing an abrosial vase, shaped flaming nimbus. H: 3 in. $600-800

lot 203 A TIBETAN GILT COPPER ALLOY FIGURE OF SHAKYAMUNI BUDDHA SEATED probably 14th/15th century Based on Pala period examples, the Buddha seated in bhumisparsha mudra, with an inset turquoise urna, traces of cold gold, the double lotus base with baseplate incised with a double vajra. H: 6 in. $2,000-3,000

125

lot 204 A SINO-TIBETAN BRONZE FIGURE OF A SEATED MEDICINE BUDDHA probably 19th/early 20th century Underside with wood base plate, ink-inscribed with a double vajra. H: 7 1/2 in. $1,000-1,500

lot 205 A TIBETAN CAST AND REPOUSSÉ BRASS FIGURE OF PADMASAMBHAVA 19th/20th century The cast figure loose on a brass repoussé lotus base, underside of base with woodplate. H: 9 3/4, W: 7 1/4, D: 5 1/2 in. $1,500-2,500

lot 206 A SET OF THREE SIAMESE SILVER COVERED JARS One round, two cylindrical, apparently unmarked. Dia: 6 1/4 in. (largest); Total weight: 28.95 oz. t. $300-500

lot 207 A BURMESE SILVER REPOUSSÉ PICTURE FRAME Depicting various hindu deities, figures and animals. H: 13 1/2 in. Weight: 23.7 oz. t. $700-900

126

lot 208 A CHINESE CARVED CELADON JADE ‘BUDDHA’S HAND’ CITRON ORNAMENT 18th/early 19th century The fruit enveloped by carved leaves. L: 2 1/2 in. $1,000-1,500

lot 209 A CHINESE CARVED CINNABAR LACQUER ‘DOUBLE LOZENGE’ THREE-TIER BOX qing dynasty, 18th/19th century Top carved with cherry blossoms on waves, side with “antiques” reserves. H: 5 in. $400-600

lot 210 A PAIR OF CHINESE CARVED AND LACQUERED WOOD FIGURES OF ESOTERIC BUDDHIST DEITIES late qing dynasty Each depicting a pair of multi-armed, multi-headed wrathful deities in tantric embrace, on stepped bases with lotus-petal borders, with wood boxes. H: 6 1/2 in. (approx.) provenance: The Jade Tree, Shanghai. $500-700

127

128

americas the

including the united states, mexico, argentina & peru

lots 211 - 261

129

130

lthough Alexander and Virginia Weddell travelled extensively around the globe, America was their true home. Alexander’s great attachment to the United States can be seen through the many governmental missions he undertook, first starting as Secretary and then becoming US Consul General and later Ambassador. While on duty, Alexander spread his patriotism and distilled values of freedom and peace – a brave effort during a challenging time in history, when dictatorial regimes started to surface. While her husband was working, Virginia assumed charitable activities. She often visited orphanages to play with the children and teach them some words in English. While abroad, the Weddells always bought artifacts with the perspective of furnishing Virginia House – the retreat to which they happily returned after each trip. Although the Weddells' collection involved many foreign objects, their American objects served as a reminder of the couple’s origin and the collection’s long-term destination: Richmond. Among them is an “exquisite and joyous pagan work” by Frederick William MacMonnies entitled “Bacchante and Infant Faun,” the life-size original being in the Metropolitan Museum. Fascinated with the bronze’s scandalous history, Weddell chose a place of honor for it, exhibiting it in the Great Hall of Virginia House. Two impressive silk and wool 48-star American flags also reflect the Weddells’ patriotism. Both would have been related to Mr. Weddell’s duties as a consul or an Ambassador. The Weddells’ deep connection with Central and Latin America started in the early 1920s, when Alexander Weddell was appointed US Consul General to Mexico. From 1924 to 1928, Weddell was in charge of the security of all American citizens in the country. His fouryear tenure coincided with the presidency of Plutarco Elías Calles, a time of strained diplomatic relations between the United States and Mexico. Despite the political tensions, life in post-Revolutionary Mexico City seemed idyllic at first. The Weddells acted as fixtures among the high society of the North American and British communities in Mexico City. They socialized regularly with Ambassadors James Sheffield and Dwight Morrow, and also met with celebrated expatriates such as D.H. Lawrence and Zelia Nuttall. Writing from his house in Zona Rosa in 1925, Alexander Weddell confessed: “We have a pleasant home here with a bit of a garden, which my wife is enjoying supervising.” Virginia Weddell may have enjoyed supervising her Mexico City garden, but by 1926, she and her husband had developed an even more consuming hobby: the art of collecting. While other foreigners in earlytwentieth century Mexico collected folk art and contemporary artists such as Diego Rivera, the Weddells shared a passion for Spanish Colonial Art. With the help of Austrian art dealer René d'Harnoncourt, the future director of MoMA, they assembled a sizeable collection of New Spanish paintings (including a rare painting of the Virgin of Ocatl�n, and a set of small, oval, canvases portraying episodes from the martyrdom of Saint Agnes), sculptures (such as a carved image of the Virgin of Sorrows), textiles and decorative arts. Correspondence between the Weddells and their architect Henry Grant Morse suggests that the couple's collecting habits in Mexico were driven in large part by the decoration of Virginia House, which was just being built at the time. In keeping with the revival style and religious overtones of the old English priory, the Weddells sought to acquire art and furniture from previous centuries and, especially, works of a religious nature from the 18th century. With its important stock of New Spanish Art and Furniture, most of which was religious in nature, Mexico became the perfect shopping place for the couple. After some time spent in Virginia, the Weddells eventually returned to South America in 1933, when President Franklin D. Roosevelt appointed Alexander US Ambassador to Argentina - a graced period described as “five interesting and happy years in that wonderful country.” There, the couple continued to sharpen their focus on Spanish colonial art, acquiring ceramics, furniture and fine art, and even befriending the local artists, including sculptor Stephen Erzia, who had immigrated to Buenos Aires from Russia in 1920. Through his work, the Weddells discovered the many riches of Argentinian’s resources, namely tropical woods. At the end of the 1930s, the couple ventured North. While in Lima in 1937, they purchased what is now considered to be the highlight of their diverse collection, an important image of the Death of the Virgin surrounded by richly-dressed mourners. clockwise, from top left: mr. and mrs. weddell in a garden, mexico, between 1924 and 1928; alexander weddell showing mason’s marks on the outside wall of virginia house, east façade; mr. weddell standing outside a trolley car with seven unidentified men, mexico, between 1924-1928; postcard of mr. and mrs. weddell outside of a building in salta, argentina, september 1935; alexander w. weddell takes oath as official ambassador to argentina before professor william h. mcneill, august 1st, 1933; mr. weddell with his embassy workers, mexico city, july 4, 1927; alexander wilbourne weddell and virginia chase steedman weddell in their garden at virginia house, richmond

131

lot 211 A SILK AMERICAN 48-STAR FLAG first half 20th century H: 26, W: 39 1/2 in. note: This official flag would have been related to Alexander Weddell’s duties as consul or ambassador. $800-1,200

lot 212 A LARGE WOOL AMERICAN 48-STAR FLAG first half 20th century 8 ft. x 12 ft. note: This official flag would have been flown at one of the American embassies while Alexander Weddell was in residence. $300-500

lot 213 TWO ASSORTED SWORDS various dates The first an American naval sword circa 18201830, the second a hammered steel sword with leather wrapped pommel and scabbard, possibly Spanish or Mexican. L: 36 1/2 in. (longest) $600-800

132

lot 214 AMERICAN SCHOOL (19TH CENTURY) foggy landscape at dusk Oil on canvas. 28 1/4 x 29 in. (71.8 x 73.7cm) $800-1,200

lot 215 FREDERICK WILLIAM MACMONNIES (AMERICAN 1863-1937) “bacchante and infant faun” Signed ‘F. MacMonnies’ at base; also with ‘H. Rouard Fondeur’ stamp at base, bronze with golden patina. H: 34 in. (incl. base) $4,000-6,000

lot 216 AN AMERICAN WROUGHT IRON ROOSTER-FORM WEATHER VANE 19th century H: 30, W: 13 3/4 in. $400-600

133

lot 217 A PAIR OF AMERICAN STERLING SILVER COVERED OVAL TUREENS ball black & co., new york, third quarter 19th century Marked to underside, monogrammed “CF.” (2). H: 6, L: 11 1/4 in. Total weight: 74.5 oz. t. $1,200-1,800

lot 218 AN AMERICAN STERLING SILVER GILT-WASHED THREE PIECE TEA SERVICE reed & barton, taunton, ma, 20th century Comprising teapot, open sugar and creamer, each piece marked to underside and monogramed “JHA.” (3). H: 9 3/4 in. (teapot); Total weight: 44.8 oz. t. $800-1,200

lot 219 AN AMERICAN STERLING SILVER FLATWARE SERVICE FOR TWENTY-FOUR gorham mfg. co., providence, ri, 20th century In the ‘Baronial’ pattern, comprising 24 each luncheon forks, dessert forks, dinner knives, luncheon knives, and bouillon spoons; 23 dinner forks; 22 cake forks; fourteen each soup spoons and table spoons; and eight butter knives; sold together with two additional oyster forks and one fruit fork; some monogrammed “VCW,” others engraved with bird crest. (approx. 204). L: 9 1/2 in. (dinner knife); Total weight: 275.5 oz. t. (approx.) $3,000-5,000

134

lot 220 EIGHT CHINESE EXPORT PARCEL-GILT AND ENAMELED PORCELAIN WARMING DISHES WITH BIRDS, POSSIBLY FOR THE MEXICAN MARKET late 18th/early 19th century H: 2 3/4, Dia: 11 1/4 in. $1,000-1,500

135

136

lot 221 A PAIR OF SPANISH COLONIAL POLYCHROME PAINTED RUSH-SEAT LADDERBACK CHAIRS 19th century H: 51 1/2, W: 18 1/2, D: 17 in. $300-500

lot 222 A SPANISH OR SPANISH COLONIAL TOOLED AND POLYCHROME LEATHER BOX possibly peruvian, late 18th/early 19th century H: 9, W: 22, D: 13 in. $1,000-1,500

lot 223 A SPANISH COLONIAL IRON-MOUNTED GILT AND POLYCHROME PAINTED BLANKET CHEST possibly peruvian, 18th century H: 23 1/4, W: 55, D: 21 3/4 in. $2,500-3,500

137

aint Agnes of Rome was among the most celebrated martyrs during the early years of Christianity. Born into a noble family, she is said to have refused to marry the son of the prefect of Rome, claiming Jesus Christ was her only spouse. When asked to renounce her faith, she refused and was imprisoned and exposed in a brothel. There, Agnes was miraculously saved by an Angel, who covered her naked body with a cloth (Miracle of the Clouds, 1). Later, when the son of the prefect tried to rape her, the same Angel struck him blind (Agnes Thanking the Angel, 2). The prefect then finally decided to burn her at the stake, but the flames parted away from her (Miracle of the Flames, 3), whereupon the officer in charge of the troops drew his sword and beheaded her, or as shown here, stabbed her in the throat (Death by Sword, 4). Neither the context of display for these works, nor the exact source of their acquisition is evident, as none of the canvases are mentioned in Weddell’s Description of Virginia House. But in his article entitled “New Spanish Art in the Weddell Collection in Richmond, Virginia, USA: A Preliminary Catalog,” Dr. Michael J. Schreffler points out that a 1928 inventory in the Weddell’s papers mentions five small oval canvases being shipped from Mexico City to Richmond. Four of these canvases must have been the Saint Agnes cycle, while the fifth one was surely Lot 225 in the sale.

lot 224 SPANISH COLONIAL SCHOOL (18TH CENTURY) four episodes from the martyrdom of saint agnes Oils on canvas. In the Oval. (4). Each: 16 5/8 x 12 3/8 in. (42.2 x 31.4cm) literature: Michael J. Schreffler, “New Spanish Art in the Weddell Collection in Richmond, Virginia, Usa: A Preliminary Catalog” An. Inst. Investig. Estét, [online], 2002, vol. 24, no. 81. $300-500

lot 225

lot 226

SPANISH COLONIAL SCHOOL (18TH CENTURY)

A SPANISH OR SPANISH COLONIAL CARVED AND PAINTED WOOD FRAGMENT DEPICTING THE NATIVITY

crucifixion with the virgin mary and saint john Oil on canvas. In the Oval. 17 1/8 x 13 in. (43.5 x 33cm) literature: Michael J. Schreffler, “New Spanish Art in the Weddell Collection in Richmond, Virginia, Usa: A Preliminary Catalog” An. Inst. Investig. Estét, [online], 2002, vol. 24, no. 81. $400-600

138

18th century H: 28 1/4, W: 8 1/4 in. $400-600

lot 227 A SPANISH COLONIAL PARCEL-GILT AND POLYCHROME WOOD HALF-LENGTH SCULPTURE OF THE MADONNA AND CHILD 17th century Together with associated parcel-gilt carved wood stand. H: 27 (with stand), W: 16, D: 9 1/2 in. $1,000-1,500

lot 228

lot 229

A SPANISH COLONIAL POLYCHROME GESSO AND CARVED WOOD FIGURE OF CHRIST

A SPANISH COLONIAL POLYCHROME GESSO AND CARVED WOOD FIGURE OF JOHN THE BAPTIST

18th century H: 21 in.

18th century H: 23 in.

$700-900

lot 230 A SPANISH COLONIAL BRASS ‘CRUZ DE CARVACA’ 17th/18th century H: 5 in. $300-500

lot 231 A MEXICAN POLYCHROME PEDIMENT FIGURE OF AN ANGEL 19th century H: 21 1/2, W: 31 in. $500-700

139

lexander Weddell erroneously identifies this painting in his book on Virginia House as the “Virgin of Guadalupe.” In fact, the painting tells the story of Juan Diego Bernardino, the groundskeeper at the chapel of San Lorenzo in Tlaxcala, Mexico who was graced with the miraculous presence of the Virgin Mary in 1541. In order to heal his relatives who were sick with smallpox, Juan Diego travelled to the river Zahuapan, where a beautiful woman in a white tunic and a blue mantle approached him. She asked about his intentions, and after the boy replied, told him to follow her towards a source of water that had healing powers. Before she left, the mysterious woman predicted that her image would appear on the trunk of a nearby tree and asked the young boy to take the image with him to be housed in the San Lorenzo chapel. When Juan Diego returned to the site with local monks who had heard of the miraculous source of water, they found several oak trees with the tips of their branches burning, and a single tree completely engulfed in flames. The following day, when they returned to the site, the flaming tree had produced an image of the Virgin. As requested by the Virgin Mary, the villagers took the image to the nearby chapel. Today, the building still houses a reproduction of the original statue, called “Virgin of Ocotlán,” which means “Virgin of the Burning Oak”. Legend holds that every anniversary of its placement in the chapel, the statue’s face blushes red and its weight changes from very light to incredibly heavy. The present painting is a direct representation of the statue in the San Lorenzo chapel. It uses the conventional eighteenth-century iconography of her cult: a large, central image of the Virgin being surrounded by four, smaller, oval medallions depicting her apparitions. Here, Mary is depicted as both the Virgin of the Rosary (through the roses in her hair), and as Mary Immaculate, as indicated by the crescent moon on which she stands. The four medallions that surround the Virgin and which contain scenes from the aforementioned legend, were standard in Mexican representation of the Virgin of Guadalupe, and eventually became semi-standard for our type of Virgin as well. Although the work was executed in Mexico, the embroidered cloak that appears in almost every depiction of this subject is characteristic of the Cuzco School of Peru, as observed in Lot 260.

140

lot 232 MEXICAN SCHOOL (18TH CENTURY) the virgin of ocatlán Illegibly signed and dated ‘Sevastiano [...] 1792’ center and bottom right, with numerous inscriptions in Latin including ‘Nubem, Perdiem, et splendore ignis’, oil on canvas. 38 1/2 x 30 1/4 in. (97.8 x 76.8cm) literature: Michael J. Schreffler, “New Spanish Art in the Weddell Collection in Richmond, Virginia, Usa: A Preliminary Catalog” An. Inst. Investig. Estét, [online], 2002, vol. 24, no. 81. $3,000-5,000

lot 233 ATTRIBUTED TO MIGUEL CABRERA (MEXICAN 1695–1768) virgin of the rosary Bears signature and date ‘Mich Cabrera/ pinxit/1760’ center right, oil on canvas. In the Oval. 32 5/8 x 25 in. (82.9 x 63.5cm) literature: Michael J. Schreffler, “New Spanish Art in the Weddell Collection in Richmond, Virginia, Usa: A Preliminary Catalog” An. Inst. Investig. Estét, [online], 2002, vol. 24, no. 81. $500-800

141

lot 234 A MEXICAN BIOMBO WITH EMBLEMS FROM OTTO VAN VEEN’S HORATII EMBLEMATA 18th century Each oil on canvas laid down to board. (2). Height (each): 74 3/4 in. (188cm) | Width (each): 63 in. (160cm) literature: Michael J. Schreffler, “New Spanish Art in the Weddell Collection in Richmond, Virginia, Usa: A Preliminary Catalog” An. Inst. Investig. Estét, [online], 2002, vol. 24, no. 81. $2,000-3,000

ccording to Dr. Michael J. Schreffler, "This screen originally consisted of at least ten panels, seven of which are presently in the Weddell collection at Virginia House. Each panel is uniformly divided into three rectangular sections framing distinct genres of imagery. The lower registers, which are the smallest of the three, depict ornamental swags of leaves and ribbons against a faux-marble background. The larger, central sections are more varied, representing architectural niches whose contents alternate between small, lidded urns on tall pedestals and long-necked vases that hold flower arrangements. Finally, the oval medallions in the upper registers frame imagery from Otto van Veen’s Quinti Horatii Flacci Emblemata, a widely published seventeenth-century emblem book based upon quotations from the classical Roman poet, Horace. The provenance of the Weddell biombo is not provided in the Description of Virginia House, but the screen joins several others produced in eighteenth-century New Spain that take Otto van Veen’s Horatii Emblemata as their source. One of the latter is held in the collection of the Museo Soumaya in Mexico City; another was included in the 1994 exhibition Juegos de Ingenio y Agudeza, whose catalog documented it as belonging to the Galería de Antigüedades la Cartuja; and a third, smaller screen is in the collection of the Dallas Museum of Art in Dallas, Texas."

142

lot 235

lot 236

A SPANISH COLONIAL TOOLED LEATHER MILITARY HAT

A MAYAN ARCHITECTURAL STONE FRAGMENT

late 18th/early 19th century Possibly from the DragÓns de Cuera, the crown decorated with a frieze of soldiers in 18th century military frock coats with spears, the brim tooled with scrolling foliate arabesques. H: 8, Dia: 25 in.

