B 4 TE. ACOB PAXSON TEMPLE COLLECTION OF RLY AMERICAN | URNITURE 6 _ AND OBJECTS OF ART JACOB PAXSON TEMPLE COLLECTION AFTERNOON SESSION EACH DAY AT TWO-THIRTY EVENING SESSIONS, MONDAY, WEDNESDAY, THURSDAY AT EIGHT-FIFTEEN SALE THE WEEK OF JANUARY TWENTY-THIRD TO TWENTY-EIGHTH SALE NUMBER 1626 ON PUBLIC EXHIBITION FROM MONDAY, JANUARY SIXTEENTH THE JACOB PAXSON TEMPLE | COLLECTION OF HARLY AMERICAN FURNITURE AND OBJECTS OF ART iu 83042 iD €9 £7 i tt ie TO BE SOLD BY ORDER OF JACOB PAXSON TEMPLE, TANGUY, CHESTER COUNTY, PENNSYLVANIA DURING THE WEEK OF JANUARY 23rd to 28th, 1922 THE ANDERSON GALLERIES (MITCHELL KENNERLEY, Present] PARK AVENUE AND FIFTY-NINTH STREET, NEW YORK CONDITIONS OF SALE All bids to be pER Lor as numbered in the Catalogue. The highest bidder to be the buyer. In all cases of disputed bids the decision of the Auctioneer shall be final. Buyers to give their names and addresses and to make such cash payments on account as may be required, in default of which the lots purchased shall be resold immediately. Purchases to be removed at the buyer’s expense and risk within twenty-four hours from the conclusion of the sale, and the remainder of the purchase money to be paid on or before delivery, in default of which The Anderson Galleries, Incorporated, will not be responsible for any loss or damage whatever, but the lot or lots will be left at the sole risk of the purchaser, and subject to storage charges. All lots will be placed on public exhibition before the date of sale, for examina- tion by intending purchasers, and The Anderson Galleries, Incorporated, will not be responsible for the correctness of the description, authenticity, genuine- ness, or for any defect or fault in or concerning any lot, and make no warranty whatever, but will sell each lot exactly as it is, WITHOUT RECOURSE. If accounts are not paid and purchases removed within twenty-four hours of the conclusion of the sale, or, in the case of absent buyers, when bills are rendered, any sum deposited as part payment shall be forfeited, and The Anderson Gal- leries, Incorporated, reserve the right to resell the lot or lots by either private or public sale, without further notice, and if any deficiency arises from such resale it shall be made good by the defaulter, together with all expenses in- curred. This condition shall be without prejudice to the right of this Com- pany to enforce the sale contract and collect the amount due without such resale, at its own option. The Anderson Galleries, Incorporated, will afford every facility for the employ- ment of carriers and packers by the purchasers, but will not be responsible for any damage arising from the acts of such carriers and packers. The Anderson Galleries make no charge for executing orders for their cus- tomers and use all bids competitively, buying at the lowest price permitted by other bids. Priced Copy of this Catalogue may be secured for fifty cents for each session of the sale THE ANDERSON GALLERIES, INC. PARK AVENUE AND FIFTY-NINTH STREET, NEW YORK TELEPHONE PLAZA 9356 SALES CONDUCTED BY MR. FREDERICK A. CHAPMAN V1 ORDER OF SALE MONDAY AFTERNOON, JANUARY TWENTY-THIRD NEW JERSEY GLASS ENGLISH HISTORICAL CHINA, PURPLE, BLACK AND RED, MAINLY WITH AMERICAN ASSOCIATIONS STAFFORDSHIRE WARE, COTTAGE ORNAMENTS AND TABLE WARE, MADE FOR THE PENNSYLVANIA GER- MAN MARKET LITHOGRAPHS, SILHOUETTES, ETC. MISCELLANEOUS GLASS PENNSYLVANIA POTTERY: PHILADELPHIA, POTTSVILLE, PITTSBURGH ENGLISH AND AMERICAN PEWTER SAMPLERS, QUILTS, HOOKED RUGS, ETC. PENNSYLVANIA GERMAN FURNITURE MONDAY EVENING, JANUARY INTERESTING SPECIMENS OF ENGLISH AND AMERICAN PEWTER EARLY AMERICAN TEA BOXES EARLY AMERICAN TOLE WARE HISTORICAL CHINA, MOSTLY BLUE AND WHITE EARLY AMERICAN HOUSEHOLD OBJECTS IN BRASS, ETC. PAINTINGS, LITHOGRAPHS, SILHOUETTES AND VARIOUS DOCUMENTS HISTORICAL CHINA, MAINLY IN BLUE AND WHITE PENNSYLVANIA AND NEW JERSEY GLAZED POTTERY EARLY AMERICAN TEXTILES: PATCHWORK QUILTS, SHAWLS, WOVEN BEDSPREADS, ETC. EARLY AMERICAN SAMPLERS, PENNSYLVANIA GERMAN Hat POSES, ETC. POTTERY FROM ADAMS COUNTY, PENNSYLVANIA, IN- CLUDING NUMEROUS SPECIMENS BY JACOB DITZLER MIRRORS, CLOCKS, SPINNING WHEELS, CHILDREN’S FUR- NITURE, ETC. INTERESTING SPECIMENS OF VARIOUS TYPES OF EARLY AMERICAN FURNITURE, AND A FEW ENGLISH PIECES, IMPORTED BY COLONISTS COPPER, Vil I— 20 21— 40 41— 66 67) 90 91-107 108-129 130-152 153-178 179-207 TWENTY-THIRD 287-306 307-316 317-334 335-845 346—362 363—376 377-407 TUESDAY AFTERNOON, JANUARY