Night light, no. 24 of 35, silkscreen in colours, signed and titled lower right R. Letendre 71, unframed, 19 ¼" x 27 ½”. Provenance: Carleton University Art Gallery "Themes and Variations", 2011. Rita Letendre, who was born in Drummondville (QC), was a Canadian painter, muralist, and printmaker associated with Les Automatistes and the Plasticiens. She was an Officer of the Order of Canada, Ordre du Québec, and a recipient of the Governor General's Award to name a few. Letendre's artwork is in all major public and private collections.

The functional coffee table with three hidden storage areas, walnut veneer, chrome legs, measuring 12 1/4" x 45 1/4" x 31 3/4".

Night light, no. 13 of 20, silkscreen in colours, signed and titled lower right R. Letendre (under frame) framed, 19” x 27 ¼”. Provenance: Carleton University Art Gallery "Themes and Variations", 2011. Rita Letendre, who was born in Drummondville (QC), was a Canadian painter, muralist, and printmaker associated with Les Automatistes and the Plasticiens. She was an Officer of the Order of Canada, Ordre du Québec, and a recipient of the Governor General's Award to name a few. Letendre's artwork is in all major public and private collections.

Lied à Emile Nelligan (1979), coloured lithograph, no. 69 of 75, signed in graphite lower right, Galerie Chris Klimantiris label verso, 22” x 30”. Riopelle had one of the longest and most important international careers of the sixteen signatories of the Refus Global; or the 1948 letter denouncing the oppressive role of the church in Quebec society, breaking free from clericalism.

Feuille #1, 1967, lithograph in colour, number 5 of 75, signed in graphite lower right, gallery label verso, 27 ¼ x 21 ½". Matting and glass require replacing, image in very good condition. Jean Paul Riopelle had one of the longest and most important international careers of the sixteen signatories of the Refus Global; or the 1948 letter denouncing the oppressive role of the church in Quebec society, breaking free from clericalism.

Cap aux Oies, oil on board, signed and dated 88’ lower left, titled verso on frame, 19 ½" x 23 ½" at sight. Bruno Côté was born in Québec city. He was a self-taught landscape artist who painted and sketched plein-air allowing him to create a vibrant style such as this work; Côté is capturing the majestic Fleuve St-Laurent bordered by an appealingly toned flora, and a snow covered village.

Tanu, coloured serigraph, no. 32 of 50, signed in graphite and dated 87’ lower right, Robertson Galleries label verso, 22 ½" x 17". Gordon Smith was an English-born Canadian artist, known for expanding the dialogue between abstraction and representation, working with mediums such as painting, printmaking, and sculpting. Smith taught with contemporaries Bruno Bobak, B.C. Binning and Jack Shadbolt at the Vancouver School of Art (now Emily Carr University of Art and Design) for 10 years, then for 26 years at the University of British Columbia before retiring in 1982 to paint full-time. (wikipedia)

Sea Drift II, coloured serigraph, Artist Proof no. 2 of 5, dedication lower edge, signed and dated 89’ lower right, 17 ¾" x 24". Gordon Smith was an English-born Canadian artist, known for expanding the dialogue between abstraction and representation, working with mediums such as painting, printmaking, and sculpting. Smith taught with contemporaries Bruno Bobak, B.C. Binning and Jack Shadbolt at the Vancouver School of Art (now Emily Carr University of Art and Design) for 10 years, then for 26 years at the University of British Columbia before retiring in 1982 to paint full-time. (wikipedia)

Canada Geese, oil on masonite, signed lower right, Koyman Galleries paper label verso, signed and titled verso, 19 ½” x 29 ½”. Georgia Jarvis was born in Alberta (BC). She was a landscape painter known for her depictions of the Alberta mountains and her grassland, as seen here. Her detailed paintings reflected the natural beauty found in Western Canada. She passed at the age of 46.

Evening in the Laurentians, oil on board, signed lower left, titled and signed verso, 23 ½" x 35 ½". Georgia Jarvis was born in Alberta (BC). She was a landscape painter known for her depictions of the Alberta mountains and her grassland, as seen here. Her detailed paintings reflected the natural beauty found in Western Canada. She passed at the age of 46.

"Mummer in Lantern Light", 1993, Ed. 32/75, etching, aquatint in colors, 13 3/4" x 10 3/4", signed, titled, dated and numbered in pencil in lower margin.

Richmond Park With Cows, oil on canvas, signed lower left, titled verso (paper label on frame), 19 ½" x 23 ½".

Untitled, colourful Poppies, watercolour, signed lower right in graphite, 18" x 24".

"The willow trees", 1883, oil on canvas, 18 3/4" x 28 3/4", signed and dated lower left, Dominion Gallery, Montreal labels and stamp verso.

A braided goat hair off-white rug, measuring 6 feet x 9 feet, some staining. This rug may have wear and tear, imperfections, commensurate with age. Any condition stated is only an opinion and should not be treated as a statement of fact. Please request high resolution photos by email if required.

Untitled, purple Poppies, watercolour, signed lower right in graphite, 18" x 24".

Woods in Spring, oil on board, signed lower right, 9 ½ x 11 ½ inches. Note: George Thomson is the elder brother of Tom Thomson.

Gathering wheat, an early depiction of rural Canadian life, oil on board, signed lower left, 14" x 20 ¾". John David Kelly, a gifted painter and illustrator, is best known for his meticulously researched paintings depicting important events in Canada's history. Many of Kelly's paintings and sketches were commissioned for reproduction and were widely distributed. The artist was born at Gore's Landing in 1862 and grew up in Percy Township. He graduated from the Ontario School of Art in 1882, contributed to the noted calendars of the Toronto Art League, and was active in the Graphic Arts Club and the Ontario Society of Artists. Kelly's historical painting is represented in the collection of the Art Gallery of Ontario.

Gatineau River near Alcove, Quebec, circa 1925, mixed media, signed lower right, 9 ¾” x 12”. An early example from the artist.

Sand and Barges, Longueuil (Québec), oil on panel, 20” x 26”, signed lower right, Galerie Jean-Pierre Valentin label verso. Provenance: fine Ottawa collection.

An important diamond point pine armoire, the frame shows pegged construction throughout, the cornice and moulding are fitted with rose head nails, a caisson back showing four boards, hand-forged fiche hinges, original brass escutcheon, wooden door latch fitted with a large rose head nail. This beautiful early example has double raised panels on both sides. The front top panels have a large central carved diamond relief, with the bottom showing four-point diamond St. Andrews Cross. This armoire represents an important piece of Québec, circa 1780. Measuring, 75” height x 50 1/2 width x 21 1/4" depth. Provenance: originating from a private collection on Île d'Orléans, to Rosaire de Saint -Pierre “Lord of Beaumont” (Seigneur de Beaumont) to Jean-Marie Roy (Ordre national du Québec, architecte), to a private collection in Eastern Townships, Québec.

The return of the fire flies, serigraph, signed and titled lower edge, 18” x 24”.

Untitled, pond hockey, oil on canvas, signed lower right, 18” x 24”. Provenance: acquired directly by the consignor from the Sapp Family. Allen Sapp, Order of Canada, was a Canadian Cree painter, who resided in North Battleford, Saskatchewan. His art and his story have become known throughout Canada.

Portrait of Paul Leroy Robeson (1898-1976), gelatin silver print, signed lower left, dedication by the sitter to Wicky, Oct 46’. Robeson was a famous American singer, actor, social activist, lawyer and football player.

John, woodcut in colours, signed in graphite lower right, Winnipeg Art Gallery label verso, 7 ½" x 9".

Cineraria, woodcut in colours, signed lower right in graphite, 7" x 8 ½".

Moonlight Lake of the Woods 1927, woodcut in colours, signed in graphite lower right, titled verso, 8" x 6 ½".

Fougue Solaire (solar fury), large oil on canvas, signed lower right, signed titled and dated 09’ verso, 36" x 72".

Untitled, tilling the field, oil on board, signed lower right, dated 1945, 13 1/2" x 17 1/2".

"Street Scene, Caughwanaga, Que", oil on board, signed lower right, signed artist's label verso, 151/2" x 11 1/2".

Untitled, large Elm, oil on canvas, 35 x 22 inches, signed lower right. Thomas Martin was born in England. He was orphaned at 15 and lived with a supportive aunt. In 1862, a married Martin immigrated to British North America and built a small house in Muskoka, Ontario. Farming proved impossible because of the poor quality of the land and so the family moved and settled in Toronto, where Mower Martin soon became an established professional painter. He was highly proficient; Martin produced landscapes, animals, still lifes and portraits in oils, watercolours and etchings. He was a founding member of the Ontario Society of Artists in 1872, founding director of the Ontario School of Art (which today is OCAD University), and charter member of the Royal Canadian Academy of Arts (1880). He was also a member of the Royal British Colonial Society of Artists (1909). Mower Martin exhibited widely as an artist during his lifetime and his works can be found in many public and private collections, including Windsor Castle in England.

East Linton Mill (on the River Tyne), oil on panel, 13 5/8" x 21 1/2", signed and dated lower left. Robert Noble was born in Edinburgh. To study further, Robert went to Paris to train under Carolus-Duran. His genre changed from figurative to mainly landscapes. In 1890, he was co-founder of the Society of Scottish Artists and served as their first President. In 1892, he became an Associate of the Royal Scottish Academy, and in 1903 became a full member. Robert Noble may have passed too soon, but he had the time to create a legacy for future generations of Scottish artist.

Carting Sand, watercolour on paper, 10 x 11 inches, signed lower right, Walter Klinkhoff Gallery label verso along with Continental Galleries label. Alice Des Clayes was born in Aberdeen. She immigrated to Canada in 1914. Her work is included in the collections of the Musée national des beaux-arts du Québec, and the National Gallery of Canada. She studied at the Bushey School of Art with Lucy Kemp who specialized in painting horses and with Dudley Hardy (ROI, RBA).

Untitled, autumn day, pastel on paper, 9 5/8 x 7 5/8 inches at sight, signed lower right. Berthe Des Clayes was born in Aberdeen. She lived in England from 1906-1912; and immigrated to Montreal in 1912. Des Clayes illustrated the books "Here and There in Montreal" and the "Island of Montreal" (1931) by Charles W. Stokes, and "Acadia" (Nova Scotia) by the Dominion Atlantic Railway. She showed with the Royal Canadian Academy of Arts (1912 to 1947). Her work is held in the collections of the Musée national des beaux-arts du Québec the National Gallery of Canada, the Art Gallery of Ontario, the University of Calgary, the University of British Columbia and Library and Archives Canada.

Untitled, autumn at the lake, pastel and gouache on paper, 9 5/8 x 7 1/2 inches, signed lower left. Berthe Des Clayes was born in Aberdeen. She lived in England from 1906-1912; and immigrated to Montreal in 1912. Des Clayes illustrated the books "Here and There in Montreal" and the "Island of Montreal" (1931) by Charles W. Stokes, and "Acadia" (Nova Scotia) by the Dominion Atlantic Railway. She showed with the Royal Canadian Academy of Arts (1912 to 1947). Her work is held in the collections of the Musée national des beaux-arts du Québec the National Gallery of Canada, the Art Gallery of Ontario, the University of Calgary, the University of British Columbia and Library and Archives Canada.

Untitled, winter road, pastel on paper, 9 3/8 x 11 1/2 inches, signed lower right. Berthe Des Clayes was born in Aberdeen. She lived in England from 1906-1912; and immigrated to Montreal in 1912. Des Clayes illustrated the books "Here and There in Montreal" and the "Island of Montreal" (1931) by Charles W. Stokes, and "Acadia" (Nova Scotia) by the Dominion Atlantic Railway. She showed with the Royal Canadian Academy of Arts (1912 to 1947). Her work is held in the collections of the Musée national des beaux-arts du Québec the National Gallery of Canada, the Art Gallery of Ontario, the University of Calgary, the University of British Columbia and Library and Archives Canada.