500-900 c.e. H: 3 3/4, W: 5 1/2, D: 5 in. $400-600

$1,000-1,500

lot 237 A PAIR OF MEXICAN PARCEL-GILT AND RED PAINTED EAGLE-FORM PEDESTALS 18th century H: 35, W: 15, D: 15 in. provenance: Purchased in Mexico, 1925. note: These pedestals originated in a Mexican church, which was destroyed during the Mexican rebellions of 1911-12. $600-800

lot 238 A RARE CHINESE EXPORT BRASS-MOUNTED TRUNK FOR THE MEXICAN MARKET 19th century The interior with original retailer’s label: “Tienda de/FELIPE GOMEZ/ GUADALAJARA/Contra-Esquina de Sta. Teresa Letra M.” H: 13 1/2, W: 30 3/4, D: 15 1/4 in. $1,000-2,000

143

lot 239 A PAIR OF MEXICAN PARCEL-GILT AND HAMMERED COPPER MIRRORS 19th century H: 33 1/2, W: 23 1/2 in. $800-1,200

lot 240 A PAIR OF MEXICAN COLONIAL GILT COPPER CANDLESTICKS 18th/19th century H: 22 in. $800-1,200

lot 241 A MEXICAN WALNUT AND PINE WORK TABLE 18th century H: 26 1/4, W: 33 1/2, D: 19 3/4 in. $600-800

144

lot 242 A MEXICAN SILVER EIGHT-LIGHT VOTIVE LAMP IN THE SPANISH COLONIAL STYLE bearing marks for cayetano buitrón, likely late 19th century Bearing marks on canopy of Chief Assayer Cayetano Buitrón, hallmark, and tax mark, all likely spurious; wired for electricity. H: 39, Dia: 25 1/2 in. provenance: Acquired in Mexico, 1926. $2,000-3,000

lot 243 A PAIR OF MEXICAN SILVER CANDLESTICKS likely 19th/early 20th century Each marked “12” at base. (2). H: 15 in. Weight: 39.51 oz. t. $500-800

lot 244 TWO SMALL SPANISH SILVER COIN-INSET DISHES spanish or mexican, 19th century Apparently unsigned. (2). Dia: 4 3/8 in. Total weight 6.6 oz. t. $150-200

lot 245 A MEXICAN SILVER TWO HANDLED LOBED VEGETABLE DISH mendoza, 20th century L: 15 in. Weight: 29.29 oz. t. $500-700

145

lot 246 A MEXICAN SILVER ARMORIAL TWO PIECE DINNER SERVICE FOR TWENTY-FOUR apparently unmarked, likely second quarter 20th century Comprising twenty-four each bread plates and soup plates, with bird-form crest at rim. (48). Dia: 6 5/8 in. Total weight: 486 oz. t. (approx.) $7,000-9,000

LOT 001

146

lot 247 A SET OF TWENTY-THREE MEXICAN SILVER ARMORIAL FINGER BOWLS AND PLATES mendoza, mexico city, 20th century Comprising twenty-three each finger bowls and small plates. (46). Dia: 8 in. (plates); Total weight: 282.84 oz. t. (approx.) $3,000-5,000

lot 248 A MEXICAN COLONIAL STYLE SILVER NUT DISH bearing marks for cayetano buitrón, likely early 20th century Marked at top of base, marks likely spurious. H: 3, Dia: 7 in. Weight: 15 oz. t. $200-300

lot 249 SIX MEXICAN COLONIAL STYLE SILVER SALTS bearing marks for cayetano buitrón, likely early 20th century Each marked beneath rim with assayer, hallmark, and tax mark, all likely spurious. (6). H: 3, L: 5 1/4 in. Total weight: 28.9 oz. t.

lot 250 A PERUVIAN SILVER VEGETABLE DISH welsch & co., lima or arequipa, 20th century Stamped “.900,” marked to underside. L: 13 1/4 in. Weight: 22.3 oz. t. $300-400

$400-600

147

148

lot 251 AN EXTENSIVE MEXICAN BLOWN AQUAMARINE GLASS DINNER SERVICE second quarter 20th century Comprising one hundred and one plates, twenty eight tall glasses, nine footed ice cream bowls, five bowls, three chargers, three decanters, two vessels, and one large vessel, and nut bowl. (approx. 155). Dia: 15 in. (largest charger) $800-1,200

Partial Lot

lot 252 A SET OF TWELVE MEXICAN TIN-GLAZED EARTHENWARE TILES DEPICTING A DRESSED STATUE OF THE VIRGIN MARY early 20th century H: 31 1/4, W: 23 3/4 in. $200-300

149

he Weddells purchased the present work directly from the artist, whom they met in Argentina in the early 1930s. Born in Russia in 1876, Erzia found himself in Buenos Aires in 1927. He stayed there until 1950, using the local tropical woods to create most of his sculptures. According to H. Scott Burrell, Alexander and Virginia purchased three other sculptures by Erzia, which they donated to the Virginia Museum of Fine Arts as Alexander was a trustee of the Museum. Erzia’s wood sculptures made a strong impression on his contemporaries, especially in Argentina, where local artists started to learn from him and create their own works. Erzia extensively employed the roots of the local tropical trees such as algarrobo, urunday and quebracho. As shown here, he often left entire portions of the wood untouched, in order to represent natural hair or beard - the medium thus becoming a part of the design. Thanks to its tender nature, quebracho wood enabled Erzia to obtain an exquisite finish on the finished product, when polished. Here, the face of our “Disillusioned” man suggests bronze. Its incredible quality and depth conveys an overall sense of fragility, which echoes the man’s tortured emotions.

lot 253 STEPHEN ERZIA (RUSSIAN 1876-1960) “le désenchanté” (the disillusioned) Signed, illegibly inscribed and dated “S. Erzia/***/1934/B.A.” on the back of the head, carved quebracho rootwood. On a wood stand. H (incl. base): 18 7/8 in. (47.9cm); H (excl. base): 14 1/4 in. (36.2cm) provenance: Acquired directly from the artist, 1934. $15,000-25,000

150

151

lot 254 AN UNUSUAL PERUVIAN BAROQUE POLYCHROME GESSO AND CARVED GILTWOOD MIRROR 18th century H: 48 1/2, W: 37 in. $3,000-5,000

lot 255 SEVEN SPANISH OR PERUVIAN STAMPED AND POLYCHROME CORDOVAN LEATHER FRAGMENTS late 16th/early 17th century H: 50, W: 29 in. (largest) provenance: Purportedly from the residence of Pedro Pizarro (Spanish, 15151602), Cuzco, Peru. $500-700

lot 256 TWO SPANISH OR PERUVIAN STAMPED AND POLYCHROME CORDOVAN LEATHER FOUR PANEL FLOOR SCREENS the leather late 16th/early 17th century H: 90, W: 80 in. provenance: Purportedly from the residence of Pedro Pizarro (Spanish, 1515-1602), Cuzco, Peru. Acquired from the above residence. note: The leather for these screens is said to have come from wall hangings in the home of Pedro Pizarro (Spanish, 1515-1602), nephew of the great conquistador Francisco Pizarro, in Cuzco, Peru. Mr. and Mrs. Weddell acquired the leather in Peru, and later had this set of screens made in Richmond, en suite with the following lot. The remaining fragments in lot 255 are of the same origin. $2,500-3,500

lot 257 A SPANISH OR PERUVIAN STAMPED AND POLYCHROME CORDOVAN LEATHER FOUR-PANEL FLOOR SCREEN the leather late 16th/early 17th century H: 77 1/4, W: 80 in. provenance: Purportedly from the residence of Pedro Pizarro (Spanish, 1515-1602), Cuzco, Peru. Acquired from the above residence, 1937. $1,000-1,500

152

ccording to popular belief, Saint Christopher was a very tall and strong man who devoted his entire life to help travelers cross a dangerous river. One day, a child asked to ride on Christopher’s shoulders across the river. The Saint agreed to help, but as he crossed the river the infant seemed to grow heavier and heavier. When they finally arrived on the other side, the child revealed his divine identity and told the Saint that he had just carried the “weight of the world.” Now the patron Saint for travelers, Saint Christopher was one of the most popular figures in Spain and the Americas in the age of Spanish Imperialism. According to Alexander Weddell, the present work was purchased in Mexico in 1926. A 1927 letter from Alexander to his wife also suggests René d’Harnoncourt (1901-1968) had a role in its acquisition (Alexander Weddell to Virginia Weddell, February 4, 1927 - Virginia Historical Society).

lot 258 PERUVIAN SCHOOL (17TH CENTURY) saint christopher bearing the christ child on his shoulders Oil on canvas. 37 1/4 x 27 1/8 in. (94.6 x 68.9cm) $1,000-1,500

lot 259 CUZCO SCHOOL (18TH CENTURY) saint joseph and the christ child with saint lucy Oil on canvas. Unstretched, on roll. 28 1/2 x 23 3/4 in. (72.4 x 60.3cm) $500-800

153

mbassador Alexander Weddell and his wife reputedly acquired this exquisite oil on canvas while on a trip to Lima, Peru in 1937. While highly reminiscent of the work of Diego Quispe Tito (Peruvian 1611-1681), it also shares some stylistic similarities with Gaspar Miguel de Berrio’s (Bolivian 17061762) Adoration of the Shepherds (circa 1720) in the Denver Art Museum, especially in the rendering of the richly decorated gold brocaded robes of the figures. The painting also seems to be based on the fresco in the Templo de la Sagrada Familia in Cuzco, Peru, after which many prints were made. Here, the figure of Mary is shown in repose, flanked by numerous mourners, including Saint Peter to her left (who is holding the keys to Heaven) and Saint John to her right, the closest male figure to her among all Christ’s disciples. The Holy Dove (with golden rays surrounding it), Christ himself (in royal vesture) and two pairs of Saints appear in cloud banks overhead, leaning down towards the Virgin to welcome her among them in the sky. One may recognize the Virgin’s own parents, Anne and Joachim in the upper right corner. The Death of the Virgin Mary is a common subject in Christian art. It is the direct equivalent of the Dormition of the Theotokos in Byzantine art, in which Mary’s body is about to be taken up to her son in Heaven.

lot 260 CUZCO SCHOOL (17TH CENTURY) the death of the virgin Oil on canvas. 43 1/2 x 38 3/4 in. (110.5 x 98.4cm) provenance: (Purportedly) Acquired in Lima, Peru, 1937. $12,000-18,000

155

156

lot 261 A RARE CARVED IVORY AND PAPIER-MÂCHÉ DRESSED STATUE OF THE MADONNA likely hispano-philippine for the south american market, 18th/19th century Sold together with original blue silk velvet and silk and silver embroidered robe and hood, and purple silk velvet surcoat. H: 22 in. $3,000-5,000

his Madonna appears to be based on the type of Virgin depicted in the painting of The Virgin of Ocotlán (lot 232). Generally speaking, it is inspired by countless other 18th century dressed statues of the Virgin once could find in Spanish or Mexican churches, where they ordinarily remained. Such works were highly revered and respected as tokens against natural disasters and shipwrecks. Although such devotional dolls were common in Hispanic culture, our statue is extremely rare, possibly unique, in that she retains her original clothes. Her face and her hands are in ivory, which was most likely imported from the Philippines for the South American market. The Ashmolean Museum in Oxford, United Kingdom, owns a similar ivory head (bodiless and without any clothes), although theirs is an earlier example from Goa (accession no. EA1963.1811). Goa became a Portuguese stronghold in the 16th century and a flourishing center of Christianity. Our fine Madonna can also be a type attributed to Far Eastern Catholic settlements such as Macao or Manila. A reasonable hypothesis is that the ivory head and hands were added at a later point to the blue papier-mâché body.

157

spain europe featuring

lots 262 - 332

160

ollowing five successful years in Buenos Aires as the Ambassador to Argentina, Alexander Weddell was appointed Ambassador to Spain by President Franklin Roosevelt in 1939. A testament to President Roosevelt’s trust in his skilled statesmanship, Ambassador Weddell inherited a challenging diplomatic situation following the destruction of the Spanish Civil War, the brutality of the Franco Regime, and the looming threat of World War II. This environment, though fraught, did allow the Weddells the convenience of easy travel throughout Europe, which served their collection well. Ambassador Weddell wrote fondly of his many serendipitous discoveries during their time in Spain from 1939 until his retirement in 1942.

These years were also a productive time for Mrs. Weddell, whose generous spirit warmly embraced the devastated Spanish people. She established Fondo de Socorro Español de Mrs. Weddell (Mrs. Weddell's Spanish Relief Fund), and organized other relief efforts from bread baking to procuring medical supplies—she even raffled off her own car. She operated a Red Cross office out of the Embassy and was ultimately awarded a condecoración de manos del conde by the Spanish Red Cross. Their friend, the British Ambassador to Spain Sir Samuel Hoare, wrote of Mrs. Weddell that she was “the soul of human kindness, generous to an extreme to Spanish good works, and friendly alike to Americans, Spaniards, and English.” Much of the Weddells’ continental collection was assembled during their time in Spain, and while they acquired works from across Europe in these years, and also found many fine Spanish pieces in Latin America, the arts of Spain are well represented here. Chief among these are a very fine Spanish Baroque parcel-gilt carved bone and walnut vargueño on stand, and a large and elaborately carved Spanish Renaissance walnut library table. The Weddells favored the heavy gravitas of the Spanish Renaissance and Baroque periods, and much of Virginia House was furnished with the walnut tables and chairs produced in Spain during this period. Likewise, they appreciated the spirituality and tender emotion of early ecclesiastical works, as seen in a pair gold ground scenes of the Assumption and the Resurrection, and a carved alabaster figure of the Virgin and Child. Ambassador Weddell also had an interest in metalwork, represented throughout the collection and evident in his unusual and spectacular group of 16th and 17th century Spanish bronze mortars. Ambassador Weddell retired from the Foreign Service in 1942, aged sixty-six, finding his position increasingly untenable against the creeping tide of Nazism in the Spanish government. He and his wife returned to Virginia House, where they spent the remaining five years of their lives surrounded by their beloved artworks and the happy memories they engendered of their time abroad. clockwise, from top left: the us embassy on madrid, spain (also known as palacio de los duques de montellano); the weddells and hilda montellano on a donkey on a hilltop in spain, between 1939-1942; the weddells with their three dogs outside of the us embassy in madrid, spain, between 1939-1942; mr. and mrs. weddell at a train station with friends, near madrid; inside view of the auxilio social in madrid, spain, 1939

lot 262 TWO SPANISH CAST BRONZE MORTARS WITH LETTERING one dated 1603, the other likely of similar date One with pestle. (3). Dia: 6 1/2 in. $600-800

lot 263 THREE SPANISH CAST BRONZE MORTARS 17th century The first with raised lion masques, the second with animal-head flanges and raised lion masques, the third with figures of avenging angels. (3). Dia: 4 3/4 in. $600-800

lot 264 THREE SPANISH CAST BRONZE MORTARS WITH MASQUE AND FLANGE DECORATION 17th century The first with masque and flange decoration, the second with putti in relief, the third with pilasters and figures. (3). H: 3, Dia: 4 1/2 in. $600-800

lot 265 FOUR SPANISH CAST BRONZE MORTARS 17th century The first with reeded pilasters and pierced flange handles, the second with flange handles, the third with stars and flanges, the fourth with pilasters and flanges. (4). H: 5 3/4, Dia: 8 1/4 in. (largest) $800-1,200

162

lot 266 A LARGE SPANISH CAST BRONZE MORTAR DECORATED WITH CROSSES 17th century H: 5 1/2, Dia: 8 in. $300-500

lot 267 A LARGE SPANISH CAST BRONZE MORTAR dated 1613 Inscribed “CORRADO TERNVLLO M CALDARADO 1613.” H: 9 1/2, Dia: 11 3/4 in. $600-800

lot 268 A PIG-FORM WROUGHT IRON HANDLE 16th century L: 6 1/2 in. $300-500

lot 269 A SPANISH IRON LOCK PLATE AND ESCUTCHEON 17th/18th century H: 9 3/4 in. (largest). $200-400

163

lot 270 TWO LEAD ROYAL SEALS OF PHILIP IV OF SPAIN mid 17th century Dia: 3 1/2 in. (largest) $500-700

lot 271 TWO PAIRS OF SPANISH SHEARS 17th century The first in the form of a dagger, the second with finely etched decoration. (2). L: 12 in. $250-350

lot 272 A SPANISH BAROQUE BOX BOUND IN TOOLED VELLUM 18th century H: 5 1/2, W: 11, D: 7 in. $600-800

164

lot 273

lot 274

A GROUP OF FOUR WROUGHT IRON STANDING LAMPS 19th century and earlier H: 63 in. (tallest, approx.) $400-600

THREE SPANISH STEEL RAPIERS likely 17th century The first with turned wood pommel and engraved with foliate decoration and inscription, the second with turned pommel and chased hilt, the third possibly earlier with lobed wood pommel, the blade stamped with indistinct maker’s mark. (3). L: 42 1/2 in. (longest) $800-1,200

lot 275 A GROUP OF EIGHT SPANISH WROUGHT IRON STIRRUPS 17th century Comprising three pairs of stirrups and two individual stirrups with sets of Rudyard Kipling books; sold together with a single Mexican iron-mounted wood stirrup. (9). H: 4 1/2, W: 9 1.4 in. $800-1,200

165

lot 276 A SPANISH ROCOCO GREEN-PAINTED AND PARCEL-GILT BIBLE STAND 18th century H: 14 1/4, W: 13 1/2, D: 9 in. $300-500

lot 277 A SPANISH BAROQUE GREEN-PAINTED AND PARCEL-GILT TRAVELING ALTAR 18th century H: 24, W: 21, D: 9 in. $300-500

lot 278 A SPANISH RENAISSANCE STYLE IRON-MOUNTED CARVED PINE BLANKET CHEST likely 19th century with earlier elements H: 17, W: 40 3/4, D: 18 3/4 in. $600-800

166

lot 279 SPANISH SCHOOL (18TH-19TH CENTURY) pair of still-lifes Pair oils on canvas. (2). EacH: 31 3/4 x 21 3/4 in. (80.6 x 55.2cm) $1,000-1,500

lot 280 A PAIR OF SPANISH BAROQUE WALNUT ARMCHAIRS WITH FLAME STITCH UPHOLSTERY late 17th/early 18th century H: 47 1/2, W: 25, D: 26 in. $800-1,200

167

lot 281 SPANISH SCHOOL (17TH-18TH CENTURY) immaculate conception Oil on panel. 17 x 12 in. (43.2 x 30.5cm) $400-600

lot 282 A SPANISH CARVED PINE AND OAK CRUCIFIX 15th/16th century or later With traces of original pigment. H: 23, W: 14 1/4 in. $500-700

lot 283 A SPANISH BAROQUE IRON-MOUNTED WALNUT SIDE TABLE late 17th/early 18th century H: 26 3/4, W: 28 1/4, D: 28 1/4 in. $800-1,200

lot 284 THREE SPANISH BAROQUE WALNUT JOINED STOOLS 17th/18th century H: 20, W: 17 1/2, D: 10 3/4 in. (largest) $800-1,200

168

lexander Weddell was particularly fond of this serene and haunting work, which was displayed prominently in the Great Hall at the entrance of Virginia House. Its condition today is unchanged from when it was purchased in 1930, already at that time presenting signs of significant age: “On the chest is set a mediaeval [sic] figure in alabaster of the Virgin and Child. The infant Saviour’s head is missing, and the work has suffered other mutilations. However, there is a tender, intent quality in the pose and expression of the Mother, at whose feet are carved winged angels playing on various types of early musical instruments—organ, lute, harp, and cither [sic]. This statuette was bought at el Museo, in Granada, in 1930.”

