AUCTION January 29-30, 2011 by New Orleans Auction Galleries, Inc.

2011 Auction Schedule: January 29-30 March 26-27 May 21-22 July 16-17 September 17-18 November 12-13

2011 Auction Schedule: January 22-23 April 2-3 June 4-5 July 30-31 September 24-25 November 19-20

Cover: Lot 829 - George Bauer Dunbar (American/Louisiana, b. 1927) “Coin du Lestin”, 2007, palladium and gold leaf over red and gray clay, signed, 60” x 48”

801 Magazine Street at 510 Julia New Orleans, Louisiana 70130 (800) 501-0277 • (504) 566-1849 Fax (504) 566-1851

Website: www.neworleansauction.com E-mail: info@neworleansauction.com La. Lic. Vidos #1015

– AUCTION – Saturday, January 29, 2011 – 10:00 a.m. Lots 1-544 Sunday, January 30, 2011 – 11:00 a.m. Lots 545-996

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Two-Week Exhibition Begins Saturday, January 15 Through Friday, January 28 (Excluding Sundays) 9:00 a.m. to 5:00 p.m.

Late-Evening Preview Thursday, January 27, 2011 5:30 p.m. to 8:00 p.m.

Featuring Property From: The Estate of James W. Newton San Antonio, Texas A Houston, Texas Collector A New Orleans French Quarter Collector Important Artwork from a Private Hattiesburg, Mississippi Collection And Property from Numerous Southern Estates and Private Collections

San Antonio, Texas, another place which beguiled him. It was a military stint that first took him to Spain, beginning his life-long love of its people, architecture and art. After the service, he returned to Madrid to work and study developing an interest in Moorish art and architecture. Later, after deciding to make San Antonio his home, he embarked on a long career in interior design. It wasnâ&#x20AC;&#x2122;t just a career to him; it was his love and passion. His work can be seen in many homes throughout Texas, Montana, this and other countries. Jim was a great collector of art, especially Spanish pieces. He favored the 15th century of Isabella of Castille, but did not limit himself; his lifelong collection comprises art and architecture of England and Europe from the 8th through the 18th centuries. New Orleans Auction Galleries is proud to present items from the estate of James Wesley Newton, well-known interior designer, art collector and connoisseur. Jim was born in Roundup, Montana on March 24,1929, and spent his early years on ranches in Wyoming and Montana with his parents, Wes and Audrey Newton, and his sister, Huetta. Even as a small child, Jimâ&#x20AC;&#x2122;s love of colors, textures and design became apparent. While his sister loved working the ranch with their father, Jim from the time he could hold a pencil, was usually found in the house painting, drawing and building. Jim graduated from Platte Valley High School in Saratoga, Wyoming in 1947. He attended University of Montana in Missoula, where he worked summers for the forest service in the forest fire lookout towers. He loved this work in the beautiful mountains of Montana. He completed his studies in art history at Montana State University in Bozeman, and afterwards joined the Army. He was stationed at the time at Sheppard Air Force Base in

Jim divided his time between San Antonio and the family homestead in Montana. He was involved with San Antonioâ&#x20AC;&#x2122;s Southwest Arts & Craft Center, McNay Museum and Witte Museum. He died in San Antonio on May 31, 2008. He will be remembered among his community, clients, family and friends as a true bon vivant.

Session I

Saturday, January 29, 2011

10:00 a.m. (Lots 1-544)

3 Victorian Rosewood Gondola Chair, third quarter 19th century, the domed, tufted and padded back within a molded frame, joined to the padded seat by downswept sides, raised on shaped and molded legs ending in casters, h. 31‑1/2”. [800/1200] Illustrated

1 British School (Fourth Quarter 19th Century) “Wooded River Landscape with Aqueduct”, oil on canvas, signed lower left “D. Laurence”, 24” x 20”. Framed. [200/400] 2 British School (Late 19th Century) “Classic Dawn”, watercolor on paper, signed and dated in pencil on the mount lower left “Wm Underdown Sep 1898”, titled on the mount lower center, sheet 12” x 18‑1/2”. Glazed, handsomely matted and framed. [150/300]