TWENTY-FOURTH BROWN GLAZED AND OTHER POTTERY FROM ADAMS COUNTY, ETC., PA., INCLUDING SPECIMENS BY JACOB DITZLER AND ADAM MULLER EARLY AMERICAN GLASS, INCLUDING SPECIMENS OF STIEGEL GLASS, BOSTON SANDWICH GLASS, MILL- VILLE, NEW JERSEY, GLASS, ETC. HISTORICAL CHINA, MAINLY BLUE AND WHITE SHEFFIELD PLATE | RARE WEDGWOOD PIECES, INCLUDING SPECIMENS OF BASALT WARE CHILDREN’S FURNITURE, MIRRORS, SPINNING WHEELS, LAMPS, ETC. DIVERSE ENGLISH POTTERY AND PORCELAIN, INCLUD- ING SPECIMENS OF CROWN DERBY, SWANSEA, SPODE, CHELSEA, CASTLEFORD, MOCHA WARE, AND ADAMS EARLY AMERICAN FURNITURE WEDNESDAY AFTERNOON, JANUARY TWENTY-FIFTH BROWN GLAZED NEW JERSEY POTTERY HISTORIC CHINA: BLUE AND WHITE, PINK AND WHITE, ETC. DIVERSE EUROPEAN GLASS CHINESE LOWESTOFT RUGS AND TEXTILES MISCELLANEOUS PENNSYLVANIA GERMAN METAL WARE EARLY AMERICAN GLASS, MILLVLLE, SANDWICH, WATER- FORD, ETC. TUCKER CHINA EARLY AMERICAN AND ENGLISH FURNITURE Vill 408— 4.25— 455— 4:86— 4.9 4.— 524— 541— 582— 606— 625— 648— 663— 703— 714— 718— 748— 776— 4.2.4 454 485 493 523 540 581 605 624 647 662 702 . 713 var TAT 775 807 WEDNESDAY EVENING, JANUARY TWENTY-FIFTH MISCELLANEOUS EARLY AMERICAN POTTERY 808— 832 HISTORICAL CHINA 833— 859 EARLY AMERICAN GLASS, INCLUDING MANY STIEGEL SPECIMENS 860— 887 MISCELLANEOUS STAFFORDSHIRE, FULHAM, ADAMS, CHELSEA, LIVERPOOL AND OTHER ENGLISH PORCE- LAIN AND CHINA 888— 922 HISTORICAL CHINA 923— 943 ENGLISH LUSTRE WARE 944 964 MIRRORS, ETC. 965— 975 FURNITURE 976-1001 THURSDAY AFTERNOON, JANUARY TWENTY-SIX TH BENNINGTON AND PHOENIXVILLE POTTERY, INCLUDING SPECIMENS OF THE WELL-KNOWN BROWN GLAZED AND PARIAN WARES 1002-1036 MILLVILLE, NEW JERSEY, GLASS 1037-1051 MISTORICAL CHINA, ALPHABET AND MOTTO PLATES 1052-1082 STIEGEL AND OTHER EARLY AMERICAN WINE GLASSES _ 1083-1107 SANDWICH AND OTHER MOULDED GLASS 1108-1129 PENNSYLVANIA GERMAN POTTERY 1130-1155 ENGRAVINGS, ENAMELLED TRAYS AND MISCELLANEOUS OBJECTS OF ART 1156-1167 ENGLISH LUSTRE WARE 1168-1184 FURNITURE 1185-1208 THURSDAY EVENING, JANUARY TWENTY-SIXTH WISTARBURG AND OTHER AMERICAN GLASS ENGLISH LUSTRE POTTERY MISCELLANEOUS STIEGEL GLASS TUCKER CHINA HISTORICAL CHINA PAINTINGS AND FURNITURE FRIDAY AFTERNOON, JANUARY TWENTY-SEVENTH NEW JERSEY AND OTHER AMERICAN GLASS HISTORICAL CHINA STIEGEL GLASS, ENAMELLED AND SAPPHIRE, EMERAED AND AMBER COLORED PENNSYLVANIA GERMAN POTTERY ENGRAVED STIEGEL GLASS EARLY AMERICAN AND ENGLISH SILVER FURNITURE 1204-1226 1227-1242 1243-1276 1277-1293 1294-1818 1319-1358 1354-1378 1379-1394 1395-1417 1418-1443 1444-1462 1468-1493 1494-1524 SATURDAY AFTERNOON, JANUARY TWENTY-EIGHTH IMPORTANT SPECIMENS OF ENGLISH AND CHINESE LOWESTOFT PORCELAIN AND OF HISTORICAL CHINA 1525-1548 © TWO IMPORTANT ENGRAVED POWDER HORNS 15484-15488 PENNSYLVANIA GERMAN POTTERY 1549-1570 EARLY AMERICAN AND ENGLISH CHINA 1571-1596 TUCKER CHINA 1597-1614 VARIOUS SPECIMENS OF STIEGEL GLASS 1615-1639 FURNITURE 1640-1688 INTRODUCTION R. J. P. TEMPLE has been connected for about twenty-five vears with the construction department of the Pennsylvania Railroad. He hails from an old Pennsylvania Quaker family. In his early years, environment and tradition bent his mind towards the furniture, potteries, glasswares and utensils which he saw in his own and other people’s houses, and when his activity for the Railroad Company led him into the remoter parts of Western Pennsylvania, and brought him in touch with the strange people who inhabit these unknown lands, he began buying here a piece of glass, there a quaint piece of furniture, which gave an interesting kind of comparison with other specimens entirely different in character which he found in the big Eastern cities of the Quaker state, or in Marvland and New Jersey. Mr. ‘lemple’s collection therefore has a decided Pennsylvanian tinge, which gives it a particular interest for the New York collector. Specimens from the New England states are prevalent in New York collections, but everything is to be appreciated that makes us feel that Colonial America in the 18th century was not a colorless reflec- tion of European, mainly English models. America had developed these European models in a spirit of individuality, so that we can dis- tinguish at least three main lines of evolution:—the New England style, the Pennsylvanian style, and the style of the Southern states, to which we shall have to add the strange and great creations of the Pennsylvania Germans, which date back to the late 17th century. The formal elegance of the South contrasts with the