The sculpture exhibits the spiritual emotion and body modeling of late medieval works, such as is seen in a related example at the Metropolitan Museum of Art, New York, accession number 43.19. Later scholarship, however, suggests that this sculpture may be of uncertain date. It contains stylistic elements from an amalgam of periods—the piercing, darkened eyes of the Virgin and the well-developed musculature of the infant are of competing medieval and Renaissance origin—while the blandly carved hands and frieze of musicians suggest the possibility of later pastiche, though the sculpture certainly dates to before the 19th century. Freeman’s is grateful to the National Gallery of Art in Washington, D.C. for their assistance in cataloguing this lot.

lot 285 A SPANISH CARVED ALABASTER GROUP OF THE VIRGIN AND CHILD possibly 16th century or later H: 29 1/2, W: 17, D: 8 in. provenance: El Museo, Granada, Spain, 1930. $4,000-6,000

169

lot 286 A SPANISH CARVED WALNUT CURULE CHAIR WITH TOOLED LEATHER UPHOLSTERY 18th/19th century H: 33 1/2 , W: 26 in. $500-700

lot 287 A SPANISH BAROQUE IRON-SPRUNG WALNUT CENTER TABLE early 18th century H: 30, W: 53, D: 27 1/4 in. $1,000-1,500

lot 288 A PAIR OF SPANISH IVORY INLAID WALNUT CURULE CHAIRS WITH LEATHER UPHOLSTERY 17th century or later $800-1,200

170

lot 289 SPANISH SCHOOL (17TH CENTURY) the resurrection of christ Tempera and oil on gold ground panel. In a 17th century carved and gilded frame. 7 3/4 x 16 in. (19.7 x 40.6cm) note: In his 1947 book, Alexander Weddell suggests that the present work and lot 301 were part of a bigger altarpiece. $3,000-5,000

lot 290 A SPANISH BAROQUE WALNUT AND TOOLED LEATHER CHAIR 17th century The backrest depicting a male and female troubadour, front rail replaced. H: 41, W: 26, D: 23 in. $800-1,200

171

172

lot 291 A SPANISH BAROQUE IVORY-INLAID WALNUT CURULE ARMCHAIR 17th century With 18th/19th century Italian silver-embroidered velvet upholstery. H: 38, W:27 in. $800-1,200

lot 292 A SPANISH BAROQUE WALNUT MONK’S CHAIR WITH SILK DAMASK UPHOLSTERY late 17th century H: 48, W: 24 1/2 in. $500-700

lot 293 A SPANISH BONE-INLAID WALNUT COFFERED CHEST late 17th/early 18th century H: 46, W: 47, D: 22 in. $2,500-3,500

173

lot 294 A SPANISH BAROQUE IRON-SPRUNG WALNUT LIBRARY TABLE 17th century With single plank top, each side with four drawers retaining original iron tassel pulls. H: 31 1/2, W: 41 1/4, L: 73 1/2 in. provenance: Acquired in Madrid, Spain, 1939-1942. $800-1,200

ach backrest of this pair of chairs is applied with a fine silver embroidered coat of arms, encircled with the phrase: Velarde el que la sierpe mato/ Con la ynfanta se casó. (Velarde, who struck off the serpent’s head,/ A guerdon won, for he th’Infanta wed.) Alexander Weddell, ever the romantic, was drawn to these chairs’ gallant story of courtly love. He observed, “Have we not here yet another version of a story dear to balladists from earliest times—a land laid waste by a cruel monster, the hero who slays him, and is recompensed by the hand of the king’s daughter!”

lot 295 A PAIR OF SPANISH BAROQUE BRASSMOUNTED WALNUT ARMORIAL ARMCHAIRS 17th century Each with crimson velvet upholstery applied with fine silverwork, the backrests centering silk and silver embroidered unidentified arms. (2). H: 51, W: 36 in. $2,000-3,000

lot 296 AN IMPRESSIVE SPANISH RENAISSANCE CARVED WALNUT REFECTORY TABLE 17th century H: 30, W: 31 1/2, L: 96 in. $5,000-7,000

174

175

lot 297 A SPANISH CARVED WALNUT MONK’S CHAIR WITH SILK DAMASK UPHOLSTERY 18th century with later restorations H: 49, W: 25 in. $400-600

lot 298 A SPANISH CARVED WALNUT MONK’S CHAIR WITH SILK VELVET UPHOLSTERY 18th century H: 39 3/4, W: 27 in. $400-600

lot 299 A PAIR OF SPANISH BAROQUE WALNUT LEATHER UPHOLSTERED ARMCHAIRS 17th century H: 47, W: 24 in. $600-800

lot 300 A SPANISH BAROQUE BONE INLAID WALNUT CURULE CHAIR 17th century With later leather upholstery. H: 26 1/2, W: 27 1/2 in. $700-900

176

lot 301 SPANISH SCHOOL (POSSIBLY EARLY FIFTEENTH CENTURY) the assumption of the virgin Tempera and oil on gold ground panel. In a 17th centurycarved and gilded frame. 15 3/4 x 16 in. (40 x 40.6cm) note: In his 1947 book, Alexander Weddell suggests that the present work and lot 289 were part of a bigger altarpiece. $4,000-6,000

177

lot 302 THREE EARLY SPANISH BAROQUE CARVED WALNUT FOOTSTOOLS WITH STAMPED AND GILT CORDOVAN LEATHER UPHOLSTERY 16th century H: 20, W: 20, D: 15 in. note: Alexander Weddell considered these “three mediaeval [sic] stools, with seats in Cordova stamped leather,” though they may be of slightly later manufacture. $800-1,200

lot 303 A SPANISH HIDE-BOUND IRON-MOUNTED CHEST 17th/18th century H: 8 3/4, W: 10 1/2, D: 7 1/2 in. $600-800

lot 304 A SPANISH BAROQUE WALNUT LEATHER UPHOLSTERED SIDE CHAIR 18th century H: 46, W: 21, D: 21 in. $400-600

178

lot 305

lot 306

A SPANISH BAROQUE SILVER-GILT INCENSARIO

A PAIR OF SPANISH BAROQUE GILTWOOD CANDLESTICKS

18th century Drilled for electricity, together with an additional chain. H: 11 1/4 in. (burner)

18th century H: 28 in. $600-800

$600-800

his figure of the Virgin, with her doleful eyes and serene expression, is a particularly moving example of the emotion found in Spanish Baroque sculpture. Alexander Weddell recognized the unusually beautiful and poetic nature of this work, writing that she “seems borne through the air by cherubim, those angels with the attribute of knowledge and contemplation of divine things; beneath her feet is the crescent moon. The entire work calls up St. John’s Vision of ‘a great wonder in heaven: a woman clothed with the sun, and the moon under her feet.’”

lot 307 A SPANISH GILT AND POLYCHROME GESSO AND CARVED WOOD FIGURE OF THE VIRGIN OF THE IMMACULATE CONCEPTION 18th century With giltmetal gown and glass inset eyes; raised on associated 19th century carved stand. H: 28 1/2 in. $800-1,200

lot 308 A PAIR OF SPANISH BAROQUE GILTWOOD BENCHES early 18th century H: 14, W: 23 3/4, D: 15 1/2 in. $1,200-1,800

179

180

lot 309 A FINE SPANISH BAROQUE IRONMOUNTED AND VELVET-LINED PARCELGILT WALNUT VARGUEÑO ON STAND 17th century H: 57 3/4, W: 42, D: 16 1/2 in. provenance: Acquired in Buenos Aires, Argentina, 1936, by repute from “the dispersal sale of a great collector.” $8,000-12,000

181

lot 310 A SPANISH OR SPANISH COLONIAL GILT AND POLYCHROME CORDOVAN LEATHER SIX-PANEL FLOOR SCREEN WITH BIRDS AND FLOWERS the leather 17th/18th century H: 71 1/2, W: 90 in. $1,500-2,500

lot 311 A SPANISH IRON-MOUNTED EMBOSSED, POLYCHROME CORDOVAN LEATHER CHEST late 18th century H: 6 1/2, W: 16, D: 11 in. $500-700

lot 312 A SPANISH BRASS-MOUNTED LEATHER PORTFOLIO 18th century H: 24 1/2, W: 17 in. $600-800

182

lot 313 FOLLOWER OF FRANCISCO DE ZURBARÁN (SPANISH 1598-1664 - A 19TH CENTURY WORK) santa brigida Oil on canvas. 72 3/4 x 41 1/4 in. $1,500-2,500

lot 314 A SPANISH BAROQUE STYLE HALL CHAIR WITH TOOLED LEATHER UPHOLSTERY probably 19th century with some earlier elements H: 49, W: 25 1/2 in. $300-500

lot 315 A PAIR OF SPANISH POLYCHROME AND CARVED WALNUT DOORS 17th century H: 63 3/4, W: 21 in. $1,000-1,500

183

lot 316 A PAIR OF SPANISH BAROQUE GILTWOOD PIER MIRRORS 18th century H: 66 1/2, W: 28 1/4 in. $3,000-5,000

184

lot 317 SPANISH SCHOOL (17TH CENTURY) a diptych With “The Flight Into Egypt” on the left, and “The Annunciation” on the right, oil and tempera on gold ground panel. In a velvet-lined black shadowbox frame. Each paneL: 21 1/2 x 10 in. (54.6 x 25.4cm; Overall: 21 1/2 x 19 7/8 in. (54.6 x 50.5cm) $800-1,200

lot 318

lot 319

A SPANISH CARVED WALNUT CHILD’S CHAIR

A SPANISH BAROQUE CARVED AND GILTWOOD BIBLE STAND

late 17th century H: 29, W: 17, D: 15 in.

late 18th century H: 12 1/2, W: 11 3/4, D: 9 in.

$400-600

lot 320 A PAIR OF SPANISH TURNED WALNUT CHILDREN’S CHAIRS WITH SILK VELVET UPHOLSTERY 17th century or later H: 25 1/2, W: 14 1/2 in. $800-1,200

185

lot 321 A GROUP OF SPANISH RENAISSANCE REVIVAL SALTS unknown maker’s mark, after 1934 Comprising two master salts and eight individual salts, marked to underside and along lid. (10). H: 5 1/2, L: 8 5/8 in. (master); Weight: 64.1 oz. t $1,000-1,200

lot 322 A PORTUGUESE ROCOCO CARVED WALNUT ARMCHAIR 18th century H: 42, W: 27, D: 21 in. $700-900

lot 323 FOUR PORTUGUESE SILVER FIGURAL TOOTHPICK HOLDERS various makers, porto, mid 19th century Each marked and one monogrammed. (4). H: 8 1/2 in. Total weight: 39.67 oz. t. $500-700

186

LOT 001

187

lot 324

lot 325

A PAIR OF SPANISH POLYCHROME GILTWOOD CORINTHIAN COLUMNS

A PAIR OF MEXICAN OR SPANISH CARVED GILTWOOD CORINTHIAN COLUMNS

19th century H: 77 1/2 in.

19th century H: 56 1/2 in.

$800-1,200

$600-800

lot 326 LOT 001

AN IBERIAN EARTHENWARE OLIVE JAR

17th century with extensive restoration H: 26, Dia: 23 in. $800-1,200

lot 327 A LARGE SPANISH TERRACOTTA ARMORIAL JARDINIÈRE late 18th/early 19th century H: 25 3/4, Dia: 36 in. $1,000-2,000

188

189

he Weddells incpororated antique Spanish tiles into the façade of the Loggia at Virginia House. Alexander Weddell describes them as “fragments of an amusing frieze of old tiles of the late Gothic period, in soft colors of sapphire blue, terra-cotta, yellow, and green, on a greyish white background.” This ebullient selection relates to the aesthetic of those that remain in situ at Virginia House.

lot 328 A GROUP OF THIRTY-FOUR SPANISH AND MEXICAN TIN-GLAZED TILES various dates H: 8 1/2, W: 8 1/2 in. (largest) $500-700

190

lot 329 A GROUP OF THREE SPANISH AND MEXICAN PICTORIAL TIN-GLAZED TILES 19th/20th centuries The first depicting jaguars; the second depicting the Virgin Mary signed “R. Rivero;” the third depicting the carrack Santa Maria and signed “Pedro Sanchez.” H: 11, W: 16 1/2 in. (ship) $300-500

lot 330 A SET OF TWENTY-FIVE SPANISH PICTORIAL TILES DEPICTING DON QUIXOTE likely 19th century One tile broken. H: 26 7/8, W: 27 1/2 in. (overall) $200-300

lot 331 A HISPANO-MORESQUE CUENCA TIN-GLAZED EARTHENWARE TILE PANEL likely seville or toledo, 16th century Comprising three tiles, now framed. H: 17 1/2, W: 12 in. note: A related example is in the collection of the Metropolitan Museum of Art, New York, accession number 33.46. $800-1,200

lot 332 A HISPANO-MORESQUE BONE-INLAID AND POLYCHROME PAINTED WALNUT CHEST 18th/19th century H: 18, W: 42, D: 17 1/4 in. $800-1,200

191

textiles from england, france, italy, mexico, spain & elsewhere

lots 333 - 392

194

extiles were the special domain of Virginia Weddell, who enthusiastically collected examples from around the world. These luxurious objects were essential to the cultivated atmosphere of Virginia House, and imbued the home with a lushness of color and texture. Glorious tapestries covered the walls and sumptuous velvets hung from ceilings and doors, warmly enveloping paneled oak rooms brought to life by furniture richly upholstered in antique needlepoints, tapestries, velvets, and damasks. Mrs. Weddell’s textile collection is largely comprised of ecclesiastical vestments, many acquired in Mexico and Spain but made from earlier silks produced in looms across Europe. Of particular note is a group of Spanish silk and metal thread embroidered velvets, likely convent work, from the 16th through 18th centuries. These include panels from dalmatics, orphrey appliqués, and a spectacular crimson velvet chasuble, which was displayed as a work of art in the Virginia House Gallery. Other ecclesiastical vestments include Lyons silk dalmatics, copes, and chasubles, and diminutive garments likely intended for dressed Madonna figures. Mrs. Weddell accumulated an impressive array of French and Italian silks and velvets which she used to upholster both antique and newly commissioned furniture for Virginia House. Her most cherished objects, however, were kept in two trunks upstairs—offered as lots 111 and 278 in this sale—which, in Alexander Weddell’s admiring words, were “filled with V’s treasures of velvet, damask, and embroidery, collected in various countries over many years.” clockwise, from top left: the weddells at a luncheon on “the ducal” with mr. and mrs. alfredo piwonka on february 13, 1937, argentina; virginia chase weddell outside the spanish embassy with her three dogs; mrs. virginia chase steedman weddell at court in london, by van dyk studios; mr. and mrs. weddell in costume at the british legation ball in mexico city, mexico in 1925; alexander and virginia weddell on the us embassy grounds in buenos aires, argentina; mrs. weddell standing alone on the street of madrid, spain, between 1939-1942; mr. weddell climbing mount blanc in chamonix, france

195

lot 333 THREE SILVER EMBROIDERED SLIPS 19th century Together with a Turkey work slip. (4). H: 14, W: 15 1/2 in. $200-400

lot 334 TWO EMBROIDERED ARMORIAL APPLIQUÉS likely english, 19th century H: 15 1/4, W: 15 in. $200-300

196

Illustrated Clockwise from Top Left:

lot 335 A FRENCH OR CONTINENTAL GROS AND PETIT POINT UPHOLSTERY PANEL 18th century H: 36, W: 27 in. $200-400

lot 336 A FRENCH OR CONTINENTAL GROS AND PETIT POINT UPHOLSTERY PANEL 18th century H: 29 1/4, W: 26 1/2 in. $200-400

lot 337 TWO CHARLES II GROS AND PETIT POINT PANELS DEPICTING HERCULES AND THE HYDRA late 17th century H: 28, W: 78 in. (largest) $600-800

197

lot 338 A FRENCH LATE BAROQUE SILK AND SILVER THREAD BROCADED DALMATIC early 18th century H: 46, W: 56 in. $400-600

lot 339 A PAIR OF FRENCH ROCOCO SILK DALMATICS 18th century Silk brocaded with metal thread and gold braid. (2). H: 44 1/2, W: 29 1/4 in. $1,200-1,500

198

lot 340 A FRENCH LACEWORK SILK CHASUBLE LINED IN BLACK STRIPED MOIRÉ SILK 18th century H: 45 1/2, W: 28 in. $500-700

lot 341 A FRENCH ROCOCO PINK BROCADED SILK CHASUBLE 18th century H: 45, W: 31 1/4 in. $300-500

lot 342 A FRENCH SILVER AND GOLD THREAD BROCADED ALTARCLOTH WITH GOLD BORDERS 18th century Converted from a chasuble. L: 80, W: 31 1/2 in. $300-500

199

lot 343 A FRENCH OR CONTINENTAL EMBROIDERED SILK COPE AND HOOD 18th century Decorated with highly stylized peonies in the Chinese taste. (2). H: 48, W: 108 in. $200-300

lot 344 A FRENCH ROCOCO GREEN SILK AND GOLD THREAD BROCADED COPE WITH SALMON SILK LINING 18th century H: 50 1/4, W: 109 in. $400-600

lot 345 A FRENCH CHINOISERIE BLUE AND GOLD THREAD BROCADED SILK COPE 18th century Missing one panel. H: 41, W: 109 in. $300-500

lot 346 A LARGE FRENCH ROCOCO BLUE SILK DAMASK ANTEPENDIUM WITH GOLD BRAID 18th century H: 97 1/2, W: 110 1/2 in. $700-900

LOT 001 lot 347

440 188098/925

A FRENCH OR ITALIAN SILK BROCADE AND GREEN LAMPAS ALTARCLOTH

A FRENCH AND ITALIAN SILK BROCADE AND GREEN LAMPAS ALTARCLOTH

18th century H: 41, W: 44 in.

$200-300

LOT 001 lot 348

445 188098/935

AN ITALIAN SILK DAMASK COVERLET WITH METAL THREAD EMBROIDERED CARTOUCHE

17th/18th century H: 99, W: 52 in.

$300-500

LOT 001 lot 349

409 188098/1143B

AN UNUSUAL SALMON MOIRÉ SILK WITH SILVER BROCADED CHINOISERIE MOTIFS

TEN SILK BROCADE FRAGMENTS AND GARMENT PANELS

likely french, 18th century H: 125 1/2, W: 31 3/4 in.

mostly french, 18th century Likely fragments from dalmatics. Various sizes.

$300-500

$400-600

LOT 001 lot 350 AN ITALIAN CHARTREUSE SILK BROCADE PANEL AND FRAGMENT 18th/19th century W: 51, L: 96 in. $200-300

lot 351 AN UNUSUAL SALMON MOIRÉ SILK WITH SILVER BROCADED CHINOISERIE MOTIFS likely french, 18th century H: 125 1/2, W: 31 3/4 in. $300-500

lot 352 AN INDIAN GOLD BROCADED SILK GAUZE SHAWL circa 1900 H: 93, W: 49 in. $200-300

201

202

Illustrated in Visual Order:

lot 353

lot 354

lot 355

A BOLT OF ITALIAN BLUE SILK DAMASK

AN ITALIAN SILK ANTEPENDIUM

AN ITALIAN SILK DAMASK WALL HANGING

18th/19th century H: 141, W: 25 in.

late 17th/early 18th century H: 76, W: 90 1/2 in.

18th century H: 144, W: 50 in.

$200-300

lot 356 A GROUP OF LINEN CROCHET AND CUTWORK PANELS 19th century Comprising four curtain panels decorated with exotic animals, and a lace shawl depicting exotic travel scenes. (5). H: 53 3/4, W: 52 in. $300-500

lot 357

lot 358

lot 359

AN ITALIAN BLUE AND CREAM SILK LAMPAS COPE

A COLLECTION OF BROCADED SILK FRAGMENTS

AN ITALIAN GREEN SILK VELVET PANEL

18th century H: 75, W: 91 in. $200-300

18th century Comprising two lavendar pillows, a miniature blue cope possibly for a Madonna figure, and two additional fragments. (5). Various sizes. $200-400

203

18th century H: 112, W: 41, in. $200-300

lot 360 A COLLECTION OF SPANISH AND MEXICAN SILK AND METAL THREAD EMBROIDERED SILK VELVET PANELS mostly 18th century Most ecclesiastical collars and cuffs. (8). Various sizes. $300-500

lot 361 A COLLECTION OF TWENTY TASSLES 17th-19th centuries L: 12 in. (largest) $300-500

lot 362 SIXTEEN ECCLESIASTICAL STOLES AND MANIPLES most 17th-19th centuries Various sizes. $600-800

204

lot 363 AN ITALIAN OR SPANISH RED AND GOLD SILK LAMPAS CHASUBLE mid 16th century H: 49, W: 30 1/2 in. $800-1,200

205

lot 364 A SPANISH OR MEXICAN SILK EMBROIDERED PANEL 18th/19th century H: 14 1/4, W: 41 3/4 in. $300-500

lot 365 AN ITALIAN SILK ROBE FOR A MADONNA FIGURE late 17th century H: 51, W: 48 in. $400-600

lot 366 A SPANISH OR ITALIAN GREEN SILK CAPE WITH GOLD BRAID 18th century H: 35, W: 58 in. $300-500

lot 367 A SPANISH OR SPANISH COLONIAL SILVER EMBROIDERED SILK DIMINUTIVE COPE 17th/18th century Likely for a statue or figure, decorated with Marian symbols for the Litany of Loreto. H: 68, W: 87 in. $400-600

LOT 001

lot 368 A SPANISH NEEDLEPOINT PANEL WITH BLUE SILK BORDER 18th century H: 80, W: 58 in. $800-1,200

207

LOT 001

Illustrated in Visual Order:

lot 369

lot 370

lot 371

AN ITALIAN SILK VELVET DOOR HANGING WITH GOLD BRAID AND FRINGE

AN ITALIAN SILK DAMASK PANEL

A LARGE GENOESE SILK VELVET WALL HANGING

18th century H: 85, W: 63 in.

likely 17th century Sold together with a with a group of tiebacks. H: 235, W: 79 1/2 in.

17th century H: 76, W: 50 in.

$200-300

$300-400

provenance: Acquired in Mexico, 1925-28.

lot 372

17th/18th century H: 92, W: 39 in.

note: According to Alexander Weddell, this “sweep of ruby-red Genoese velvet of the seventeenth century” was “found in Mexico, and is undoubtedly one of a series of hangings used in a cathedral during festival seasons.”

$300-500

$500-700

AN ITALIAN SILK VELVET ANTEPENDIUM WITH GOLD BRAID

LOT 001

lot 373

lot 374

lot 375

A LARGE GROUP OF ITALIAN DAMASK PANELS AND FRAGMENTS DEPICTING SAINT LUCY

AN ITALIAN SILK DAMASK PANEL

TWO ITALIAN SILK DAMASK COPES WITH GOLD BROCADE

17th/18th century H: 80, W: 63 in.

17th/18th century Now united as an altarcloth. Dia: 110 in.