7 4 Pair of Victorian Mahogany and Upholstered Slipper Chairs, late 19th century, each with a domed and padded back above the padded seat, raised above a foliate-carved apron on cabriole legs ending in ball-and-claw feet, h. 39”. [400/700]

8 top

5 Collection of Three AngloAmerican Oval Portrait Miniatures, first quarter 20th century, including a portrait of a handsome blue-eyed young man in a gray suit, signed lower right “J. L. Houghton”, presented in a chased giltbrass pendant frame and glazed, 3‑1/2” x 2‑1/2”; a portrait of a young clergyman, signed lower right “Ritchie”, presented in a rose-gilt brass pendant frame, 3‑1/2” x 2‑1/2”; and a smaller portrait of a young matron wearing a gold locket and a white lace frock, presented in a gilt-brass frame, 3” x 2‑1/4”. [250/400]

6 English Cast-Iron Footstool, fourth quarter 19th century, the cast-iron legs designed with leonine masks at the knees and paw feet, the padded seat upholstered in period cut velvet in a damascene pattern, h. 7”, w. 8‑1/2”, l. 12”. [125/250] 7 John Fitz Marshall (British, 1859‑1932) “Woodland Interior with Terriers Hunting Hare”, oil on canvas laid down on board, signed lower left “J. Fitz Marshall”, 24” x 16”. Handsomely framed. [1500/2500] Illustrated 8 Victorian Ebonized and Polychromed Tripod Table, mid‑19th century, the metallic circular top featuring a scene of spectators viewing the Crystal Palace across the river, raised on a turned baluster-form standard to three splayed scrolling legs, h. 20”, dia. 28”. [3500/5000] Illustrated

11 9 Pair of Colored Lithographs, Oxford Smith and Company, St. Albans, England for the proprietors of The Illustrated London News of “Her Majesty’s Glorious Jubilee”, one showing Coronation scenes, the other Parliament interiors, sight 15” x 11”, both with multiple portraits of notables in the margins, the notables of the borders and the double center scenes fully identified on the reverses of the frames. Handsomely presented in giltwood fillets, scarlet-bordered and gilt-edged black mats within cordovan lacquered mahogany frames and glazed. [300/500]

10 Rare Cased Six-Piece Shibayama-Decorated Ivory Lady’s Dressing Set, fourth quarter 19th century, by Halstaff and Hannaford, London, in the Japanese taste, the compartmented velvet-lined case fitted for a hand mirror, a pair of oval long-handled hair brushes, a glove stretcher and a pair of elliptical clothes brushes, all in floral and avian decor in gold enamel, carved and engraved mother-of-pearl, abalone shell and tinted bone, the case also fitted with a bracelet compartment and a pair of jewel compartments beneath the implements, h. 3‑1/2”, w. 14‑1/4”, d. 8”. [1400/1800] Illustrated 11 Victorian Rosewood Cabinet, fourth quarter 19th century, the egg-and-dart-molded cornice with projecting corners above a conforming case fitted with two long doors, each inset with two panels, flanked to either side by two freestanding Corinthian columns over a carved maiden, raised on a plinth base, h. 75‑1/2”, w. 48”, d. 25”. [600/900] Illustrated

12 Edwardian Brass and Gilt-Metal Music Stand, ca. 1900, the revolving rack of lyre form, raised on a tubular standard to a quatre-form palmetto and patera modeled base to up-scrolled toes, h. 44”, w. 13‑1/2”. [300/500]

15 Attractive Edwardian Polychromed Satinwood Corner Cupboard, first quarter 20th century, in the style of Robert Adam (English, 1728‑1792), the mullions of the glazed upper doors arranged as two-handled covered Antique vases, the interior lined in ivory silk moire and fitted with a pair of shelves, the base with two doors, each painted with a different neoclassical Muse, h. 82”, w. 36”, d. 18”. [3500/5000] Illustrated