Untitled, view of a bay, oil on panel, 11 1/8 x 13 inches, signed lower right. Provenance: From Naomi Jackson to consignor's family. Naomi Jackson Groves was A.Y. Jackson's niece.

At Low Tide, watercolour on paper, 20 x 30 inches, signed lower left, Colonial House, Montreal, Art Department label verso. Provenance: Ancestral home of the Arthur James Nesbitt Family, co-founder of Nesbitt Thomson & Co. (brokers) and the Power Corp Canada. Arthur J. Nesbitt bought Ogilvy Department Store (Montreal) in 1927. Albert Procter was born in England.

Untitled, native hunter, oil on board, 9" x 7 ¼" unsigned.

Untitled, Habitant, oil on canvas, possibly a portrait for the Grondines Factory. Giffard trained under the great portrait artist Théophile-Abraham Hamel (1817-1870) in the early 1860’s, and was influenced by Cornelius Krieghoff, initialed lower right, 12" x 9 ½". Giffard is listed in the collections of the Musée national des Beaux-Arts du Québec.

Untitled, three native men resting after a deer hunt, oil on canvas, signed "C. Krieghoff." lower left. 18" H, 25" W. Cornelius David Krieghoff was a Dutch born, Canadian- American (died in Chicago). Around 1846, with his wife, Émilie Gauthier, he moved to Montreal and participated in the founding of the Montreal Society of Artists in 1847. While in Montreal, he befriended the Mohawks living on the Kahnawake Indian Reservation and made many sketches of them from which he later produced oil paintings. He took numerous trips around Quebec, to see people and landscapes and to familiarize himself with ways of living. According to the Dictionary of Canadian Biography, two schools asked Krieghoff to give a few hours’ teaching: the Quebec School for Young Ladies and Miss Plimsoll’s establishment. His teaching seems to have been confined to having his pupils copy his own paintings.

Untitled, soft landscape, oil on canvas, signed "Henri" lower left, 20th century, 15 1/2" x 19 1/2".

Illustration for “The Century”, mixed media on board, signed lower right, 8 ¼" x 8 ¼".

Discours (Speech), 1978, mixed media, 13 1/2" x 9 3/4", signed and dated lower right, titled lower left. Léon Bellefleur was born in Montreal. By the tender age of 10, he was drawing and painting. From 1929 to 1936, he took evening classes at the École des Beaux-Arts de Montréal. In 1938, he met Alfred Pellan...and the Montreal art world. Although he had been influenced by his friend Pellan, he began to record the unconscious, creating coded atmospheres, states of mind and crystalline structures, as seen here in this work. He once said: "The fundamental discoveries for me were poetry, surrealism and esoterism - and, in art, a certain automatism translating the life of dreams and the unconscious, the world of chance and mystery". In 1945, he travelled to Paris to study engraving...and continued to go there regularly. In 1960, along with Paul-Émile Borduas, Jean Paul Riopelle, Harold Town, and Edmund Alleyn, he represented Canada at the Guggenheim International. Through his career, Bellefleur won numerous awards and grants, and he was made a member of the Royal Academy of Arts in 1989.

Untitled, under the blossom tree, pastel on paper, 15 1/2 x 13 1/2 inches, signed lower right. Born in Aberdeen. Des Clayes studied in Paris and received the French Salon Medal (1909). She moved to Montreal in 1912, and was elected an Associate of the Royal Canadian Academy of Arts in 1914. Gertrude Des Clayes moved back to London, England in 1936, and passed away in 1949. Her artwork is in the Musée des beaux-Arts de Québec, National Gallery of Canada and the Montreal Museum of Fine Arts.

Untitled, sunny mountain landscape, pastel and gouache on paper, 13 x 15 5/8 inches, signed lower right. Berthe Des Clayes was born in Aberdeen. She lived in England from 1906-1912; and immigrated to Montreal in 1912. Des Clayes illustrated the books "Here and There in Montreal" and the "Island of Montreal" (1931) by Charles W. Stokes, and "Acadia" (Nova Scotia) by the Dominion Atlantic Railway. She showed with the Royal Canadian Academy of Arts (1912 to 1947). Her work is held in the collections of the Musée national des beaux-arts du Québec the National Gallery of Canada, the Art Gallery of Ontario, the University of Calgary, the University of British Columbia and Library and Archives Canada.

Untitled, men at work, charcoal and pastel on paper, 13 1/8 x 17 inches at sight, signed lower left. Henri Masson was born in Belgium, he studied art in Brussels. He came to Canada (Ottawa) with his mother in 1921, became a master engraver by the age of 25. He decided to paint when he saw paintings by the Group of Seven, at the National Gallery. Masson was a proficient artist and instructor; and is one of the founding members of Les Confrères du Caveau (vault colleages) which united other notable artists such as Wilfrid Flood, Tom Wood, and later Jean-Philippe Dallaire.

Untitled, abstract. oil on canvas, signed lower left, signed and dated 1992 with dedication verso, 7" x 14".

Untitled, abstraction, 1958, oil on canvas, 50 x 31 1/2 inches, signed and dated upper left. Richard Gorman was recognized early as a painter of promise. Approximately around the time this work was created, Gorman moved to Toronto to attend the Ontario College of Art & Design. His teacher noted that "he had the greatest promise among all the young artists he knew". As a member of the Isaacs Group of artists from 1959 on (composed of artists who showed their work at the Isaacs Gallery), he was a maverick whose main interest seems to have been a search for spiritual meaning. In 1964, he travelled to Spain (Ibiza), then London, then back to Toronto to work and create commissioned work. Gorman was elected Member of the Royal Canadian Academy of Arts in 1976.

Lava below Mt. Teide Tenerife, oil on board, 12 x 16 inches, signed lower left, titled verso. Beament was born in Ottawa. He was an Official Second World War artist with the Royal Canadian Navy, and held the highest service rank of any Canadian artist in the Second World War – of Commander. Beament held his first important solo exhibit at the Watson Art Gallery in Montreal until 1939. He also exhibited regularly in the Montreal Museum of Fine Art Spring Shows and the Royal Canadian Academy of Arts (RCA) Annual Shows. Beament is represented in the following notable public collections: National Gallery of Canada; Canadian War Museum; McMichael Canadian Art Collection; Art Gallery of Hamilton; Museum London, Ontario to name a few.

Portage Ragged Lake, serigraph in colours, Sampson Mathews Limited label verso, Toronto, produced 1947-1953, 19 ½” x 24”.

The prisoner of Ludlow castle, no. 2 of 5, hand-tinted photo etching, signed and titled lower edge, 20 ½” x 28”.

The Cherub Fountain, Villa Taranto, hand-tinted photo etching, EE (Encore Edition), signed and titled lower edge, Wallack Galleries label verso, 13” x 17”.

Saffron Spring, Weston Park, no. 4 of 30, hand-tinted photo etching, signed and titled lower edge, 14 ½” x 21”.

The Earl of Dashwood’s Hostage, no. 1 of 6, hand-tinted photo etching, signed and titled lower edge, 29” x 19”.

"Fruits of Autumn", 1984, oil on canvas, signed and dated lower right, artist's studio signed label verso, 11 1/2' x 13 1/2". Laurence Hyde was an English-born Canadian film maker, painter, and graphic artist, known for his work with the National Film Board of Canada, stamp designs for the Canadian Postal Service, and the wordless novel Southern Cross (1951). (wikipedia)

Miracle of the Loaves and Fishes, oil on canvas, indistinctly signed lower right edge, relined and cleaned, 24" x 49".

Untitled, winter night, oil on canvas, signed and dated 74’ lower left, 19 ½” x 15 ½”.

Untitled, bouquet of colourful Poppies, oil on canvas, signed lower left, 29 ½” x 39 ¼”.

Untitled, winter night, oil on canvas, signed and dated 74’ lower right, 19 ½" x 15 ½".

“Shylock and Jessica”, oil on canvas, 20th century, 31" x 27", signed lower right, after painting of Maurycy Gottlieb (1856-1879), painted in 1876 for Munich Art Competition which he won with the gold medal. The composition was taken from The Merchant of Venice, a comedy by William Shakespeare. It depicts a scene from the second act of the play, in which a Jewish money-lender prepares himself to go to a feast of a Venetian merchant trying to get a loan. Shylock, the money-lender, a miser and a cruel man, says goodbye to Jessica, as he senses that tragic events may follow. He entrusts his daughter with keys to his house and property. After her father has left, Jessica takes his jewels and money and runs away with the Christian so as to - having been baptized - become his wife. Gottlieb interpreted the character of Shylock unlike the author of the comedy and tradition. In this picture, he is not a cunning and greedy usurer, but a loving father who senses the future tragedy. The original picture was lost during the World War II.

Bucheron, watercolour, signed lower left, 13 ½" x 20 ½". Hubert-Robert was born in Paris. He is the great-great nephew of the celebrated landscape painter Hubert Robert (22 May 1733 – 15 April 1808). His artistic ancestry also includes Alphonse Robert (his grand father) who was the private painter of Louis Philippe I, and Jean-Francois Robert (his great-grand father, Professor of painting at the Grand Duchy of Tuscany during the Napoleonic Era. (wikipedia)

Untitled, country road, oil on canvas, 18" x 14", unsigned, original canvas was laid down.

Germany, 18th century, oil on canvas, relined and preserved, unsigned, 27 ½” x 23 ¾”. The von Wertherns were a Thuringian noble family from the town of Werther in Thuringia, raised to the rank of barons and counts. They first appear in documents in 1209 with Heroldus von Wirthere and begin the line with Friedrich von Werthern, who died in 1396.

France, late 19th century, the hand-painted panels (craquelures) of Napoléon Bonaparte and Marie-Louise of Austria, Napoléon’s second wife (1810-1814), on a green ground, the other sides showing painted eagles, looking at each other, and surmounted by a crown, both vases signed lower right by Sèvres artist Claire Maglin Rochette, measuring 16" high.

The kingwood buffet with a front central door under a single curved frieze drawer, the door showing a painted panel of a shepherdess with her flock, beautiful figuring and banded decoration, a fine example, measuring 41" high x 48" wide x 18 1/2" deep. Marked "By Appointment to the King, Warings, London".

English School, 19th century, portrait of Oliver Cromwell (1599-1658), oil on canvas, unsigned, 20 ¾” x 17 ¼ “. Oliver Cromwell was an English statesman, politician, and soldier, widely regarded as one of the most important figures in the history of the British Isles. He came to prominence during the English Civil War, initially as a senior commander in the Parliamentarian army and latterly as a politician. (wikipedia)

Untitled, the cutler, oil on hand-hewn panel, signed and dated 1666 lower left, measuring 12" x 10".

A portrait of Jane Murray (Jardine) MacLaren, mother of the 18th Lieutenant Governor of New Brunswick, Murray MacLaren, gouache on paper, signed lower right, 19 ¼" x 15 ½".

A period Wag design lithographic poster for the Edvard Munch, The Graphic Work, exhibition, Oslo Norway, 1972-1973, signed lower right (under frame), Design WAG Liverpool, 30 ¼” x 20”. Edvard Munch was a Norwegian painter. His 1893 work The Scream has become one of Western art's most acclaimed images. His childhood was overshadowed by illness, bereavement and the dread of inheriting a mental condition that ran in the family. (wikipedia)

Portrait of Charles Pierre Baudelaire, dry point etching, dated 1862, monogrammed upper left, 4 ¾” x 4 1/8”.

"Le Chapeau épinglé" (the pinned hat), etching on woven paper, 4 5/8" x 3 1/4", signed in plate lower left.

Nu de dos (back of nude), dry point etching, dated 1889, 6 ½" x 4 ½".