18th/19th century (12). H: 126, W: 63 in. (largest)

$200-300

$500-700

$1,000-1,500

lot 376 AN ITALIAN SILK VELVET COPE WITH GOLD BRAID 17th century H: 55, W: 104 in. $200-300

LOT 001

lot 377 A LARGE ASSEMBLED COLLECTION OF ITALIAN CRIMSON SILK FRAGMENTS AND PANELS most 17th/18th century Approximately 30 fragments. Various sizes. $300-500

209

lot 378 A MEXICAN OR SPANISH METAL THREAD EMBROIDERED SILK VELVET DRESS FOR A MADONNA FIGURE late 19th/early 20th century H: 29, W: 35 in. $300-500

lot 379 TWO MEXICAN AUBERGINE SILK VELVET CHASUBLES WITH GOLD BRAID 19th century H: 45 1/2, W: 27 1/2 in. $400-600

lot 380 ELEVEN MEXICAN SILK VELVET ALTAR TEXTILES WITH GOLD BRAID AND FRINGE 19th century Various sizes. $600-800

210

lot 381 TWO SPANISH SILK AND SILVER THREAD EMBROIDERED SILK VELVET SADDLE COVERS 17th/18th century H: 19 3/4, W: 39 3/4 in. (largest, green) $700-900

lot 382 TWO ITALIAN OR SPANISH SILK AND METAL THREAD EMBROIDERED COPE HOODS 17th century H: 21 1/4, W: 18 in. $700-900

211

212

lot 383 TWO SPANISH OR MEXICAN METAL THREAD EMBROIDERED SILK VELVET CUSHION COVERS 19th century Likely fragments from dalmatics or altar cloths. (2). H: 20, W: 28 in. $200-400

lot 384 TWO SPANISH SILK EMBROIDERED SILK VELVET CUSHION COVERS likely 17th century Likely fragments from dalmatics. (2). H: 18/4, W: 41/2 in. (overall, largest) $500-700

lot 385 THREE SPANISH SILK AND METAL THREAD EMBROIDERED SILK VELVET CUSHIONS 17th/18th century Likely fragments from dalmatics. (3). H: 14, W: 20 1/2 in. $600-800

lot 386 TWO SPANISH SILK EMBROIDERED SILK VELVET CUSHION COVERS 17th century Likely fragments from dalmatics. H: 20 1/2, W: 34 3/4 in. $500-700

lot 387 THREE SILK VELVET PANELS likely 18th century Comprising two silk and metal thread embroidered red velvet panels, and an Italian stamped gold velvet panel. (3). H: 12/2, W: 70 1/2 in. $400-600

213

lot 388 A SPANISH SILK AND GOLD THREAD EMBROIDERED SILK VELVET CHASUBLE 16th/17th century Likely for the Feast of Martyrs and Pentecost; recto depicting a virgin martyr holding a cross and the martyr’s palm, and possibly St. Sebastian; verso depicting the Virgin, a martyred male saint, and St. Barbara. H: 46, W: 25 1/2 in. $1,000-2,000

214

215

lot 389 A SPANISH SILK AND SILVER EMBROIDERED ORPHREY 17th/18th century Recto depicting the Virgin and Child and St. Iago; verso depicting St. Ildefonsus of Toledo, St. Paul, and St. Peter. H: 44, W: 9 1/2, in. $800-1,200

216

lot 390 FOUR SPANISH SILK AND SILVER THREAD EMBROIDERED ORPHREY APPLIQUÉS 17th century H: 10 1/2, W: 8 in. $600-800

lot 391 A SOUTH AMERICAN SILK, SILVER AND GOLD EMBROIDERED SILK AND VELVET PANEL late 16th/early 17th century In later walnut frame. H: 16 1/2, W: 7 1/2 in. $400-600

lot 392 AN ITALIAN SILK EMBROIDERED ORPHREY PANEL DEPICTING ST. PAUL 18th century In later giltwood frame. H: 12 3/4, W: 11 1/2 in. (fragment only) $400-600

books manuscripts &

from around the world

lots 393 - 480

220

namored of the erudite and genteel English country life, the Weddells built a refined and extensive library of early manuscripts, reference texts, and literature in the gentlemanly tradition. Indeed, in his description of their library, Ambassador Weddell wrote: “Emerson is said to have inscribed the word ‘Whim’ over the door of his library, indicating its owner’s catholic and untrammeled intellectual interests; it might, with equal justice, appear over the library of Virginia House, as suggesting that its two principal readers have been guided solely by their own tastes and fancies in its formation, with the underlying idea of achieving a rounded collection.” Their library was deeply personal and emotive in nature. Ambassador Weddell recognized that it is in our intellect that humanity is closest to God, and the library of Virginia House was developed as a cathedral to knowledge: a sacred place where higher learning and higher powers mystically intermingle in solemn spirituality. The very structure of the library itself was intended to evoke a monastic devotion to books and scripture: “In its austerity of line and simplicity of ornament, the merely physical aspect of the room suggest that [architect Henry Grant Morse] had in mind to recall something of the atmosphere of the scriptorium of the ancient Priory.” Alongside their prized collection of books, in this room stood the Weddells’ holiest figures from religions all across the world: Gothic French sculpture, Burgundian mourners, Nepalese and Tibetan buddhas and bodhisattvas, and saints of typically Spanish and Mexican ardour. The texts themselves include, in Ambassador Weddell’s words, “small working libraries, accumulated in the various countries in which [we] have resided—Denmark, Zanzibar, Italy, Greece, Turkey, Egypt, India, Mexico, Argentina and Spain,” while “Fiction, History, Belles Lettres, Poetry, and the standard classics—English and foreign—are fairly well represented; there is also a scattering of Incunabula.” Such examples from the Continent include first and inscribed editions from Émile Zola, Guy de Maupassant, Voltaire, and Théophile Gautier; and a series of Russian imperial bindings, the jewel of which is a first edition, Cologne, 1700, of Mémoires de Monsieur d’Artagnan, the inspiration for Alexandre Dumas’ Les Trois Mousquetaires. The British Isles are represented most notably by Jonathan Swift with, among other titles, a first edition of Travels into Several Remote Nations of the World (Gulliver’s Travels). Travel and Exploration naturally appear most: books on national dress, Mexican art and architecture; Spanish imprints and a handsome Spanish patent of nobility, executed entirely by hand; travels through Greece, India, the Middle East, Constantinople, East Africa, Crimea, Italy, the East Indies, and beyond. Physical beauty and rarity were equally appreciated by the Weddells, and early printing and fine bindings in general are also a category of note. Indicating a keen and cultivated eye, the library spans cultures, genres, and time— emblematic of a certain type of questing American from the last century, who sought the culture and tradition of the old world and brought it home, piece by piece, to form a brilliant mosaic that charted their lives, travels, interests, and values.

clockwise, from top left: mr. weddell looking into a pool, phyle, near athens, greece, 1920; the great arch, west end of north façade, virginia house; sergeant jake miller welcomed into virginia house by alexander weddell, april 5, 1945; virginia house in winter, north façade; alexander weddell at his desk, buenos aires, argentina, photo taken by la prensa; the weddells inside looking over a book in madrid, spain, between 1939-1942; alexander weddell in a garden, spain, between 1939 and 1942

lot 393 [TRAVEL & EXPLORATION] ANSON, GEORGE, LORD a voyage round the world, in the years mdccxl, i, ii, iii, iv... London: Richard Walter, 1748. First edition, subscriber’s issue. 4to. Complete with dedication and list of subscribers and illustrated with 42 folding maps, plans, and plates. Contemporary gilt-paneled brown calf, gilt spine compartments, edges stained pink, rubbed and worn, joints cracked, hinges crudely repaired; scattered, light foxing but internally generally clean, small worm hole at front and through the first 80 pages and first 12 plates, closed tear in “A Chart of the Southern part of South America,” and to “A Chart of the Channel in the Philippine Islands,” with some creasing to “A Chart of the Pacific Ocean.” Armorial book-plate of Arthur Holdsworth on rear paste-down (mounted upside down) and signature of same, dated 1760, in pencil on front paste-down. Ex-library with book-plate on front paste-down and call number in pencil on same and on title-page. Sabin 1625. $1,500-2,500

lot 394 [TRAVEL & EXPLORATION] (BRUNEL, ANTOINE DE, ATTRIBUTED TO) voyage d’espagne, curieux, historique, et politique... Paris: Robert de Ninville, 1666. Reprint (first published 1665). 4to. [26], 1-340, [2] pp. Device on title-page, decorated initials, and tail pieces. Old quarter vellum over marbled paper-covered boards, later brown morocco spine label, scuffed; generally light foxing throughout, heavier at front and back, but title-page only slightly foxed, some dampstaining in gutters in first third of text block, a few quires moderately toned, lacking the first leaf, apparently the additional engraved title; also lacking the terminal blank, trimmed, but with good margins. What appears to be a 19th century ink ownership inscription on last letterpress page. Ex-library with book-plate on front paste-down and call number in pencil on same and on title-page. $200-300

lot 395 [TRAVEL & EXPLORATION] CHANDLER, RICHARD travels in greece... Oxford, 1776. 4to. Errata and ad on one leaf, bound in. With seven engraved maps (two folding). 19th century, three-quarter tan calf over marbled paper-covered boards, richly gilt spine compartments, brown morocco spine label; matching marbled endpapers; marbled edges; joints and corners rubbed; offsetting from maps, moderate foxing to folding map, title and front matter, other scattered, generally light, foxing. Ex-library with book-plate on front paste-down and call number in pencil on verso of front free endpaper and on title-page. Bound with: Chandler, Richard. Travels in Asia Minor: Or an Account of a Tour Made at the Expense of the Society of Dilettanti, London, 1776. “The Second Edition.” 4to. With folding engraved map frontispiece. Offsetting from map on title-page, moderate foxing to map, title page and front matter, text generally clean. $800-1,200

222

lot 396 [TRAVEL & EXPLORATION] COLTON, J. H. (PUBLISHER) colton’s general atlas New York, 1859. Folio. With an additional engraved vignette titlepage. 170 mostly hand-colored maps and plans on 100 sheets. Full publisher’s brick red pictorial morocco; lettered in gilt; blind and gilt decorated; all edges gilt. Joints and edges heavily rubbed, front cover detached but present; title-page moderately toned, prelims moderately foxed, margins of maps lightly toned, minor creasing to corners. Ex-library with a book-plate on front paste-down. $800-1,200

lot 397

lot 398

lot 400

[TRAVEL & EXPLORATION] CRAVEN, LADY ELIZABETH

[TRAVEL & EXPLORATION] DALRYMPLE, WILLIAM

[TRAVEL & EXPLORATION]

travels through spain and pourtugal, in 1774... London: for J. Almon, 1777. 4to. 187 pp. With a frontispiece and folding map of Portugal. Modern one-quarter dark brown morocco and purple cloth. Spine scuffed; darkening to frontispiece and title-page, with light offsetting to map, otherwise generally clean. Ex-library with book-plate on front paste-down and call number in pencil on title-page. Palau 68177.

three titles relating to east africa (3) Fitzgerald, William Walter Augustine Travels in the Coastlands of British East Africa and the Islands of Zanzibar and Pemba… London: Chapman and Hall, Ltd., 1898. First edition. Thick 8vo. 774 pp. Illustrated with frontispiece portrait, numerous photo-plates and text illustrations, plus 15 maps (five folding). Original brick red cloth, stamped in blind and in gilt with light edge wear; fore and bottom edges untrimmed; some foxing to endpapers; internally generally clean. Ex-library with rubber stamp on front paste-down and call number in pencil on same and on title-page. Yardley, Capt. John Parergon, or Eddies in Equatoria London and Toronto: J.M. Dent and Sons Ltd., (1931). First edition. 8vo. 288 pp. Illustrated with photo-plates, frontispiece, and a folding map. Foreword by Field-Marshal Viscount Allenby. Presentation copy, inscribed, dated (November, 1931), and signed in ink on front free endpaper by Yardley. Original brick red cloth stamped in blind and in gilt; dust-jacket with a few chips out of the top of the spine; moderately foxed with some discoloration at front, internally generally clean. Ex-library with rubber stamp on front paste-down and call number in pencil on same and on title-page. [Zanzibar] A Handbook of Zanzibar The Zanzibar Government, 1912. 8vo. 49 pp. Original stiff printed olive wrappers with some creasing, chipping, and discoloration at edges; ink ownership on front wrapper. Ex-library with book-plate on verso of front wrapper and call numbers in pencil on same and recto of first free leaf.

a journey through the crimea to constantinople… London: for G.G.J. and J. Robinson, 1789. First edition. 4to. Complete with half-title, [8], (2)-327 [1] pp. Six plates (one folding) and one folding map. Contemporary blind-paneled diced tan calf, gilt ruled spine, morocco spine label, corners rubbed, covers scuffed, spine and edges rubbed, joints cracked; occasional foxing, partly affecting the folding map, the folding plate, half-title and Directions to the Binder, but internally generally clean. Armorial book-plate of Pauncefort Duncombe of Brickhill Manor, Bucks. on front paste-down. Ex-library with rubber stamp to front free endpaper and call number in pencil on front paste-down and on title-page. Lady Elizabeth Craven (1750 -1828), author, playwright, libertine, and acquaintance of both Boswell and Johnson, published this work at the suggestion of her friend and admirer Horace Walpole, offering a pointedly chauvinist English alternative to Lady Mary Wortley Montagu’s Ottoman travel account. $400-700

$300-500

lot 399 [TRAVEL & EXPLORATION] ENGLEHEART, GARDENER D. journal of the progress of h.r.h. the prince of wales through british north america... Privately printed [London: Chiswick Press], [ca. 1860-1861]. 8vo. Signed autograph presentation slip from Gardner D. Engleheart on behalf of his employer, The Duke of Newcastle, mounted to front paste-down. With the mounted autograph signature of Colonel Fordyce, with whom the author lodged in Halifax. Illustrated with a vignette frontispiece, two folding maps (one colored, one with outline color), and eight tinted lithographic views (one folding). Original blue cloth, lettered in gilt, gilt lettered spine. Light edge wear, slightly affected by damp; light to moderate foxing to text and plates, front endpapers affected by damp, early 20th century annotation at the bottom blank margin of p. 83 objecting to the author’s characterization of Virginia as a nursery of slaves. Ex-library with book-plate on front paste-down, ink stamps on recto of front free endpaper, call numbers in pencil on front paste-down and title-page. $150-250

223

$200-300

lot 401 [TRAVEL & EXPLORATION] GRINDLAY, CAPTAIN ROBERT MELVILLE scenery, costumes and architecture... on the western side of india London: Smith, Elder & Co., 1830 [but 1892]. Folio. Illustrated with chromolithographic vignette title-page and 36 chromolithographic plates, with guard sheets. Contemporary three-quarter green morocco and green marbled boards, richly gilt spine compartments, burgundy morocco spine label, top edge gilt, others untrimmed, marbled endpapers. Joints and extremities lightly rubbed; ink ownership on front blank, very lightly foxed in margins, otherwise a clean and bright copy. Ex-library with book-plate on front paste-down, stamp on verso of front free endpaper, with call number in pencil on title-page; plates free of all markings. $3,000-5,000

224

lot 402 [TRAVEL & EXPLORATION] HAKLUYT, RICHARD the principall navigations, voiages and discoveries... London: George Bishop and Ralph Newberie, 1589. Folio. Fragment from the first edition. With a title-page supplied in facsimile. 676-825 pp., leaves Ppp2-Eeee2, only. Late 19th century three-quarter brown morocco over cloth. Boards lightly worn; occasional manuscript notation in ink in margins, occasional light foxing. Ex-library with stamp on front and rear paste-downs and call number in pencil on title-page. ESTC 12625. $300-500

lot 403

lot 404

[TRAVEL & EXPLORATION] HAMILTON, CAPTAIN ALEXANDER

[TRAVEL & EXPLORATION] HARDING, J.D.

a new account of the east indies London: C. Hitch and A. Miller, 1744. In two volumes. Second edition. 8vo. With 19 plates, including eight folding maps. Full contemporary brown calf; rebacked spine with compartments in gilt; morocco labels; later endpapers. Edges rubbed; some small closed tears to maps, marginal dampstaining, but internally generally clean. Ex-library with book-plates on front pastedowns and call numbers in pencil on same as well as title-pages.

views of pompeii London: for James Carpenter and Son, 1828. Folio. From the library of Conway Robinson, as indicated by his signature in ink on front paste-down and a library gift label on recto of front free endpaper. With a lithographic plan of Pompeii and 25 lithographic plates. Contemporary half russia and marbled boards. Worn, occasionally rubbed, corners bumped; foxing, at times heavy, to prelims and most plates, offsetting and light foxing to text. $300-500

$400-700

lot 405 [TRAVEL & EXPLORATION] six titles relating to india (12) Cotton, H.E.A. Calcutta, Old and NeW: A Historical & Descriptive Handbook to the City Calcutta: W. Newman & Co., 1907. First edition. 8vo. 1011 pp., (xxx) pp. index. Including an author autograph letter, signed, as President Legislative Council Bengal, and dated 1924, tipped in at front. Additionally signed by author on front free endpaper. Original blue “straight grain” cloth, stamped in black and in gilt, slightly cocked; title-page starting, foxing to first few leaves. Previous owner’s signature on front free endpaper. Ex-library with book-plate on front paste-down and call number in pencil on front paste-down and title-page. Dozey, E.C. A Concise History of the Darjeeling District Since 1835 with A Complete Itinerary of Tours in Sikkim and the District (No place but India, 1922). Reprint (first published in 1906). 8vo. 350 pp. With 21 photo plates (one in color), facsimile letter, and folding tables. Original printed boards, slightly warped, occasionally worn; internally generally clean. Previous owner’s signature on front free endpaper. Ex-library with rubber stamp on front free endpaper and call number in pencil on front paste-down and title-page.

Firminger, W.K. Thacker’s Guide to Calcutta Calcutta: Thacker, Spink & Co., 1906. 12mo. 271 pp. Illustrated with black and white photographic plates. Includes errata. Contemporary threequarter navy blue calf over forest green linencovered boards, stamped in blind and in gilt; rubber stamp of the American Consulate General on front free endpaper and title-page, ink signature of previous owner on front free endpaper, internally generally clean. Ex-library with bookplate on front paste-down and call number in pencil on front paste-down and title-page. Ronaldshay, Earl of Lands of the Thunderbolt, Sikhim, Chumbi & Bhutan London, etc., 1923. First edition. 8vo. 267 pp. Illustrated with 32 photo plates and one folding map. Original blue cloth, stamped in blind and in gilt; scattered light foxing, largely unopened. Previous owner’s signature on front free endpaper. Ex-library with book-plate on front paste-down and call number in pencil on front paste-down and title-page.