sturdy solidity of the furniture from the Quaker city, while the New England furniture pleases through purity of line and proportion. | The American styles of furniture have of course followed the evolutions in the mother country. The Jacobean and Cromwellian styles, the Spanish and Flemish influence have also left their traces in America, and as early as the seventeenth century we observe a clear distinction of different social strata. The Hadley chests with their elaborate carving, the panelled oak chests, court cupboards, the X1 elaborate chairs in Flemish style with their deep scrolled carving, must have been made for well-to-do people. On the other hand, there has been a good quantity of furniture in oak and pine wood that has been made for humbler people. Its lack of decoration brings out its beautiful simplicity and sturdiness. In this furniture lives a primi- tive and strong character that is of no period but that has lately made a very strong appeal to a small group of collectors. Mr. Wallace Nutting has brought together the first ample series of such primitive furniture in his book “Furniture of the Pilgrim Century,” which only its short existence prevents from being a classic. ~ Mr. Temple, well acquainted with the primitive art of the Penn- sylvania German pioneers of the 17th and 18th century, made a strong effort to gather an interesting series of these simple 17th century pieces. We may mention among others an important oak table on X stretchers, a rare pine chest with turnip feet, a 17th cen- tury desk, a hooded settle, a fine panelled chest ot drawers and a representative series of chairs. Towards the early 18th century the English style of furniture undergoes a complete transformation. The fluent lines of the late Louis XIV and the Regence style begin to influence Kngland and replace the rigid straight lines by a gently flowing rhythm of wavy curves. The old oak furniture is replaced by other woods that are more fit for the gracefully carved floral decorations of the new style. It seems that American furniture makers started an imno- vation that later became of the greatest importance for the art of furniture making in England:—they first introduced mahogany, which, as Lockwood states, is already mentioned in New England inventories as early as 1708, while it seems to have spread in England only towards 1720. The other type of wood employed is walnut, which is also found in early Pennsylvania specimens of this period. In Mr. Temple’s collection are several armchairs and two interesting desks of this period. While France remained faithful to the traditional walnut, in the development of the Louis XV style, and introduced the tropical woods such as rose wood, tulipwood, ete. (the famous “bois des isles”), only for the inlay work, England’s great furniture maker, Chippendale, developed a comfortable style adequate to the Anglo- Saxon temperament, which borrowed certain details from the French, but was nevertheless thoroughly original. The American furniture makers followed the English styles. They knew them, not only through pieces imported from England, but also through the publications and albums in which Chippendale introduced his new designs to the public. x1 In cities like Boston, Salem, Providence, New York, Philadelphia and Baltimore, a rich class of merchants and bankers had developed, who saw the centre of their trade no longer in England, but in their own home cities. Nothing is more impressive than to walk over the old hill in Providence where one stately mansion, surrounded by vast gardens, follows the other. This beautiful quarter, almost untouched for one hundred and fifty years, is the best object lesson in the prosperity of the American Colonies in pre-Revolutionary days. No wonder that furniture makers of repute prospered in all important cities. It may be sufficient to mention Gillingham of Philadelphia, Rivington of New York, John Brinner of New York, John Applegate of New York, Savery of Philadelphia, Duncan Phyfe of New York. The mentality of the American society was different from that of London. The English court during the 18th century did not pre- tend to be an example of virtue; it almost rivalled that of the Rex Christianissimus in Paris. In America, on the contrary, the Puritan spirit reigned in New England, while the Quakers were the predomi- nating element in Philadelphia. It was quite natural that this clientele did not follow the frills and fancies that we find in certain