13 Pair of Edwardian Satinwood Occasional Tables, ca. 1900, each with an octagonal top with polychromed floral border surrounding a portrait medallion of a young maiden, above a conforming frieze with a polychromed garland, raised on delicate tapering square legs joined by an X-form stretcher, h. 28”, dia. 12‑1/2”. [1400/1800] Illustrated previous page 14 British School (Early 20th Century) “View of a Coastal Town with Boats Approaching a Lighthouse”, oil on canvas, signed lower left “Moody”, 20” x 24”. Presented in a handsome period annulated giltwood frame. [1200/1800]

16 English Mahogany Display Stand, early 20th century, of graduated square form, fitted with four shelves, all supported by square supports terminating in spade feet, h. 55‑1/2”, w. 17”, d. 17”. [400/700]

17 Edwardian Satinwood Bonheur du Jour, ca. 1900, the superstructure with a three-quarter scalloped galleried top above an open space and three small drawers, the rectangular top with double banding above a conforming frieze fitted with a single long drawer, the drawer centered by a polychromed patera with floral sprays, raised on slender, tapering square legs with inlaid bellflower accents, h. 50”, w. 30”, d. 19‑1/2”. [1000/1500] Illustrated 18 Edwardian-Style Mahogany and Satinwood Library Table, mid‑20th century, the rectangular top with an inset leather writing surface and four projecting turreted corners, above a conforming frieze fitted with three drawers to each side, all banded, raised on tapering circular legs ending in brass caps and casters, the interior of the central drawer bearing the label “Wayne Pratt & Co. Custom Furniture Woodbury CT/Nantucket, MA”, h. 30”, w. 66”, d. 42”. [900/1200] Illustrated

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19 Edwardian Satinwood Armchair, ca. 1900, the domed crest above a vasiform splat, painted in the manner of Angelica Kauffmann (Swiss, 1741‑1807) to represent a vase of flowers, joined by high downswept arms to the caned seat, raised on paneled tapering square legs headed by a polychromed musical medallion and ending in toupie feet, h. 36”. [800/1200] Illustrated 20 Edwardian Satinwood Occasional Table, ca. 1900, the oval top with a polychromed floral garland band centering a floral basket issuing garlands, above a conforming likedecorated frieze, joined to a concave lower shelf by slender tapering square legs ending in splayed feet, h. 28”, w. 20”, d. 12‑1/2”. [400/700]

21 Murray J. MacDonald (Scottish, fl. 1887‑1914) “The Pier and Breakwater, Aberdow”, 1899, watercolor and gouache on artist’s board, signed and dated lower left “Murray MacDonald 1899”, titled, dated, signed and inscribed on board verso “To Mrs. J. Baird McNab, with the artist’s compliments, October 1902”, 6‑3/8” x 12‑1/2”. Glazed and presented in a period giltwood frame. [600/900] Illustrated

22 Edwardian Mahogany Occasional Table, ca. 1900, the shaped rectangular top centered by a polychromed lyre medallion and a floral band, all in the Adam taste, joined by square supports to a like-shaped shelf, raised on tapering square legs, h. 28‑1/4”, w. 20‑1/4”, d. 14”. [150/300]

23 Edwardian Mahogany Cheval Mirror, ca. 1900, the broken swan’s-neck crest centered by a brass ball finial with side urn-form accents, the long beveled rectangular plate supported by bellflower-inlaid uprights to line-inlaid splayed legs ending in brass paws on casters, h. 76”, w. 31”. [700/1000] Illustrated

24 extended

26 English Mahogany “Spiral Staircase” Floor Lamp, raised on an octagonal base and fitted with an embossed brown leather lampshade, h. 67”. [3000/5000] Illustrated

24 Edwardian Mahogany Invalid’s Chair, ca. 1900, the back, seat and footrest all caned and mechanized for adjustability, the whole raised on ring-turned circular legs ending in casters, h. 47”. [1200/1800] Illustrated 25 Pair of Edwardian Satinwood Armchairs, ca. 1900, in the Adam taste, each with a shaped crest centered by a polychromed medallion of a classical maiden, above a caned back flanked to either side by oval pierced uprights, joined by downswept arms to the caned seat, raised on tapering square legs with bellflower accents and ending in spade feet, h. 35”. [3000/5000] Illustrated