225

Strachey, Sir John India, Its Administration & Progress London and New York: Macmillan, 1903. Third edition, revised and enlarged. 8vo. 515 pp., (4) pp. ads. Folding map frontispiece. Original maroon cloth stamped in blind and in gilt, corners bumped, some edge wear, scattered spotting; endpapers foxed; internally generally clean, largely unopened; armorial book-plate on front-down. Ex-library with book-plate on front free endpaper and call number in pencil on front paste-down and title-page. Thurston, Edgar, and K. Rangachari Castes and Tribes of Southern India Madras: Government Press, 1909. In seven volumes. Thick 8vo. Illustrated with photo-plates. Original green cloth (three volumes in one shade, four in another), decorated in green and in gilt with light to moderate wear and some bumping; scattered internal foxing. All ex-library with book-plates on front paste-downs and call numbers in pencil on front paste-downs and title-pages. $250-400

226

lot 406 [TRAVEL & EXPLORATION] book of various types of native ottoman dress No place, no date (but likely Ottoman Empire, late 18th/early 19th century). Folio. Near contemporary binding of full brown leather, scuffed and rubbed; marbled endpapers, front free endpaper lacking, rear free endpaper disbound but present. Contains 148 original watercolors by a follower of Fenerci Mehmed depicting various types of native Ottoman dress-as well as a few other culturesin a wide array of styles and colors, representing many of the various peoples inhabiting the Ottoman Empire. Approximately 82 heightened with gold, a few with silver. Most subjects in images

227

identified in bottom margin (some also on recto) in between one to four languages including Ottoman Turkish, Hebrew, and Armenian. Ex-library with bookplate on front paste-down. A fascinating collection. Of the 148 individual watercolors, six are of women, one is of a horse in full livery, and the rest are of men of various social stations. Some views are from the rear, some include musical instruments or interiors, many feature accoutrement relevant to the costume or individual pictured. $4,000-6,000

lot 407 [TRAVEL & EXPLORATION] LINATI, (CLAUDIO) costumes et moeurs de mexique London: Engelmann, Graf Coindet, & Cie, 1830. First edition. 4to. With letterpress title plus 33 vibrantly hand-colored lithographic plates with tissue guards (three plates bound out of order). Original cloth, gilt, untrimmed, corners bumped, front joint cracked, some chipping to spine and back joint; complete, ink ownership on front paste-down, dated 1925, hinges reinforced, some dust smudging in blank margins, scattered minor creasing, a few small tears at fore-edges, some dust smudging to titlepage. Ex-library with book-plate on front paste-down and call number on same and title-page. Sabin 41143; Palau 138504. $2,500-4,000

lot 408 [TRAVEL & EXPLORATION] MURILLO, GERARDO; TOUSSAINT, MANUEL; ATL, DR.; KAHLO, GUILLERMO iglesias de mexico Mexico: Secretria de Hacienda, 1924-1927. First edition. In six volumes. Folio. Original color pictorial brown paper boards, paper spine labels; scuffed, joints and edges often rubbed. Numerous mounted half-tone photo plates, mounted color plates, plans, and illustrations in text. Scattered, mostly light, occasionally moderate foxing. Ex-library with ink stamps on front endpapers, pencil marking on title-page. Known for his photos of Mexican churches, Guillermo Kahlo is also known as the father of the painter Frida Kahlo. $500-800

228

lot 409 [TRAVEL & EXPLORATION] four titles on travel in the middle east (Kinglake, Alexander William) Eothen, or Traces of Travel brought home From The East London: John Ollivier, 1845. Second edition. 8vo. (i)- xi, (i), (1)-418 pp.â&#x20AC;&#x2026;Original gilt-pictorial green cloth, untrimmed edges; corners bumped, back joint starting to fray, head and foot of spine frayed - loss to bottom blind rule. With folding color lithographic frontispiece (some wear and dust smudging at fore edge) and 1 color lithographic plate. Some minor internal dust smudging, some dust smudging to title-page, scattered foxing at back. Ex-library with pencil marking on title-page and head of p. (1). Abbey Travel 362. Curzon, Robert A Visit to the Monasteries in the Levant New York: Putnam, 1849. 12mo. Original gilt-pictorial green cloth, gilt-lettered spine, untrimmed edges; corners bumped, small chip at head of spine - no loss to gilt lettering. With frontispiece, title vignette, and 13 (of 15) plates [lacking Interior of an Abyssinian Library and Plan of the Church of the Holy Sepulcher, Jerusalem]. Light to moderate foxing at front, other scattered, mostly light, foxing. Ex-library with ink stamp on front paste-down, pencil marking on title-page, blue crayon marking on verso of title-page. (Ruete, Emily) Memoirs of an Arabian Princess New York: Doubleday, Page, 1907. Translated by Lionel Strachey. 8vo. Original gilt and silver pictorial green cloth, top edge gilt, other edges untrimmed; joints and extremities scuffed. With 32 plates, including frontispiece portrait and photo plates. Internally clean. Ex- library with label on front paste-down, pencil markings on title-page. Baedeker, Karl Palestine and Syria Leipzig; London; New York, 1912. Fifth edition. 24mo. Original gilt-lettered flexible red cloth. With 21 maps, 56 plans, and a panorama of Jerusalem. Tight, bright copy. Ink ownership stamp on front paste-down and half title-page. Ex-library with ink stamp on verso of front free endpaper, pencil markings on title-page. $150-250

lot 410 [TRAVEL & EXPLORATION] CHOISEUL-GOUFFIER, MARIE GABRIEL F. A COMTE DE voyage pittoresque de la grece Paris, 1782-1822. In three volumes. Tall folio. Illustrated with frontispiece portrait, three engraved title-pages, two unnumbered folding maps, plus 285 engraved plates on 168 sheets, including folding maps and folding views, as well as half-titles, plate and text tables. Early to mid 19thâ&#x20AC;&#x2026;century marbled boards, russia back and corners, spines gilt, untrimmed. Corners, joints, and extremities rubbed; light to moderate foxing to text and plates, a few plates moderately toned, a few quires toned. Ex-library with book-plates on front pastedowns, call numbers in pencil on title-pages; plates free of all markings. $3,000-5,000

229

lot 411 [TRAVEL & EXPLORATION] OGILBY, JOHN asia, the first part. being an accurate description of persia... London, 1673. First edition. Volume one (all ever published). Folio. Illustrated with four double-page maps, 26 (of 28) plates (lacking the “Callenkyns, the tenth” and “The Court of the Great Mogol” plates), 30 engravings in text, and an additional engraved vignette title-page. 18th century half tan calf and patterned boards, marbled endpapers and edges. Spine, extremities and joints rubbed, front cover detached, but present; title-page printed in red and black, large folding map of Asia intact and clean, double-page map “Tabula Colchidis...” moderately toned, dampstaining to bottom of all leaves (affecting the imprint and the bottom text of the dedication, otherwise not affecting the text, maps, or body of plates), scattered foxing, and occasionally toned. Ex-library with book-plate and call number in pencil on front paste-down and pencil markings on title-page. Wing O166. $2,500-4,000

lot 412 [TRAVEL & EXPLORATION] two titles relating to south american exploration A Voyage Towards The South Pole... Containing an Examination of the Antarctic Sea... and a Visit to Tierra del Fuego… With a Particular Account of the inhabitants... Navigation of Cape Horn... London: Longman, Hurst, Rees, Orme, Brown, and Green, 1825. First edition. 8vo. Illustrated with six plates (two folding) - including a hand-colored frontispiece - and eight maps (six folding). Old calf, worn, crudely rebacked; hinges crudely repaired, with some offsetting, scattered foxing and spotting, dampstaining to the plates following pp. 34 and 44 and the intervening text leaves, moderate foxing to backs of folding plates, some darkening at edges of same and a few of the maps, lacking advertisements. Ex-library with book-plate on front paste-down and call number in pencil on title-page. Sabin, 103431; Rosove, 345A1. The first party to have wintered in the Antarctic regions. Weddell, H.A. Voyage dans Le Nord de la Bolivie et dans les parties voisines du Perou ou visite au district aurifere de Tipuani Paris and London: P. Bertrand and H. Bailliere, 1853. First edition. 8vo. With tinted lithographic frontispiece, one tinted lithographic plate, one folding map, 4 pp. of musical notations. Contemporary quarter black morocco over marbled paper-covered boards, spine gilt, minor wear except small blister at top edge of front cover; marbled endpapers; all edges speckled; moderate foxing to plates, title-page, front and back matter. Ex-library with book-plate on front paste-down and call number in pencil on same and on title-page. Regarded as one of the most significant 19th century voyages to South America. $3,000-5,000

230

lot 413 [TRAVEL & EXPLORATION] STACKELBERG, OTTO MAGNUS VON costumes et usages de peuples de la grece moderne Rome, 1825. First edition. Folio. With the armorial book-plate of British politician John Francis Basset on front paste-down. Bassetâ&#x20AC;&#x2122;s ownership signature in ink on verso of front free endpaper. Engraved title-page, 21 (of 30) plates. Plates eight and nine hand-colored, others uncolored. Contemporary three-quarter brown calf and marbled board; ruled in gilt; marbled endpapers. Spine worn away, rubbed, front cover detached but present; engraved title-page and plates foxed. Ex-library with book-plate on front paste-down and call number in pencil on title-page. $500-800

lot 414 [TRAVEL & EXPLORATION] THEVENOT, [JEAN] DE the travels of monsieur de thevenot into the levant. in three parts... London: H. Clark for H. Faithorne, J. Adamson, C. Skegnes, and T. Newborough, 1687. First English-language edition. Folio. With an engraved frontispiece portrait plus three engraved plates. Complete, with the general title-page and three part title-pages. Contemporary calf; burgundy morocco spine label. Worn, rubbed, occasionally blistered, front cover detached, but present; prelims separated and attached to front board, scattered, mostly light foxing to prelims and text. Ex-library with book-plate on front paste-down, call number in pencil on title-page. Wing T887. $600-1,000

lot 415 [TRAVEL & EXPLORATION] WHELER, GEORGE a journey into greece by george wheler esq... London: for William Cademan, Robert Kettlewell, and Awnsham Churchill, 1682. First edition. Folio. Complete with dedication, folding map, five plates (including one with three small plates on one sheet), and numerous engravings in text. 18thâ&#x20AC;&#x2026;century full, gilt-paneled diced brown calf, gilt spine compartments, all edges gilt, marbled endpapers, edges, joints, and spine rubbed, front joint tender; light foxing to map, light to moderate foxing to title-page, other scattered light foxing and minor dust smudging. Armorial book-plate of Syston Park on front paste-down. Ex-library with book-plate on front paste-down; rubber stamp to verso of front free endpaper, recto of first free leaf, verso of folding map, and bottom of title-page; call number in pencil on title-page. Wing 1607. $1,000-1,500

231

lot 416

lot 417

lot 419

[AMERICANA] CALLENDER, TOM (PSEUDONYM)

[AMERICANA] CHEVREAU, [URBAIN]

[AMERICANA]

histoire du monde Paris, 1689. Second edition. In five volumes. 12mo. With the coat of arms of the Archbishop of Rouen on each cover. Halftitle in the first volume. Contemporary gilt armorial mottled brown calf, gilt spine compartments, red sprinkled edges. Rubbed, some small blistering to each volume, a few spine ends rubbed away, joints cracked but holding; old catalogue description mounted on front paste-down of the first volume, front free endpaper in the first volume excised, scattered light foxing to text. Ex-library with ink stamp on the half-title of the first volume and on the front paste-downs of the second through fifth volumes, call numbers in pencil on title-pages. See Sabin (12606) for the first edition of 1686; the fifth volume of the edition above (not recorded by Sabin) includes sections on Mexico, Peru, California, Canada, Florida, Virginia, etc.

diario historico del ultimo viaje que hizo m. de la sale... New York: For José Desnoues, 1831. First Spanish edition. 12mo. From the library of Mexican general and politician José M. Tornel, as indicated in lettered gilt on the front cover, “El Ciudadno / José M. Tornel / a la Cámara de / Diputados del / Congreso Genera…” Full gilt decorated calf; gilt foliate spine; marbled edges; dentelles gilt; marbled endpapers, by C. Brown. Lightly worn, joints lightly rubbed, spotting to front and rear boards, corners bumped, with a small abrasion to the gilt letters on front boards; with an ownership inscription in ink on recto of front blank, moderate toning to text, moderate foxing to same, occasionally dampstained. Ex-library with a call number in pencil on title-page. Sabin 36761. Diario Historico recounts the first hand experience of French explorer Henri Joutel (1643-1725) on his expedition with René-Robert Cavelier, Sieur de la Salle (1643-1687) throughout the Gulf region and Texas. Translated by José M. Tornel, former Mexican Ambassador to the United States from 1829-1831 and Mexican Minister of War; Tornel was an instrumental voice under first President of the United Mexican States Guadalupe Victoria, helping suppress the Fredonian Rebellion, the beginning of the Texas Revolution.

five titles relating to slavery and abolitionist subjects Goodell, William Slavery and Anti-Slavery... With a View of the Slavery Question in the United States New York: William Goodell, 1855. Third edition. 8vo. Contemporary three-quarter black calf over blue linen-covered boards; morocco spine label; marbled edges. Scuffed, joints and edges rubbed, moderate foxing at front, other scattered foxing. Sabin, 27849. The Liberty Bell. By Friends of Freedom Boston: National Anti-Slavery Bazaar, 1856. 12mo. With additional vignette title. Original gilt-pictorial brown cloth, spine gilt, all edges gilt, rather scuffed, some edge wear; moderate internal dust smudging, some spotting. Contributors include Elizabeth Barrett Browning, William Lloyd Garrison, Harriet Beecher Stowe, Wendell Phillips, etc. Sabin, 40942. Conway, M.D. Testimonies Concerning Slavery London: Chapman and Hall, 1864. First edition. 12mo. Original gilt-lettered green cloth, light to moderate wear; internally generally clean. Presentation copy, inscribed, dated (“Sept. 1864”), and signed by “The Author” on front free endpaper. Sabin, 16222. Mallard, R.Q. Plantation Life Before Emancipation Richmond, VA.: Whittet & Shepperson, 1892. First edition. 16mo. Contemporary three-quarter black morocco over marbled paper-covered boards; marbled endpapers; top edge gilt, other edges untrimmed; joints and spine rubbed; internally clean. Blockson, 3756. Whitfield, Theodore M. Slavery Agitation in Virginia 1829-1832 Baltimore: The Johns Hopkins Press, 1930. 12mo. Original green cloth, gilt; light wear, dust jacket with small chipping at edges; internally clean. All ex-library with either book-plates on front paste-downs or rubber stamps to endpapers, and call numbers in pencil on same and title-pages.

$800-1,200

$150-250

letters to alexander hamilton, king of the feds... New York: Richard Reynolds, 1802. First edition. 8vo. (3)-64 pp. 19th century three-quarter brown morocco and marbled boards, gilt-lettered spine, marbled endpapers, top edge stained red. Joints and extremities rubbed; light toning to text, light foxing to title-page and a few front leaves, wide margins. Ex-library with book-plate on front paste-down, call number on verso of front free endpaper and titlepage. Howes C-70; Sabin 10065. of collections. $200-300

$300-500

lot 418 [AMERICANA] JOUTEL, [HENRI]

232

lot 420 [MILITARY HISTORY] two titles on arms and armour (in six volumes) Laking, Guy Francis, Sir A Record of European Armour and Arms through Seven Centuries London: G. Bell and Sons, 1920-1922. First edition. In five volumes. 4to. Original tan cloth, red morocco spine labels, top edges gilt, other edges untrimmed; slightly sunned, moderate shelf wear. With frontispiece in volume 1, numerous other illustrations. Internally generally clean. All ex-library with labels on front paste-downs, pencil markings on titlepages. Cripps-Day, Francis Henry A Record of Armour Sales, 1881-1924 London: G. Bell and Sons, 1924. First edition. 4to. Original beige cloth, red morocco spine label, top edge gilt, other edges untrimmed; light to moderate shelf wear. Frontispiece, numerous other illustrations. Internally generally clean. Ex-library with labels on front paste-down, pencil markings on title-page. $300-500

lot 421 [MILITARY HISTORY] CAMPOMANES, PEDRO RODRIGUEZ dissertaciones historicas del orden, y cavalleria delos templarios… MadriD: Antonio Perez de Soto, 1747. First edition. 4to. [48], 1-286, [1] pp. Title-page printed in red and black. Early 19th century marbled boards with mottled brown calf spine and corners, marbled endpapers, edges trimmed. Lightly worn, edges stained; several quires moderately toned, light foxing to title-page, scattered light foxing to text, minor dampstaining to heads of several last leaves. Ex-library with book-plate on front paste-down and call number in pencil on title-page. Palau 273664. The Templars, a wealthy and powerful Catholic military order, were disbanded in the year 1312. The appearance of Campomanes’ history led to the expulsion of the Jesuits from Spain in 1767. The Jesuits were seen as the heirs of the Templars and both were seen as secret societies bent on world domination by all available means. $250-400

lot 422 [MILITARY HISTORY] [HAWKER, CAPTAIN PETER] journal of a regimental officer... in portugal and spain London: for J. Johnson, 1810. First edition. 8vo. With a folding, partly hand-colored, battle plan. Errata included, advertisement leaf at rear. Contemporary or near contemporary half brown calf and marbled boards, spine ruled in gilt, red morocco spine label, marbled endpapers. Spine scuffed, joints rubbed; red regimental stamp at head of title-page, scattered light foxing to text, small separation along one fold of battle plan, some offsetting from map onto the first page, but otherwise clean. Ex-library with book-plate on front paste-down, call number in pencil on front paste-down and title-page. $200-300

233

lot 423 [MILITARY HISTORY]

Edinburgh, 1757. In five volumes. 12mo. Full contemporary sheep; morocco spine labels; edges stained light blue. Worn, rubbed, joints worn, with some starting to crack; several hinges crudely repaired, edges of title-pages darkened, minor dampstaining, scattered light foxing to text. Ex-library with ink stamps on front paste-downs and call numbers in pencil on title-pages. Histoire de l’abolition de l’ordre des Templiers Paris: Belin and Besongne, 1779. First edition. 12mo. (i)-xxx, (1)-301, (2), [1] pp. With Privilege du roi, Paris, September 9, 1778. Complete, with half title-page. Full contemporary mottled brown sheep; paneled in gilt; spine compartments richly gilt; maroon morocco spine label; edges stained red; marbled endpapers. Corners bumped, some rubbing to edges, covers slightly scuffed; light foxing at front, faint tide marks to a few margins, otherwise internally clean and crisp. Ex-library with a book-plate on front paste-down and call number in pencil on title-page.

thirteen volumes relating to the knights templar, etc. Vertot, abbe de Histoire des chevaliers hospitaliers de S. Jean de Jerusalem, appelles depuis chevaliers de Rhodes, et aujourd’hui de Malthe Paris, 1755-1753. In seven volumes. 12mo. Married set. First through fifth volumes bearing the 1755 Imprint of Chez Savoye, declaring itself, “Quartieme Edition;” the sixth volume bearing the 1753 Imprint of Chez Rollin; the seventh volume bearing the 1753 Imprint of Chez J. F. Quillau, Fils. Half title-pages in the first through fifth volumes. Full contemporary mottled tan sheep; spine compartments richly gilt; morocco spine labels; edges stained red; marbled endpapers. Scuffed, occasionally rubbed; scattered light foxing to text. Ex-library with book-plates on front paste downs, ink stamps on verso of front free endpapers, call numbers in pencil on title-pages. Verdot, abbe de The History of the Knights Hospitaliers of St. John of Jerusalem, styled afterwards, the Knights of Rhodes, and at present the Knights of Malta

$250-400

lot 424 [FRENCH REVOLUTION] two almanacs Almanach national de France, an XI de la republique Paris: Testu, [1803]. Thick 8vo. (1)-810pp. Original limp marbled paper wrappers, printed paper spine label, some chipping, small paper faults, creasing and a little dust soiling to largely intact wrappers, a few small chips to paper label, loss of a few letters, some creasing at front and back; old ink annotations at head of front wrapper giving the year of the republic and the year 18021803, with a few small damp stains. Ex-library with book-plate on verso of front wrapper and call number in pencil on title-page. OCLC (500148943) reports only three copies. Almanach national de France an XII de la republique Paris: Testu, [1804]. Thick 8vo. (1)-808pp. Original limp marbled paper wrappers, printed paper spine label, untrimmed, with some creasing, small paper faults, a few abrasions to largely intact wrappers, and a few small chips to paper label; with an old ink annotation at head of front wrapper, “Almanach national/an XII,” some creasing at front and back. Ex-library with book-plate on verso of front wrapper and call number in pencil on title-page. OCLC (80376428) reports only one copy. $250-400

lot 425 [EARLY PRINTING] BODIN, J[EAN] les six livres de la republique No place [Lausanne], 1577. 8vo. [76], (1)-1102 pp. plus a terminal blank leaf. Likely the first 8vo edition of this important work (first published in folio in Paris in 1576). With gift inscription in English and dated Feb 7 1749/50 on the recto of the front free endpaper. Full contemporary vellum over boards. Scuffed, with some small stains; a small paper loss to the front free endpaper, small worming in front and rear, bottom foreedge of second leaf of the preface torn away (but with no loss of printing), with some scattered manuscript in ink to text, margins, and front and rear endpapers. Ex-library with book-plate on front paste-down and call number in pencil to same, as well as title-page. Adams B2233 (this edition); Brunet I, 1025 (giving Lausanne as place of publication for this printing). Offers the first systematic examination of the concept of sovereignty. $500-800

234

lot 426 [EARLY PRINTING] the book of common prayer... London: for J. Debrett, 1789. Second edition, first British-printed edition. 12mo. Presumably from the library of British politician Assheton Curzon, First Viscount Curzon as indicated by the ownership stamp “LD. C” in gilt on front board, an ownership signature “Visct. C.” in ink on top edge, and the signature “Visct. Curzon” in ink at head of title-page. Complete, with the advertisement leaf at rear. Full contemporary tan calf. Front board detached but present, scuffed, spine and extremities rubbed; front free endpaper detached with front board, first blank leaf loose, darkening at edges of endpapers, otherwise clean and crisp. Ex-library with call numbers in pencil on front paste-down and title-page. ESTC, 161150; Evans, 19940, “... it was reprinted in London in 1789, in an edition of fifty without the 8 engraved plates of music.” $250-400

lot 427 [EARLY PRINTING] EPICTETUS enchiridon, hoc est pugio Antwerp: Christophe Plantin, 1585. 16mo. 87 pp. Facing Greek and Latin text. Old vellum over boards; trimmed. Darkened and scuffed; underscoring in old ink to text, closely trimmed at head and feet of leaves with a few words lost, bottom fore-edge corner of leaf A3 torn away with loss to printing. Adams E-227. $100-150

lot 428 [EARLY PRINTING] EPICTETUS to tou epiktetou encheiridion ex editione joannis upton... Glasgow: Robert and Andreas Foulis, 1751. 32mo (75 x 42 mm). Title-page in Greek and Latin. Text in Greek. Contemporary calf, paneled in gilt, spine gilt, red morocco spine label. Joints and extremities rubbed, edges of titlepage darkened, early ownerships signatures in ink on front endpapers. Ex-library with call number in pencil on title-page. $100-150

235

lot 429

lot 430

[EARLY PRINTING]

[EARLY PRINTING] [GRAHAM, THOMAS]

la liturgie, c’est à dire, le formulaire des prieres publiques... London: R. Everingham & R. Bentley, 1695. Second edition of translation by Jean Durel. 12mo. From the library of Henry Vernon as indicated by his name lettered in gilt on front board. With an armorial bookplate of George Venables Vernon, Baron of Kinderton, son of Henry Vernon, on front paste-down. Engraved frontispiece. [36], 1-344 pp. plus Les Pseaumes de David in [198] leaves (197 of musical score plus one index leaf). Leaves 135-138 not inserted between pp. 341-344 as called for by ESTC, but in their correct numerical position. Full early 18th centurygilt decorated black morocco, richly gilt spine compartments, gauffered gilt edges, marbled endpapers. Boards moderately worn, corners bumped, joints and edges rubbed; a few top and bottom edges trimmed, scattered small closed tears. Ex-library with an ink stamp on the verso of front free endpaper, call number in pencil on title-page, as well as other pencil markings on verso of front free endpaper and recto of rear free endpaper. Wing B3691B. Henry Vernon (1686-1719) and his son George Vanabled Vernon, Baron of Kinderton (1709-1780) served as Members in the English Parliament.

the prisoner against the prelate... No place, [1662]. 8vo. Full 18th centurycalf, blind paneled. With a large format admonitory book-plate of Thomas Blackett on front paste-down, “Thomas Blackett / Is the right Owner: ‘It is the Wicked that borroweth and / payeth not again, Psalms, 37.21. HAMSTERLY, / Near / Bishop-Auckland, / And County of DURHAM, January, 24th, 1766.” With Blackett’s partly calligraphic ownership signature, dated 1749, on the blank leaf following the title-page. His incised initials at center of front cover. Lacking frontispiece. Extremities rubbed, spine crudely repaired with cloth; hinges crudely repaired with cloth tape, toned. Ex-library with call number in pencil on front paste-down. Wing G-1543.