English types, following the French rocaille at its worst, or masquerading in an imaginary Chinese disguise. They rather fol- lowed the Chippendale type developed for the high English bour- geoisie and, far away from court atmosphere, they aimed at sturdi- ness and solidity primarily. Through these characteristics, the Ameri- ean furniture styles of the Chippendale period are differentiated from the English. It is extremely difficult to ascribe really important pieces of American furniture of this period to a definite maker. The Ameri- can craftsmen were not in the habit of branding their pieces as the French did. ‘Their names are known to us only through the adver- tisements which they published in the newspapers, or in very rare instances, a label with the maker’s name, pasted inside a chest of drawers or a highboy, has escaped the injury of time or the cleanly housewife. By comparing the style and make of a piece that can be ascribed to a definite maker with other specimens with the same characteristics, we are justified in ascribing the latter to the same artist. We are fortunate enough to possess evidence as to the work of William Savery, Philadelphia’s foremost craftsman of this period. Mr. Lockwood publishes in Figs. 108 and 1084, Vol. I of his classic book on American furniture, a dressing table and a Savery ticket that is pasted inside. Here we have concrete evidence for Savery’s X1il authorship, and a close comparison of this specimen with the four star pieces in Mr. Temple’s collection vindicates these four pieces for the same maker. ‘They are two lowboys and two highboys, all showing the same proportion of lines, the same deeply carved ornamentation of shells and acanthus leaves, as Mr. Lockwood’s specimen. All four of them show the same perfection in the execution. It needs the effort of years and years of collecting to gather together four master- pieces of such importance. ‘Two of them come, as Mr. Temple states, from an old family in Lancaster, Pa., and another from an old Quaker family of Westchester, Pa. Besides these, there are many other remarkable specimens of the Chippendale period in Mr. 'Temple’s collection. ‘The series of chairs and armchairs represents almost the entire history of-the chair in America. » > [1424] [1425] 1423 1424 1425 1426 1427 LARGE POTTERY BOTTLE PENNSYLVANIA GERMAN, DATED 1833 Brown glaze with white slip dotted decoration, glaze partly chipped. On the bottom inscribed before firing, name of owner, Johannes Leman, 1833. Made by Friedrich Hildebrand. Height, 101% inches SGRAFFITO SLIP WARE PIE DISH PENNSYLVANIA GERMAN, ABOUT 1800 Made by John Laidy. Boldly designed with two tulips and one rose. Yellow slip; green splashes. From the family of Governor Penny- packer. Diameter, 111% inches [SEE ILLUSTRATION | SGRAFFITO SLIP WARE PIE DISH PENNSYLVANIA GERMAN, ABouUT 1800 Made by John Laidy. Yellow slip, flower vase with bird, two tulips and roses. Very fine specimen. Diameter, 114% inches © [SEE ILLUSTRATION | LARGE FLOWER JAR © : PENNSYLVANIA GERMAN, ABOUT 1825 By Samuel Troxel, Montgomery County. Yellow slip, of which much is chipped away. With relief portraits of Washington and Lafayette. Height, 10 inches LARGE POTTERY PIE DISH ak | PENNSYLVANIA GERMAN, 18TH CENTURY Chocolate-brown glaze with slip decoration in lemon-yellow. | Diameter, 1184 inches [1428] [1429] seo 1428 1429 1430 14351 1432 1433 Pi | POTTERY PIE DISH PENNSYLVANIA GERMAN, ABouT 1810 Decoration of green and brown slip on yellow. Border of several un- dulated lines. In the centre single large tulip. Diameter, 13 inches [SEE ILLUSTRATION | POTTERY PIE DISH PENNSYLVANIA GERMAN, ABOUT 1800 A Renaissance vase with four tulips and two birds in opposite repre- sentation. Yellow slip with green splashes. Made by Andrew Headman. Diameter, 121, inches [SEE ILLUSTRATION | [1430] [1431] POTTERY PIE DISH PENNSYLVANIA GERMAN, ABouT 1800 Yellow slip; green splashes. Deep sgraffito decoration. One tulip; two roses. Fine crackle. Diameter, 1134 inches [SEE ILLUSTRATION | POTTERY PLATE PENNSYLVANIA GERMAN, ABouT 1800 Yellow slip with green splashes. Deep sgraffito. Decoration of eight roses. Diameter, 12 inches [SEE ILLUSTRATION | POTTERY SUGAR BOWL PENNSYLVANIA GERMAN, ABOUT 1830 Made by Philip Nase, Buck’s County. Plastic decoration of flower sprays. Top of cover missing. Brown, yellow and green glaze. Height, 4 inches POTTERY BULL DOG PENNSYLVANIA GERMAN, About 1830 Rattle inside. (Slightly damaged. ) Height, 334 inches 195 1434 