27 Edwardian Mahogany Desk, ca. 1900, in the Chinese Chippendale taste, the rectangular top with a foliatecarved edge above a case fitted with two drawers over two deeper short end drawers, raised on tapering square legs fronted by blind-fret carving and ending in spade feet, h. 30”, w. 47‑1/2”, d. 23‑1/2”. [200/400] 28 Edwardian Mahogany Display Cabinet, ca. 1900, in the Georgian taste, the molded cornice above a line-inlaid frieze, over two astragal-glazed doors, the sides also glazed, with two small drawers below, raised on tapering square legs ending in spade feet, h. 67”, w. 34‑1/2”, d. 13‑1/4”. [250/400]

29 Nadel Gleye-Eberhardt (English, fl. ca. 1875‑1937) “Wistful Pekingese Puppy”, colored engraving, first quarter 20th century, signed in the basal margin, sight 16‑1/4” x 12”. Presented in a giltwood fillet and an ivory mat within a giltwood frame in the rococo taste and glazed. [75/125]

30 Rare Edwardian Domed Tambour-Top Smoker’s Desk Stand, first quarter 20th century, the lower facade fitted with a single traverse drawer opening, by mechanical action, to reveal a nickel ashtray and striker flanked by two cigar compartments in the drawer and a pair of cigarette compartments in the tambour, h. 8‑1/4”, w. 12‑3/4”, d. 8‑3/4”. [125/250]

31 Rare Luristan Cast Bronze Axe Head, Western Iran, ca. 1000‑500 B.C., well cast with overall green patination, composed of a tubular shaft for attachment to a wooden handle and two arched cutting edges at the opposite ends, probably used for shaping wood, l. 7‑1/2”. [400/700] Illustrated

34 Moroccan Bone-Inlaid and Marquetry Desk Box, second quarter 20th century, of large size in the traditional style, the bone inlay in floral decor, the facade centered with a steel lock, h. 7”, w. 14‑5/8”, d. 9‑3/8”. [900/1200] Illustrated

32 Good Ancient Roman Carved Stone Fragmentary Head, ca. 100 B.C., carved as the detached head of a Roman male figure wearing a cap with hair showing below the brim, the head carved in the round with full features, h. 4‑1/4”. [250/400] Illustrated 33 Rare Persian Glazed Pottery Oil Lamp, Il-Khan Dynasty, ca. 1250 A.D., of ewer form with spout and rimmed neck rising from a bulbous body, glazed in a rich turquoise glaze over a buff-colored stoneware body, h. 6”. [125/250] Illustrated

35 34 35 “Portugallia et Algarbia quae olim Lusitania”, Joan and Willem Blaeu (Dutch, 17th Century), handcolored map of Portugal with sailing ships and Neptune seated on a dolphin in the Oceanus Occidentalis with an armorial at both upper corners, the cartouche flanked by Arabic figures of navigators with instruments, presented in a giltwood frame, neatline h. 15”, w. 19‑3/4”, overall h. 22‑3/4”, w. 28‑1/2”. [400/700] Illustrated

36 Abraham Ortileus (Belgian, 1527‑1598), a fine hand-colored engraved map of the Holy Land, 1584, with intricate Biblical vignettes and Jonah being tossed to the whale, presented in an attractive bird’seye maple frame in the neoclassical style and glazed, overall 18‑3/4” x 23‑3/8”. Provenance: Richard B. Arkway, Inc., New York, New York, May 1995 sale, lot number 136. [600/900]

40 Ibero-Moroccan Turned Wood, Brass and Copper Brazier, first quarter 19th century, in the traditional style, of octagonal and footed form, the center of the wooden stand fitted with a two-handled copper and brass brazier pan, the wooden base with multiple turned wood spindle supports, h. 12‑1/2”, w. 26”. [700/1000] Illustrated

41 Fine Chinese Carved Celadon Jade Table Screen, in an elaborate rosewood stand, 19th century, composed of a circular celadon and russet jade plaque carved in low relief, depicting a landscape scene with a scholar in a boat being poled by a boatman in a landscape with rocky outcrops, cranes, pine trees and flowering plants, the reverse of the plaque with an engraved twenty-eight-character inscription in archaic script with seal, the jade plaque mounted in an elaborate rosewood stand and a fitted rosewood under-stand, presented in a custom brocade box, h. 23‑3/4”, w. 11‑1/2”. [6000/9000] Illustrated