$200-300

lot 431 [EARLY PRINTING] LULLY, JEAN BAPTIST armida, opera musicale Rome: Angelo Bernabo, 1690. 12mo. [8], 1-87, [1] pp. and 15 blank leaves at back. Apparently lacking a front blank. Contemporary or near contemporary full brown calf, gilt spine compartments, morocco spine label, gilt dentelles , with gilt arms (likely of a member of the Ordre de Chevaliers de Malte) at the center of the front and back covers, marbled endpapers; joints and corners of binding rubbed, edges occasionally scuffed. Containing the libretto in Italian and French on facing pages. Internally generally clean. Ex-library with label on front paste-down, pencil markings on title-page. The full score was first published in Paris in 1686. Lully died in 1687 from gangrene, having struck his foot with his long conducting staff; he refused to have the affected leg amputated so he could continue to dance. $200-300

lot 432 [EARLY PRINTING] [MAUCONDUIT] traite de l’orthographe... Paris: Jacques Talon, 1669. First edition. 12mo. (i-viii), 1-232 pp., plus a terminal blank leaf. Contemporary gilt-paneled burgundy morocco; richly gilt spine compartments; all edges gilt; gilt coat of arms of a crowned serpent at center of front and back covers; marbled endpapers. Lightly worn; ownership signature in ink on title-page, internally clean. $250-400

236

$100-150

lot 433

lot 434

[EARLY PRINTING] ROCHESTER, JOHN WILMOT, EARL OF AND DILLON WENTWORTH, EARL OF ROSCOMMON

[EARLY PRINTING]

the works of... the earls of rochester, and roscommon... London, 1709. Third Edition. 8vo. (1)-16; 1-16; 1-16; 1-16 pp. Contemporary paneled calf; rebacked with modern brown cloth; modern leather spine label; new free endpapers. Boards rubbed, corners bumped; manuscript in pencil on front paste-down, hinges repaired, several quires toned, some marginal dampstaining, scattered foxing to text. Bound with: Miscellaneous Works by The Right Honourable the Earl of Roscommon. London, 1709. This printing not recorded by ESTC. (i), 2-16; 1-16; (1)-15; (1), 1-15, (1) pp.; continuous collation, A-H. At times heavily toned and dampstained, especially to signature G. Ex-library with book-plate on front paste-down and call number in pencil to the same as well as the title-page. The poet Andrew Marvell in speaking of his contemporary The Earl of Rochester said that he was “the only man in England that had the true vein of satire.” Time Out listed Rochester as #6 in their chart of London’s 30 most erotic writers.

two volumes of british christian liturgical printing A Paraphrase upon Divine Poems London: J.M. for Abel Roper, 1676. 8vo. (24), 1-79, (16), 1-240, 1-87, [1] p. Contemporary calf; rebacked in modern cloth. Boards heavily rubbed; old ink annotations on terminal blank, an early ink ownership on title-page, hinges crudely repaired, one signature sprung, moderate foxing at front and back, other scattered light foxing to text. Ex-library with book-plate on front paste-down and call number in pencil on the same as well as the title-page. Wing B-2380D; ESTC R11888. Baskerville, John (printer) The Book of Common Prayer... Cambridge, 1762. 12mo. First Baskerville 12mo edition. With cancel title-page bearing, “Price Five Shillings, unbound.” Full contemporary decoratively gilt black calf; all edges gilt; inner dentelles gilt; marbled endpapers. Hinges and edges rubbed; scattered light foxing to text. Bound with: Sternhold, Thomas, John Hopkins, and others The Whole Book of Psalms, Collected into English Meter Birmingham: John Baskerville, 1762. Light foxing to text. Ex-library with stamp on verso of front free endpaper and call number in pencil on title-page. Gaskell 20 and 21.

$120-180

$300-500

lot 435

lot 436

[EARLY PRINTING] SPENCE, JOSEPH

[EARLY PRINTING] (VERA Y FIGUEROA, JUAN ANTONIO DE)

a parallel; in the manner of plutarch... Strawberry-Hill, 1758. Small 8vo, leaf size 160-90 mm. (3)-104 pp. Engraved portrait vingette of Antonio Magliabechi. Early 19th century marbled boards, tan calf spine and corners, spine gilt. Occasionally scuffed; light foxing to title-page, front and back matter, and first few text leaves, offsetting from title vignette onto front blank.. Ex-library with call number in pencil on front free endpaper and titlepage. Hazen, Strawberry Hill Press, 6. The men compared are Antonio Magliabechi and Robert Hill, a poor tailor of Buckingham. Founded in 1757 by Horace Walpole, Strawberry Hill is the most celebrated of the early English private presses.

idea del perfetto ambasciadore... Venice: Giorgio Hertz, 1654. 4to. [4 leaves], 1-368, (2), (8) pp. With a half title-page and an additional engraved vignette title-page, head pieces, and decorated initials. Full contemporary tan calf. With an armorial device in spine compartments, presumably of Nicolas Fouquet (1615-1680), Superintendent of Finances in France under Louis XIV. Italic and Roman type, with letterpress shoulder notes. Scuffed, joints and extremities rubbed, with the head of spine rubbed away and the headband exposed; light foxing to title-page, front and rear leaves, some darkening at edges to front and rear, internally generally clean. Ex-library with book-plate on front paste-down, an ink stamp on half-title and rear paste-down, and call number in pencil on front paste-down and title-page. $300-500

$120-180

237

lot 437 [EARLY PRINTING] three european and continental 17th and 18th century imprints (4 vols.) Olmo, Joseph del Relacion historica del auto general al de fe, que se celebro en Madrid este ano de 1680... Madrid: Roque Rico de Miranda, 1680. First edition. 4to. Engraved frontispiece bearing the arms of Charles II; lacking the large folding plate. Contemporary limp vellum, top back cover fore-edge-side corner section worn away; some browning and staining to edges of several leaves, with some scattered light foxing. Ex-library with book-plate on verso of first free leaf and call number in pencil on front paste-down and title-page. Olmo was Secretary of the Inquisition in Valencia.

Le royal jeu de l’hombre et celui du piquet... Amsterdam: Louis Foubert, 1735. 12mo. (1)-96, (1)-73, (7), (viii), (1)-77, (2), [1] pp., general title-page in red and black, including separate title-pages, plus a caption title. Ex-library with label on front paste-down and pencil markings on general title page. Contemporary brown calf, richly gilt spine compartments, morocco spine label, edges stained red, marbled endpaper, lightly worn; internally generally clean. (Bordelon, Laurent) L’Histoire des imaginations extravagantes de Monsieur Oufle… Paris: Duchesne, 1754. Five parts in two volumes. 12mo. Eight plates including one folding plate. Complete with half-titles with 20th century ink ownerships. Contemporary limp vellum, ties defective; scattered light foxing, some darkening and dampstaining on edges of a few leaves, case starting to come loose on second volume from vellum warping. Ex-library with labels on front paste-downs and call number in pencil on same and first and fourth title-pages. $250-400

lot 438

lot 439

[SCIENCE & MEDICINE] MURILLO Y VELARDE, TOMAS

[CURIOSA] [COVENTRY, FRANCIS]

Tratado de raras, y peregrinas yervas... MadriD: Francisco Sanz, 1674. First edition. 4to. [12], 1-50 leaves, with an engraved device on title-page, plus four engravings in text. Contemporary limp vellum, moderate creasing, minor dust smudging, occasional edge wear, ties defective; moderate foxing at front and back, with other scattered light foxing, later endpapers. Ex-library with book-plate and call number on front paste-down. Early herbal. OCLC reports only five copies. A second edition was published in 1978.

the history of pompey the little... life and adventures of a lap-dog London: M. Cooper, 1751. First edition. 12mo. 272 pp. With frontispiece portrait of Pompey the Little. Full early 20th century tan calf; black and burgundy morocco spine labels; with richly gilt spine compartments; top edge gilt; others trimmed; inner dentelles gilt; brown cloth-lined endpoint endpapers. Lightly scuffed, corners lightly bumped; light offsetting on title-page, scattered light foxing to text. Ex-library with book-plate on front paste-down, pencil markings on verso of front free endpaper, and call number in pencil on title-page. Jones, A Bibliography of the Dog p. 138.

$300-500

lot 440

lot 441

[CURIOSA] DECREMPS, [HENRI]

[CURIOSA] [MONTFAUCON DE VILLARS, NICOLAS DE]

la magie blanche (2 volumes) La Magie Blanche dévoilée, ou explication… Paris: Lesclapart, 1788. Second edition. 8vo. With a frontispiece portrait, two engraved plates, ink ownership on the recto of the frontispiece. Full contemporary mottled sheep. Scuffed, joints and extremities rubbed, covers starting to warp; offsetting on title-page, occasional light foxing to text, some staining in margins at rear. Ex-library with book-plate on front paste-down and call number in pencil on title-page. Supplément a La Magie Blanche dévoilée... Paris: Lesclapart, 1788. First edition. 8vo. With two folding tables at rear, 29 woodcuts within text, with an ink ownership and manuscript in pencil on verso of front free endpaper. Full contemporary mottled sheep. Scuffed, joints and extremities rubbed, covers starting to warp; some worming in gutters of pp. 99-150, but not affecting text. Ex-library with book-plate on front pastedown and call number in pencil on title-page.

comte de gabalis, ou entretiens sur les sciences secretes Cologne: Pierre Marteau, no date [ca. 1691]. Small 8vo. (2), 3-155, (1) p., plus two bank leaves. Contemporary calf; gilt armorial device at center of front and back boards; dentelles gilt; marbled endpapers. Worn, blistered, small repair to the bottom of the front joint; ownership signature in ink on recto of front blank, scattered light foxing to text, occasional creasing to same. Ex-library with a book-plate on front paste-down, call numbers on verso of front free endpaper and title-page. OCLC 906346176. Early printing of this influential classic of occult literature (now suspected to be a satire of it); most often titled Le Comte de Gabalis or The Count of Cabala, Or Dialogs on the Secret Sciences. Its influence can be seen in the pages from figures as varied as Charles Baudelaire to the theosophist Helena Blatavasky.

$300-500

$200-300

238

lot 442 [NATURAL HISTORY] STUDER, JACOB HENRY (THEODOR JASPER, ILLUSTRATOR) studerâ&#x20AC;&#x2122;s popular ornithology. the birds of north america Columbus, Ohio: Jacob H. Studer & Co., 1878. In two volumes. Folio. Illustrated with 160 plates (119 color lithographic plates in first volume and 41 tinted lithographic plates in second volume), with tissue guards. Full gilt-lettered and decorated black morocco; spines gilt; inner dentelles gilt. Spines, edges, and joints slightly scuffed; internally clean. Ex-library with book-plates on front paste-downs and call numbers in pencil on title-pages; plates free of all markings. This comprises The Birds of North America and Ornithology: or, the Science of Birds. $500-800

lot 443

lot 444

[NATURAL HISTORY] DARWIN, CHARLES

[GARDENING] TRIGGS, H. INIGO

on the origin of species by means of natural selection... New York: D. Appleton and Company, 1882. American issue of the sixth (and last lifetime) edition. 8vo. Ex-library with label on pastedown, with pencil markings to paste-down, front free endpapers, and title-page. With one folding diagram. Original terra-cotta cloth, stamped in black and in gilt; corners slightly bumped, with minor edge wear; text lightly toned. Freeman, 409.

the art of garden design in italy New York and Bombay: Longmans, Green, and Co., 1906. Folio. 135 pp.â&#x20AC;&#x2026;Frontispiece (plate 36), 128 plates, including 73 collotypes, 27 plans, and 28 half-tones taken from photographs, plus 66 illustrations within text, tissue guards present. Full terra-cotta buckram; lettered in gilt; top edge gilt. Boards worn, rubbed, lightly soiled, corners bumped; texts and plates lightly toned, scattered foxing to same. Ex-library with call number in pencil on title-page.

$120-180

$200-300

239

lot 445 [LITERATURE] DICKINSON, EMILY five volumes of poetry Poems Boston: Roberts Brothers, 1896. Fifteenth edition. 12mo. 152 pp. White cloth with green cloth spine; lettered in gilt; all edges gilt. Worn, corners bumped, slightly soiled, dampstained at bottom, hinge starting to crack; lightly toned, scattered notation in pencil, ownership marking in ink on front free end-paper. Ex-library with book-plate and stamp on front paste-down and call number in pencil on title-page. Poems. Third Series Boston: Roberts Brothers, 1896. First edition. 12mo. 200 pp. White cloth with green cloth spine; lettered in gilt. Worn, slightly soiled, dampstained, corners bumped; prelims heavily toned, text lightly toned, scattered occasional notation in pencil, ownership marking in ink on front free endpaper. Ex-library with book-plate and stamp on front paste-down and call number in pencil on title-page. BAL 4661. Poems. Second Series Boston: Little, Brown, and Company, 1910. Reprint. 12mo. Gray cloth; lettered in gilt; beveled edge; top edge gilt. Lightly worn, corners bumped, lightly soiled, edges foxed; prelims at times heavily toned, scattered foxing to text, occasional notation in pencil, ownership marking in ink on front free endpaper. Ex-library with book-plate and stamp on front paste-down and call number in pencil on title-page. The Single Hound. Poems of a Lifetime Boston: Little, Brown, and Company, 1914. First edition. 12 mo. White paper boards over white cloth; edges untrimmed. Worn, toned, corners slightly bumped; bookshop catalogue description mounted on front free endpaper, very lightly toned at margins. Ex-library with book-plate and call number in pencil on front paste-down, call number in pencil on title-page. [Todd, Mabel Loomis and Millicent Todd Bingham, editors] Bolts of Melody. New Poems of Emily Dickinson New York and London: Harper & Brothers Publishers, 1945. First edition. 12 mo. Blue and red dust-jacket; green cloth. Dust-jacket worn, slightly foxed, small closed tears to top and bottom, flaps worns; toning and light foxing to prelims, ownership signature in pencil on front pastedown. Ex-library with book-plate and call number in pencil on front paste-down, call number in pencil on title-page. Included with these volumes is ephemera of various sorts, including multiple newspaper clippings relating to Dickinson, a small invitation from the Grolier Club in New York dated October 18, 1945 advertising to its members an exhibition of material relating to Dickinson, card catalogue index cards, as well as a locket of hair from a Patty Athens dated 1915. $500-800

lot 446 [LITERATURE] FLAUBERT, GUSTAVE madame bovary, moeurs de province Paris: Michel Lévy Frères, 1857. In two volumes. First edition in book form. 12mo (leaf size 183 x 114 mm). With original limp green wrappers and spine panels in each volume. Complete, with half-titles and 36 pp. publisher’s catalogue at back of the first volume. Three-quarter early 20th century straight grained black morocco and marbled boards; gilt spine compartments; top edges gilt, others untrimmed; by Creuzevault. Minor wear to boards; contemporary ownership signature in ink at head of both front wrappers, as well as a later ownership signature in ink front blank of the first volume. Ex-library with book-plates on front pastedowns and call numbers in pencil on title-pages. [Carteret I, p. 263].. $3,000-5,000

240

lot 447

lot 448

[LITERATURE] GLASGOW, ELLEN

[LITERATURE] LANDOR, WALTER SAVAGE

works New York: Charles Scribner’s Sons, 1938. In 12 volumes. Virginia edition, #102/810 numbered sets signed by Glasgow (in first volume). 8vo. With a frontispiece portrait in first volume and assorted frontispieces in other volumes. Quarter faux vellum over red linen-covered boards stamped in white and in gilt; red morocco spine labels; top edges gilt, other edges untrimmed, each group of three enclosed in a navy blue paper-covered slip case with white printed labels. Warm autograph letter, signed, to the Weddells and tipped in between front endpapers in first volume (envelope laid in following letter). Additional A.L.s. to same tipped in between first and second free leaves. Another warm typed letter, signed, to the Weddells tipped in between endpapers of tenth volume. Altogether a bright and attractive set. Ex-library with book-plate on front paste-down and call number in pencil on front paste-down and title-page. $200-300

pericles and aspasia\ London: Saunders and Otley, 1836. In two volumes. First edition. 8vo. Errata slip tipped in at front of first volume. Original grey paper boards with green cloth spine; paper labels; untrimmed; with a later one-quarter red morocco and red linen slipcase. Boards worn, edges rubbed, corners bumped; occasional foxing to text. Ex-library with book-plates and call numbers in pencil on front paste-downs, call numbers in pencil on title-pages, with some notation in pencil on front paste-down of the first volume. $120-180

lot 449 [LITERATURE] POUND, EZRA lustra London: Elkin Mathews, 1916. First edition, second impression (abridged text). 8vo. (116) pp. Frontispiece photogravure of Pound by Alvin Longdon. Tan cloth, lettered in blue, corners slightly bumped, lightly soiled; foreand bottom edges untrimmed; text lightly toned, foxing to prelims. Ex-library with bookplate on front paste-down and call number in pencil on title-page. Gallup A11b. $200-300

lot 450 [LITERATURE] [SWIFT, JONATHAN] [gulliver’s travels] travels into several remote nations of the world London: for Benj. Motte, 1726. Four parts in two volumes. First edition, second issue. 8vo, leaf size 196 x 115 mm. With the 18th century engraved armorial book-plate of Charles Viscount Bruce of Ampthill on front paste-downs. Ownership ticket of William Harris Arnold below Viscount Bruce’s book-plates. With portrait frontispiece and 6 engraved plates, including 5 maps. Contemporary gilt paneled brown calf, rebacked with 20th century tan calf, 20th century burgundy spine labels. Extremities of original bindings rubbed; offsetting from portrait onto general titlepage, scattered light foxing to text and plates, darkening to edges of leaves at front in both volumes, manuscript notation in pencil on front free endpaper of the first volume. Ex-library with call number in pencil on front paste-downs and title-pages. Teerink “AA” Edition (second 8vo edition), unmixed issue with Hubbard’s “Second Edition” points throughout all four parts; second state of the portrait. [Teerink 290]; Hubbard pp.15-43 ff.; ESTC 139540. $3,000-5,000

241

lot 451

lot 452

[LITERATURE] [SWIFT, JONATHAN]

