A few examples of appraisal values for
LADIS

• LADISLAUS BAKALOWICZ, LARGE OIL
  LADISLAUS BAKALOWICZ, LARGE OIL ON CANVAS Ladislaus Wladyslaw Bakalowicz (Polish, 1833-1903), Untitled (Court Scene), signed "Bakalowicz, Paris" lower left, 29"h x 42"w (canvas), 35"h x 47" (frame)
• IMPERIAL RUSSIAN .875 SILVER TEA
  IMPERIAL RUSSIAN .875 SILVER TEA GLASS HOLDERImperial Russian .875 Silver Tea Glass Holder, Sergei Agafonov, act. Moscow 1870-1897, 1894 assay mark, possibly Aleksandr Alekseyevich Smirnov or Aleksandr Vladislavovich Skovronsky, 84 zolotnik mark, gilt wash interior, h. 3 7/8 in., w. 4 1/2 in., wt. 4.95 troy ozs.
• Eight various books, 20th and
  Eight various books, 20th and 21st century, mainly on art, c/o The Land of Truth & Phantasy by R. A. McLellan (2005; signed by the author on the half-title); A Selection of American Interiors 1640-1840 in The Henry Francis DuPont Winterthur Museum by Downs and Winchester (New York, 1951); The Palace Museum: Peking by Wan-Go Weng and Yang Boda; A Treasury of American Prints by Thomas Craven (ed.) (New York, 1939; spiral-bound); The Unknown Leonardo by Ladislao Reti (ed.); Modern American Painting by Peyton Boswell, Jr. (New York, 1940); The Century of the Impressionists by Raymond Cogniat; and The World of Currier & Ives by King and Davis (1968; oversize).
• VLADISLAV TATARINOV (RUSSIAN, B.
  VLADISLAV TATARINOV (RUSSIAN, B. 1974) 12" x 15?" "North Village". Oil on canvas, monogramed lower right, titled with label to verso, in decorative wood frame, 17¾" x 21½" overall.
• A RUSSIAN .84 SILVER OKLAD ICON
  A RUSSIAN .84 SILVER OKLAD ICON OF ST. VLADISLAVA A Russian .84 silver oklad icon of St. Vladislava, 4.25"h x 3.5"w x .5d
• ELMER LADISLAW NOVOTNY (AMERICAN,
  ELMER LADISLAW NOVOTNY (AMERICAN, 1909-1997) LANDSCAPE ...Gouache on illustration board 18 in. h. x 23.75 in. w. Matted and framed
• STEPAN-WLADISLAWOWITSCH
  STEPAN-WLADISLAWOWITSCH BAKALOWICZ (RUSSIAN 1857-1947) ...STEPAN-WLADISLAWOWITSCH BAKALOWICZ (Russian 1857-1947) A DRAWING, "Various Figures," LATE 19TH CENTURY, pencil on paper; 4 3/4'' x 7 1/2'', framed 13 1/4'' x 15 3/4''. Condition: There is mottled foxing throughout. The sheet is tapped down to an archival backing. Simpson Galleries strongly encourages in-person inspection of items by the bidder. Statements by Simpson Galleries regarding the condition of objects are for guidance only and should not be relied upon as statements of fact and do not constitute a representation, warranty, or assumption of liability by Simpson Galleries. All lots offered are sold "AS IS."