A portrait of Catherine Anna Bradley, by her uncle F.R. Spencer, oil on panel, 17" x 14", signed, titled and dated 1848 verso. Frederick Randolph Spencer was born June 7, 1806 in Lennox, New York. Fast forward to 1831, when he became a successful portraitist who painted many of New York's prominent citizens. He is a listed artist at the National Gallery of Art, USA.

"Two Girls Walking to the Right", 1943, Ed. 89/100, (printed in 1969), engraving (posthumous) on paper, 9 7/8" x 7 3/4" numbered in plate lower left, "WM," embossed lower right below plate (for the publisher Whitney Museum of American Art), Certificate of Authenticity from Associated American Artists verso.

Untitled, harbour view, 1912, oil on plywood, 33 1/4" x 31 1/8" at sight, signed and dated lower right, condition noted to frame. Born in Venice, Ettore Caser had a profound understanding of the methods of the Old Masters. We can see in this example of his artwork, the qualities of texture and colour that can only be produced by these ancient methods. Caser died in New York at the age of 63. He is represented in the National Bank in Toledo, Ohio, by a huge mural, "Anthony Wayne and the Indians at the Marmoux River"; also in New York where he has four twelve-foot murals at the Engineer's Club, as well as a picture at the Salmagundi Club, and the Boston Art Club. Among his prizes were a Silver medal at San Francisco World's Fair, the W. A. Clark Prize at National Academy and others.

Untitled, still life with straw hat, oil on canvas, signed lower left, 32" x 25". Provenance: prominent Ottawa family. Condition: buckling, re-stretching required. Viktor Tischler was born in Vienna in 1890 and is an outstanding Austrian artist of the interwar years. Influenced by Paul Cézanne, he spent many years of his artistic life in France. In 1941, he temporarily emigrated to the United States. Tischler is listed in international museums.

The canal behind the homes, oil on canvas, a letter of authenticity by the esteemed Austrian art critic Prof. Dr. Ludwig W Abels (1867-1937) accompanies this lot. The painting was conserved in 1974 by means of transfer-relining. A document pertaining to this will also accompany this lot.

Petit Versaille(s), oil on canvas, signed lower left, Artist's gallery label with title verso, 23" x 28 ¼". Provenance: prominent Ottawa family. Viktor Tischler was born in Vienna in 1890 and is an outstanding Austrian artist of the interwar years. Influenced by Paul Cézanne, he spent many years of his artistic life in France. In 1941, he temporarily emigrated to the United States. Tischler is listed in international museums.

Terrasse de St. Cloud, oil on canvas, signed lower left, 23" x 31". Provenance: prominent Ottawa family. Viktor Tischler was born in Vienna in 1890 and is an outstanding Austrian artist of the interwar years. Influenced by Paul Cézanne, he spent many years of his artistic life in France. In 1941, he temporarily emigrated to the United States. Tischler is listed in international museums.

Versailles, watercolour, signed lower left, 9" x 12". Provenance: prominent Ottawa family. Viktor Tischler was born in Vienna in 1890 and is an outstanding Austrian artist of the interwar years. Influenced by Paul Cézanne, he spent many years of his artistic life in France. In 1941, he temporarily emigrated to the United States. Tischler is listed in international museums.

Untitled, at the food market, oil on panel, signed lower right, a copy of a letter of authentication by the esteemed Dutch art collector historian and museum curator Cornelis Hofstede de Groot (1863-1930) accompanies this lot, measuring 16" x 17 ¾". Sybrand van Beest was a Dutch Golden Age painter born in The Hague. He was a pupil of Adriaen van de Venne, influenced by Jan van Goyen. Van Beest is known for landscapes with figures in the manner of Isaac van Ostade. (wikipedia)

Untitled, by the fireplace, oil on canvas, indistinctly signed lower right edge, 10 ½" x 16". Condition noted: cleaned and relined.

"Geneva in the rain", oil on canvas, 20" x 28", signed lower left. Condition noted, repaired scratch in lower middle (on fence).

The circle of Gustave Bienvetu (1850-1916, French), untitled, pink roses, oil on canvas, signed lower right, 25" x 20 3/4".

Mother is out, oil on canvas, 14" x 12", no visible signature, titled and signed verso. Nice framing (minor loss). William Hemsley was born in England.

“Mending the net”, oil on canvas, 11 ½" x 10 ½", signed lower right. Haynes King was born at Barbados. He first exhibited in 1857 at the Society of British Artists, he was elected a member in 1864. Many of his works appeared at its exhibitions, and forty-eight were shown at the Royal Academy between 1860 and 1904. He worked at one period with Thomas Faed whose influence is seen in his work. (wikipedia)

Mädchen am Waldsee, circa 1900, etching, mezzotint on paper, 9 x 22 inches, inscription "selbstgedruckt" (self-printed) lower left, signed in pencil lower right. Georg Jahn was born in Meissen, Germany - educated at the Dresden Academy of Fine Arts. Jahn followed into the footsteps of his family, working at the Dresden Porcelain Factory, and his artistic talents were rewarded while he developed an interest in etching, and took lessons from his friend, Max Pietschmann. He was awarded the 1914 "Saxon State Medal". In 1929, on the occasion of his 60th birthday, the Kunstverein held a major showing of his works.

Rückenakt, circa 1900, etching, aquatint on paper, 17 x 9 1/2 inches, inscription "selbstgedruckt" (self-printed) lower left, signed in pencil lower right. Georg Jahn was born in Meissen, Germany - educated at the Dresden Academy of Fine Arts. Jahn followed into the footsteps of his family, working at the Dresden Porcelain Factory, and his artistic talents were rewarded while he developed an interest in etching, and took lessons from his friend, Max Pietschmann. He was awarded the 1914 "Saxon State Medal". In 1929, on the occasion of his 60th birthday, the Kunstverein held a major showing of his works.

Untitled, reclining nude, early 20th, etching, mezzotint on paper, 10 1/8 x 19 1/4 inches, inscription "selbstgedruckt" (self-printed) lower left, signed in pencil lower right. Georg Jahn was born in Meissen, Germany - educated at the Dresden Academy of Fine Arts. Jahn followed into the footsteps of his family, working at the Dresden Porcelain Factory, and his artistic talents were rewarded while he developed an interest in etching, and took lessons from his friend, Max Pietschmann. He was awarded the 1914 "Saxon State Medal". In 1929, on the occasion of his 60th birthday, the Kunstverein held a major showing of his works.

Untitled, bathing nude, early 20th, etching, aquatint on paper, 13 3/8 x 8 3/4 inches, inscription "selbstgedruckt" (self-printed) lower left, signed in pencil lower right. Georg Jahn was born in Meissen, Germany - educated at the Dresden Academy of Fine Arts. Jahn followed into the footsteps of his family, working at the Dresden Porcelain Factory, and his artistic talents were rewarded while he developed an interest in etching, and took lessons from his friend, Max Pietschmann. He was awarded the 1914 "Saxon State Medal". In 1929, on the occasion of his 60th birthday, the Kunstverein held a major showing of his works.

Place De La République, oil on canvas, 24 x 30 inches, signed lower right, Watson Art Galleries Montreal label verso.

"Wailing Wall", 1975, lithograph in colour, no.131 out of 250, signed lower right in pencil, Austin Galleries label verso, 34 3/4" x 23 1/2" at sight.

Untitled, Café Express in Paris, oil on canvas, signed lower left, measuring, 19 1/2" x 23 1/2".

A very good, large Qajar dynasty era tile, showing a noble or prince wearing a crown and a blue robe, sitting under a tree, signed upper left, measuring 17 ½” x 14”.

A very good, large Qajar dynasty era tile, showing a noble or prince wearing a crown, the border decorated with stylized dragons, signed upper right, measuring 21” x 14”.

A very good, large Qajar dynasty era tile, showing a fortress with a turret, measuring 16 ½” x 13 ½”.

A very good, large Qajar dynasty era tile, showing a noble or prince wearing a crown and blue robe, signed middle right, measuring 16 ½” x 13”.

A good, large Qajar dynasty era tile, showing a noble or prince wearing a crown and red coat, signed, condition noted: cracked through the middle and repaired, measuring 17” x 13 ½“.

A very good, large Qajar dynasty era tile, showing a noble (minor loss to face) sitting under a tree wearing a red cape, measuring 18” x 12 ½”.

A very good, large Qajar dynasty era tile, showing a fortress or village surrounded by water, measuring 21” x 14”. Condition noted, two cracks have been repaired, chip to left bottom corner.

1st – 2nd century A.D., an ancient Roman amphora, likely used for olive oil, recovered from a shipwreck, encrusted with seashells, the spear shaped bottom designed to be thrust into sand in the ballast of the ship, measuring, 20 3/4" high (6" diameter) without stand, 23 1/2" high with the stand as shown.

An 800 silver Czech coffee or coco pot, marked with Czechoslovakia silver hallmark for 1929 - 1941, maker "FB", 9 3/4" high, total weight 646 grams.

An octagonal handled, lidded porringer, hallmarked (non identifiable Austrian mark), tested for sterling silver, measuring 3" x 9" x 4 1/4", weight 375 grams.

To include: a silver-plated Dunhill lighter, marked Made in England, along with a rare French TRANSFO Pyrium lighter with box and instructions, along with a BENLOW Motorists Pipe lighter in the original box, marked Made in England.

Three Mappin & Webb “Trustworthy” silver pocket knives, the bail stamped with a rampart lion, the cartouche engraved with the emblem of an Indian Mogul, 3” long (closed).

Two with sterling closures, the third with a link draw chain, the mesh on all three test for sterling, largest, 6 ½” x 6 ½”, total weight 330 grams.

An unusual bar set of Carl Poul Peterson silver, to include: a shaker sifter, a shot cup, an ashtray and a bottle opener, stamped marks, each with an applied family symbol (Emu) and the letter M. Total weight, 265 grams.

The set with scrolling foliate relief decoration, the vanity hand mirror (11 3/8" long x 6 1/2" diameter) and a hair brush (9 1/2" long), both marked for Birmingham, 1904 and maker W.J. Myatt & Co., along with a clothes hand brush marked for Chester, 1897, 6 1/2" long.

Consisting of: an Austrian beaker marked 1855 and letter "A" for Vienna, 13 loth (812 purity) silver (3 3/4" high x 3" diameter, weight 81 grams), a sterling silver nut bowl with a silver 8 Real 1790 New Spain (Mexico) coin at the base (4 1/8" diameter, weight 77 grams), along with a gravy boat with underplate (screwed together), marked 800 for silver purity and Czechoslovakia silver hallmark for 1921-1929, maker's mark "FB" (4" x 9 1/2" x 6", weight 511 grams). Total weight, 669 grams.

To include: a cigarette box with cedar inlay marked Sterling 925, measuring 1 ½ x 6 7/8 x 3 7/8”, weight 356 gr., 2) cigar box with wooden inlay, marked “silver”, 1 ½ x 7 x 5 1/8”, weight 458 gr. 3) small charger with two applied handels, marked “Sterling” 7 1/8” diameter, weight 194 gr. 4) German coin bowl with silver 1935 5 Reichs marks coin with Garrison Church, marked 800, 3” diameter, weight 45 gr. 5) 4 sterling silver pepper shakers with glass inlay, weighted, 3 1/4” high 6) Birks Sterling silver and horn salad serving set, marked, 8 1/2” long. Total weight without pepper shakers and salad set 1053 grams.

A very good French ormolu frame set with a painted portrait of an officer, 5 ¼” high x 3 ¼” wide.

Three pairs of cufflinks, to include: one pair of 18kt gold, and two silver pairs, all tested, along with a set of four emerald shirt-studs, a heraldic seal set in 10kt gold, and a small retractable blade set in a purple stone pummel. Gold cufflinks weight only, 7.2 grams.

A French bronze frame decorated with carnelian polished stones and set with a watercolour of a sophisticated French interior, along with two others, including an American example marked F.A.& S, New York. With scene measuring, 6 ¾" x 5 ¾".