42 Large Chinese White Jade Dragon Belt Hook, 19th century, the white stone with brown shading well carved and undercut as a hydra dragon across the top confronting the head of a horned dragon, l. 6”. [800/1200] Illustrated

37 Abraham Ortelius (Belgian, 1527‑1598) HandColored Engraved Double Page Map “Turcici Imperii Descriptio” , from the 1606 edition of “Theatrum Orbis Terrarum”, with text on verso, presented in a flat weathered wooden molding frame and double-glazed, sight 16‑1/4” x 20‑1/4”. [600/900] 38 Islamic Brass Basin-on-Stand, 17th century, possibly Moorish, the basin with a wide canted lip and inlaid with silver bands of scrolling foliate patterns and Islamic script, raised on a conforming wrought-iron stand with a bulbous standard to three outscrolled legs ending in bun feet, h. 38”, dia. 23‑1/2”. [600/900] Illustrated 39 Anglo-Colonial Carved Hardwood Sidechair, mid‑19th century, the rounded back heavily carved and pierced and centered by a bird medallion, the padded seat above a pierced mask-centered apron, raised on foliatecarved double C-scroll legs, h. 35”. [250/400]

43 Fine and Rare Chinese Yixing Slip-Decorated Snuff Bottle, signed Qinfang, 1838‑1898, of cylindrical form with indented foot and neck, decorated in colored slip with a continuous scene of archaic vessels, flowering plants and bamboo bordered with key-fret borders and a floral-decorated top, with a calligraphic inscription among the vessels which translates “Written in the fifth month of the year wuzu by Qinfang”, the indented base with a four-character inscription in green and white slip reading “Pure pleasure, unrivaled”, h. 2‑3/8”. Ex-collection: Ko collection (Tianjin 1938), James and Julie Li, The J and J Collection. Sold: Christie’s London, November 8, 1976, lot 49; Christie’s New York, March 29, 2006, lot 73. Literature: Hugh Moss et al, The Art of the Chinese Snuff Bottle: The J and J Collection, vol. 1, no. 260. [7000/10000] Illustrated

44 Pair of Chinese Famille Rose Porcelain Vases, fourth quarter 19th century, each of yen-yen shape and decorated with antique vessels holding flowers and calligraphic inscriptions between geometric borders, now mounted as lamps on turned wooden bases and fitted with custom ecru silk shades, overall h. 31”. [300/500] Illustrated

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45 Good Pair of Chinese Famille Rose Porcelain Bowls, 20th century, each of circular form with slightly everted lip rims and countersunk bases, the interiors with a single figure of a monk, the exteriors elaborately decorated with the figures of four Buddhas and numerous haloed saints, the base with a four-character Da Xiong Bao Dian mark (Hall of Great Elegance), surrounded by two confronting dragons amidst flames, all in iron red, dia. 7‑3/8”. [500/800] Illustrated

46 Chinese Molded and Glazed Porcelain Vase, 20th century, of double-gourd form with low-relief molding of dragons and phoenix birds among clouds, all under a cream-colored glaze, with a two-character underglaze blue inscription near the neck, h. 14”. [200/400]

47 Set of Four Chinese Famille Rose Porcelain Tea Bowls, second half 19th century, each decorated with six Buddhist swastikas with flowing ribbons above rockwork rising out of cresting waves, the interiors glazed in turquoise enamel, the bases with six-character Guangxu marks in iron red, dia. 4‑1/4”. [400/700] Illustrated 48 Large Pair of Chinese Porcelain Vases, 20th century, of baluster form, decorated in doucai enamels of underglaze blue and overglaze enamels in soft colors as phoenix birds among scrolling foliage and peonies, now mounted as lamps with wooden bases, h. 31‑1/4”. [500/800]