• SPANISH COLONIAL SCHOOL
  SPANISH COLONIAL SCHOOL RETABLO(Mexico, 19th century) Virgin of Guadalupe and Ladislado Moreno ex voto , 1892, with text panel, oil on tin, with punched relief nicho frame, 22-1/2 x 14 2 in. Provenance: Ex-Moore Collection, Denver, Colorado; Artemis Gallery, May 18, 2017, lot 98A; Private Collection, Colorado Condition: surface dirt, flaking, losses commensurate with age, dents, holes
• LADISLAS KARDOS, TOWN ON A
  LADISLAS KARDOS, TOWN ON A HILLSIDE, O/CLadislas Kardos, Hungarian,1909-2007, "Town on a Hillside", O/C. Exhibition: Artist has exhibited in January-February of 2002 at the Simon Fraser Gallery in British Colombia, Painting is accompanied by a letter from the Confederation Centre stating that the painting was selected for use in 1964 for the Board Room Executive Suite viewed by the Queen of England during her visit. (CYAR2653)(MM) Dimensions: 26 x 31, framed 31 1/2 x 36 1/2 Condition: Some dust and craquelure in areas
• LADISLAS KARDOS, CITY IN CLOUDS,
  LADISLAS KARDOS, CITY IN CLOUDS, O/CLadislas Kardos,Hungarian,1909-2007, "Vancouver 1966 City in Clouds", O/C. Exhibition: Artist has exhibited in January-February of 2002 at the Simon Fraser Gallery in British Colombia (CYAR2654)(MM) Dimensions: 16 x 30, framed 17 1/2 x31 Condition: Very good, no losses some rabbet rubbing in areas
• PORTRAIT OF A FEMALE DIGNITARY
  PORTRAIT OF A FEMALE DIGNITARY (CONTINENTAL SCHOOL, EAR...PORTRAIT OF A FEMALE DIGNITARY (CONTINENTAL SCHOOL, EARLY 17TH CENTURY) CIRCLE OF FRANS POURBUS THE YOUNGER Oil on canvas, unsigned. Dated 1615 when the sitter was 28 years old, as indicated by the Latin inscription, the coats of arms probably those of Halsingland, Sweden. The subject in red dress with white collar meticulously adorned with lace; her right hand held to her chest holding a small pink carnation, a beribboned rosary spilling over a bible stationed at her right side, her left hand holding her gloves down at her side. Fine gold jewelry adorns her hands and a large, jeweled pendant hangs at her chest. The later ebonized, gothic style frame with the gilded date 1628 (probably a misinterpretation of the Roman numeral 28). The sitter bearing resemblance to Constance of Austria who gave birth in January of 1616. Constance was a daughter of Charles II of Austria and Maria Anna of Bavaria. Her paternal grandparents were Ferdinand I, Holy Roman Emperor and Anna of Bohemia and Hungary (1503–1547). Anne was the only daughter of King Vladislaus II of Bohemia and Hungary and his wife Anne de Foix. Her maternal grandparents were Albert V, Duke of Bavaria and Anne Habsburg of Austria. Constance was also a younger sister of Ferdinand II, Holy Roman Emperor, Margaret of Austria, Leopold V of Austria and Anna of Austria. Her older sister Anna was the first wife of King Sigismund III Vasa, King of Sweden and Poland. After her sisters death Constance and Sigismund were married on December 11, 1605. The final photo of the lot is a documented portrait painting of a young teenage Constance by Frans Pourbus the Younger. The pose, articles, and clothing bear a close resemblance. Stretcher: 46 x 34 1/4 in. (116.8 x 87 cm.), frame: 56 1/4 x 43 3/4 in. (142.9 x 111.1 cm.)
• L. RATH BERGER. TWO STILL LIFES
  L. RATH BERGER. TWO STILL LIFES FRUIT AND BOWLS, OILS Ladislaus Rath Berger (Hungarian, b. 1947). Oils on board, each signed "R. Berger"ll, sight size each: 4 1/2 x 5 1/2 in., both framed.
• L. RATH BERGER. TWO FRUIT STILL
  L. RATH BERGER. TWO FRUIT STILL LIFES, OIL Ladislaus Rath Berger (Hungarian, b. 1947). Oils on board, both signed "R. Berger" lr, sight size each: 4 1/2 x 5 1/2 in., both framed.
• CZECH SCHOOL (20TH CENTURY) VIEW OF
  CZECH SCHOOL (20TH CENTURY) VIEW OF PRAGUE, SIGNED VORECHOCSKY Oil on canvas, 1969, signed at lower right, possibly by Ladislav Vorechovsky (b. 1914), unframed.
