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A late 19th Century linen, embroidered bed spread

A large woollen needlework bed spread with tasselled edge

Pottier and Stymus dining suite(lot of 14) Important American Renaissance Revival dining suite by Pottier and Stymus, New York, for Alfred A. Cohen`s Alameda, California estate ``Fernside``, executed in white oak, the extension dining table having a marquetry frieze flanked by the burlwood border centering the 10 leaves, above a pedestal base having relief carved lion figural mounts, the supports having acanthus detail terminating on carved paw feet, and rising on four baluster turned legs having banded leaf detail at the shoulder terminating on casters, (retains the original servant`s bell) 29.5``h x 17`4``w (extended) x 65``d, the twelve chairs each having full relief carved lion head finials above the leather padded backs and rising on turned legs, consisting of two armchairs 43.5``h x 23.5``w x 24``d, and ten side chairs 41``h, the sideboard (table leaf cabinet) having a relief carved 15`` wild boar medallion centering the later granite top above the two drawer case having an open gallery surmounting the fold down single door opening to the slotted interior used for table leaf storage, verso stenciled 4428/Pho/Cohen. Provenance: 1957-2012 Property from the collection of Raul A. Pena, thence by family descent ``Fernside`` The Estate of Alfred Andrew Cohen and Emilie Gibbons Cohen, The Cohens Alfred Andrew Cohen was born in England, July 17, 1829. After reversals of family fortunes he left Exeter Academy and went to work for a London solicitor. He immigrated to Canada in 1843, then to Jamaica, and finally in 1849 to Sacramento, California, arriving via Panama. Settling in San Francisco he married Emilie Gibbons, daughter of former Wilmington, Delaware, residents Martha Poole and Dr. Henry Gibbons. The Cohens had four sons and three daughters. Cohen`s business activities were varied. He engaged in railroad and ferry enterprises with William Ralston and Darius Ogden Mills, two of California`s early taste-makers. In 1857 he was admitted to the practice of law by the California Supreme Court. Cohen had several dealings with Central Pacific Railroad representing both defendants and plaintiffs. It had been said he was so successful in winning cases against the railroad that the owners made peace with him and hired him as their counsel. Cohen died in 1887 in Nebraska in route from Washington D.C., where he had been representing Central Pacific before the federal railroad commission. Newspaper accounts have estimated the value of his estate to be $5 million. His widow Emilie Cohen continued to live at Fernside until her death in 1925. The Estate and House Fernside, located in Alameda, an island community in San Francisco Bay southwest of Oakland, was acquired in the mid- 1850`s. A map dated September 9, 1859, shows the estate/working farm to be 110 acres and five buildings, including the residence, a substantial Gothic Revival structure. Over the years, buildings were added to the estate, including an elaborate stable built in 1870 for prize thoroughbred horses and a bowling alley building. In 1872 buildings began for a new grand ``Italianate`` house of some 52 rooms. Wright and Sanders, the architects, were noted for their churches, institutional buildings and the San Francisco home of Mark Hopkins. On March 24, 1897, a fire began in the building`s tower and spread quickly until the house burned to the ground. When it was found there was insufficient water to save the home, firemen and volunteers concentrated on removing furnishings, decorative objects, and bric-a-brac from the ground floor of the burning building. The Interiors The insurance papers together with interior photographs by Eadweard Muybridge and the Cohen`s third son, Edgar, give an idea of the interior fittings. Furnishing took place from occupancy in 1874 to 1888 (shortly after Cohen died). The photographs and invoices tell a story of continual change and upgrading. Herter Brothers, Pottier and Stymus, W. & J. Sloan and other New York and California firms supplied items for the house. In a letter dated October 15, 1874, Cohen mentions Mr. Schastie (likely George A. Schastey) in reference to the dining room of the house. The reference implies Schastey was on site at the house. Why the Cohen`s used more than one firm and the extent of the involvement of the firms is not clear. Likely, the strong personalities of both A. A. and Emilie G. Cohen were a factor. THE DINING ROOM. None of the Fernside post fire documents on the dining room are known to exist. The four photographs of the Dining Room in the VPCO`s collection at the Cohen/Bray House, give different views of the dining room. Two of the pictures likely Muybridge photo`s found in a family album show the table & chairs. A latter photo by Edgar Cohen, a noted California photographer, shows the dining room and the table leaf storage cabinet in more detail. The original upholstery is apparent in this photograph. This leather upholstery is still found on the back of the chairs. The forth picture shows the table and four chairs in the building converted to a residence for Mrs. Cohen after the main house burned in 1897. Of interest is a paragraph in a letter from A. A. Cohen to his wife Emilie Gibbons Cohen, dated October 15, 1874. I quote as follows: ``Dear Em, {in pencil added to the letter ``cover kept``} I learned this morning for the first time from Schasteys man that he sent a Red Marble slab for dinning room sideboard instead of Egyptian Green as I ordered. This is very provoking as the carpet for that room was changed to Green to suit the marble. I telegraphed to Will today to tell Schastey that I do not wan the red marble---- I do not want the red marble---- It will be out the question using a green carpet with the red marble. If the marble is retained I do not know what can be done except we change the carpet and use in the dining the carpets original intended for that room but which we afterwards concluded to use in the library. When you get this telegraph me what you think we had better do. If necessary I can get a new carpet for either library or dinning room & use the one we may put aside for the 2nd floor bed rooms. I have shipped the billiard room carpet it is intended that the [ballgrio ?] shall run across the mantel there is a nice border with it. I think now we will leave here on the morning of Nov. 3rd stopping one day at Niagara and one day at Chicago which I expect will bring us home on Nov. 12.`` [Note: these letters have been typed and numbered. FERNSIDE, SATURDAY EVE. JUNE 17, 1876] Schastey is known to have worked with Pottier & Stymus The leaf cabinet is known to have a replaced marble top when acquired by the current owners family. At president the history of the dining set after her death in 1927 is not known. An Overview of Pottier and Stymus From its inception in 1859, the Pottier and Stymus firm quickly rose to prominence as one of the nation`s most elite decorating and cabinetmaking firms. They retained their position at the forefront of American decorating firms well into the 20th century. August Pottier emigrated from France in 1847, gaining employment with the E. W. Hutchings and Son firm in New York City. During his tenure with Hutchings, Pottier apparently became acquainted with the cabinetmaker Gustave Herter, who would also become prominent in the emerging custom decorating field. In 1853, the two formed the short-lived Herter, Pottier and Company. By the end of the decade, Pottier was working with Rochefort and Skaaren as general foreman, where William Stymus was foreman of the upholstery room. Following the death of Rochefort, August Pottier and William Stymus assumed control of the business, forming their own partnership, Pottier and Stymus, in 1859. Shortly after its inception, the firm secured a number of important commissions, most notably to design and furnish the rooms occupied by the Secretary of the Treasury in 1863, and the Navy Department (1861-64). During t