[LITERATURE] TENNYSON, (LORD) ALFRED

a tale of a tub [London], 1711. 12mo. With eight engraved plates. Separate title-pages for A Full and True Account of the Battel...Between the Antient and the Modern Books...and for A Discourse Concerning Mechanical Operation of the Spirit, but with continuous pagination and signatures. With advertisement for “Treaties writ by the same author,” at front. Contemporary blind paneled calf. Covers often scuffed, extremities rubbed; scattered light foxing to text, most pronounced at front and back, occasional toning to same, bottom blank margin of leaf M2 torn away. Bound witH: [Curll, Edmund] A Complete Key to the Tale of a Tub London, 1714. “The Third Edition.” 12mo. [2], 5-310, [2] pp., leaves M2 and N12 blank; (1)-36 pp. Scattered light to moderate spotting; early 19th century ownership signatures in ink on front and rear endpapers and blank recto of advertisment leaf at front, occasional foxing to text, darkening to edges at rear. Ex-library with ink stamp on front paste-down, and call number in pencil on front paste-down and first title-page. Teerink-Scouten 227 and 1004; ESTC N49976 and N49977. $200-300

maud, and other poems London: Edward Moxon, 1855. Presumed first issue. Small 8vo. 8 pp. of advertisements at back wanting, although the last leaf advertising Tennyson’s poems present. With a facsimile leaf of the first issue of “Charge of the Light Brigade” at rear and sections of “Maud” tipped in throughout. Later 19th century full crushed green morocco; richly gilt spine compartments; top edge gilt, others untrimmed; dentelles gilt; maroon endpapers; by Bedford. Boards slightly discolored, joints lightly rubbed; some minor foxing to text. Ex-library with manuscript notation in pencil and call number in pencil to the same as well as the title-page. First appearance of Charge of the Light Brigade. $200-300

lot 453 [LITERATURE] WELLS, H.G. the new america: the new world London: The Cresset Press, 1935. First edition. 8vo. 96 pp. Pictorial black and white dustjacket; blue cloth; lettered in gold. Dust-jacket moderately worn, slightly soiled, small closed tears to top, boards lightly soiled; text very lightly toned. Ex-library with book-plate on paste-down, ink stamp and call number in pencil on title-page, with a manuscript signature in pencil on front free endpaper. $100-200

lot 454

lot 455

[CHILDREN’S & ILLUSTRATED]

[FINE BINDINGS] AESOP

the school of good manners Burlington, N.J., 1816. 24mo. (1)-24 pp. Later 19th century full gilt scarlet morocco, printed self wrappers. Scuffed; early ownership signature in ink at head of title-page. Bound with: Instructions for Babes; or, Answers in Verse to Spiritual Questions New Haven: John Babcock and Son, and S. and W. R. Babcock, 1821. 24mo. (1)-30 pp. Frontispiece. Old scrawl on title-page, some staining to text, chipping to top corners. Bound with: The Seasonal Supply American Sunday School Union: Philadelphia, [ca. 1825]. 24mo. Original pictorial tan wrappers. (3)-8 pp. With the no. 13 north Fourth street address, advertisement on rear wrapper. Some staining to wrappers, creasing to same; some staining to text. Ex-library with stamp on front paste-down, call number in pencil on front paste-down and title-page of first wrapper. Sold with all faults.

les fables d’esope phrygien, avec celles de philelphe Copenhagen: Hertiers de Rothe et Proft, 1773. Small 8vo. Translated by Jean Baptiste Morvan de Bellegarde, abbe de Bellegarde. With engraved frontispiece, engraved plate illustrating the life of Aesop, 59 numbered leaves of plates illustrating the fables, vignette title-page, head and tail pieces. Contemporary full gilt paneled and armorial scarlet morocco, richly gilt spine, green morocco spine label, all edges gilt, marbled endpapers. Lightly worn; internally clean and crisp. Ex-library with book-plate on front paste-down. call number on front paste-down and title-page.

$100-150

242

$300-500

lot 456 [FINE BINDINGS] (COURTILZ, DE SANDRAS, GATIEN DE) memoires de mr. d’artagnan, capitaine-lieutenant... Cologne: Pierre Marteau, 1700. In three volumes. 12mo, 158 x 89 mm; 156 x 88 mm; 155 x 90 mm. (1)-440; (1)-497; (1)-498 pp. Title-pages in red and black, with an armillary sphere device. Late 18th century Russian Imperial full gilt penelled red morocco; gilt armorial crest in at center of each cover; gilt spine compartments; olive morocco spine labels; raised bands; all edges gilt; inner dentelles gilt; marbled endpapers. Lightly worn, two small worm holes near the front joints of the second and third volume; scattered light foxing to text. Ex-library with book-plates of Pavlovsk Palace Library and the Library of Virginia House, Richmon on front paste-downs and call numbers in pencil on verso of front free endpaper and title-pages.

The gilt arms on each cover are likely those of the “Arms of Alliance,” with the state arms of Russia at center, the arms of Schleswig-Holstein at left and those of Württemberg at right. These are the joint arms of Emperor Paul I and Empress Maris Feodorovna as heirs presumptive, ca. 1778-1789. This text served as a model for Alexandre Dumas pere’s Three Musketeers. Imagine the future czar and czarina indulging their nostalgia for the ancien régime on the eve of the Napoleonic wars. $1,500-2,500

lot 457

lot 458

[FINE BINDINGS] HORACE

[FINE BINDINGS] LA FONTAINE, JEAN DE

les posies d’horace, traduites en francois Paris: Desaint & Saillant, 1760. Translated by Charles Batteux. Volume two only. Facing Latin and French text. Translator’s name supplied in old ink on title-page. Full richly gilt straight-grained contemporary red morocco, spine compartments richly gilt, all edges gilt. Boards lightly worn; occasional foxing to text, otherwise clean. Ex-library with book-plate on front paste-down and call number in pencil on title-page.

contes et nouvelles, en vers Paris: Alphonse Lemerre, 1868. In two volumes. Outof-series copy, 1/116 (of 171). 12mo. With frontispiece portrait, 77 engraved appliqué plates, many of erotic subjects, but lacking the appliqué frontispiece in the second volume. Contemporary full gilt paneled brick red crushed morocco, richly gilt foliate spine compartments, raised bands, inner dentelles gilt, all edges gilt, marbled endpapers. Lightly worn; ownership signature in ink on front blank, small stains to prelims, some foxing to same, light foxing to text, otherwise bright and attractive bindings. Ex-library with book-plates on front paste-downs, all numbers in pencil on verso of front free endpaper and title-pages.

$100-150

$120-180

243

lot 459

lot 460

[FINE BINDINGS] LONGUS

[FINE BINDINGS] MOORE, THOMAS

les amours pastorales de daphnis et de chloe... Paris: Lamy, 1787. Large 4to, leaf size 320 x 240 mm. Illustrated with 29 plates. Late 19th centurybinding of full green crushed morocco, elaborately gilt; full scarlet morocco doublures; gold moiré silk endleaves; all edges gilt; by Jules Meyer. Corners and edges lightly scuffed, covers occasionally scuffed, raised bands scuffed; scattered very light foxing to text leaves, a few plates a little toned. Previous owner’s inscription on first free leaf now largely rubbed out. Ex-library with book-plate on verso of front free endleaf and call number in pencil on same and on title-page. Still a lovely copy despite these faults.

the epicurean, a tale (2 copies) London: Longman, Rees, Orme, Brown, and Green, 1827. First edition. 12mo. [9], vi-viii, [1], 2-332 pp., [3] blank leaves. Presentation copy, inscribed in ink and dated “July 12 1827,” at head of the title-page by “the author.” Later 19th centuryfull tan calf; burgundy morocco spine label; richly gilt floral spine compartments; inner dentelles gilt; all edges gilt; blue endpapers, by Riviere & Son. Boards and joints lightly rubbed; title-page and text very lightly toned, with scattered light foxing to text. Ex-library with call number in pencil on title-page.

$300-500

The Epicurean, a Tale London: Longman, Rees, Orme, Brown, and Green, 1827. Second Edition. 12mo. [9], viiviii, [1], 3-332 pp., [2] blank leaves. With an ink ownership signature of [Lady] Caroline Anderson at the head of the title-page, along with her engraved private library ticket on the verso of front blank. Later 19th centuryrichly gilt white vellum over boards; richly gilt spine compartments; wide gilt turn-ins; all edges gilt; green silked and gilt decorated central paste-down; with green silk free endpapers. Very lightly worn; title-page lightly toned, with scattered light foxing to text. Ex-library with a call number in pencil on title-page. $120-180

lot 461 [FINE BINDINGS] MUSSET, ALFRED DE works and a biography (in 11 volumes) Oeuvres Paris: Alphonse Lemerre, 1876. In ten volumes. Small 8vo. Illustrated throughout set with etched plates. All printed on laid paper, all internally clean, ink ownership on front blanks. Bound in full early 20th century navy blue crushed levant with decorative gilt tooling; marbled endpapers; all edges gilt, by Petit & Trioullier. Ex-library with call number in pencil on verso of first free leaf and on title-page in each volume. Musset, Paul de Biographie de Alfred de Musset Paris: Alphonse Lemerre, 1877. Small 8vo. With frontispiece portrait. Printed on laid paper, internally clean, ink ownership on front blank. Bound in full early 20th century navy blue crushed levant with decorative gilt tooling; marbled endpapers; all edges gilt, by Petit & Trioullier. Ex-library with call number in pencil on verso of first free leaf and on title-page.

lot 462

lot 463

[FINE BINDINGS] PERRAULT, CHARLES

[FINE BINDINGS] PHILLIPS, STEVEN

les contes Paris: Librairie des Bibliophiles, 1876. In two volumes. 1/170 (of 200). 12mo. Illustrated by Adolphe Lalauze. With 12 etched plates, including frontispiece. Early 20th century three-quarter gilt ruled green morocco and marbled boards, richly gilt emblematic spine compartments, top edges gilt, other edges rough trimmed, by Allô. Lightly worn; some light offsetting, but generally clean. Ex-library with book-plates on front pastedowns. $100-150

$300-500

244

poems London and New York: John Lane: The Bodley Head, 1898. Second edition. 8vo. 108 pp. Full hand-painted pictorial vellum over boards; lettered in gilt; edges untrimmed; in the style of Chivers. Lightly worn and rubbed, light spotting, front board starting to warp; ownership inscription in ink on recto of front blank, light toning to text, occasional notation in pencil to text. Ex-library with a stamp on front paste-down and a call number in pencil on title-page. $300-500

lot 464

lot 465

[FINE BINDINGS] SWIFT, JONATHAN

[FINE BINDINGS] VOLTAIRE, FRANCOIS-MARIE AROUET DE

the works of jonathan swift, d.d. dean of st. patrick’s, dublin... EdinburgH: Archibald Constable and Co., 1824. In 19 volumes. Second edition. With an engraved frontispiece portrait of Swift in the first volume. Later three-quarter burgundy morocco over red linen, foliate spine compartments in gilt, raised bands, top edges gilt, and other edges trimmed, marbled endpapers. Boards very lightly worn, joints occasionally worn, corners occasionally bumped; text very lightly toned and occasionally lightly foxed. Ex-library with bookplates on paste-downs, call numbers on title-pages, and occasional pencil markings on prelims.

oeuvres complete de voltaire [Kehl]: de l’imprimerie de la Société littéraire-typographique, 1785-1789. In seventy volumes. 8vo. With 3 engraved portraits, including the frontispiece portrait in the first volume, 15 engraved plates, including the battle plan in the 24th volume, and the 14 plates at the rear of the 31st volume (relating to Issac Newton). With all half-titles and part-titles. Contemporary full marbled calf, gilt-medallion spine compartments, red morocco spine labels, marbled endpapers, marbled edges. Joints and extremities rubbed, some spine ends rubbed, a few joints showing small separations, all spine bands intact, and overall a sound attractive set of bindings with all joints holding strongly. Scattered light foxing to text, darkening to leaves at front and rear in about half the volumes. Ex-library with book-plates on front paste-downs, ink stamps on the versos of front free endpapers, call numbers in pencil on the title-page of each volume. . $1,500-2,500

$300-500

245

lot 466 [PERFORMING ARTS] [BERNHARDT, SARAH] LIÉGEARD, STEPHEN le verger d’isaure Paris: Librairie Hachette, 1870. First edition. 12mo. From the library of legendary French stage actress Sarah Bernhardt. Presentation copy to Bernhardt inscribed and signed by the author on front blank, “A Mademoiselle Sarah Bernhardt / hommage d’un admirateur fervent / Stephan Liegeard.” With an autograph letter, signed by Bernhardt on her mourning stationary laid in at front; folded 12mo, 2 pp. Original June 1923 auction catalogue description tipped in at front, original lot number mounted to same. Full contemporary richly gilt green morocco; richly gilt spine compartments; with Bernhardt’s monogram in gilt at center of front cover; her initials at foot of spine; inner dentelles gilt; all edges gilt; green silk moire endpapers; by Adriaensen. Light discoloration to heard of spine; internally clean. Ex-library with a call number in pencil on title-page. $500-800

lot 467 [PERFORMING ARTS] [BERNHARDT, SARAH] shakespeare’s tragedy of hamlet London: J.M. Dent and Co, 1899. Fourth edition. Square 32mo. (216) pp. Frontispiece photogravure. From the library of legendary French stage actress Sarah Bernhardt. Bound with a calligraphic copy of a sonnet on vellum in red and black ink by French poet and dramatist Edmond Rostand, composed in honor of Bernhardt. Original June 1923 auction catalogue description tipped in at front, original lot number mounted to same. Bound in full sienna niger morocco, elaborately tooled by hand in gilt, incorporating Bernhardt’s initials and motto, “Quand Même” on front board; turn-ins ruled in gilt; all edges gilt, by the Guild of Women Binders. Boards moderately foxed, corners lightly bumped; prelims lightly foxed with some minor off-setting, text very lightly foxed in margins. Ex-library (VHM) with call numbers in pencil on front paste-down and title-page. One of the most celebrated stage performers of her day, Sarah Bernhardt (1844-1923) regaled the stage with a career spanning over 60 years. Performing in dozens of productions, most notably being the first women to play Hamlet in 1899, the French dramatist and poet Edmond Rostand considered her, “the queen of pose and the princess of gesture.” Offered here is a beautifully bound volume of Shakespeare’s Hamlet from Bernhardt’s personal library, including a sonnet by Rostand and dedicated to Bernhardt. This volume, issued the same year as her role defying performance of Hamlet, captures this important moment in her legendary career. “There are five kinds of actresses: bad actresses, fair actresses, good actresses, great actresses - and then there is Sarah Bernhardt.” - Mark Twain. $800-1,200 Illustrated Right

246

247

lot 468

lot 469

[PERFORMING ARTS]

[ART] CARTER, JOHN (ENGRAVER)

programme m’lle jenny lind’s concert, monday, june 2, 1851 (New York), (1851). 12mo. Original printed tan-pink wrappers; some chipping to edges, spine gone, top of spine crudely repaired. Jenny Lind’s name given in ink by another hand on outer protective wrappers.

specimens of the ancient sculpture and painting... London: John Carter, 1780-87. In two volumes. First edition. Tall folio. 130 pp. (60 pp. in first volume, 70 in second volume). With engraved frontispiece in each volume. Illustrated engraved title-page in each. Dedication page, subscriber’s list and index in each. Original Priestley & Weale bookseller catalogue tipped in at front of first volume. Illustrated with 115 engraved plates, including four foldout plates and 32 hand-colored. Full contemporary tree calf; rebacked spine; raised bands; edges trimmed and stained yellow. Worn, edges and joints rubbed, corners bumped, horizontal scar to the front board of the first volume, small abrasions to front and back boards, front boards of the first volume starting to separate; toning and foxing to text and plates, plates off-setting onto text, closed tear to plate 43, “The head of Crosier at large” in the first volume, faint owners signature in pencil at the front of the first volume. Ex-library with book-plates on pastedown and call numbers in pencil on title-pages of each volume.

$40-70

$200-300

lot 470 [ART] HOGARTH, WILLIAM the works of william hogarth from the original plates… London: Baldwin and Cradock by G. Woodfall, [ca. 1835-1837]. Large folio. Illustrated with 151 engravings on 116 sheets, including the frontispiece, and the engraved plate by William Blake “The Beggar’s Opera.” Additionally, three loose plates in rear pocket, comprising the suppressed “Before & After” plates. Contemporary three-quarter brick red morocco and marbled boards; spine richly gilt; all edges gilt; marbled endpapers. Joints rubbed; creasing to titlepage, moderate foxing at front and rear, otherwise primarily marginal light to moderate foxing, moderate foxing to the loose plates. Ex-library with bookplate on front paste-down, pencil markings on verso of front free endpaper, and call number in pencil on title-page; plates free of all markings. Bentley, A Blake Bibliography, page 128, state F. $800-1,200

lot 471 [ART] KLAUBER, [JOSEPH SEBASTIAN AND JOHANN BAPTIST], ENGRAVERS biblia sacra [biblical stories of the old and new testaments] [Augsberg], [c. 1750]. Oblong 4to. Illustrated with 96 engravings (of 100). Later full light brown crushed morocco; floral border in gilt; decorative spine in gilt; raised bands; dentelles in gilt; silk floral endpapers. Boards slightly scuffed, light abrasions to boards, light spotting, bottom corners bumped; plates varying degrees of soiling to plates, repairs present to edges and corners, chipping and small papers losses to edges and corners, paper loss with repair to plate 79, affecting image area. [University Library of Augsburg]. $200-300

248

lot 472 [ART] TASSO, TORQUATO [G.B. PIAZZETTA, ILLUSTRATOR] la gerusalemme liberata Venice: Giambatista Albrizzi, 1745. Folio. Illustrated with frontispiece and portrait, 21 engraved plates, head and tail pieces, and decorated initials. Title-page printed in red and black, complete with half-title, dedication to Queen Maria Teresa, Catalogo degli Assocciati, with an ink ownership on half-title, dated 1755. Original vellum over boards, green morocco spine label, green speckled edges, marbled endpapers. Occasional spotting to vellum, spine label chipped at edges; cracks and small paper losses to marbled paste-downs, some occasional marginal foxing, but internally almost entirely clean and bright. Ex-library with book-plate on front paste-down and call number in pencil on title-page. $2,500-4,000

lot 473 [AUTOGRAPHS & MANUSCRIPTS] [CHARLES IV OF SPAIN] patent of nobility No place, 1794-1795. Contemporary tan calf over boards, all edges gilt; stained and rubbed, binding detached but present and intact. Manuscript patent of nobility on 63 vellum leaves, lined in red, with text on recto and verso. Text in at least two different hands. Last two leaves with ink inscriptions and signatures. With 21 decorated initials mostly in red and all gilt illuminated. Each leaf stamped with the seal of Charles IV of Spain. Front and back paste-downs and endpapers stamped with “Hispaniarum Rex Carolus IV D.G. Sello quarto, un quartillo, años de mil setecientos noventa y quarto y noventa y cinco.” Front paste-down and endpapers stamped “Alexander Wilbourne Weddell / Virginia House / Richmond, Virginia” and also with ink ownership inscription “A. & V. Weddell / “Virginia House” / Richmond VA / Mexico City - 1926” on front free endpaper recto. Approximately 17 leaves washed with text no longer legible, one leaf partly excised. A few minor instances of worming, some internal stains. Many decorated initials smudged. $800-1,200

249

lot 474

lot 475

[AUTOGRAPHS & MANUSCRIPTS] DOMINGUEZ BORDONA, J.

[AUTOGRAPHS & MANUSCRIPTS] GAUTIER, THEOPHILE

exposición de códices miniados españoles Madrid (Impreso en Barcelona: Miquel Rius), 1929. First edition, #1,011/1,200. 4to. Illustrated with a color frontispiece, seven color plates, lettered tissue guards, 85 duotone plates, 82 illustrations in text, and numerous multi-color historiated initials. Original tan cloth decorated with a Mudéjar design in blind and gilt; top edge gilt; others untrimmed. Lightly worn; internally clean. Ex-library with book-plate on front paste-down and call number in pencil on title-page; plates free of all markings. Catalogue of the first ever exhibition of early Spanish illuminated manuscripts, held in 1924. acquisitions, and care of collections.

emaux camees Paris: Eugene Didier, 1852. First edition, ordinary paper issue. 18mo (150 x 94 mm). (4), (1)-106, (2) pp. With an autograph letter, signed and inscribed by Gautier to an unnamed correspondent, inviting the receipient in playfully arresting and vernacular French to dine and converse. Mounted by blank integral to the front free endpaper. With the book-plate of Joly-Bavolliot on front paste-down. Complete, with half title-page. Untrimmed. Later cream boards; spine lettered in red and black; original printed wrappers. Wrappers with small areas of light wear, spine panel not preserved; 20th centuryownership signature in ink on front binder’s blank, internally clean. Ex-library with book-plate on front paste-down and call number in pencil on titlepage. Attractive copy in this influential landmark of French verse.