• SEVEN KIEV (UKRAINE) EXPERIMENTAL
  SEVEN KIEV (UKRAINE) EXPERIMENTAL ART CERAMIC FACTORY FIGURAL GROUPSSEVEN KIEV (UKRAINE) EXPERIMENTAL ART CERAMIC FACTORY FIGURAL GROUPS, the first, with blue printed K mark, designed by Oksana Zhnikrup, modeled as a couple from Hans Christian Andersen 'The Shepherdess and the Chimney Sweep', holding hands and seated on a chimney top, h: 12.75 in.; the second 'The Fortune-Telling', with printed blue K mark, modeled as a maiden wearing a hat having her fortune told, h: 10 in.; a figure of the folk hero Sadkom, printed red K mark and impressed 100, depicting the Novgorod merchant standing on a coral ledge playing a harp for the Sea Tsar, h: 13 in.; a pair of Cossacks, blue K mark under base, the figures dressed in peasant clothing, h: 11 in.; and a pair of peasant figures, both modeled by Vladislav Ivanovich Shcerbina, both wearing regional dress, after the contentious pair from Ukrainian opera 'Zaporozhets beyond the Danube River, red marks under base, h: 10 and 9.75 in.; the last piece of the group, a seated model of a young maiden embroidering a cloth, blue mark under base, h: 8.25 in. (7) Literature: Oksana Zhnikrup (1931-1993) studied sculpture at the Baranovsky Porcelain Factory (1952-1954) and at the Kiev Experimental Art Ceramics Factory (1955-1987). Recently, her work has been revisited by Jeff Koons. He has licensed her work from the Kiev Manufactory, and it is the basis of his 'Ballerina' series.
• STEUBEN GLASS "CAROUSEL OF THE
  STEUBEN GLASS "CAROUSEL OF THE SEASONS"Steuben Glass "Carousel of the Seasons" , designed by Paul Schultze and Frank Eliscu in 1966, engraved by Ladislav Havlik, # 14 in an edition of 20, from the Artist's Exhibition Series, cast, cut and engraved, h. 12 in., dia. 4 in ., with original leather-bound folder. Provenance: Steuben, NY 1979; Collection of Dr. Isidore Cohn, Jr. (1921-2015), New Orleans. Exh.: Crystal Clear: Steuben Glass from the Collection of Marianne and Isidore Cohn, Jr., New Orleans Museum of Art, Nov. 2004 – Jan 2005; Ill.: Keefe, John Webster. Crystal Clear: Steuben Glass from the Collection of Marianne and Isidore Cohn, Jr. exhibition catalogue, pl. 116, p. 74.
• TIN LITHOGRAPH WINDUP LADIS
  TIN LITHOGRAPH WINDUP LADIS FLYING CUPIDTin lithograph windup Ladis Flying Cupid , in the original box, with printed cardboard wings and a carboard propeller, 9" l. Competitive in-house shipping is available for this lot. Condition: Box with some wear and tear, currently works although movement does slip, minor wear.
• WLADISLAW POPIELARCZYK, (POLISH
  WLADISLAW POPIELARCZYK, (POLISH 1925-1987), UNTITLED, MIXED MEDIA ON PAPER, SIGNED L.R., FRAME: 25 X 19 IN. (63.5 X 48.3 CM.)Wladislaw Popielarczyk, (Polish, 1925-1987) Untitled, Mixed media on paper, signed l.r. Mixed media on paper, signed l.r. Dimensions: Frame: 25 x 19 in. (63.5 x 48.3 cm.)
• JACOB WIBERG RUSSIAN SILVER
  JACOB WIBERG RUSSIAN SILVER CENTERPIECE, 1838 Jacob Wiberg (Moscow, first half 19th century) Russian silver centerpiece, 1838, possibly intended as an equestrian trophy, the top and base marked in Latin characters "WIBERG" "84" and "1839" and indistinct Moscow city mark, the base additionally marked with the Cyrillic assay master's mark "N.D. / 1839" for Nikolai Dubrovin, Moscow, an additional weighted gadrooned element engraved with later Polish Inscription dated 8 October 1946. Weight: 75.10 ozt.; 16.25" x 16.5" W x 12.5" D. Provenance: Property from an Upper East Side townhouse. Note: This Russian silver Nicholas I period centerpiece or equestrian trophy appears to have made its way to Poland either before or after the Revolution, and an additional silver piece (weighted) was added with a Polish dedication inscription to one Wladislav Laciewski, and dated 8 September 1946.
• HUNGARY 1 DINAR WLADISLAW II
  HUNGARY 1 DINAR WLADISLAW II 1490-1502 XF/AU Silver, 10 grains, 15.3mm Obverse has 4-fold arms with eagle in central shield, reverse has Madonna and child in between KH mintmarks. XF/AU with original attractive patina. Reverse has PATRONA • • VNGARIE, Madonna seated facing, crowned, infant Jesus in her right arm, K - H privy or mint mark.