A hallmarked silver and mother of pearl fruit set, comprising of six forks and six knives, with impressed marks for Sheffield, Henry Wilkinson & Co., 1851. Knife measuring, 8” long.

Twenty-four pieces of Royal Crown Derby “Vine” pattern porcelain, twelve dinner plates (10 3/8” dia.) and twelve soup bowls (9 ¼’ dia.). Perfect for wine and cheese night.

An 800 silver footed and lidded box decorated with cherubs, marked with Czechoslovakia silver hallmark for 1929-1941, maker "JH", measuring 4 1/2" x 8 1/2" diameter, weight 982 grams.

An exceptional silver service with the "Diana" mark in a clef for 1867 under a crowned double-headed eagle with the impressed initials "WR". The set consists of a kettle on stand, a separate teapot, cream and sugar along with a matching serving oval tray. The set is adorned with carved horn handles and finials. The tray with Viennese hallmarks is fitted with a wooden base and stamped "FHS" along with the Diana head in a clef. Wonderful quality. Total weight without the tray, 2996 grams. Tray weight with wooden base, 2225 grams. Total weight for all (including tray), 5221 grams.

France (Paris), circa 1870, the mantle clock depicting Napoléon Bonaparte, the gilt bronze case showing Napoléon as an artillery officer manning a cannon, with a darkened clock face recessed behind the spoked wheel of the gun carriage. The lower section decorated with raised military iconography, resting on a base of swag and medallions representing the Napoleonic battles of Toulon, Mantour and Lodi. The mechanism with impressed marks for Henry Marc, Paris (clockmaker, active 19th century). Silk thread suspension, clock recently serviced and in running order. Measuring, 17 ½” high x 14” wide x 6” deep.

A pair of Empire period Old Sheffield Plate candlesticks, the Napoleonic bee inscribed at the base, unsigned, circa 1810, 10 ½” high x 5 ½” wide.

France, late 19th century, a well-carved wall clock, impressed mark to movement "Japy Frères & Cie, Exposition 1855 Grande Médaille D'Honneur", (Grand Medal of Honour), striking bell movement, painted metal dial with Roman numerals, floral decoration to the body under an eagle with spread wings clutching crossed swords, measuring 22 ½” high x 16” wide. Condition noted, minor loss and hairline in porcelain, loss to tip of carved leaf.

19th century gilt bronze Egyptian revival vide-poche on black stone base, measuring 6 ½" x 2 ½" x 6 ¼".

The hallmarked silver tastevin showing a deep round bowl fitted with dolphin handle, marked for Brook & Son, Edinburgh 1922, total weight, 73 grams.

Measuring 4” high x 9 ¼” diameter, total weight, 700 grams.

Twelve Gorham silver demi-tasse spoons, the terminus cast with a classical figure, last quarter of 19th century. Total weight, 100 grams.

An assembled lot of sterling silver, to include: six Birks Sterling cream soup spoons, six hallmarked teaspoons marked for London, and twelve Mappin & Webb knives showing hallmarks for Sheffield. Total weight without knives, weight 447 grams.

One coffee pot, one teapot, one cream and one open sugar, hallmarked for Charles S. Green & Co., Birmingham 1926, engraved decoration. Total weight, 1556 grams.

A pair of four-branch Peruvian sterling .925 silver candelabra, stamped “Industria peruana plata esterlina 925”, weighted. Total weight, 3260 grams.

To include: a teapot, cream and covered sugar, each signed “D. Jones”. Teapot measuring, 5 ½” high x 10” wide, all in excellent condition.

Two cups with gilt interiors and two with hand-painted fruit, three signed "N. Brunt" and one signed "D. Jones".

A good three-piece George III hallmarked silver tea service, to include: a tea pot, cream and sugar with gilt washed interiors, marks for Edward, Edward Jr., John & W. Barnard, London 1836. Of note: as the marks are at the base, they are exceptionally crisp and unrubbed. Total weight, 1475 grams.

A seven-piece sterling Art Nouveau dresser set, heavily embossed classic Art Nouveau decoration, stamped “BH” within a circle, Sterling & Pat. June 23, 1903. Condition noted, minor denting commensurate with age..

A set of eight Webb “Olive & Cross” whisky old fashioned style glasses, lemon squeezer bottoms, etched signature Webb, England, 4 ¼” h x 3 3/8” w.

A set of eight Webb “Olive & Cross” whisky old fashioned style glasses, lemon squeezer bottoms, etched signature Webb, England, 4 ¼” h x 3 3/8” w.

French, circa 1930, the buffet in the manner of Jules Leleu showing a central cupboard fronting a shelved interior, flanked on either side by twin banks of short drawers over open shelves, raised overall upon a plinth base, measuring 46" high x 58 1/2" wide x 18 1/2" deep. Original lock mechanism and key intact.

French, circa 1920, in the manner of Jules Leleu, the rectangular top with a stepped edge opening to receive two matching leaves, raised overall on twin flattened supports. Measuring 30 1/4" high x 43" deep x 62" wide (extending to 93" with both leaves).

A three-piece Art Deco marble mantle clock, the pink marble case next to a leaping patinated deer. Matching garniture, with key, measuring 9" high x 18 3/4" wide x 3 1/4" deep (clock only).

A group of six early 20th century crystal whisky old fashioned style glasses, cut and faceted with heavy bottoms, an elegant edition for your next gathering, 4” xh 3 ¼” w.

Ninety-two pieces of Gorham silver, to include: eighteen dinner forks, eighteen soup spoons, eighteen tablespoons, eighteen luncheon forks, twelve cake / dessert forks, eight teaspoons, in the original fitted oak canteen with a dedication plaque that reads L.F. McLaren, July 14th, 1906. The McLaren Clan of Perth, Ontario (Lumber Baron family). Total weight 5,071 grams.

Sixty-three pieces of Birks Sterling flatware, “Old English” pattern, to include: eight tablespoons, eight dinner forks, eight teaspoons, eight dessert forks, eight soup spoons, two ladles, one butter knife, eight dinner knives, eight bread knives, one cake lifter, one pair of salad servers and a blue lined bowl. Total weighable silver 1,715 grams.

Czechoslovakia (1921-1929), the mirror in the Rococo style, embellished with hooped beveling and fitted to a standing wooden frame, hallmarked 800, measuring 20" x 19".

A four-tier Murano Mazzega chandelier, showing forty-seven elongated hand-blown petal shaped glass shades (one petal is new), circa 1985, measuring approximately, 30" high x 24" wide.

A large Murano glass organically inspired sculpture, signed at the base by art glass master Stefano Toso, a highly regarded Italian artist who is now retired, leaving behind an impressive legacy, measuring 24 ½” high x 11” wide.

Untitled, street in Paris, oil on canvas, 24" x 18 1/4", signed lower right.

Untitled, horses, oil on masonite, 16" x 22 1/2", signed lower right.

A large woolen flat weave Scandinavian mid-century modern rug, purchased in 1968 from Geraldine Van Leeuwen Boomkamp’s store, in Ottawa, measuring 10 feet x 15.25 feet.

Hermès “Cheval De Courses” silk scarf, in the original box, never used, along with a package of Hermès Knotting Cards, never opened. Condition excellent.

The mid-century modern square table with four matching moulded lucite chairs, purchased new in New York in 1965, measuring 28 1/2" high x 37" wide x 37" deep. In very good condition.

"The Moser Club’s Physiognomical Toasting Snifters", the original box set containing six signed snifters, Copyright Moser Czechoslovakia, Author F.P. Chochplaty.

Czechoslovakia, five silver under plates with impressed marks for 800 silver (1929-1941), each plate measuring 10 ½" diameter. Total weight, 2156 grams.

Czechoslovakia, the oval serving tray with impressed marks for 800 silver (1929-1941), measuring 15 ½" x 21 ¼". Total weight, 1841 grams.

Czechoslovakia, the two round serving trays with impressed marks for 800 silver (1929-1941), measuring 14" diameter. Weight, 2340 grams.

To include: a Golfing trophy presented by the Oshawa Golf Club to Mrs. P.S. MacLaren 1933 with retail marks for Ellis Brothers, Toronto., a sauce boat retailed by Rainforth & Son, Westgate Buildings, Newport, Montgomeryshire, Wales, marked for Martin, Hall & Co. (made in their Shrewsbury, Salop factory), a silver bottle coaster and a flask with marks for London. Provenance: From the lumber baron Peter McLaren (1831-1919) family. Total weighable silver, 795 grams. About the silver gravy boat, Shrewsbury was once one of the royal mint towns and the one Charles II headed to after losing the Battle of Worcester. The Westgate Buildings in Newport were once a centre of Chartist riots and where Queen Elizabeth stayed in 1951 at the Hotel then there and before subsuming the crown.

A five-piece coffee set, the brass and glass mosaic coffee set to include: a tea pot, covered sugar and spoon, creamer and a fitted tray, dark blue and turquoise hand-made glass tiles, marked hand-wrought, Mexico #408, condition at hinge of coffee pot. Coffee pot measuring, 8 ¼” high. Condition noted: micro chipping, craquelure to some of the glass enamel, coffee pot lid is detached.

American, early 20th century, circa 1930, green enamel on zinc, Model #L215, “Spirit of Modernism”, impressed marks “FrankArt Copyright 28” at base, lacking patent number, original cord (new wiring required), crisp casting, 15 ¼” to top of socket.

An impressive tall case clock in tapering form, face is repainted, working order at time of cataloguing, measuring 85 ½” high x 20 ½” wide x 15” deep.

A good 19th century Kurdish rug, natural dyes, signed 1876, 91” x 50”. This rug may have wear and tear, imperfections, commensurate with age. Any condition stated is only an opinion and should not be treated as a statement of fact. Please request high resolution photos by email if required.

Ten pieces of hallmarked silver, marked for Birmingham, to include: a sugar bowl, a creamer and a canister, each with gilt wash interiors and gadrooned embossing, along with four footed salts with spoons. Various makers. Total weight, 365 grams.

In classical design, with meander decoration, to include: a coffee pot (11 3/4" high, 923 grams), a tea pot (10" high, 810 grams), sugar bowl (7" high, 465 grams), milk (7 3/4" high, 284 grams), marks for Sheffield Assay Office, dated 1864, 1865, and maker's mark of James Dixon & Son. Total weight of sterling silver, 2482 grams.

Six pieces of Birks Sterling, to include: 3 sauce boats, one Christening cup along with one porringer, each with gilt wash interiors and dedication along with a shaker. Total weight, 750 grams.

A Georgian III hallmarked silver salter, original blue liner with lemon squeezer bottom, marked for Richard Crossley, London, 1796, a hallmarked Georgian III tea caddy spoon, a pair of French silver sugar nips, a gravy boat marked for Horace Woodward & Co.,1915 London, a toast rack, marked Sheffield 1889 along with a footed dish marked Sheffield 1912. Total weight, 550 grams.

Six large silver tablespoons / serving spoons, marked for Richard Sawyer, London 1908 along with a stuffing spoon, marked for Josiah Williams & Co., Exeter, 1876. Total weight, 566 grams.

Fifteen pieces of Whiting Manufacturing sterling flatware in the “Imperial Queen” pattern, patented in 1893, to include: six luncheon forks, six spoons, a small sauce / jelly ladle, a gravy ladle and a serving ladle, total weight, 628 grams.

An assembled group of various silver objects to include: one F. Ramirez (Mexican) ladle, two tea cady spoons, one folding tastevin spoon, a French tastevin cup, a cohr bracelet, a cigarette case with gilt interior and a pair of sugar tongs. Total weight 285 grams

An unusual late 17th century Dutch Delft pharmacy jar, “Syr: Hysopi” to store the concentrate of the Hysopi plant, a medicinal agent against swelling in the 17th century. A nice example, circa 1700, 8” x 7 ¼”.