1435 1436 1437 1438 [1434] [1435 ] POTTERY PIE DISH PENNSYLVANIA GERMAN, DATED 1798 Yellow slip with splashes of ochre. Sgraffito. A hill with flower shrubs and a large peacock. Inscription: ““This is the peacock, 1798.” Made by John Laidy, Montgomery County. Diameter, 11 inches [SEE ILLUSTRATION | VERY IMPORTANT POTTERY PIE PLATE PENNSYLVANIA GERMAN, DATED 1790 The only specimen known with signature of Isaac Stout. ‘Two trees with large flower and running stag. Deep sgraffito yellow slip with ochre and green splashes. Beautiful example. See Barber, ‘Tulipware,” page 111. Diameter, 14 inches [SEE ILLUSTRATION | POTTERY TURTLE-SHAPED FLASK PENNSYLVANIA GERMAN, DATED 1797 Very rare; red glaze. Length, 6 inches POTTERY SLIP WARE PITCHER PENNSYLVANIA GERMAN, ABOUT 1830 White, green and brown slip on red. Lancet-shaped and ring motif decoration. One handle. (Repaired.) Height, 111% inches POTTERY JUG PENNSYLVANIA GERMAN, ABOUT 1830 Same slip decoration as No. 64. Rare stamped relief decoration. A technique well known to the Hessian salt glaze potters in Europe. (Re- paired. ) Height, 514 inches — 196 1439 1440 [1440] [1441] POTTERY JUG WITH COVER pennsytvania GERMAN, ABOUT 1830 Charming decoration in relief slip ware of bird picking berries; style of Hessian potteries. Height, 7 inches LARGE POTTERY BEAN POT WITH COVER PENNSYLVANIA GERMAN, ABOUT 1780 Slip ware decoration of stem with leaves and undulated lines. (Cover repaired.) Very fine specimen from the personal collection of Edwin AtLee Barber. Height, 91% inches [SEE ILLUSTRATION | [1442] [1443] 197 1441 1442 1443 1444 1445 1446 1447 1448 POTTERY DEEP DISH PENNSYLVANIA GERMAN, ABOUT 1800 Slip decoration of cream-white, green and brownish purple on red. Flower plant in the centre; conventionalized tulips on the rim. (From the Edwin A. Barber Coll.) Diameter, 124% mches [SEE ILLUSTRATION | PENNSYLVANIA GERMAN POTTERY PLATE ABouT 1800 Octagonal. Yellow slip; floral decoration. (From the Pennypacker Coll. ) Diameter, 91/4 inches [SEE ILLUSTRATION | POTTERY PLATE PENNSYLVANIA GERMAN, DATED 1821 Yellow slip; green splashes. Curved branch ending in tulip with bird. Made by Samuel Troxel, Montgomery City. Diameter, 1014 inches [SEE ILLUSTRATION | ENGRAVED STIEGEL GLASS Lots 1444-1462 STIEGEL ENGRAVED FLIP GLASS EARLY AMERICAN, 1760-70 Fluted body; rim with engraved linear decoration. ‘Type of Hunter, No. 117. Height, 43/, inches STIEGEL FLIP GLASS EARLY AMERICAN, 1760-70 Gadrooned body. Duplicate of Hunter, No. 125. Rim with engraved tulip border. Height, 61% inches STIEGEL ENGRAVED GLASS BOTTLE EARLY AMERICAN, ABOUT 1770 Rectangular shape. Tulip design. Height, 10 inches STIEGEL ENGRAVED GLASS BOTTLE EARLY AMERICAN, ABOUT 1770 Rectangular shape. Tulip design. 7 Height, 9 inches STIEGEL ENGRAVED GLASS BOTTLE _ EARLY AMERICAN, ABOUT 1770 Rectangular shape. Engraved with tulip design. Height, 914 inches 198 1449 1450 1451 1452 1453 [1449] [1450] [1451] STIEGEL ETCHED MUG WITH COVER EARLY AMERICAN, ABOUT 1770 Rare specimen with cover. Cylindrical body with etched decoration of a sunburst medallion enclosing a bird and flower spray. Wide handle. Cover with tall knob. Type of Hunter, No. 122. (Cracked.) Height, 1414, inches [SEE ILLUSTRATION | STIEGEL ETCHED TWO-QUART FLIP GLASS EARLY AMERICAN, ABOUT 1770 Festoon decoration around top. White glass. Height, 734 inches; diameter, 538 inches ' [SEE ILLUSTRATION | STIEGEL FLIP GLASS WITH COVER EARLY AMERICAN, ABOUT 1770 White glass. Body etched with a basket of flowers; cover etched in scroll design. Conical knob on cover. Duplicate of Hunter, No. 130. Cook Collection. Height, 1014 inches; diameter, 43/, inches [SEE ILLUSTRATION | STIEGEL ENGRAVED GLASS BOTTLE EARLY AMERICAN, ABOUT 1770 Straight octagonal, engraved with flower-basket design and floral mo- tives. Screw top. Height, 11 inches ENGRAVED STIEGEL FLIP GLASS Earby AMERICAN, ABouT 1770 Decoration of wreath with diamond pattern inside, surrounded by floral motives. Height, 5 inches 199 1454 1455 1456 1458 1459 STIEGEL ENGRAVED SMALL FLIP GLASS Border of lozenge motives. ENGRAVED STIEGEL GLASS MUG Decoration of twig with large rose. ENGRAVED STIEGEL FLIP GLASS Decoration of flower basket with tulip. ENGRAVED STIEGEL FLIP GLASS Decoration of curved branch with rose. ENGRAVED STIEGEL FLIP GLASS Decoration of curved branch with tulip. ENGRAVED STIEGEL GLASS MUG EARLY AMERICAN, ABOUT 1770 Height, 314 inches EARLY AMERICAN, ABOUT 1770 Height, 634 inches EARLY AMERICAN, ABOUT 1770 