A Set of Three 19th Century French Crystal Decanters with silver carry stand

A 19th Century Oriental Porcelain Jar with painted floral decoration

A 19th Century Carved Giltwood Window Valance, one of three similar

A Pair of Miniature Oriental Celadon Vases, hand-painted with decorative floral motifs

An English Lead Pencil Sketch of Figure Study

A 19th Century Burl Walnut Fitted Beauty Case with gold trim detail

A 19th Century Japanese Black Lacquer Papier-Mâché Rectangular Tray raised on a later faux bamboo stand depicting a ship at sea in harbor

A Mid-18th Century Swedish Polychrome Long Case Clock the concave moulded caddy top with brass face and porcelain Roman numerals above a paneled case raised on bun feet

A 19th Century English Set of Six Flight, Barr & Barr Porcelain Plates with iron red, green and parcel-gilt decor of exotic Indian flowers and foliage

A Bronze Thai Buddha Head, raised on a wooden base

A 19th Century English Copper Planter with fluted repoussé sides

A Pair of 19th Century Roman Marble Plant Stands with lion’s head rings, resting on brass paw feet the whole raised on a marble plinth

The Signed Oil on Canvas, “Oak on a Hill”, by Benigino Yamero Ruiz (b.1880, d.1929), Northern California landscape painter, Exhibited: California Artists, Golden Gate Park, 1915, and influenced by the French Barbizons, using his signature dark palette and favorite subject matter of oak trees, similar to those by William Keith during his late period

A 19th Century English Johnston’s Terrestrial Globe

A Pair of French Cut Crystal Pyramidal Decanters

A Pair of Ancient 16th Century Italian Latin Books

A Pair of 19th Century Green Glazed Burmese Water Jars

A 19th Century American Lake Landscape in Oil

A Pair of 19th Century English Brass Andirons

A Handsome Pair of 19th Century Louis XVI Gilt-bronze Andirons with guilloche and lambrequin motifs, acorn finials and tapering fluted legs headed with rosettes

A 19th Century Italian Giltwood Wall Sconce with a shell motif, fitted with marble top

A Pair of Italian Louis XIV Style Rouge and White Marble Urns with gilt bronze ormolu mounts

A Fine 19th Century Oil on Canvas, alpine landscape, signed F. Shafer

A 19th Century American Oil on Canvas, scenes of a western landscape
Signed: S. Frederick Jared

An 18th Century Italian Four Panel Painted Screen with scenes of villages, landscapes and a castle

A Fine 19th Century English Brass Telescope raised on a steel tripod base

A Regal Pair of 19th Century Gilded Stoneware Lions resting on rectangular plinths

A Pair of 19th Century Continental Gilt-Bronze and Siena Marble Tazze with handles cast as rosettes, above an acanthus-cast socle on a Siena marble pedestal, raised on an anthemion-cast plinth

A Pair of 19th Century Peach-Colored Italian Marble Urns on a square plinth

A 19th Century Parcel-Gilt and Ebonized Neoclassical Jardinière, the top supported by three female figural ending in a hoof-footed leg raised on a triangular plinth of slightly different size

One of Twenty-One 18th Century Lithographs of Various Figural Sculptures, sold separately

“Lazy Day” 19th Century Oil on Canvas by American Impressionist Thomas Bartholomew Griffin, b. 1858, d. 1918, and exhibited in the National Gallery Addl details: Thomas B. Griffin American, 19th Century. Thomas B. Griffin was born in Philadelphia, Pennsylvania during the last half of the nineteenth century. His first formal art education was at the National Academy of Design in New York. While at the Academy, Griffin exhibited his very well executed impressionistic landscapes. In 1896, he listed his address as 340 Fulton Street, Brooklyn, New York. It was during this year that Griffin exhibited “Views from the Catskills (from Haine’s Corners)” and “Hunter Mountain, Catskills,” at the National Academy. Thomas B. Griffin later moved to Baltimore where he opened a studio and established himself as a painter of impressionistic landscapes. Listed: The Dictionary of American Artists, Sculptors and Engravers, by Young Exhibition of the National Academy, 1861-1900, vol.1, pg. 367 Who was Who in American Art Mantle Fielding