A 17th century Dutch Delft tin glazed jar in the Chinoiserie style, decorated with “Long Eliza” or “Lange Lyzen”, signed “AK” for Adrian Kocks (1676-1719), along with an early 18th century Dutch Delft caddy, jar measures 8” x 6 ½”.

A very fine Regency Tunbridge ware sarcophagus tea caddy, inlaid with spearhead shaped exotic wood, brass ring handles enclosing a fine fitted interior of lift out hinged canisters and central glass blending bowl, set on ball feet, lacking key, excellent condition, measuring 6 ½" x 12 1/8" x 6".

19th century, the well executed rummers with faceted bodies, can be used for Ale, cider or spiced mulled wine, measuring 7 1/8” x 4 1/8”.

A good 19th century Satsuma bottle shaped vase, unsigned, 12” high x 9” wide.

France, circa 1900, both showing cartouche shaped backplates fitted with three foliate cast branches, rising to urn shaped nozzles, both require re-wiring, no apparent foundry marks, measuring 18" high x 15 1/2" wide.

France, early 19th century, a very good group of parcel gilt bronze and ormolu sculptures, each depicting a putto wistfully moving forward, instruments on their sash, stepping through scenes of gayety on the ormolu base, the sculptures are possibly by Auguste Moreau, measuring 17 1/2" h (to top of sculpture) x 8" w. Condition noted, now fitted for lamps.

England, circa 1740, the drop-leaf joint table with an oval top using hand-forged hinges and nails, supported by two slides that recess into a keeper box, resting on a rectangular base with a decorative skirt, box base supporting turned legs, peg construction, measuring 22" high x 25 1/2" wide x 20 1/2" deep.

Austria, circa 1900, consisting of: a richly decorated porcelain portrait plate centred by a portrait of Konigen Luise von Preussen, titled lower left signed T. Digt lower right, printed and impressed marks verso, 9 1/2" diameter at sight, within a gilt painted gesso frame (14 1/2" square), together with an oval 3/4 portrait of Queen Louise of Prussia, signed Wagner lower right, impressed marks & script verso, (4 3/4" high x 3 1/2" wide at sight, within an ornate gilt gesso frame (14" high x 12" wide).

England, this sweet oak bench with a single board seat showing the tops of the hand-hewn legs, a fine early example with a wonderful patina, 8” high x 36 ¾” wide x 13 ½” deep.

Continental, circa 1890, the patinated and dished central field decorated with gilded bas-relief motifs of songbirds in a fruiting tree and neoclassical inspired designs of musical instruments, surrounded by a pierced rim and raised on a pedestal foot, measuring 2" high x 13 1/4" diameter. No apparent maker or foundry marks.

England, circa 1820, the small box with a compartmentalized drawer at the bottom, locked with a drop pin from the inside, nice patina. Condition noted, lock dislodged, shrinkage and warping to lid, measuring 6” high x 10 ¼” wide x 6 ½” deep.

England, circa 1780, the walnut document box showing pegged construction and hand-made attributes, lovely old patina, measuring 5” high x 10” wide x 6 ½” deep.

France, circa 1810, two gilt and patinated bronze candelabra in the Louis XVI style, depicting Bacchus and a "bacchante", each resting on white marble bases, both signed “Clodion”, measuring 18 3/4" h x 13" w. Michel Claude Clodion was born in Nancy, France. In 1759, he won the grand prize for sculpture at the Académie Royale. In 1761, he earned the 1st silver medal for studies from models. In 1762, he went to Rome, where his activity was considerable between 1767 and 1771.

France, circa 1810, two gilt and patinated bronze candelabra in the Louis XVI style, depicting Bacchus and a "bacchante", each resting on white marble bases, both signed “Clodion”, measuring 18 3/4" h x 13" w. Michel Claude Clodion was born in Nancy, France. In 1759, he won the grand prize for sculpture at the Académie Royale. In 1761, he earned the 1st silver medal for studies from models. In 1762, he went to Rome, where his activity was considerable between 1767 and 1771.

The kingwood vitrine / cabinet with a large single-glass door fitted to a well shaped top, the interior with two glass shelves, the exceptional veneers decorated with cast bronze classical motifs of acanthus leaves, roundels and floral accruement, all over an equally embellished base, showing cross band and herring bone inlays, retracting rolling doors, resting on Louis XIV style cast bronze feet, measuring 73" h x 35" w x 15" d. Condition noted to fabric, minor inlay loss front-bottom.

An elaborate mid-19th century walnut Biedermeier sofa - library table with two central drawers, the book matched veneers inlaid with decorative metal banding, the curvilinear end supports indicative of the period, a beautiful table, measuring 28” x 25 ½” x 44” (closed) 66” (opened).

A very good, room size antique Persian Sarouk carpet, finely woven, 12 feet x 8.8 feet. Provenance: fine Ottawa home. This rug may have wear and tear, imperfections, commensurate with age. Any condition stated is only an opinion and should not be treated as a statement of fact. Please request high resolution photos by email if required.

A 19th century oak monks’ bench, pegged and joined construction throughout, 46 ½” high x 33 ½” wide x 12” deep, seat height 21 1/2".

Canada, circa 1910, both showing hand-forged and partially writhen turned columns rising from hipped supports, to castellated drip pans centred by planished brass nozzles. Each measuring, 29 3/4" high x 12 1/4" wide x 12 1/2" deep and 29 3/4" x 11 5/8" x 12".

Late 19th century, a patinated bronze of The Madonna and Child, very well cast resting on a squared oak base, measuring 18” high x 4 ¾” wide x 3 ¾” deep.

A one-piece mahogany armoire in the Louis XV taste, intricately carved, pegged construction, removable doors, the interior fitted with five shelves, 20th century, measuring 84” high x 49” wide x 23” deep.

A silk (100%) hand-knotted Kahsmir rug, 500 knots per square inch, appraised by Geraldine Van Leeuwen Boomkamp’s store, in Ottawa in 1988, measuring 4 feet x 6 feet. This rug may have wear and tear, imperfections, commensurate with age. Any condition stated is only an opinion and should not be treated as a statement of fact. Please request high resolution photos by email if required.

A good early 20th century display cabinet, serpentine glass on the sides, curved glass door framed by tapering columns with Corinthian capitals, the interior fitted with four wooden shelves, 63 ½” high x 47” wide x 20” deep.

A large Turkish Kilim flat weave rug showing a multitude of natural dye geometric designs, central seam, measuring 13 feet x 6.4 feet. This rug may have wear and tear, imperfections, commensurate with age. Any condition stated is only an opinion and should not be treated as a statement of fact. Please request high resolution photos by email if required.

Made by Imperial Court Supplier Ivan Khlebnikov, marked 88 for zolotnik (925) with Moscow Coat of Arm (1880-1890), for silversmith Ivan Khlebnikov and Imperial double-headed eagle as an Imperial Supplier mark, 5 1/4" long, weight 29 grams.

Marked marked 84 zolotnikov (875) with Moscow Coat of Arm (1880-1890), Ovchinnikov mark along with Imperial double-headed eagle as an Imperial Supplier mark, measuring 1 1/4" high, 2 1/4" diam. weight 46 grams.

Made by Imperial Court Supplier Ivan Khlebnikov, marked 88 for zolotnik (925) with Moscow Coat of Arm (1880-1890), for silversmith Ivan Khlebnikov and Imperial double-headed eagle as an Imperial Supplier mark, 5 1/4" long, weight 29 grams.

Marked 84 zolotnikov (875) with Moscow Assay Officer mark for Lev Oleks 1892, maker's mark 'HB" of Nikolai Vladimirov along with pseudo Fabergé mark, measuring 1" high x 1 7/8" diameter, weight 33 grams.

An antique 19th century Russian Orthodox icon in silver oklad, the travel icon of miniature size, oil on levkas, engraved decoration of silver riza marked 84 zolotnikov (875) with Moscow Coat of Arm (1880-1890), measuring 2 5/8" x 2 1/8".

The Kovsh (ladle) of typical form, with a pointed prow and hook handle, enameled with varicolored shaded flowers and foliage, marked 84 zolotnikov (875) with Kokoshnik mark (1899-1908) and Maria Semenova mark, measuring 2 7/8" long.

The case with landscape relief on the front and engraving on the back, marked Vietnam 900 and re- hallmarked in the USSR after 1956 with Moscow Assay mark 875, measuring 4 5/8" x 3 1/8", weight 131 grams.

A rare antique Russian gilt-silver engraved salt cellar from Kostroma Region made by Iona Zinovievich Manilov, with Kokoshnik mark (1908-1917), re-hallmarked in the USSR, along with four silver salt spoons, to include two Soviet Union enameled spoons marked 875 and marked for Leningrad Jewelry Factory, one marked "Sterling", one unmarked (tested for silver), each approximately 2" long, total weight 27 grams.

Early 19 century, the box showing the monument to Minin and Pozharsky on the Red Square in Moscow and military trophies on reverse, marked 84 zolotnik (875 silver), assay officer mark of Nikolai Dubrovin (1822 -1855) and maker's mark "AC", measuring 3/4" x 3 1/4" x 2 3/8", weight 105 grams.

The silver niello snuff box showing a town with fortress, gilt interior, marked 84 zolotnik (875 silver), assay officer mark with year 1847 and Moscow Coat of Arms, maker's mark for Fedor Maximov, measuring 3/8" x 2 7/8" x 1 3/4", weight 78 grams.

19th century, the silver niello snuff box showing the Alexander Column and Winter Palace in St. Petersbourg, marked 84 zolotnik (875 silver), assay officer mark "BC" of Viktor Savinkov above year 1864 along with Moscow Coat of Arms and maker's mark, 1 1/2" x 3 1/8" x 1 1/8", weight 87 grams.

18th century, the bronze icons with a nice dark patina, representing twenty religious scenes on a background of polychrome enamels, each illustrating the feasts of the Orthodox liturgy, measuring 7" x 16".

A large book (53 pages) of old Russian architectural stone cut prints including many colour highlights, Moscow, dated 1850, written in Russian, measuring 24 5/8" x 17 3/4". Condition noted, foxing on all pages.

19th century, the silver niello snuff box showing leaf pattern, marked 84 zolotnik (875 silver), Moscow Assay officer mark above year 1843 and unknown maker's mark "AHM", 1 1/8" x 3 1/4" x 1 1/2", weight 97 grams. Condition noted, worn.

The three vodka beakers engraved with floral motifs, marked with a hallmark for Moscow Assay Office (1927-1958) and maker's mark of Moscow Jewelry Factory, 2 1/2" high x 1 5/8" diameter, total weight 118 grams.

18th century, the enameled traveling icon signed in the frame upper edge, measuring 2 ½" x 2".

Russia (Moscow), mid-17th century, the two Deesis icons both in their original period gilt-metal rizas with enameled crowns, one of Christ Pantocrator, tempera on levkas on board (12 1/2" x 10 3/4"), the other of John the Baptist, tempera on levkas on board (12 1/2" x 10 1/2").

The Old Testament Trinity with Virgin Mary, Apostels and Upcoming Saints, fiefs of the Trinity Lavra of St. Sergius, tempera on levkas on board, measuring 11 7/8" x 9 5/8".

Late 17th-early 18th century, a hagiography of Elijah the Prophet, from the Kostroma Region, tempera on levkas on board, 12 1/2" x 11 1/8".

The Descent into Hell, Central Russia region, tempera on levkas on board, measuring 12 1/4" x 10 1/2".

The Nativity of Jesus, from the Kostroma region, tempera on levkas on board, measuring 12 1/2" x 10 3/4".

The Only-Begotten Son, Mstera, tempera on levkas on board, measuring 12 5/8" x 10 1/4", restored.