Height, 6 ches EARLY AMERICAN, ABOUT 1770 Height, 41% inches EARLY AMERICAN, ABOUT 1770 Height, 414 inches EARLY AMERICAN, ABOUT 1770 Decoration of curved branch with two large flowers. Height, 6 inches [1460] [1461] [1462] 1460 STIEGEL ENGRAVED WHITE GLASS BOTTLE Square shape with short neck. The four sides with designs of large tulips and sprays of lilies. Type of Hunter, No. 128. (Slightly cracked. ) Height, 105% inches; size of body, 3 x 41% inches [SEE ILLUSTRATION | 200 1461 1462 1463 1464 1465 1466 1467 STIEGEL FLIP GLASS EARLY AMERICAN, ABOUT 1770 White glass, etched with tulip design. Type of Hunter, No. 121; dupli- cate design. Height, 8 inches [SEE ILLUSTRATION | STIEGEL ENGRAVED WHITE GLASS BOTTLE EARLY AMERICAN, ABout 1770 Decorated with small tulip and lily sprays. Square shape. Type of Hunter, No. 123. Height, 734 inches; size of body, 234 x 35% inches [SEE ILLUSTRATION | EARLY AMERICAN AND ENGLISH SILVER Lots 1463-1493 SOLID SILVER ENGLISH ASPARAGUS TONGS Hall marked, engraved “G. A. K.”’ Length, 914 inches SOLID SILVER SOUP LADLE Early American; maker’s mark W. H., engraved “C. D.” Length, 14 inches SOLID SILVER ENGLISH BUTTER KNIFE Hall marked, bone handle. Length, 7 inches TWO EARLY AMERICAN SOLID SILVER SALT SPOONS Made by J. F. Robinson, marked Rodney (from Rodney family of Delaware). Length, 3%. inches EARLY AMERICAN SOLID SILVER SPOON Maker’s mark A. R., engraved “F. V. A.” Length, 514, inches ENGLISH SOLID SILVER SNUFFER Length, 5 inches AMERICAN SOLID SILVER SALT SHAKER Unmarked. Height, 41, inches EARLY AMERICAN SOLID SILVER SPOON Unmarked. Length, 54 mcehes EARLY AMERICAN SOLID SILVER SPOON Made by I. Reed & Son, engraved “J. L. L.” Length, 3% inches 201 1473 1477 1478 1479 1480 EARLY AMERICAN SOLID SILVER SPOON Made by C. L. Boehme, engraved “A, C.” Length, 744 wmches SOLID SILVER AMERICAN SUGAR TONGS Made by R. and W. Wilson, engraved Neall. Length, 614 mches SOLID SILVER DUSTER Mark of maker, C. L., extensively engraved. Height, 714 inches SILVER ALADDIN’S LAMP All-over repousse decoration. Length, with handle, 6 inches SOLID SILVER CREAM PITCHER Hall marked. Height, 684 inches SOLID SILVER SUGAR TONGS Early American; maker’s mark I. M. E., engraved ‘‘S. H.” Length, 54 inches EARLY AMERICAN SOLID SILVER SOUP LADLE Maker’s mark I. B., engraved “C. S. R.”; from the Cesar Rodney family (signer of the Declaration of Independence). Length, 1314 inches SOLID SILVER ENGLISH SALAD TONGS Hall marked. Length, 11 wches DUTCH SOLID SILVER COW CREAMER Hall marked. Size, 514 x 4 inches [1481] [1482] [1481] 202 1481 1482 1483 1484 1485 1486 1487 1488 1489 SOLID SILVER CREAM PITCHER AND SUGAR BOWL Early American, made by R. and W. Wilson. Height, 6 inches and 444 inches [SEE ILLUSTRATION | THREE EARLY AMERICAN COMMUNION CUPS Made by Bard and Lamont. Height, 634 inches [SEE ILLUSTRATION | RUSSIAN DRINKING CUP Silver, with blue, green and red enamel. (Slightly damaged.) Height, 31/4, inches SOLID SILVER ENGLISH SALT SHAKER Hall marked London, 1763. Height, 414 inches PAIR OF SOLID SILVER EARLY AMERICAN SUGAR TONGS One with maker’s mark M., the other made by J. B. Jones, engraved Smith.” Length, 6 and 614, inches EARLY AMERICAN SOLID SILVER TABLE SPOON Made by J. Shoemaker; engraved “J. K.” American eagle on back of bowl. SOLID SILVER ENGLISH MARROW SPOON ENGLISH, 1817 Hall marked, engraved “G. Q.” Length, 834 inches ENGLISH SOLID SILVER BOTTLE STRAINER Hall marked, engraved “G. H. K.” Height, 538 inches EARLY AMERICAN SOLID SILVER SALT SPOON Made by Moulton. Length, 3g inches [1490] [1491] [1492] [1493] 203 1490 1491 1492 1493 EARLY AMERICAN SOLID SILVER CREAM PITCHER Square base, maker’s mark “J. S.” Height, 61% inches [SEE ILLUSTRATION | EARLY AMERICAN SOLID SILVER PORRINGER Made by Boyd and Milford. Diameter, 4 inches [SEE ILLUSTRATION | EARLY AMERICAN SOLID SILVER PAP BOWL CHARLESTON, Ss. c., 1800 Made by J. Ewen. Length, 514 inches; width, 2Yg mches [SEE ILLUSTRATION | 3 EARLY AMERICAN SOLID SILVER CREAM PITCHER Engraved Colonial design, square base. Height, 61 inches [SEE ILLUSTRATION | FURNITURE Lots 1494-1524 [1494] 204 1494 PAINTED LADDER-BACK ARMCHAIR EARLY AMERICAN, ABOUT 1725 Pennsylvania style; painted red. Six slats. Turned sides. Curved and voluted armrests with turned supports. Scalloped apron. Rush seat. Cabriole legs with web feet. Turned stretchers. Very rare and important specimen. [SEE ILLUSTRATION | [1495] 1495 IMPORTANT CURLY MAPLE MARTHA WASHINGTON SEW- ING TABLE EARLY AMERICAN, ABOUT 1780 