• KNOLL & DRAKE MID CENTURY MODERN
  KNOLL & DRAKE MID CENTURY MODERN MCM DESK, C.1955. 28 1/2"H X 47 3/4"W X 23 3/4"DKnoll & Drake Mid Century Modern MCM desk, c.1955., Designed by Ladislav Rado. White formica top, wood drawers, and metal frame 4 drawer desk with unique leather and brass drawer pulls. Some separation of drawer fronts from drawers. Dimensions: 28 1/2"H x 47 3/4"W x 23 3/4"D
• PRINT, AFTER ABRAHAM BOSSE After
  PRINT, AFTER ABRAHAM BOSSE After Abraham Bosse (French, 1602-1676), "Ceremony of the Contract of Marriage between Vladislas IV, King of Poland, and Louise Marie of Gonzaga, Princess of Mantua, at Fontainbleau" (1645), engraving, collector stamp lower center, overall (with frame): 16"h x 18"w
• G. KLINGERT RUSSIAN SILVER GILT
  G. KLINGERT RUSSIAN SILVER GILT ENAMEL SALT THRONE Russian Silver Gilt and cloissonne enamel salt throne, with hallmarks for Gustav Klingert (German - Russian, 1865 - 1916), Moscow, and the mark of assay master Aleksandr Vladislavovich Skovronsky, dated 1896, and with garniture mark, struck to base and underside of lid, of typical form with red, white, navy and turquoise enamel. 4.5" H x 3.25" W x 3.35" D. Weight: 8.6 ozt.
• 20TH C. GREEK ORTHODOX ICON BY
  20TH C. GREEK ORTHODOX ICON BY MADONNA BUMBARGER "Christ Pulling Adam and Eve from Hell", egg tempera with gold halo, on wood panel, using authentic techniques, 16 3/4" x 13". Very good condition. Bumbarger is one the artisans of the Philadelphia branch of the Prosopan School of Iconology. Founded in the 1980s by master iconographer and Russian emigre Vladislav Andrejev, the Proposon School has introduced the spirituality and discipline of making traditional icons to thousands of students. The process using egg tempera and gold leaf on wood panels is taught alongside the symbolic and theological meaning.
• Wladislaw Karol Szerner (1870-1936)
  Wladislaw Karol Szerner (1870-1936) Polish COSSACK HORSEMEN MEETING ON ROUTE Oil on canvas; signed lower right 17" (height) 43.2cm (height) 14" (width) 35.6cm (width)
• Ladislaus Bakalowicz ''The
  Ladislaus Bakalowicz ''The Necklace'' oil paintingon panel. Site: 11''H x 7.5''W; Frame: 15.5''H x 12''W. Signed lower right ''Bakalowicz.'' Ladislaus Bakalowicz (Polish 1833-1904) was best known for his intricate interior scenes.
• LADISLAV HLAVKA OIL ON CANVAS
  LADISLAV HLAVKA OIL ON CANVAS (Czech born 1899) Rural landscape with barn in the foreground and village in the background. Image measures 18'' x 30'' signed ''L. Hlavka'' lower right dated (19)43. Unframed.
• BAKALOWICZ Ladislaus (Polish
  BAKALOWICZ Ladislaus (Polish 1833-1904): ''Waiting for the Return'' A Young Beauty Waiting by the Window Oil/Wood Panel 8 3/8'' x 6 3/8'' unframed.CONDITION: Mild cracklure in upper portion several hair line cracks to wood in upper right corner with minor paint loss.
• WLADISLAW CHMIELINSKI
  WLADISLAW CHMIELINSKI (1911-1979): OLD TOWN SQUARE IN WARSAW Watercolor on paper 9 1/4 x 13 1/8 in. (sight) signed lower right.
• Wladislaw Karol Szerner
  Wladislaw Karol Szerner (1870-1936 Polish) Cossacks on a Lookout with Horses
• Wladislaw Karol Szerner
  Wladislaw Karol Szerner (1870-1936 Polish) The Charge A Cossack on Horseback
• Elmer Ladislaw Novotny (American
  Elmer Ladislaw Novotny (American 1909-1997) "Indian Girl with Pet Goat" (Tara Humara Tribe). Acrylic on board signed in the lower left corner the sight size apprx. 10-1/2" x 6-1/4" framed with a linen mat gilt fillet and gilt top oak frame overall apprx. 16" x 11-1/2".
