A few examples of appraisal values for
THE QUAIL

• AN EXTENSIVE ROYAL CROWN DERBY PORCELAIN
  AN EXTENSIVE ROYAL CROWN DERBY PORCELAIN DINNER SERVICE IN THE QUAIL PATTERN An extensive Royal Crown Derby porcelain dinner service in the Quail pattern for approximately 30, each with printed factory mark with cancellation, comprising (18) service plates, 11.75"dia; (32) dinner plates, 10.75"dia; (35) luncheon plates, 8.5"dia; (55) bread & butter plates, 6.25"dia; (34) soup bowls, 8.5"dia; (34) cereal bowls, 6.5"dia; (14) finger bowls and (10) stands; (16) two-handled cream soups and (13) stands; (31) cups and (31) saucers; (4) coffee pots; (5) tea pots; (3) creamers; (3) covered sugar; (1) two-handled dessert plate; (2) oval vegetable tureens; (4) oval serving bowls; (7) oval platters, 13.5"l and (2) large oval platters, 16"l [approx 410 total]. Provenance: Property of a prominent Hillsborough, CA estate
• AIDEN LASSELL RIPLEY (1896-1969)Gobbler
  AIDEN LASSELL RIPLEY (1896-1969)Gobbler and Hen Turkey, c. 1950 signed "A. Lassell Ripley (c)" lower left and upper left watercolor, 25 by 21 in. Born in Wakefield, Massachusetts, Aiden Lassell Ripley was the son of a Boston Symphony Orchestra musician. From an early age he excelled at music, but he soon discovered a deeper interest in painting. By his mid-teens, Ripley was committed to a career in art, commuting into Boston to take classes. After returning from service in World War I, he attended the Boston Museum School where he studied with the country's top artists, including Philip Leslie Hale (1865-1934) and Frank W. Benson (1862-1951). Ripley was awarded a Paige Traveling Fellowship to study in Europe. While abroad, he painted watercolors "en plein air" in North Africa, France, and Holland. Upon his return in 1925, he was elected to the prestigious Guild of Boston Artists. His work focused on the New England countryside as well as depictions of city life and railroad commuting scenes. The Great Depression, however, limited the sales potential for these works. Following a successful one-man show of his sporting art in 1930, Ripley decided to change tack and specialize in hunting, fishing, and outdoor scenes as subjects. Along with his contemporary Ogden Pleissner (1905-1983), Ripley exemplified the life of a successful sporting artist. Collectors of Ripley’s sporting art endorsed his numerous trips to the salmon rivers of New Brunswick and the quail plantations of Georgia, where the artist indulged his passion for hunting and fishing while recording material he would use in his art. Provenance: The Sporting Gallery, New York, c. 1950s Private Collection, Arizona Private Collection, Florida, acquired from The Sporting Sale 2016, lot 61
• AIDEN LASSELL RIPLEY (1896-1969)Woodcock
  AIDEN LASSELL RIPLEY (1896-1969)Woodcock Cover signed "A. Lassell Ripley (c)" lower left watercolor, 19 1/2 by 29 in. signed and titled "Woodcock Cover" and "(c) A. Lassell Ripley" on back Guild of Boston Artists label on back Born in Wakefield, Massachusetts, Aiden Lassell Ripley was the son of a Boston Symphony Orchestra musician. From an early age he excelled at music, but he soon discovered a deeper interest in painting. By his mid-teens, Ripley was committed to a career in art, commuting into Boston to take classes. After returning from service in World War I, he attended the Boston Museum School where he studied with the country's top artists, including Philip Leslie Hale (1865-1934) and Frank W. Benson (1862-1951). Ripley was awarded a Paige Traveling Fellowship to study in Europe. While abroad, he painted watercolors "en plein air" in North Africa, France, and Holland. Upon his return in 1925, he was elected to the prestigious Guild of Boston Artists. His work focused on the New England countryside as well as depictions of city life and railroad commuting scenes. The Great Depression, however, limited the sales potential for these works. Following a successful one-man show of his sporting art in 1930, Ripley decided to change tack and specialize in hunting, fishing, and outdoor scenes as subjects. Along with his contemporary Ogden Pleissner (1905-1983), Ripley exemplified the life of a successful sporting artist. Collectors of Ripley’s sporting art endorsed his numerous trips to the salmon rivers of New Brunswick and the quail plantations of Georgia, where the artist indulged his passion for hunting and fishing while recording material he would use in his art. Provenance: John E. Lennon Collection Private Collection, Greenwich, Connecticut, acquired from Copley Fine Art Auctions, The Sporting Sale 2011, lot 105 Exhibited: Boston, Massachusetts, "Aiden Lassell Ripley Retrospective," Guild of Boston Artists, Sept. 10-28, 1996.
• A MEISSEN BUTTER TUB AND FLAT COVER
  A MEISSEN BUTTER TUB AND FLAT COVER circa 1738-40, painted in the Kakiemon palette and gilt with two cranes, trellis-work and loose flowering branches, with blue crossed swords to interior base, 12cm diameter Provenance: Collection H.E. Backer. Exhibited: Porcelain for Palaces no. 300. “The Dragon and the Quail” 2000, no. 67.
• A MEISSEN "KAKIEMON" SOUP PLATE painted
  A MEISSEN "KAKIEMON" SOUP PLATE painted marks circa 1740, painted in iron-red and gold with the Red Dragon pattern, the centre with two pheasants circling within a border of dragons and foliate scrolls, 25cm diameter Provenance: Bt. Christie’s Geneva, November 1986. The red marks on the base show that it was originally made for the Empress Elizabeth, Hermitage Collection, St. Petersburg. Exhibited: “The Dragon and the Quail” 2000, no. 78.