*§ SEREBRIAKOVA, ZINAIDA (1884-1967) Sleeping Nude (Katya) , signed and twice dated 1934, once indistinctly. Oil on canvas, 65 by 80 cm. Provenance: Anonymous sale; The Russian Sale, Sotheby’s London, 10 May 2000, Lot 65.Acquired at the above sale by the present owner.Private collection, Europe.Authenticity of the work has been confirmed by the experts A. Kiseleva and I. Geraschenko.Related literature: For another version of the same composition, see Zinaida Serebriakova (1884-1967), Syseca, Malakoff, 1995, p. 15.The present work by Zinaida Serebriakova is an undoubted masterpiece among her famous nudes. Here the artist deploys a distinctive freedom and fluidity in her development of a classic theme in world art - the depiction of a sleeping sitter. Taking up the imagery of the sleeping Venuses of the Venetian masters, the nymphs of Boucher and the bathers of Cabanel and Renoir, Serebriakova does not reduce her model to some anonymous heroine of ancient mythology, rather, it is the “stolen moment” that interests her, catching a young girl, languid and flushed from sleep, at her most natural and without artifice. It is notable that the model here was the artist’s 22 year-old daughter Katya, her favourite sitter since the 1920s.We need only cast our minds back to the celebrated 1923 work in the Peterhof Museum, Katyusha on a Blanket, with the figure of the sleeping child sprawling across a vivid blue background, which initiated a whole series of similar works. Later too, in the best works of Serebriakova’s Petrograd and Paris periods we encounter this same, invariably smiling, mischievous young thing. Undressed and standing by the bed (Katyusha Nude, 1922); leaning on the balustrade, head thrown back and draped in a red shawl (Nude Leaning on Balustrade, 1929); sleeping, arms spread theatrically, amidst a mass of red and blue drapery (Nude, 1928); or lying peacefully on the bed-sheets (Nude, 1927). Yet the particular characteristics of the scene and the degree of finish in each of these works are always different, governed by whatever challenge Serebriakova has set herself. Thus the picture now offered for auction, painted with an extraordinarily free hand and splendid understanding of the female form, is among the most developed and finished of the artist’s works. Serebriakova achieves an overarching harmony in the composition, finding equilibrium between volume and linear rhythm and introducing colour and variation with the drapery. The delicate light effects and the warmth of the skin tone are particularly enhanced by the background of plain green cushions and the busily patterned blanket and rug hanging on the wall behind. Intoxicated by her ravishing model, Serebriakova creates an unreservedly sensual image of the naked young woman, accurately capturing the complex pose with a supple contour line and conveying the delicate, graceful sinuosity of her body. According to Alexander Benois, who in his letters often wrote admiringly of Serebriakova’s “peerless nudes”, this magnificent painting, full of internal movement, is animated “not by a generalised sensuality but by something specific, which we recognise from our literature, from our music, from our personal experiences. This is truly the flesh of our flesh. Here is that grace, that comfortable languor, that cosy, domesticated side to Eros - all of which are actually more alluring, more subtle and sometimes more perfidious, more dangerous than what Gauguin found on Tahiti and in search of which blasé Europeans left their pampered life at home and set off in the footsteps of Pierre Loti, across the whole of the white, yellow and black world” (Alexander Benois, Khudozhestvennye pis’ma, 1930-1936. p. 175).This Sleeping Nude from 1934 is a kind of summation of Serebriakova’s many years of experimentation and study in the genre. It combines an expressivity in the silhouette with painterly accomplishment in the brushwork allowing us to confidently assert that this represents one of the peaks of Serebriakova’s distinctive style.