Recovery of the Dead, with St. Onuphrius (on the right) and St. Charalampos (on the left) along with other upcoming Saints, tempera on levkas on board, from the Bryansk Region, measuring 20 1/4" x 17".

Untitled, watermelon, 1958, gouache and ink on paper, 22" x 15 1/4" at sight, signed and dated upper right, minor flaking of paint layer. Anatoly Zverev is the founder of Russian Expressionism in the 1960s (or Tachism). Throughout his career he was harassed and persecuted by the Soviet authorities especially as his international success grew. An art-lover called Rumnev noticed his work and introduced him to the famous art collector George Costakis (Greek-Russian art collector who amassed one of the largest private collections of Russian avant-garde art in the world) who thought that Anatoly was "one of the most talented artists in Soviet Russia... a unique phenomenon". But Zverev was from an extremely poor family and suffered from mental instability; he was fired from his recreation park job when the director saw him using a mop for his paintings "against the regulations". It appears that Zverev participated in over eighty group exhibitions in museums and galleries around the world between 1957 and his death. He is listed in many prominent collections in Russia, Europe and United States. Provenance: Provenance: Jacques Montpetit, to his spouse down to the family: Mr. Montpetit joined the Canadian Ministry of Foreign Affairs in the mid-to late 1950s. His first posting was to Moscow, 1959-1962. He befriended George Costakis, a local employee who assembled a significant Russian avant-garde collection but could not continue this occupation freely as he came under pressure from the Soviet authorities. Through Mr. Costakis, Mr. Montpetit purchased several pieces which we find offered in this current sale. Along with purchasing from Mr. Costakis, Mr. Montpetit acquired various objets d’art and other items of value (icons, silverware etc) on a ‘parallel’ market. These items were progressively sold off by Russian noble families.

The silver niello snuff box showing a peasant going to the market and city view on reverse, gilt interior, marked 84 zolotnik (875 silver), assay officer mark with year 1835 and Moscow Coat of Arms, maker's mark, 3/8" x 3 1/4" x 2", weight 102 grams. Excellent condition and superb niello work.

18 century (1784), embossed gilt-silver beaker decorated with eagles and leaves, marked with Moscow Assay Office hallmark, Assay Office hallmark, Alderman hallmark and maker's mark, measuring 3 3/8" high x 2 3/4" diameter, weight 95 grams. A rare example of early Russian silversmith art.

The cut-glass claret jug with gilt-silver top and brass pineapple finial, top is marked with St. Petersburg Assay Office Hallmark, Assay Officer mark and "84" for 84 zolotnik (875) silver, 9 5/8" high.

A set of three Persian silver beakers with tray, engraved with floral decoration, all marked 84 in Farsi (875 silver), tray measuring 7 3/4" x 2 1/8", beaker 1 1/2" high x 1 1/2" diameter, total weight 175 grams.

18th century, Imperial Russian cut-glass bell shaped goblet engraved with the imperial double-headed eagle and the monograms of the Empress Elizabeth of Russia (Elizaveta Petrovna), reign 1741-1762, with a faceted bowl, measuring 9 1/2" high x 4 1/2" diameter, minor worn to gilt.

Russia, dated 18-19th century, one silver cross (tested, cracked middle, conserved with varnish), one brass cross and one metal cross, all measure approximately 2" high x 1 1/2" wide.

The cut, engraved glass by Imperial Glass Works, St. Petersburg, period of Nicholas II, the body engraved and gilded with the Imperial crowned cypher of Nicholas II & Alexandra within a trophy of arms, the reverse with black and gilded crowned Imperial double-headed eagle flanked by floral sprays, with gilt rim, measuring 6 5/8" high x 2 3/4" diameter.

The bacchanal themed pendant with a centered blue agate stone showing a satyr carrying a child, and a relief figure obverse, measuring 0.5" wide x 0.6" high.

A stamped 925 silver ring ring with one translucent carnelian showing Dioscuri, or Castor and Pollux, both helmeted and armed with a spear and sword as they stand contrapposto, facing one another. Size, 10.

Untitled, portrait , 1958, watercolour and gouache on paper, 24" x 17" at sight, signed and dated lower right, unframed. Anatoly Zverev is the founder of Russian Expressionism in the 1960s (or Tachism). Throughout his career he was harassed and persecuted by the Soviet authorities especially as his international success grew. An art-lover called Rumnev noticed his work and introduced him to the famous art collector George Costakis (Greek-Russian art collector who amassed one of the largest private collections of Russian avant-garde art in the world) who thought that Anatoly was "one of the most talented artists in Soviet Russia... a unique phenomenon". But Zverev was from an extremely poor family and suffered from mental instability; he was fired from his recreation park job when the director saw him using a mop for his paintings "against the regulations". It appears that Zverev participated in over eighty group exhibitions in museums and galleries around the world between 1957 and his death. He is listed in many prominent collections in Russia, Europe and United States. Provenance: Provenance: Jacques Montpetit, to his spouse down to the family: Mr. Montpetit joined the Canadian Ministry of Foreign Affairs in the mid-to late 1950s. His first posting was to Moscow, 1959-1962. He befriended George Costakis, a local employee who assembled a significant Russian avant-garde collection but could not continue this occupation freely as he came under pressure from the Soviet authorities. Through Mr. Costakis, Mr. Montpetit purchased several pieces which we find offered in this current sale. Along with purchasing from Mr. Costakis, Mr. Montpetit acquired various objets d’art and other items of value (icons, silverware etc) on a ‘parallel’ market. These items were progressively sold off by Russian noble families.

Untitled, portrait with a cigarette, 1957, gouache on paper, 23" x 16" at sight, signed and dated lower right, unframed. Anatoly Zverev is the founder of Russian Expressionism in the 1960s (or Tachism). Throughout his career he was harassed and persecuted by the Soviet authorities especially as his international success grew. An art-lover called Rumnev noticed his work and introduced him to the famous art collector George Costakis (Greek-Russian art collector who amassed one of the largest private collections of Russian avant-garde art in the world) who thought that Anatoly was "one of the most talented artists in Soviet Russia... a unique phenomenon". But Zverev was from an extremely poor family and suffered from mental instability; he was fired from his recreation park job when the director saw him using a mop for his paintings "against the regulations". It appears that Zverev participated in over eighty group exhibitions in museums and galleries around the world between 1957 and his death. He is listed in many prominent collections in Russia, Europe and United States. Provenance: Provenance: Jacques Montpetit, to his spouse down to the family: Mr. Montpetit joined the Canadian Ministry of Foreign Affairs in the mid-to late 1950s. His first posting was to Moscow, 1959-1962. He befriended George Costakis, a local employee who assembled a significant Russian avant-garde collection but could not continue this occupation freely as he came under pressure from the Soviet authorities. Through Mr. Costakis, Mr. Montpetit purchased several pieces which we find offered in this current sale. Along with purchasing from Mr. Costakis, Mr. Montpetit acquired various objets d’art and other items of value (icons, silverware etc) on a ‘parallel’ market. These items were progressively sold off by Russian noble families.

Early 19th century enameled traveling icon- trio depicting the Virgin Mary, Christ as an adult and a Saint, measuring 1 7/8" x 5 ¼".

Late 18th/early 19th century, four iconic objects to include: two panel doors, one being enameled, a small early traveling dyptich, along with an Orthodox cross. Cross measuring, 2 ¼" x 1 5/8".

18th century, two bronze traveling icons, measuring 2 5/8" x 2".

Marked for Leningrad Jewelry Factory, 1960, silver purity mark for 875, total weight 91 grams.

20th century, two black lacquered miniature painting boxes, colourfully hand-painted with fairy tales motif and signed by the artist to include Bureev, 1955 Holmov, 1957, the largest measuring 2 1/2" x 7 5/8" x 3 3/8".

One (tobacco) box showing a Troika with tin inlay and indistinct mark (most likely manufacturer's exhibitions medal), measuring 3 ¼" x 5 3/8" x 3 1/8", the other a small lacquered oval shaped candy (pills) box from Lukutin Factory with floral decoration on the lid.

20th century, four black lacquered boxes, colourfully hand-painted showing "Troika", famous Russian painting "The Rooks Have Returned" by Alexei Savrasov, "The Spasskaya Tower" of the Moscow Kremlin, and "The Frog Princess", all signed and dated, the largest measuring 1 1/2" x 5" x 2".

20th century, four black lacquered miniature painting boxes, colourfully hand-painted with fairy tales motif and signed by the artist to include, Vyugin (1961), Sineva (1956), Kozlov (1960), Surina (1961), the largest measuring 2" x 6 3/4" x 4".

Marked for Leningrad Jewelry & Watch Factory, 1961 and silver purity mark 916, 3 3/4" high, total weight 195 grams.

Russia, early 20th century, six triangle shaped porcelain cups and six saucers, meticulously hand-painted in Cubo-Futuristic style with geometrical and floral motifs, measuring cup 2 1/8" high, saucer 4 5/8" x 4 5/8". Five cups and saucers are signed in Cyrillic with initials. Condition noted, one cup with chipped rim.

A group of book related artefacts, consisting of: a hand-written and painted leaf from a book illustrating "Parable of Jesus, The Rich Man and Lazarus" (6 1/2" x 4 3/8"), six woodcut engravings depicting Gospel scenes, all hand-painted and signed in Church Slavonic (glued to the cardboard), with another religious scene on the reverse (11 3/4" x 6 1/8"), part of Lubok book "The Tale of Eruslane Lazarevic", pages 10-29 (9" x 7"), two ornamental draw, one stamped by the personal library of famous Russian historian Ivan Zabelin.

A group of eight Russian Orthodox iconic drawings of different topics, the largest measuring 14" x 10 1/2", along with the drawing for a Plaekh lacquered box signed by artist Konstantin Konovalov, dated 1931, measuring 8 3/8" x 9".

The set of four cups marked for Leningrad Jewelry Factory, 1960 and silver purity mark 916, 2 7/8" high x 3 5/8" diameter, weight 430 grams, along with one Soviet silver gilt enameled nut bowl, properly marked, 3 1/4" diameter, weight 58 grams. Total weight 488 grams.

19th century, a Russian orthodox brass and enamel crucifix, showing the Holy Spirit in a square, measuring 8 1/8" x 4 1/4".

The gilt-silver salt cellar, marked 84 zolotnik (875) with Kokoshnik mark (1899-1908) and Moscow Assay Officer initials for Ivan Lebedkin, unidentified maker's mark, engraved initials and date (28 January 1904) at the base, measuring 1 1/8" high, 2" diameter, weight 34 grams.

Two framed brass enameled panels (originally a triptych - 3) showing Russian Orthodox icons, one (central) depicting John the Evangelist in Silence and the other of Virgin Hodegetria, measuring 4" x 3".

The box with cedar inlay, 1963, maker S.J. Rose & Son mark and Birmingham assay hallmarks, gift engraving "To millionth guest of Skyway Hotel, London Airport", measuring 1 3/4" x 6 5/8" x 4 3/8", total weight 559 grams.

Probably Spanish, a carved and polychrome painted wooden wall ecclesiastic group, measuring 16 1/4" x 9" x 3".

A carved and polychrome painted wooden figure of Saint Marina perhaps, a young woman standing on a devilish looking figure, measuring 8" high.

Spain, 18th century, a very fine carved and polychrome painted in estofado technique wooden figure of Our Lady with a brass crown, standing on a pedestal, measuring 16" high. Condition noted, minor loss (fingers, clothes on the right hand).

The large rug with a deep blue ground decorated with multiple floral elements and surrounded by a dark pink border decorated with flowers and leaves. This rug may have wear and tear, imperfections, commensurate with age. Measuring, 145” x 111 1/2". Condition: in overall good condition, there are some low pile areas, one faint stain on border, the ends are rough with some fritting. No visible signs of repair. Any condition stated is only an opinion and should not be treated as a statement of fact. Please request high resolution photos by email if required.