• A CHANTILLY CUP AND SAUCER circa 1740,
  A CHANTILLY CUP AND SAUCER circa 1740, of bucket shape, painted in the Kakiemon style with fan-shaped panels of flowering plants and red dragons, with red hunting horn marks, 13cm diameter Provenance: Bt. Melbury House Sale, Christie’s, 14th October 1996, lot 166. Exhibited: “The Dragon and the Quail” no. 79.
• A CHELSEA FLUTED CREAM JUG circa 1750,
  A CHELSEA FLUTED CREAM JUG circa 1750, of leaf shape, painted in the Kakiemon style, with a turquoise Shishi Qilin and with a tied bunch of iron-red flowers, with turquoise foliage and a moth, the handle a later metal replacement, 11.5cm wide overall Provenance: Bt. Christie’s, 11th March 1996, part lot 73. Tony Stevenson Collection. Exhibited: “The Dragon and the Quail”, 2000 no.88
• 3PC ANTIQUE MASON'S IRONSTONE BIRD PLATESA
  3PC ANTIQUE MASON'S IRONSTONE BIRD PLATESA set of 3 plates with elaborate printed brown borders adorned with birds in the center. Includes the Quail, the Mallard, and the Snipe. Mason's backstamps. Dimensions: 10.25"W x 0.75"H Manufacturer: Mason's Country of Origin: England Condition: Age related wear.
• WALTER MATIA (AMERICAN, B. 1953)Walter
  WALTER MATIA (AMERICAN, B. 1953)Walter Matia American, b. 1953 Pair of Quail Sconces Bronze, signed and dated, edition 5/48 & 6/48 Each patinated wall sconce holds a single candle. 13 x 13 x 7 1/2 in. (33 x 33 x 19.1 cm.) The Wallace Estate: Lee Renfrew Wallace and her husband Mahlon Brookings Wallace III lived an extremely happy and luxurious life filled with world travels, safaris, collecting, and philanthropy. From backgrounds in race-horse breeding and championship cattle ranching, the socialite couple paid homage to the St. Louis area community in a variety of ways. Mr. Wallace served as Director of Commerce Bank, President of the St. Louis Zoo Friends Board, and was charitable to numerous organizations he believed in. Behind every great man is a better woman, and his wife Lee was renowned for being the glue of the family while she warmly served as Director of Development for local educational institutions and made an impact with her lasting spirit. The couple’s art collection ranges in style and period and spans a broad price-point. Condition: Structurally sound and ready to go. Note on the sconce with the quail head that leans right as you view them, that long 'stick' off the beak of that quail has a sharp bur at the very tip, hardly worth mentioning, but it's there so it likely has been 'bumped' at some point. Otherwise the pair seems as the artist intended.
• GENE DIECKHONER, (B. 1940), "GAMBEL
  GENE DIECKHONER, (B. 1940), "GAMBEL QUAIL," AND "MOUNTAIN QUAIL, " 1978, INK ON PAPERGene Dieckhoner (b. 1940), "Gambel Quail, 1978 Ink on paper Signed in ink at the end of the quail's tail, at left: Dieckhoner; signed again, dated, titled, and inscribed on brown labels affixed to the frame's backing paper: © Gene Dieckhoner / Joshua Tree Nat'l Monument; signed indistinctly in ink on the frame's backing paper Sight: 12.875" H x 10" W "Mountain Quail," 1978 Ink on paper Signed in ink at the end of the quail's tail, at right: Dieckhoner; signed again, dated, titled, and inscribed on brown labels affixed to the frame's backing paper: © Gene Dieckhoner / Joshua Tree Nat'l Monument; signed indistinctly in ink on the frame's backing paper Sight: 11.375" H x 9.5" W 2 pieces
• (5) Pcs Franklin Mint Asian art, sterling
  (5) Pcs Franklin Mint Asian art, sterling silver & 24Kt gold on burnished copper, c/o "The Quail of the Golden Maple by Zhang Shou-Cheng (7-1/4" x 4-1/8" sight, 14-3/4" x 8-3/4" overall), (4) by Moriyuki Katsura Chokin, "The Peacock of a Thousand Suns", "The Brambling of Future Happiness", "The Crane of the Thousand Moons", "The Pheasant of Celestial Beauty" (5-3/8" x 4" sight, 11" x 9-1/2" overall)
• A Lalique Owl Ornament and Quail Ornament
  A Lalique Owl Ornament and Quail Ornament The molded crystal figurines ar finished in a combination of frosted and clear the owl measuring apprx. 3-1/4"H with the original label and engraved "Lalique France" on the underside; the quail apprx. 2-1/2"H and also engraved "Lalique France" on the underside.
• A CHINESE PORCELAIN HEXAGONAL TEA BOWL
  A CHINESE PORCELAIN HEXAGONAL TEA BOWL AND STAND
  painted in underglaze blue with storks before a net patterned ground, the 'cracked ice' border of petals, saucer 13cm w, 18th c and a Batavian ware saucer, enamelled in Europe with a version of the Quail pattern, dealer's label, Qianlong (3)
  Provenance: (saucer) Stockspring Antiques, London.
  
• A DERBY TEA CUP AND SAUCER enamelled
  A DERBY TEA CUP AND SAUCER
  enamelled in Kakiemon style with the Quail pattern, saucer 14.5cm diam, red printed mark, a Derby coffee cup in an Etruscan red set pattern, a Derby custard cup and similar French pot à jus, with polychrome sprigs and gilt, and a Derby fluted oval yellow ground cream jug, pattern 508, c1800-25 (6)