A rabbit fur bed spread

A crocheted bed spread.

Textiles - Irish linen ; embroided floral table clothes; floral bed spread

An early 20th century embroidered bed spread

A Bed Spread covered in Osborne and Little fabric, together with a matching Valance and Lamp Shade. White ground with grey oriental design to fabric.

An early 20th Century printed and patchwork Bed Spread with a centre panel of Oriental buildings, surrounded by flower heads, trailing garlands, birds etc. and with a lace border. 8` 3" (252cms) x 7` 9" (237cms).

A 19th century woven paisley bed spread, and a 19th century printed paisley tablecloth

A pair of curtains, 230cm drop, lined and interlined, silk damask and floral urn decoration with tie back, matching bed spread, 300cm x 240cm, a valance, single curtain, 340cm x 129cm and a pair of Roman blinds.

DOUBLE DIVAN BED, Herald from Harrods, approx 137cm (4ft 6in) W by Vi spring, a caned headboard and a spread.

An early 20th century continental satinwood bedroom suite, comprising: triple wardrobe, tallboy, pot cupboard, dressing table, two chairs, stool and double bed head and tailboard, each gilt wood decorated with rope swags and spread wings on square tapering supports.

A QUANTITY OF LACE TRAY CLOTHS, A CROSS STITCH BED SPREAD AND A CROCHET TABLE CLOTH - ALL IN A LEATHER SUITCASE

A Spanish shawl, crochet bed spread, petticoat and material

CURTAINS, Chinese vase pattern, matching previous lot, and a matching bed spread, each pair approx 210cm x 110cm x 130cm gathered. (5) (as found)

A needlework picture depicting an ancient Egyptian figure; an eastern woven bed spread

A Victorian hand quilted double Bed Spread

A Victorian hand quilted black floral double bed spread

Embroidered bed-spread, linen, (Art Nouveau)

Denarius, Rome, 211, bust right, rev. CONSECRATIO, eagle with spread wings on globe, head left, 3.33g/12h (Hill 1232; RIC Caracalla 191c; RSC 84). Extremely fine Long a victim of gout, Severus died at York in 211, leaving his sons the advice ‘not to disagree, give money to the soldiers, and ignore the rest’. The end of the last emperor for 80 years to die in bed is said to have been hastened by Caracalla

An antique bed spread with red ground Indian printed material, approximately 80" square.

A sea green coloured single quilted bed spread.

A gold thread embroidered green silk bed spread, embroidered with flowers, foliage And trees under A round Arch, the reverse of wine red, 260 x 183cm

An Indian embroidered bed spread detailed in gilt thread with flowers and birds.

A quantity of 18th/19th Century textiles to include: silk embroidered wall hanging depicting Jesus on the cross, multi-coloured hand embroidered bed spread, various French partiers, hand embroidered wall hangings, gentleman's waistcoat and sundry.

Late 19th/early 20th century bed spread

A large 19th Century quilted bed spread in plain white cotton with a white stitched scroll pattern, together with a similar example with pale pink panel detail.

Floral decorated bed spread

an animal fur lined bed spread

A Crewel work Bed Spread decorated with stylised flowers.

A Chinese yellow silk bed spread embroidered with a peacock, small birds and flowers within a border of wisteria.

Beatles Pop Music Design Curtains, 1 Curtain 28 X 40, One 40 X 40, Two 42 X 42, One Single Bed Spread And 28 X 48 New Material

An embroidered double bed spread with applied pink flowers on cream satin ground with lace trim

An Indian paisley pattern bed spread.

Box of linen etc including table cloths, tray cloths, bed spread, lace edgings, gloves, purse and a roll of red and gold woven fabric

Four boxes including two quilts, children’s and other clothing, white linen, printed shawl, chenille cover, cushions, bed spread etc

Embroidered silk bed-spread in the Chinese style, Manila, Philippines, late 19th century-early 20th century, 106in. x 96in. 2.69m. x 2.44m. Small amount of staining one edge. Finely worked in satin and cross stitches on a cream satin ground in a style consistent with Chinese embroidery from the Philippines.

A 1920's silk satin shell pink eiderdown, having embroidered corded, ruched, quilted central panel, 5ft x 4ft 6ins, a matching bed spread and two similar eiderdowns.

A hand stitched silk Bed Spread decorated tree and birds in the Japanese style

An embroidered wall hanging depicting three parrots on a black silk ground, a linen and lace work bed spread and a pair of linen and lace work cushions. (4)