This iconic Bellin's map of the Great Lakes region dominated the cartography of that region for many years with four non-existent islands in Lake Superior, measuring 17" x 21 1/4" at sight. Condition noted, minor staining.

George II, 1722, the book of laws as decreed at the time of his reign, Volume 6, bound in the original calf leather, with gilt to the spine and cover edges. Printed by William Brown & John Masman, Edinburgh, along with a document published in 1754 under King George II pertaining to a short-lived law about the selling and repairs of clocks, pages 183-188. Book measuring, 2 ½” x 3 ½” x 6”.

The engraved and hand-painted map after Andreas Cellarius Atlas Harmonia Macrocosmica (d. 1660), later edition of 1708 Valk & Schenk map depicting the position of the Earth within the celestial sphere divided into the circles, measuring 18 1/4" x 23 1/4" at sight. Condition noted, minor creasing in the middle.

A 19th century period mahogany chest / trunk, the fitted lid with brass corners and strapping supported by a very unusual four- hinge system, from a fine Montreal Family, 19 ½” high x 38 ½” wide x 20” deep.

The painting showing a lion and lioness resting, oil on canvas, 19 1/4" high x 25 3/4" wide, indistinctly signed upper right. Condition noted, loss to frame and canvas.

Probably Samson, one hand-painted earthenware plate with bird and floral decoration, marked Chelsea 1740 France (10" diameter), another hand-painted earthenware plate showing an exotic bird perched on a rock outcrop (8 ¾" diameter). Provenance: Lynn Jansen Estate.

With colourful cornucopia, butterfly and floral decoration, mark and date verso, 10 ¼" diameter.

Germany, the impressive porcelain figural group showing a two-Lipizzan horse white carriage with a well dressed coachman, one lady in green dress exiting the carriage, the other sitting inside, the carriage topped with two embracing putti, marked to the base, measuring 12" high x 17 ¾" wide x 6 ½" deep.

One plate decorated with the Royal Coat of Arms and floral motif, signed R.O.., dated 1756 (9 ¾” diameter), and the other, an English Delft charger (8 7/8" diameter, rim chipped).

A partial set of Rosenthal "Helena" pattern tableware, with gilt rim decoration depicting mythological figures, comprising of: twelve cream soup bowls and eleven saucers (one flea bite), one lidded butter, five egg cups (similar), two gravy boats with underplates, two square open serving bowls, two chargers, eleven bread plates, one coffee pot, one teapot, twenty-five salad/dessert plates, ten soup plates, twelve dinner plates, nine teacups (one with flea bite, outside rim) & twelve saucers, two medium lidded tureens, one large lidded tureen, two rectangular graduated handled chargers, one cream, one milk, one covered sugar.

The set consisting of eight dessert spoons, eight forks, eight dessert forks and eight teaspoons, all marked “International Sterling” and 1867, and eight dinner knives with sterling silver handles, weight without the knives, 1472 grams. Along with another group of ten sterling silver implements, mostly British: nine marked one tested for sterling silver, weight 293 grams. Total weight, 1765 grams. Case included.

An Indian horsehair fly whisk, the silver-plated pummel showing the regimental crest for the 17th Leicestershire Regiment. Hindoostan was a battle honour awarded to regiments of the British Army for their service during the conquest of British India between 1780 and 1823.

Three Puma knives to include: Original-Puma- Waidblatt nach Oberforestmeister Frevert Best set #3588 Handarbeit, 8 ½” blade, overall length 13”, nickel silver guard. Smaller knife, Original Puma nicker vom Waidbesteck, best #3588 1/2, Germany, Handarbeit, 3 ¾” blade (set), along with a similar Puma-Hunter’s-Pal, genuine Pumaster steel, Germany 6397, 3 ¾” blade.

19th century, a Mugal Indo-Persian dagger, the Damascus steel blade terminating in a beautiful gold Koftgari worked hilt, surmounted by a well-chosen bone handle, with sheath, 7 ½” blade, overall length 12”.

19th century, Indian Mogul Shamshir sword, excellent Wootz Damascus steel blade, decorated with intricate inscribed decoration, the gilt washed hilt (likely silver) with a lion’s head. Blade measuring approximately 33” long. Provenance: Reputedly from the Palace of Nawab Mansur Ali Khan (Bengal, 1838-1881) to the Firasat Ali Khan Family, now of Ottawa.

French, circa 1870, the domed gilt bronze and black slate case accented with mottled red and green marble panels, the front of the case showing a mihrab-shaped pediment flanked by pierced brass columns. The ebonized clock face with gilded Arabic numerals and sweep hands, fronting a Japy Frères eight-day movement striking on a coil on the half and full hour, retaining its original pendulum and key. The case is sided by gilt patinated elephant heads and raised overall on a stepped slate base on stylized elephant shaped feet. Measuring 25" high x 14" wide x 8" deep. Serviced this year, and in working order at time of cataloguing.

Two French 1866 Yataghan Chassepot bayonet / swords, the back edge is marked in script “Mre d’ Armes de St. Étienne Juillet 1873” (Master of Arm of St. Etienne 1873), denoting the St. Etienne arsenal, blade 22 5/8” long.

Produced by the Prussian firm of W. Clauberg of Solingen, Prussia (Germany), and assembled by New York retailer Schuyler, Hartley & Graham, used in the American Civil War, maker’s stamp “W. CLAUBERG / SOLINGEN” and retailer’s name “SCHUYLER HARTLEY & GRAHAM / NEW YORK” stamped on the ricasso. Blade back is stamped with “IRON PROOF’. The grip is made of natural material with a twisted gilt wire that wraps around it approximately fifteen times in a spiral. The blade is beautifully etched on both sides. The blade is 32” long.

A rare English debt bond on vellum dated 1611, the signature of George Boraston right middle next to his seal, “Know all men by these present that I, George Boraston, clerk of Heaver in the county of Kent am bound and firmly obliged to Charles Cox of Beckly in the County of Sussex in two hundred forty pounds of good and lawful money…”, measuring 5” x 11 3/8”.

Ancient, half folio from a Book of Hours, handwritten Latin text on vellum, measuring 5 ½” x 4 ¼” each. The Book of Hours was the standard prayer book in Western Europe during the Middle Ages and the Renaissance.

A good, large mahogany box with brass binding and latches, blank cartouche, opening to a green velvet interior with lift out tray. Good accessory box for the man in the family, 3 7/8” x 21” x 9”. Lacking key.

17th century, a hand-coloured map of The Isle of Wight, described by William White Gent, augmented and published by John Speed, citizen of London, and sold by Thomas Bassett at Fleet Street and Richard Chiswell in St Paul’s Churchyard”, measuring 16 ½” x 21 ½”.

Circa 1703, a first state early 18th century map of (new) Canada, by Guillaume De L'Isle (1675-1726) from the Royal Academy of Sciences, "Carte du Canada ou de la Nouvelle France...", engraved by A. Amsterdam at Pierre Mortimer (Geograph), in full original hand-colour. De L'Isle's map of Canada is one of the most outstanding maps of Canada of the 17th - early 18th century, measuring 21 ¼” x 25”. Literature: see page 284, "Early printed maps of Canada".

Book, Voyages from Montreal, on the River St. Lawrence, through the Continent of North America to the Frozen and Pacific Oceans, in the years 1789 and 1793, with a preliminary account of the rise, progress and present state of the Fur Trade in that country, London, printed for T. Cadell, Jun. & W. Davis 1801. 4to. 27.8cm, The First Edition, VIII, CXXXII, 412(2)p., (errata), complete with half title, engraved fontis portrait and three large engraved, folding maps (one with the route in colour), modern full tree calf, gilt and blind ruled raised bands, gilt titles, gilt ruled boarders on the bevelled boards, generally foxed and toned, title more heavily foxed, this copy is complete with half title, portrait and errata leaf. Copies with the half title are scarce. T.P.L. 658. Lande 1317 Sabin 43414. Streeter. VI 3653 Wagner Camp 1. Field 967. Gra ‘ 2630 . Howes M 133. Peel 25. Hill, p187. Cox H, p1 77. Smith 6382. Wagner Camp I:1. Strathern 343. Waterston p23.

The St. Lawrence and tributaries providing guidance for travel at that time. “Suite du Cours du Fleuve De St. Laurent….Pour Servir à L’Histoire Générale des Voyages’ (Flow of the St. Lawrence River...To Serve the General History of Voyages), dated 1757, measuring, 8” x 12”.

By Isaak Tirion, dated 1769, “Nieuwe Kaart van Kanada…Hudsons Baay…Noord Amerika”, hand- coloured, measuring 13 ½” x 18”.

Partie Septentrional des possessions Angloise en Amérique, ou se trouvent, I’Isle de Terre Neuve le Canada et la Nouvelle Ecosse», circa 1750. Measuring 8 1/4" high x 10 1/4" wide (entire map, without matboard).

A group of Peruvian silver jewellery to include: a matching bracelet and earrings with small turquoise stones, a bird holding a shield & scepter, two round brooches with Lamas, along with similar earrings, all marked sterling. Total weight, 145 grams.

A beautifully worked example of QuanYin in natural material, a dragon at the base, nice old patina, 10 ½” high x 3 ¼” wide. Condition: nick to the edge of her robe.

A Japanese Meiji period natural material carved staff decorated with mother of pearl butterflies and flora, the terminus carved to show three monkeys fighting off a bird of prey, a fine example with a nice patina. Length, 14 ½”.

A natural material page turner, the shaft with etched and coloured scenery, the terminus carved in relief showing a coiled dragon. Length, 9 ¾”.

Circa 1900, a natural material carving of a lady holding flowers fitted to a hand-carved base, measuring 6 ¾” high with base.

Two 19th century brooches (longest, 3“) and a studd set (missing one piece). Provenance: Reputedly from the Palace of Nawab Mansur Ali Khan (Bengal, 1838-1881) to the Firasat Ali Khan Family, now of Ottawa.

The six graduated pieces set within 14kt gold (tested) scrolling foliate engraved mounts. Total length, 9 inches. Provenance: Reputedly the Palace of Nawab Mansur Ali Khan (Bengal, 1838-1881) to the Firasat Ali Khan Family, now of Ottawa.

A group of Sri Lankan silver objects, to include: a presentation tray from the Colombo Golf Club, six other various trays and censer on tray, unmarked but tested. Total weight, 914 grams.

A good string of graduated cream coloured bone beads, originating from New Zealand, approximately 15 ½” drop.

A string of old Baltic amber beads, originating from Gdansk Poland, approximately 11” drop.

A silver (tested) Indian filigree bracelet, 7” long x 2 ¾” high, weight 80 grams, along with a silver and pearl locket suspended form a filigree link chain, weight 136 grams.

A piece of natural material mounted in silver (tested), another with 14kt gold (tested) support and chain, another with a tri-silver (tested) mount, and another (on left). Largest measuring approximately 4 ¼” long. Chain weight only, 4.8 grams.

Ten small French bronze and brass frames of varying sizes, 19th - 20th century, largest 4 ¾” high x 4” wide.

A bronze patinated casting of a schoolboy, mid 20th century, unsigned, 11 ½” high x 5” wide x 4 ½” deep.

A good patinated zinc sculpture of Jean d’Aire “The Burghers of Calais”, after the French artist Auguste Rodin, measuring 18 ¼” high x 6 ½” wide x 4 ¼” deep.

A 19th century burled walnut Loo table showing bookend veneers, birdcage centre with locking mechanism, resting on porcelain castors, 22 ½” high x 47 ½” wide x 34 ½” deep.

Circa 1835, the sarcophagus shaped cellarette opening to a removable zinc liner housing two later galvanized inserts together with a later galvanized open compartment, raised overall on carved front supports and later turned rear supports on brass castors. Measuring, 22" high x 33" wide x 20 1/2" deep. Would make a good cigar humidor.