Charming Sheraton model. Three drawers with original brasses. Fluted pilasters. Turned legs. Outcurved sides. Height, 29 inches; length, 26 inches [SEE ILLUSTRATION | 205 1496 HEPPLEWHITE CHERRYWOOD CARD TABLE — 1497 1498 1499 AMERICAN, ABOUT 1790 Plain round folding top; deep apron. Four square legs. A charming piece of perfect simplicity. Height, 291% inches; length, 41 inches ; diameter, when opened, 44 inches [1497] SET OF THREE INLAID DINING ROOM MAHOGANY TABLES EARLY AMERICAN, ABOUT 1790 Hepplewhite style. The two outer tables semi-circular with rectangular drop leaves, the centre one rectangular with two rectangular drop leaves. Apron and square, tapering legs decorated with hollywood linear‘ inlay. Height, 2834 inches; length, 461 mches; length with all extensions about 14 feet [SEE ILLUSTRATION | PAIR OF FIRESIDE CHAIRS WITH CARVED WALNUT FRAME ENGLISH, QUEEN ANNE PERIOD Carved pony-hoof feet and carved shell knees. Modern English uphol- stery with slip cushions. SATINWOOD FOLD-TOP CARD TABLE EARLY AMERICAN, ABouT 1790 Very fine and rare specimen. ‘Top with swell front and straight sides. Columnar fluted base with fine acanthus carving, standing on four acan- thus-carved legs, with old brass castors with palmetto leaf decoration. Height, 29 inches; top, folded, 26 x 1814 inches [SEE ILLUSTRATION | 206 [1499] 1500 IMPORTANT PENNSYLVANIA OAK SAWBUCK OR “X” TABLE EARLY AMERICAN, ABOUT 1675 Legs connected by pierced stretcher. Very rare and fine specimen. Height, 28 inches; top, 32 x 58 inches [SEE ILLUSTRATION | a ARB 033 iui HOODED PINE SETTLE EARLY AMERICAN, ABOUT 1720 Deep seat. ‘Tall back. Unusually well-formed arms. Top with moulded rail. Very fine and rare specimen. Total height, 4 feet 10 inches; length, 6 feet 4 inches [SEE ILLUSTRATION | 1502 EARLY PENNSYLVANIA PINE CHEST AMERICAN, ABOUT 1690 One drawer. Panelled front with original brasses. Turnip fect. Very fine and rare specimen. Height, 314 feet; length, 3 feet 5 inches [SEE ILLUSTRATION | 15083. CHERRYWOOD GRANDMOTHER’S CLOCK EARLY AMERICAN, ABOUT 1750 Very rare specimen. Brass dial in rectangular case with central finial. Pendulum case plain, with moulded door. Height about 46 inches [SEE ILLUSTRATION | [1504] 1504 PAINTED BRIDAL CHEST PENNSYLVANIA GERMAN, DATED 1832 Greenish blue background, decorated on front and top with charmingly naive flower bouquets in vivid colors. Iron handles and hasp. Rare oval top. Height, 22 inches; length, 40 inches [SEE ILLUSTRATION | 209 10 2 1505 PAIR OF MAHOGANY SIDE CHAIRS A very fine Hepplewhite model, showing at the same time in outline and detail motives the workmanship and tradition of William Savery. Shield-shaped back; curved top rail with fine honeysuckle carving. Chalice-shaped perforated splat with very fine festooned drapery carv- ing. Small rosaces. Swell front, seat upholstered in original horse- hair. Graceful square Hepplewhite legs with sunken panels. [Ske ILLUSTRATION | [1506] 1506 MAHOGANY CONSOLE TABLE EARLY AMERICAN, ABOUT 1790 Hepplewhite style. Linear hollywood inlay. Square tapering legs. Gn the apron fan-shaped inlay. Fine specimen. Compare Lockwood, Fig. TTA, Height, 30 inches; diameter of top, 36 inches [SEE ILLUSTRATION | 211 150 [1507] MAHOGANY SIDEBOARD CONNECTICUT, ABOUT 1790 Sheraton style. The body with three divisions. ‘Top with fluted edge. The divisions marked by fluted columns, the centre division with ser- pentine front fitted with one drawer and a hinged door below, flanked on either side by two small doors. The side divisions each with door and one small drawer. Standing on six fluted legs. Height, 4114 inches; length, 60 inches; depth, 22 inches [SEE ILLUSTRATION | 212 —see 4a % nat *. g #e ae a il Ah. as o « 1508 A RA AMDB BAM GA oA ‘ | | i\ 7 4 . . ot et ¥ ‘ K = 7” Becta ia darrian a Sao Te Sarna | 5 i acs as : : ad. ACRES AS WALNUT AND GILT MIRROR EARLY AMERICAN, ABOUT 1760 Chippendale style. Scrolled broken arch top with centre finial; elaborate acanthus carving. Cornice with carved honeysuckle flower motives. Double frame with egg and dart pattern and floral carving in gilt wood. Plain veneered walnut between. On the sides gilt wood brackets with flower and ear of wheat carving. Rounded base with rich ornamental carving. Very fine specimen, similar to Lockwood, Fig. 3830. (Mirror glass cracked. ) Height, 68 inches; width, 2614 inches [SEE ILLUSTRATION | 213 [1509] 1509 ADAM CARVED AND GILT WOOD WALL SCONCE 1510 EARLY AMERICAN, ABOUT 1785 Extremely fine carving; charming