$100-150

$500-800

lot 476 [AUTOGRAPHS & MANUSCRIPTS] GAUTIER, THEOPHILE le roman de la momie Lyon: H. Lardanchet, 1921. Exemplaire #388/1,000. 8vo. Issued by Bibliothéque du Bibliophile. Including original cream paper wrappers and original red and black paper spine panel tipped in. Short autograph letter, signed by Gautier tipped in following front wrapper to (Theodore) Lassabathie, “Listen carefully to Marie Bayol... I’m greatly interested”; addressed envelope also tipped in at front. Three-quarter contemporary dark brown morocco and marbled boards; spine gilt; top edge gilt; others untrimmed. Binding occasionally scuffed; ownership inscription in ink on recto of front blank, scattered light foxing to text. Ex-library with book-plate on front paste-down, ink stamp on verso of front free endpaper, and call number in pencil on front wrapper. $200-300

lot 477

lot 478

[AUTOGRAPHS & MANUSCRIPTS] [MACKENZIE, HENRY]

[AUTOGRAPHS & MANUSCRIPTS] MAUPASSANT, GUY DE

the man of feeling London: for T. Cadell, 1771. First edition. 12mo. With a Henry Mackenzie autograph letter, signed H. Mackenzie and dated Dec. 22, 1826, tipped in at front: “Dear Madam, I meant to call on you today... The request of your friend for a thing of so little worth as my autograph flatters me... with that of my illustrious friend Sir Walter Scott...” Early ink ownership on verso of front free endpaper. Full contemporary tan calf. Boards and joints rubbed, front board starting to separate, corners bumped; some occasional foxing to text, with some small ink stains in margins of a few leaves. Ex-library with bookplate on front paste-down and call number in pencil on the same and the title-page, as well as an ink stamp on back paste-down. Henry Mackenzie (Scottish, 1745-1831), was a leading member of the Edinburgh literary scene, Comptroller of taxes for Scotland, as well as a lawyer.

des vers Paris: G. Charpentier, 1880. First edition, ordinary paper issue. 12mo. Autograph letter, inscribed by Maupassant, laid in. [Translated from the French], reads in part, “My dear friend, I want to thank you with all my heart for your gracious intention. Here are some poems. I hope I can shake your hand tonight at Zola’s. Always yours, Guy de Maupassant.” Complete, with half title-page. Original printed wrappers; glassine; untrimmed, largely unopened; custom marbled board slipcase, with half cloth and board chemise. Minor edge wear to wrappers; 20th century ownership signature in ink on front blank, internally clean. Ex-library with call number in pencil on title-page. $800-1,200 Illustrated Right

$500-800

250

251

lot 479 [AUTOGRAPHS & MANUSCRIPTS] VICTORIA, QUEEN OF ENGLAND leaves from the journal of our life in the highlands... London: Smith, Elder and Co., 1868. Second edition. Edited by Arthur Helps. 8vo. Presentation copy to Lady Charlotte Locker, inscribed, dated “April 1868,” and signed in ink on front blank by Victoria. With two engraved plates of views, including frontispiece. Book-plate of Frederick Locker on front paste-down. Original gilt paneled and pictorial green pebbled cloth, gilt-lettered spine, by Burn & Co. Slightly scuffed; hinges starting to separate, some damp wrinkling to text, scattered light foxing to same, partly unopened, otherwise generally clean. Ex-library with book-plate on front paste-down and call number in pencil on front paste-down and titlepage. See Rowfant Library catalogue of Locker’s books for this copy. Frederick Locker-Lampson, bibliophile and friend of prominent Victorian literary figures such as Brownings, Dickens, Eliot, Tennyson, as well as a mentor to author and illustrator Kate Greenaway. $500-800

lot 480 [AUTOGRAPHS & MANUSCRIPTS] ZOLA, EMILE mes haines Paris: Achille Faure, 1866. First edition. 12mo. Presentation copy, inscribed and signed in ink at head of half-title page by Emile Zola to Monsieur E. de Giradin. Original limp olive self-wrappers; untrimmed; partly unopened. Spine ends slightly chipped, other light edge wear; ownership signature in ink on half title-page, scattered light foxing to text. Ex-library with call number in pencil on title-page. Émile de Girardin (1802-1881), French publisher and politican, generally regarded as the most well-known journalist of his day. $500-800 End of Sale

252

253

PURCHASE REMOVAL, SHIPPING AND OFFSITE STORAGE INFORMATION To ensure the safety of your property Freeman’s requests removal within 10 business days of the sale date. Collection hours are Monday–Friday, 9:30am–4:30pm. For larger items, please email Jake Gravelding at loadingdock@freemansauction.com to schedule a loading dock appointment. For purchase release to persons not listed on your contract or invoice, 3rd party authorization is required. Please mail or fax, 215.599.2240, a signed letter stating receipt/item(s) or sale/lot(s) and name of third party collecting property. Freeman’s does not handle packing or shipping. The shippers listed have worked with Freeman’s clients in the past and will be happy to provide you with quotes for the packing and shipping of your property. Annie Hauls Michael Topley Lambertville, NJ 08530 609.577.5133 annie@anniehauls.com *East Coast deliveries only

Mr. C’s Charles Cohen 1615 North 10th Street Philadelphia, PA 19122 267.977.9567 mrcees61@gmail.com

Art In Transit Nick Clarke 314 North 12th Street Philadelphia, PA 19107 540.550.7080 nclarke@artintransit.net

Malca Amit ‡ Christine Duke 153-66 Rockaway Blvd New York, NY 11434 718.525.6100 | Fax: 718.425.3703 maa.nyc@malca-amit.com

Atelier Art Services ‡ Katie Campbell 1330 North 30th Street Philadelphia, PA 19144 215.842.3500 | Fax: 215.235.0421 estimates@atelierfas.com

A. Mastrocco Jr. Moving & Storage Roseanne Gebler 1060 Louis Drive Warminster, PA 18991 215.491.0346 | Fax: 215.444.9327 mastroccomovers@snip.net

Aiston Fine Art Service ‡ Mark Aiston P.O. Box 3434 Grand Central Station New York, NY 10163 212.715.0629 | Fax: 718.361.8569 info@aistonart.com

The Packaging Store ‡ Alex Long 2333 Welsh Road Lansdale, PA 19446 215.361.6940 | Fax: 215.361.6941 hello@packandshipnow.com

Cadogan Tate Fine Art ‡ Stacey Ferguson Cadogan House 41-20 39th Street Sunnyside, NY 11104 718.706.7999 | Fax: 718.707.2847 s.ferguson@cadogantate.com Crozier Fine Arts Catherine Erickson New York, NY 10011 212.741.2024 / Fax: 212.741.5513 shipping@crozierarts.com

U.S. Art ‡ Jessica Pierce 37-11 48th Avenue Long Island City, NY 11101 800.472.5784 | Fax:718.472.5785 jpierce@usart.com FURNITURE & LARGE ITEMS For larger pieces where delivery time is not the primary concern, we suggest getting your items freighted: www.plyconvanlines.com www.freightquote.com

‡ Shippers that can fulfill international deliveries

IMPORTANT INFORMATION FOR BUYERS Registration All potential buyers must register for the sale prior to placing a bid. Registration information may be submitted in person at our reception desk, by fax or through our website at www.freemansauction.com. We will require proof of identification and residence and may require a credit card and/or a bank reference. By registering for the sale, the buyer acknowledges that he or she has read, understood and accepted Freeman’s Terms and Conditions of Sale. Buyer’s Premium A Buyer’s Premium will be added to the successful bid price and is payable by the buyer as part of the total purchase price. The Buyer’s Premium shall be: 25% on the first $200,000 of the hammer price of each lot, 20% on the portion from $200,001 through $3,000,000, and 12% thereafter. Sales Tax All items in the catalogue are subject to the 8% Pennsylvania and Philadelphia sales tax. Dealers purchasing for resale must register their tax numbers on current PA forms. Forms should be submitted to our Client Services office on the second floor. Catalogue Descriptions All item descriptions, dimensions and estimates are provided for guidance only. It is the buyer’s responsibility to inspect all lots prior to bidding to ensure that the condition is to their satisfaction. If potential buyers are unable to inspect lots in person, our specialists will be happy to prepare detailed Condition Reports on individual lots as quickly as possible. These are for guidance only, and all lots will be sold “as is” as per our Terms and Conditions of Sale. Bidding At the sale Registered bidders will be assigned a bidder number and given a paddle for use at the sale. Once the first bid has been placed, the auctioneer asks for higher bids in increments determined by the auctioneer. To place your bid, simply raise your paddle until the auctioneer acknowledges you. The auctioneer will not mistake a random gesture for a bid. By phone A limited number of telephone lines are available for bidding by phone through a Freeman’s representative. Phone lines must be reserved in advance. Requests must be submitted no later than 24 hours prior to the scheduled start of the sale. In writing Bid forms are available in the sale room and at the back of the catalogue. These should be submitted in person, by mail or by fax no later than one hour prior to the scheduled start of the sale. The auctioneer will bid on your behalf up to the limit. On the internet A fully-illustrated catalogue is available on-line at www.freemansauction.com. Registered bidders may leave absentee bids through the website and will receive email confirmation of their bid. Freeman’s is not responsible for errors or failure to execute bids. Payment Payment is due within ten (10) working days of the sale. Lots purchased will not be released until we have received full payment. Payment may be made in cash, by check, money order, or debit card. Payments by check must clear the bank before goods will be released. Removal of Purchases Deliveries will not be made during the time of the sale unless otherwise indicated by the auctioneer. All items must be paid for and removed within ten (10) working days of the sale. Purchases not so removed may be turned over to a licensed warehouse at the expense and risk of the purchaser. Shipping and Packing Responsibility for packing, shipping and insurance shall be exclusively that of the purchaser. Upon request, Freeman’s will provide the purchaser with names of professional packers and shippers known to us. Endangered Species Lots marked * are manufactured in whole or in part of restricted materials that may include tortoiseshell, ivory, mother-of-pearl, coral, rhinoceros horn, whalebone or marine ivory. Such materials may require specific licenses, certificates, or CITES documentation for import, export, moving between states in the U.S., or resale. Obtaining these documents may require scientific, laboratory or other expert analysis, in order to establish which species or genus the material came from. Freeman’s is unable to provide this information, and the obligation is on the purchaser of a lot containing any of these materials to ensure that they are able to obtain all the necessary or required documents should they need to, prior to bidding on the lot. If proper documentation or licenses etc. cannot be obtained for a purchased lot, the purchaser will still be required to make an on time payment for the lot as per our standard terms and conditions. Freeman’s cataloguing of the lots marked with this symbol * represents the best of our opinion, and the absence of this symbol from any lot description does not form a warranty that the lot will be free from any licensing or certification restrictions.

254

v6.2018

TERMS & CONDITIONS All property offered and sold (“property”) through Samuel T. Freeman & Co, (“Freeman’s”) shall be offered and sold on the terms and conditions set forth below which constitutes the complete statement of the terms and conditions on which all property is offered for sale. By bidding at the auction, whether present in person or by agent, by written bid, telephone, internet or other means, the buyer agrees to be bound by these terms and conditions. 1 Unless otherwise indicated, all Property will be offered by Freeman’s as agent for the Consignor.

2 Freeman’s reserves the right to vary the terms of sale and any such variance shall become part of these Conditions of Sale. 3 Buyer acknowledges that it had the right to make a full inspection of all Property prior to sale to determine the condition, size, repair or restoration of any Property. Therefore, all property is sold “AS-IS”. Freeman’s is acting solely as an auction broker, and unless otherwise stated, does not own the Property offered for sale and has made no independent investigation of the Property. Freeman’s makes no warranty of title, merchantability or fitness for a particular purpose, or any other warranty or representation regarding the description, genuineness, attribution, provenance or condition to the Property of any kind or nature with respect to the Property. 4 Freeman’s in its sole and exclusive discretion, reserves the right to withdraw any property, at any time, before the fall of the hammer. 5 Unless otherwise announced by the auctioneer at the time of sale, all bids are per lot as numbered in the printed catalogue. Freeman’s reserves the right to determine any and all matters regarding the order, precedence or appropriate increment of bids or the constitution of lots. 6 The highest bidder acknowledged by the auctioneer shall be the buyer. The auctioneer has the right to reject any bid, to advance the bidding at his absolute discretion and in the event of any dispute between bidders, the auctioneer shall have the sole and final discretion either to determine the successful bidder or to re- offer and resell the article in dispute. If any dispute arises after sale, the Freeman’s sale record shall be conclusive in all respects. 7 If the auctioneer determines that any opening or later bid or any advance bid is not commensurate with the value of the Property offered, he may reject the same and withdraw the Property from sale. 8 Upon the fall of the hammer, title to any offered lot or article will immedi-

will also be responsible for all costs, including warehousing, the expense of the ultimate sale, and Freeman’s commission at its regular rates together with all related and incidental charges, including legal fees. Payment is a precondition to removal. Payment shall be by cash, certified check or similar bank draft, or any other method approved by Freeman’s. Checks will not be deemed to constitute payment until cleared. Any exceptions must be made upon Freeman’s written approval of credit prior to sale. In addition, a defaulting buyer will be deemed to have granted and assigned to Freeman’s, a continuing security interest of first priority in any property or money of, or owing to such buyer in Freeman’s possession, and Freeman’s may retain and apply such property or money as collateral security for the obligations due to Freeman’s. Freeman’s shall have all of the rights accorded a secured party under the Pennsylvania Uniform Commercial Code.

ately pass to the highest bidder as determined in the exclusive discretion of the auctioneer, subject to compliance by the buyer with these Conditions of Sale. Buyer thereupon assumes full risk and responsibility of the property sold, agrees to sign any requested confirmation of purchase, and agrees to pay the full price, plus Buyer’s Premium, therefore or such part, upon such terms as Freeman’s may require. 9 No lot may be removed from Freeman’s premises until the buyer has paid in full the purchase price therefor including Buyer’s Premium or has satisfied such terms that Freeman’s, in its sole discretion, shall require. Subject to the foregoing, all Property shall be paid for and removed by the buyer at his/her expense within ten (10) days of sale and, if not so removed, may be sold by Freeman’s, or sent by Freeman’s to a public warehouse, at the sole risk and charge of the buyer(s), and Freeman’s may prohibit the buyer from participating, directly or indirectly, as a bidder or buyer in any future sale or sales. In addition to other remedies available to Freeman’s by law, Freeman’s reserves the right to impose a late charge of 1.5% per month of the total purchase price on any balance remaining ten (10) days after the day of sale. If Property is not removed by the buyer within ten (10) days, a handling charge of 1% of the total purchase price per month from the tenth day after the sale until removal by the buyer shall be payable to Freeman’s by the buyer; Freeman’s shall charge 1.5% of the total purchase price per month for any property not so removed within 60 days after the sale. Freeman’s will not be responsible for any loss, damage, theft, or otherwise responsible for any goods left in Freeman’s possession after ten (10) days. If the foregoing conditions or any applicable provisions of law are not complied with, in addition to other remedies available to Freeman’s and the Consignor (including without limitation the right to hold the buyer(s) liable for the bid price) Freeman’s, at its option, may either cancel the sale, retaining as liquidated damages all payments made by the buyer(s), or resell the property. In such event, the buyer(s) shall remain liable for any deficiency in the original purchase price and

10 Unless the sale is advertised and announced as “without reserve”, each lot is offered subject to a reserve and Freeman’s may implement such reserves by bidding through its representatives on behalf of the Consignors. In certain instances, the Consignor may pay less than the standard commission rate where Freeman’s or its representative is a successful bidder on behalf of the Consignor. Where the Consignor is indebted to Freeman’s, Freeman’s may have an interest in the offered lots and the proceeds therefrom, other than the broker’s Commissions, and all sales are subject to any such interest. 11 No “buy” bids shall be accepted at any time for any purpose. 12 Any pre-sale bids must be submitted in writing to Freeman’s prior to commencement of the offer of the first lot of any sale. Freeman’s copy of any such bid shall conclusively be deemed to be the sole evidence of same, and while Freeman’s accepts these bids for the convenience of bidders not present at the auction, Freeman’s shall not be responsible for the failure to execute, or, to execute properly, any pre-sale bid.

255

13 A Buyer’s Premium will be added to the successful bid price and is payable by the buyer as part of the total purchase price. The Buyer’s Premium shall be: 25% on the first $200,000 of the hammer price of each lot, 20% on the portion from $200,001 through $3,000,000, and 12% thereafter. 14 Unless exempted by law from the payment thereof, the buyer will be required to pay any and all federal excise tax and any state and/or local sales taxes, including where deliveries are to be made outside the state where a sale is conducted, which may be subject to a corresponding or compensating tax in another state. 15 Freeman’s may, as a service to buyer, arrange to have purchased property posted and shipped at the buyer’s expense. Freeman’s is not responsible for any acts or omissions in packing or shipping of purchased lots whether or not such carrier is recommended by Freeman’s. Packing and handling of purchased lots is at the responsibility of the buyer and is at the entire risk of the buyer. 16 In no event shall any liability of Freeman’s to the buyer exceed the purchase price actually paid. 17 No claimed modification or amendment of this Agreement on the part of any party shall be deemed extant, enforceable or provable unless it is in writing that has been signed by the parties to this Agreement. No course of dealing and no delay or omission on the part of Freeman’s in exercising any right under this Agreement shall operate as a waiver of such right or any other right and waiver on any one or more occasions shall not be construed as a bar to or waiver of any right or remedy of Freeman’s on any future occasion. 18 These Conditions of Sale and the buyer’s, the Consignor’s and Freeman’s rights under these Conditions of Sale shall be governed by, construed and enforced in accordance with the laws of the Commonwealth of Pennsylvania and Consignor and Buyer agree to the exclusive jurisdiction of the Philadelphia, Pennsylvania Court of Common Pleas and the United States District Court for the Eastern District of Pennsylvania.

DIRECTORY Officers

Specialist Departments

Representatives

Alasdair Nichol Chairman

20th Century Design Tim Andreadis tandreadis@freemansauction.com

New England Darren Winston dwinston@freemansauction.com

American Art & Pennsylvania Impressionists Alasdair Nichol anichol@freemansauction.com

Mid-Atlantic Samuel T. Freeman III sfreeman@freemansauction.com

Margaret D. Freeman Director Emeritus Paul S. Roberts President Hanna Dougher Chief Operating Officer Samuel T. Freeman III Senior Vice President

Departments Appraisals Amy Parenti aparenti@freemansauction.com Business Development Thomas B. McCabe IV tmccabe@freemansauction.com Client Services Mary Maguire Carroll mmaguire@freemansauction.com Finance Whitney Long wlong@freemansauction.com Marketing & Communications Whitney Bounty wbounty@freemansauction.com Museum Services Thomas B. McCabe IV tmccabe@freemansauction.com Photography Thomas Clark tclark@freemansauction.com Shipping & Receiving Jake Gravelding jgravelding@freemansauction.com Trust & Estates Amy Parenti aparenti@freemansauction.com

American Furniture, Folk & Decorative Arts Lynda Cain lcain@freemansauction.com Antiquities & Tribal Art Alex Tweedy atweedy@freemansauction.com Asian Arts Benjamin Farina bfarina@freemansauction.com Books, Maps & Manuscripts Darren Winston dwinston@freemansauction.com British & European Furniture & Decorative Arts Tessa Laney tlaney@freemansauction.com European Art & Old Masters David M. Weiss dweiss@freemansauction.com Jewelry & Watches Virginia Salem, GIA GG vsalem@freemansauction.com Modern & Contemporary Art Dunham Townend dtownend@freemansauction.com Musical Instruments Sawyer Thomson sthomson@freemansauction.com Oriental Rugs & Carpets David M. Weiss dweiss@freemansauction.com Prints Dunham Townend dtownend@freemansauction.com Silver & Objets de Vertu Tessa Laney tlaney@freemansauction.com

256

Southeast Colin Clarke cclarke@freemansauction.com West Coast Michael Larsen mlarsen@freemansauction.com Main Line Sarah Riley, GG sriley@freemansauction.com

freemansauction.com 1808 Chestnut Street Philadelphia Pennsylvania 19103