The raised panels on front and sides showing carved decoration, raised panels to the rear, all pegged construction, hardware with rosehead nails, 27 ½” high x 46 ½” wide x 20 ½” deep.

The vase with overall encrusted sea flora and fauna, such vases were used to transport wine and oil throughout the Roman Empire, approximately 36" high. Condition noted: loss the handles and at neck as shown. Comes with fitted black metal stand.

19th century, an interesting and well executed hand-painted slate tabletop in the manner of Jennens & Bettridge, showing a large central floral arrangement, diameter 27 ¾”.

Continental, 19th century, a polychrome carving of St. Christopher holding the Christ Child, carved from a single piece of wood, likely Spanish, 26” high x 6 ½” wide x 6 ½" deep.

A figural fish spill vase with painted mauve fins, black mark, 7 ¼” high. Condition noted, minor chip to one fin.

A good antique sword cane along with two other canes, blade 23 ¾” long.

A Swaine Adeney leather cased hunting / riding flask along with three riding crops, impressed marks on the flask case, flask case 10 ¼” long.

19th century Native North American Indian, possibly Sioux, saddlebag, likely Buffalo hide, sewn with leather sinew and decorated with disc shaped beaded roundels fitted with metal studs carefully sewn to the bag. Measuring approximately, 46” long x 13” wide. Provenance: Private Canadian Collection.

Circa 1830, with original leather surface (distressed), metal trim and decorative metal designs on the lid and front, interior label "S&H Imperial Carriage Trunk & Plate Case Maker of England", brass cartouche indicates owner was Sir John Macra KCH. Trunk is in as found condition with original hand-forged iron handles, measuring 10 1/2" high x 24" wide x 14" deep. Colonel Sir John Macra, K.C.H. was born on the 14th of February, 1786. He obtained an Ensign's commission in the 79th Highlanders in 1805 and was promoted to the rank of Lieutenant in the same year. His subsequent promotions were as follows: Captain, 1812; Major, 1818; Lieutenant-Colonel, 1821; Colonel, 1837. He was created a Knight of the Order of Hanover (K.C.H.) in 1827. His military career was both distinguished and eventful. He was present at the siege and surrender of Copenhagen in 1807 and went to Sweden with the army under Sir John Moore in 1808. Later on in the same year, he accompanied the British Force which was sent to Portugal, and was present in all the operations of that campaign, including the retreat of Sir John Moore and the battle of Corunna, on the 16th January, 1809. From Spain, he accompanied his regiment in the Walcheren expedition, and was present at the siege and capture of Flushing in August the same year. At Walcheren, he suffered from the fever which caused so much havoc among the British troops, and from the effects of which he never completely recovered. Provenance: Sir John Macra's descendants, Montreal Family.

A contemporary space efficient cabinet made of solid walnut, the interior is lined with butternut and solid walnut shelves, the door panels are made from spalted maple, the legs are ebonized hard maple, and the handles are ebony. The case is dovetailed ending with hoof-shaped feet, measuring, 51 1/2" high x 41" wide x 12" deep. Outstanding craftsmanship.

A very good flat weave kilim, tightly woven with vibrant colours, a fine example, with remnant of fabric label, 71 ½” x 76”.This rug may have wear and tear, imperfections, commensurate with age. Any condition stated is only an opinion and should not be treated as a statement of fact. Please request high resolution photos by email if required.

Pattern #RD-E5655 with Royal Doulton backstamp (used in 1902-22), consisting of: six dinner plates (10 5/8" dia.), ten luncheon plates (9 1/4" dia.), eleven salad plates (8 1/8" dia.), nine side plates (7" dia.), ten soup plates (9 3/4" dia.), open vegetable dish (10 3/8" long), handled vegetable dish (11 3/8" long), handled open vegetable dish (11 1/2" dia.), covered casserole dish (11 3/4" dia.), sauce tureen and flat (8 1/8" wide), four oval platters (11", 13 1/4", 17 1/4" & 19 3/8"), four coffee cups, eight saucers. The reverse of each stamped with retailer marks for Frederick Buscombe & Co., Ltd. Vancouver, British Columbia.

Circa 1940, a large and impressive Black Forest double- door Cuckoo clock, with bird and cylindrical music box, exceptional carved detail, some professional repairs. Measuring, measuring 41" high x 27" wide x 18" deep.

A vintage wool Caucasian rug, with an all over decoration of fauna and flora, measuring 73” x 43”. This rug may have wear and tear, imperfections, commensurate with age. Any condition stated is only an opinion and should not be treated as a statement of fact. Please request high resolution photos by email if required.

India, possibly 13th century or earlier, thought to be that of Muktakesha 'The one of long tresses', Goddess of bounty, wealth, beauty and knowledge. Carved in high relief, shown standing in a garden setting with a peacock and an attendant at her side, overall condition and losses noted. Mounted upon a grained wooden base and secured from behind. Height of carving 17", overall height 19 1/4" high. Weight, 37 lbs.

Indian, possibly 13th century or earlier, thought to be that of the Goddess Parvati, Goddess of beauty, fertility and marriage, also the wife or consort of Siva. Carved in high relief from a petal carved stele, shown holding a lotus stem and ornately attired and adorned with a necklace, earrings and ankle bracelets, overall condition and losses noted. Mounted atop a grained wooden base and secured from behind. Height of carving 18", overall height 19 3/4". Weight, 26.2 pounds.

A vintage ceiling fixture with a milk glass shade, measuring 43 ½” high.

Circa 1930, the light with a decorative cut-out band at the lower edge showing a rural scene wiht blue sly and green pasture, measuring 13 ¼” x 22 ½”.

Ninety-five pieces of Limoges “Elite” porcelain dinnerware to include: ten dinner plates, ten soup bowls, nine dessert plates, ten bread plates, twelve fruit bowls, five nappies, six tea cups, twelve large saucers, four coffee cups, seven smaller saucers, one coffee pot, three serving bowls, one gravy boat with attached underplate, one lidded sauce boat with attached underplate, two graduated platters, one cake plate, and one tea tray. Condition noted, wear to gilt, used.

Book, The Exposition of the Creed by John Lord Bishop of Chester., fourth edition, revised and now more enlarged, printed by F.M. for John Williams, at the crown in Crofs-Keys-Court in Little Britain, London 1676, printed for John Williams Senior Bookseller.

Khayyam, Omar Les Robaiyat, traduits de Persan par Franz Toussaint, illustrations de Genia Minache. Paris. Marcel Lubineau, Éditeur, 1957, seventeen colour plates, illustration and two text illustrations «en gravure sur bois», limited to five hundred and fifty (550) copies, this being no. 184. Original plain stiff wraps with colour illustrations on the upper cover, bound in full grain dark green Morocco, three wide raised bands, gilt titles and decoration on the spine, inner leather outside panels on the boards including the hinges, not signed, with former Quebec Premier Barrette’s bookplate “Ex Libris, Antonio Barrette”. In mint condition.

Karl, Stieler H & others, "THE RHINE, From its source to the sea", with four hundred and twenty-five (425) illustrations, Bickers & Son London 1878, Folio 34.5 cm with sixty full page illustrations from wood engravings, in the original elaborately decorated green cloth, black and gilt stamped boarders, decoration, block titles and pictorial illustrations on the spine and upper cover, beveled boards, some early and late slight foxed, expertly restored. A fine copy. Pages have not been counted.

Henri Masson, by Claude A. Bouchard, "Au souffle frais du matin, c’est un peintre qui part en rêve et part chasse, le pas allègre", préface by R.H. Hubbard, Ottawa. Les Éditions Lecha Inc., 1979. Folio 40 x 30 1/2cm, 201 pages, on special extra stock laid paper, with sixty-six tipped in colour full page illustrations, drawings. This special deluxe edition is limited to two hundred and fifty (250) numbered copies, this being no. 198, with two extra numbered and signed colour lithographed plates, bound in full tanned suede in suede lined slipcase.

A leather-bound limited edition, numbered 130 of 300, signed by the artist and author, Paul Duval, published by Cerebrus Publishing Limited Toronto. The volume comes with an original Loates lithograph “Bison”, also numbered 130 of 300, signed and stamped by the artist, and in its original hardbound canvas cover, all within a fitted, locking mahogany box.

England, early to mid-19th century, the oak candle table, nicely turned column resting on a cross-stretcher base, the top showing a nice warm patina, 25 ½” high x 15 ½” wide.

England, early 19th century, the mahogany apprentice chest with original porcelain pulls, measuring 14 ½” high x 12 ¾” wide x 7 ½” deep.

England, circa 1810, a Regency period mahogany cheese wheel holder, famously used for wheels of Stilton cheese, along with two similar period trivets. Condition noted, split and repair at one end of wheel holder. Largest measuring, 5” x 16” x 7”.

India, late 19th-early 20th century, a sword walking stick and a sword-cane, each approximately 36" long.

The brooch set with five old European cut diamonds weighing together 0.50ct "VS-SI" clarity, "I" colour, also set with sixty-one old rose cut diamonds (one missing) weighing together approx. 0.50ct "SI" clarity, "K" colour, also set with four round 3.8mm cultured pearls, commercial quality. Total item weight, 6.5 grams.

A single strand of graduated Akoya pearls, fitted with 14kt white gold clasp set with diamonds, stamped 14kt, drops to approximately 10 1/4".

An owl shaped enamel ring in 18kt yellow gold weighing 16.64 grams, set with two 2.53mm cabochon sapphires for eyes, accented by green, white and red enamel, some chips observed in enamel, ring comes with an inside ring guard.

A diamond "S" brooch in 14kt yellow gold weighing 9.83 grams, the brooch is bead set with thirty round brilliant cut diamonds weighing approximately 0.90ct, of "SI2-I2" clarity and top light brown colour.

One pair of diamond hoop earrings in 18kt yellow and white gold weighing 17.09 grams, the earrings are set with twenty-six small round S/C diamonds on the front weighing approximately 0.26ct in total and top light brown colour. Condition noted, some diamonds are chipped, improper setting.

A blister pearl and diamond pendant enhancer with a 14kt yellow gold frame weighing 15.71 grams, accented by eight round bezel set diamonds weighing approximately 0.03ct each, 0.24ct in total of "SI2-I1" clarity top light brown colour.

One blue topaz ring stamped 14kt, yellow gold, weighing 4.9 grams. The ring is set with one emerald cut blue topaz measuring approximately 8mm x 6mm, size 6.5.

One three-stone opal ring stamped 14kt, yellow gold, weighing 3.4 grams, the ring is glue set with one round opal measuring approximately 3.6mm and two round opals measuring approximately 3.5mm. Size, 6.

A ruby and diamond ring in 18kt (marked 750) white gold weighing 7.51 grams, the ring is set with five pear-shapes rubies measuring approximately 5.20mm x 4.60mm and four marquise cut rubies measuring approximately 3.97mm x 1.85mm. Five row split shank set with seventy-two round brillaint cut diamonds weighing approximately 0.36ct in total of "SI2-I1" clarity and "G-I" colour.

A ruby and diamond halo ring in 18kt white gold weighing 6.27 grams, the ring is set with one oval ruby measuring 9.35mm x 7.80 weighing approximately 1.90ct surrounded by twenty round diamonds weighing approximately 0.20ct in total, thirty diamonds under the girdle weighing approximately 0.30ct in total, shank and sides set with thirty-two diamonds weighing approximately 0.01ct - 0.015ct a total of approximately 0.54ct.

One emerald ring stamped 18kt yellow gold shank and platinum settings weighing 3.79 grams, set with one emerald measuring approximately 7.80mm x 6.20mm weighing approximately 1.73ct, also set with two emerald cut diamonds measuring approximately 4.7mm x 4.10mm and weighing approximately 0.33ct each of "VS-1" clarity and "G" colour. Marked Mappin. Measuring, 5.5.