• Elmer Ladislaw Novotny (American,
  Elmer Ladislaw Novotny (American, 1909-1997) "Tavira, Portugal". Oil on masonite, approx. 9-1/2" x 11-1/2", signed at the lower left corner, framed in a silver finish frame with a linen liner overall approx. 12-3/8" x 14-1/2".
• Vladislava Jankovic painting
  Vladislava Jankovic painting (Russian, or Czechoslovakian, 20th century), still life with vase of irises and a book, signed lower right in Cyrillic, oil on canvas, label with painting " Vladislava Jankovic Pancova Lele - Ribara 46" , 33-3/8 x 23-1/8 in.; painted silver frame. Good condition; frame with abrasions.
• Painting, follower of Czachorski,
  Painting, follower of Czachorski, "The Fortune Teller", young woman and cavalier seated at a rug and lace strewn table, bears signature lower right "Ladislau Von Czachorski", follower of Ladislaus Von Czachorski, Polish, 1850-1911, oil on canvas, 24 x 36-1/4 in.; gilt wood and composition French style frame. Lined with wax and linen, crackle, retouch throughout including all hands, his face and lower extremities, fireplace, at signature, bottom edge, approximately 10 percent of surface affected; frame with losses to composition, abrasions. Private Collection.
• Harriet Manigault archive,
  Harriet Manigault archive, miniatures: (Harriet Manigault Wilcocks, Philadelphia, Pennsylvania, 1793-1835), The Manigault name is among the most prominent in South Carolina and specifically Charleston history, society, politics and business. At his death in 1781, Gabriel Manigault I was listed as one of the three richest men in the country, having established his wealth through investments in rice plantations and slaves. Gabriel Manigault’s grandson and namesake continued developing the family’s wealth and interests after his father Peter’s death in 1773. It was Gabriel Manigault II (1758-1809) and his wife Margaret Izard, daughter of Ralph Izard, that decided to leave the heat of Charleston and relocate to the Philadelphia, Pennsylvania, area. He purchased the then famous house “China Retreat”, renamed Clifton, and moved his family permanently so as to facilitate their social, business and health needs. Their fifth child, Henrietta, or Harriet, Manigault (1793-1835) grew into womanhood at “Clifton” enjoying the social season there and in Charleston, South Carolina. She sketched profiles of her close friends and family. Found in a drawer, this important intact archive of miniature portraits is a rare collection from one of the South’s most important families; accompanied by a copy of Manigault, The Diary of Harriet Manigault 1813-1816 , The Colonial Dames of America, Chapter II, 1976, with material compiled by Virginia and James S. Armentrout, Jr.; correspondence with James Armentrout, material relating to the Lemon Hill Exhibition; correspondence with Martha Severens, Gibbes Art Museum, Charleston, South Carolina; receipts and correspondence with The Baltimore Museum of Art; receipts and correspondence with the Henry Francis du Pont Winterthur Museum libraries; notebook of photos of original sketchbook and other research material. Detail A – Benjamin Trott miniature portrait, Harriet Manigault (Mrs. Samuel Wilcocks, 1793-1835, daughter of Gabriel Manigault and Margaret Izard) in a wedding dress, circa 1816, unsigned, attributed to Benjamin Trott, Philadelphia, Pennsylvania, 1770-1842, watercolor on ivory, label verso with sitter’s name, rectangular 3-1/4 x 2-5/8 in.; 19th century oval gilt brass frame with velvet liner, frame label verso for "Earles Galleries, Philadelphia". Water damage at bottom left corner, backed (laid down) on aluminum panel, two splits (one through center full length), restoration by Geoffrey Michael Lemmer, Senior Conservator, The Baltimore Museum of Art, March 5, 1975 (accompanied by receipt); frame with wear, liner faded and worn. Detail B – Harriet Manigault watercolor (Harriet Manigault Wilcocks, Philadelphia, Pennsylvania, 1793-1835), "China Retreat" or "Clifton", a rear view, signed lower left "Harriet" and inscribed in pencil "Copied from a view taken by Tom Middleton", watercolor and ink on paper, inscriptions verso backing paper by consignor, image 2-3/8 x 3-5/8 in., page 4 x 5-1/2 in.; 20th century painted and gilt wood frame. Minor light toning and foxing, some handling grime, taped to verso of mat at four corners with cellophane tape; frame with abrasions. China Retreat was built in 1796 by Andreas Van Braam (Dutch/American, 1739-1801) who represented Holland as Ambassador to China in 1790. Van Braam’s eccentric lifestyle forced him to sell China Retreat, in 1807. It was purchased by Gabriel Manigault. Detail C – Harriet Manigault miniature portrait (Harriet Manigault Wilcocks, Philadelphia, Pennsylvania, 1793-1835), profile portrait of "Mrs. McEwen 1817" (Nancy Izard, daughter of Ralph Izard, Jr., Harriet’s first cousin who married Dr. Thomas McEwen), watercolor over pencil, 2-1/4 in. diameter; oval gilt brass frame. Water stain; frame with corrosion and abrasions. Detail D – Harriet Manigault miniature portrait (Harriet Manigault Wilcocks, Philadelphia, Pennsylvania, 1793-1835), profile portrait of Mrs. Alfred Swift nee Mease, circa 1815-1817, watercolor over pencil on paper laid on copper foil and laid on pastel-finished paper, inscsribed verso backing "Mrs. Alfred Swift/nee Mease/painted by Mrs. Wilcocks/about 1820/owned by D...Mitchell crossed out John R. Mitchell", oval image 3-1/8 x 2-3/8 in., page 6-1/8 x 4-1/2 in.; possibly original 19th century gilt wood frame. Minor light toning; frame with abrasions, old wallpaper remnants verso. Detail E – Harriet Manigault miniature portrait (Harriet Manigault Wilcocks, Philadelphia, Pennsylvania, 1793-1835), profile portrait of Mrs. John Butler nee Morris, circa 1815-1817, watercolor over pencil on paper laid on copper foil and laid on pastel-finished paper, inscription verso backing "Mrs. John Butler Nee/Morris, painted by/Mrs. Wilcocks about 1820/owned by ... Mitchell crossed out John R. Mitchell", newer backing states "(Actually painted by Harriet Manigault some time between 1813-1817. Miss Morris was Harriet’s oldest sister.../Elizabeth, Miss Morris became Mrs. Butler in 1827", oval image 3-1/8 x 2-3/8 in., page 6-1/8 x 4-1/2 in.; possibly original gilt wood frame. Foxing, minor light toning; frame with abrasions, old wallpaper remnants verso. Detail F – Miniature portrait, attributed to Walter Robertson (Irish/American, 1750-1801), half portrait of Ralph Izard, Sr. (Charleston, South Carolina, 1742-1804), grandfather of Harriet Manigault Wilcocks, Philadelphia, Pennsylvania, 1793-1835, letter dated July 11, 1984, from Martha Severens, Curator, The Gibbes Museum of Art, states "I think the attribution to Walter Robertson is a sensible one as it resembles the work of Gilbert Stuart...", watercolor on ivory, 2-1/2 x 2 in.; gilt brass oval frame, verso with original foil and window surrounded with seed pearls over woven hair. Restoration to cracks in ivory with related retouch mostly in background, coat and limited in face, restoration completed by Geoffrey Michael Lemmer, Senior Conservator, The Baltimore Museum of Art, 1976 (accompanied by copy of estimate); frame a 19th century replacement with corrosion and wear. Detail G – Harriet Manigault’s sketchbook (Harriet Manigault Wilcocks, Philadelphia, Pennsylvania, 1793-1835), 71 laid paper pages with 14 pencil profile portraits including "Mrs. Manigault" (Harriet’s mother), "Mr. Harry Manigault" (Harriet’s brother), "Miss Mease" (Harriet’s friend), others not titled but likely her sisters, brothers and friends, one of her Aunt Izard, and in various states of completion, with ten loose sketches, five engravings, one calling card for the "Comtesse Ladislas de Diesbach nee Sanchis", colourman label on front of sketchbook for "Kimber & Conrad...Philadelphia..." and inscribed "Henrietta Manigault", 7-7/8 x 6-1/2 in.; detailed listing available. Wear to binding, inscribed on edge "C. Manigault", some toning and light foxing. Collection of a Gentleman