53 Chinese Carved Rosewood Ruyi Scepter, 20th century, realistically carved with the head as a lotus seed pod with moveable seeds and the stem consisting of a lotus bud and curled leaf attached to two stalks, l. 13‑1/2”. [400/700] Illustrated

49 Set of Eight Chinese Famille Rose Porcelain Saucer Dishes, Republic Period (1912‑1949), each circular dish thinly potted and decorated with various waterscape scenes of lakes, islands, bridges, pavilions and calligraphic inscriptions, the bases with six-character Daoguang seal marks in iron red, dia. 6‑3/4”. [500/800] Illustrated 50 Chinese Han Dynasty Gray Pottery Figure of an Attendant, 206 B.C.‑220 A.D., modeled with an elaborate coiffure of the period, retaining much of its red pigment, presented on an acrylic display stand, h. 22”. [600/900] Illustrated 51 Chinese Carved Tortoiseshell Brush Pot, 19th century, of cylindrical form with solid bottom, the sides carved and reticulated with a continuous scene of birds in flight amongst swirling clouds, h. 4‑1/2”. [1800/2500] Illustrated

52 Pair of Chinese Polychromed Porcelain Vases, 20th century, modeled after archaic bronze vases of lozenge form, each decorated with four floral panels with Buddhistic symbols per side, outlined with orange borders with blue archaic bands, the bases with six-character Qianlong seal marks in iron red on a turquoise ground, h. 8‑1/2”. [250/400] Illustrated

54 Pair of Chinese Glazed Pottery “Foo Dog” Incense Holders, 19th/20th century, each in the form of a Foo dog on a pierced plinth base with a tubular holder for the incense at its back, glazed all over in yellow, brown and green, accompanied by wooden bases, h. 8”, the whole presented in a padded, fitted cloth box. [300/500] Illustrated 55 Pair of Chinese Famille Jaune Porcelain Bowls, first half 20th century, each with slightly scalloped lip rim and decorated on the exterior in polychrome enamels with cavorting dragons among flames on a yellow ground, the base with a six-character Guangxu reign mark in iron red, dia. 6‑1/2”. [900/1200] Illustrated

56 Pair of Chinese Famille Jaune Porcelain Bottle Vases, Republic Period (1912‑1949), having bulbous bodies and slightly flared necks, each with three reserve panels decorated with boys at play in garden settings, against a yellow ground with bats, lotus and scrolling foliage, the bases with six-character Qianlong seal marks in iron red, h. 14”. [800/1200] Illustrated

60 Pair of Chinese Eggshell Porcelain Bowls, Republic Period, ca. 1935, each of low open form with everted lip rim and footed base, glazed on the exterior in a solid eggyolk yellow glaze, the feet with six-character underglaze blue Guanxu marks, dia. 4‑1/8”. [400/700] Illustrated

61 Rare Chinese Yellow Nephrite Jade Group, 18th/19th century, carved in the round as a pair of geese contending over a spray of millet, each with delicately incised details to the feathers and the grain head of the millet, the two geese above cresting waves, the stone of even yellow color with russet inclusions incorporated into the heads of the geese, the millet grain head and an area of the waves, exhibiting great control of the material by the carver, presented on a later custom fitted rosewood stand, h. 3‑1/4”, l. 3‑1/2”. [5000/8000] Illustrated

62 Good Chinese Junyao Double Gourd-Shaped Vase, Yuan Dynasty (1279‑1368) or later, the pottery body glazed in a rich blue glaze with a single purple splash, the footed base unglazed, h. 7‑1/8”. [300/500] Illustrated

57 Pair of Chinese Carved Peking Glass Bowls, each of mustard yellow glass with everted rims, carved on the exterior in relief with flowering plants and butterflies in flight, dia. 6”. [500/800]

58 Group of Thirty-Two Porcelain and Hardwood Jar Covers, in various styles, h. 1” to 7”, dia. 2” to 10‑1/2”. [200/400]

63 Large and Spectacular Chinese Famille Rose Porcelain Vase, Republic Period (1912‑1949), the tapered body with slightly flared lip rim and molded elephant-head and ring handles, finely decorated with a continuous scene of gods on their way to the magical Island of Immortality, the shoulder with a band of ruyi lappets and the neck with a band of bats, cash and lotus against a red ground, the design well painted in the 18thcentury style, the base with a six-character Qianlong seal mark in iron red on a turquoise ground, h. 20‑1/2”. [1200/1800] Illustrated