specimen, marking the return of pros- perity after the War of Independence. aN hr oN » f BME [1680] 1680 INLAID MAHOGANY SHERATON SIDEBOARD ENGLISH, ABOUT 1790 Inlay of urns, shells and pendent leaves. Top and drawers outlined by linear inlay. Front slightly rounded and the apron with three drawers. The centre arched below central drawer. Hinged doors enclosing cup- boards on either end. Six fluted legs. Original brass handles. Height, 3814, inches; length, 58 inches; depth, 23 inches [SEE ILLUSTRATION | 1681 RED LACQUER CHINA CUPBOARD ENGLISH, ABOUT 1820 The upper part with cornice, gilt bamboo carving and lacquer painting in black and red. ‘Two hinged doors with double Gothic arches, the lower part with gilt bamboo moulding on top and base. Two drawers, decorated with Chinese landscapes and three large drawers below with analogous decoration. Original brasses with charming pagoda design. Ball feet. Signed on the back “I. Goff, Painted 1820.” Height, 84 inches; length, 421% inches; depth, 19 inches 273 1682 [1682] CARVED WALNUT ARMCHAIR WITH GROS AND PETIT POINT UPHOLSTERY ENGLISH, WILLIAM AND MARY PERIOD Finely turned legs and stretchers; upholstered armrests, slightly curved at the ends and with curved supports. Back and seat with floral em- broidery of fine color effect in predominating tones of red, green and vellow on tan. [SEE ILLUSTRATION | 274 1683 1684 [1683] CHARLES II CARVED WALNUT ARMCHAIR ENGLISH, 17TH CENTURY Finely proportioned frame, the gently curved and scrolled armrests decorated with acanthus carving, and with turned baluster supports. Turned legs and stretchers; carved lion claw feet. Charming gros and petit point upholstery, the back with central medallion of bird and animal motives on a bold floral background; the seat with unusual repre- sentation of an elephant. [SEE ILLUSTRATION | BANISTER BACK HARDWOOD ARMCHAIR EARLY AMERICAN, ABOUT 1725 Very unusual specimen, the curved parts of the splats being turned inside. Painted black. Top rail with elaborate acanthus carving. Five banisters. Turned sides and stretchers. Curved and voluted armrests. Rush seat. Compare Lockwood, Fig. 462. [SEE ILLUSTRATION, PAGE 280 | 275 1685 1686 1687 MAHOGANY WILLARD GRANDFATHER’S CLOCK BOSTON, ABOUT 1800 The hood with arched top and brass finials. The pendulum case with arched and moulded door. ‘The corners with fluted columns. Brass base and capitals. Painted dial with moon adjustment. With maker’s name. Height, 87 inches [SEE ILLUSTRATION | MAHOGANY GRANDFATHER’S CLOCK EARLY AMERICAN, ABOUT 1796 Made by Joseph Shermer, of Lancaster County, Pa. Broken arch top _ with three wooden finials, flanked by columns with brass capitals and bases. The pendulum case with fluted pilaster edges and hinged door. Painted dial with moon attachment and days of the month and rare sweep second hand. Eight day clock. [SEE ILLUSTRATION | PAINTED GRANDFATHER’S CLOCK PENNSYLVANIA GERMAN, ABOUT 1780 Perhaps an early Rittenhouse clock; redecorated in Pennsylvania Ger- man style about 1820. Wooden works. Scrolled top with wooden urn finials. Dial with painted rose decoration. Front with bird and rose panels. In working order. Height, 100 inches [SEE ILLUSTRATION | 276 H : 4 | , ( [168 686 | [1 [1685] ~ ™N 1688 VERY IMPORTANT MAHOGANY HIGHBOY BY WILLIAM SAVERY PHILADELPHIA, ABOUT 1760 Chippendale style. The top with broken arch ending in two elaborately carved rosaces. Urn and flame finials on either side. Rocaille cartouche in the middle, supported by small pilaster. Elaborate cornice, moulded, dentelled and with Chinese Chippendale fretwork frieze. ‘The edges rounded off with fluted pilasters. ‘Top row of three small drawers, followed below by two slightly larger ones. Below three large drawers, with original keyhole escutcheons, while the brass handles are of the same period, but have been changed. ‘The lower body with moulded cor- nice, one large drawer, three large drawers below, of which the central one is decorated with the deep shell and acanthus carving character- istic of William Savery. Apron with elaborate rocaille carving; pilaster edges. Cabriole legs with acanthus carving and ball and claw feet. A remarkably fine masterpiece of American furniture making. Com- pare Lockwood, Figs. 106, 107. Height, 96 inches; length, 4314 inches; depth, 23 inches [ SEE ILLUSTRATION | 278 -——— —s~ pare sR: Bae — . 80 | { ae 2! =f a ry » < <= 7 u I :. . we 37 ih il acob Paxson a, 922 Jan nl © 3 312 be il air a ee wR $e ae yur t. iy Spgs abemalct