59 Chinese Junyao Water Pot, Song Dynasty (960‑1279) or later, the stoneware body of tapered “bubble” form, glazed on the interior and exterior in a dark blue glaze with a single purple splash on the exterior, the recessed base glazed with exposed brown foot rim, h. 3‑3/4”. [400/700] Illustrated

66 French First Standard (.950) Silver Asparagus Tongs, second quarter 20th century, by Tetard Freres, Paris, in the “Fontainebleau” pattern, monogrammed “RF”, l. 8‑1/4”, 8.81 t. oz. [300/500] 67 Two French First Standard (.950) Silver Ladles, second quarter 20th century, by Tetard Freres, Paris, in the “Fontainebleau” pattern, including a soup ladle, l. 11‑1/4”, and a punch ladle, l. 9‑3/4”, each monogrammed “RF”, 12.09 total t. oz. [500/800]

68 Five French First Standard (.950) Silver Serving Pieces, second quarter 20th century, by Tetard Freres, Paris, in the “Fontainebleau” pattern, including a serving fork, l. 10‑1/8”, a serving spade, l. 6‑3/4”, a fish slice, l. 10”, and salad serving fork and spoon, each l. 10‑1/4”, all monogrammed on the reverse “RF”, 20.90 total t. oz. [700/1000] 69 Five French First Standard (.950) Silver Serving Pieces, second quarter 20th century, by Tetard Freres, Paris, in the “Fontainebleau” pattern, including a pastry spade, l. 10‑1/8”, a fish slice, l. 10”, a sauce ladle, l. 6‑3/4”, and a cuillere and fourchette a ragout, each l. 10‑1/4”, all monogrammed on the reverse “RF”, 20.26 total t. oz. [700/1000] 65

64 Fine Jean-Emile Puiforcat (French, 1897‑1945) Art Deco First Standard (.950) Silver and Macassar Ebony Coffee and Tea Set, second quarter 20th century, designed in 1925, Paris, including a coffeepot, h. 5‑3/4”, l. 8‑1/2”, a teapot, h. 4”, l. 9‑1/8”, a sugar bowl, h. 3‑1/4”, w. 6‑1/8”, and a creamer, h. 2‑3/4”, l. 4‑1/4”, each of octagonally paneled ovoid form, the flat lids with disc-shaped wooden finials to short fluted silver collars, the canted and squared wooden handles with conforming silver strapwork, 80.57 total t. oz. (including wooden handles and finials). [6000/9000] Illustrated 65 Maison Puiforcat First Standard (.950) Silver Ewer, first quarter 20th century, Paris, in the Huguenot taste, of traditional helmet form with molded banding and acanthus-crested “Sscroll” handle, raised on a gadrooned circular foot, h. 8‑3/4”, w. 4‑1/2”, l. 7”, 23.6 t. oz. [1400/1800] Illustrated

70 Georg Jensen Sterling Silver “Pyramid” Serving Spade, the pattern designed in 1926 by Harald Nielsen (1892‑1977), with the Jensen post‑1945 mark, l. 9‑3/4”, 4.95 t. oz. [500/800] Illustrated 71 Pair of Georg Jensen Sterling Silver “Pyramid” Salad Servers, the pattern designed in 1926 by Harald Nielsen (1892‑1977), with the Jensen post‑1945 mark, l. 7‑7/8”, 5.66 total t. oz. [600/900]

76 77

72 Norwegian .830 Silver Christening Spoon, first quarter 20th century, by Marius Hammer, Bergen, Norway, in the 16th-century Frederick III style, the bowl of oval form and engraved with a bumerke (“house mark”) and date 1578, with a figural finial of St. George, l. 4”, 1.48 t. oz. [100/200]

75 French First Standard (.950) Silver Parcel-Gilt Footed Beaker, first quarter 20th century, by Albert Schiffmacher, working from 1912, 37 rue de Montmorency, Paris, in the Louis XV taste, of traditional “tulipe” form, with a molded rim above a band of engraved rococo pendants and a calyx of alternating diapered panels and rococo pendants all on a matte ground, the whole raised on a gadrooned, domed circular foot, h. 4‑3/4”, dia. 3‑3/8”, 5.21 t. oz. [600/900] Illustrated

73 Set of Twelve French First Standard (.950) Silver Cordial Cups, fourth quarter 19th century, by Charles Hack and Achille Hourdequin, active 1880‑1902, 42 rue de Turbigo, Paris, each of slightly tapering cylindrical form with chased acanthine band and molded rim, the interior gilt, h. 1‑1/2”, dia. 1‑1/4”, 3.99 total t. oz. [100/200] 74 French First Standard (.950) Silver Chocolate Pot, fourth quarter 19th century, by Fray Fils, active 1875‑1891, Paris, in the Louis XV taste, the pear-shaped body decorated with spiral gadroons and floral banding, with “duck’s beak” spout, hinged, domed lid with toupie finial, three acanthus-crested scrolling feet and a straight, side-mounted, turned rosewood handle, h. 6‑3/4”, w. 7”, dia. 3‑1/4”, 12.28 t. oz. (including wooden handle). [250/400] Illustrated

76 French First Standard (.950) Silver Gilt Footed Beaker, first quarter 20th century, by Albert Schiffmacher, working from 1912, 37 rue de Montmorency, Paris, in the Louis XV taste, of traditional “tulipe” form, with a molded rim above a band of engraved rococo pendants on a matte ground, the whole on a gadrooned, domed circular foot, h. 4‑3/4”, dia. 3‑3/8”, 5.53 t. oz. [600/900] Illustrated 77 French First Standard (.950) Silver Parcel-Gilt Footed Beaker, first quarter 20th century, by Henin et Cie., working 1896-ca.1970, 77 rue des Archives, Paris, in the Louis XV taste, of traditional “tulipe” form, with a molded rim above an engraved rocaille band and a calyx of alternating palmette and lattice panels, all on a matte ground, the whole raised on a gadrooned, domed circular foot, h. 3‑3/4”, dia. 2‑3/4”, 4.44 t. oz. [600/900] Illustrated 78 Pair of Belgian .800 Silver Serving Spades, ca. 1900, by Wolfers Freres, Brussels, retailed by Gebr. Friedlander, Berlin, the “King’s” shape handle decorated with rococo scrolls in the Louis taste, the gilt cartouche-shaped spades decorated with reticulated and engraved rococo scrolls and trelliswork, monogrammed, on the handle, “B”, l. 10‑1/2”, 12.09 total t. oz. [500/800] Illustrated

79 German .800 Silver Rococo-Style Flower Basket, first quarter 20th century, of lobed lozenge form with everted rim, decorated with embossed rococo cartouches of putti separated by pierced rocailles, with floral-crested hinged swing handle and scrolling feet, h. 5‑1/2” (11‑1/4” with handle), w. 6‑5/8”, l. 9‑1/4”, 16.01 t. oz. [300/500] Illustrated

83 Continental Silverplate Jewelry Casket with Portrait Miniature, first quarter 20th century, of rectangular form with laurel-enframed acanthus and palmette banding, the hinged lid inset with a glazed portrait miniature of Lavinia Bingham, 2nd Countess Spencer (1762‑1831), after Sir Joshua Reynolds (1723‑1792), surrounded by applied rinceau on a basketweave ground, opening to reveal a padded cerulean velvet interior, h. 3”, w. 6‑7/8”, l. 8‑3/8”. [600/900] Illustrated 84 Continental Silverplate Ladle, first quarter 20th century, probably Swiss or Belgian, in the Louis XV style, the spatulate handle with trifid crest and decorated with rococo scrolls and flowers, with shallow circular bowl, l. 12‑1/2”. [50/80]

85 Set of Five Buccellati Sterling Silver Flower and Leaf Dishes, fourth quarter 20th century, designed by Gianmaria Buccellati, Milan, executed by Clementi Fabbrica Argenteria, Bologna, including a fig leaf, l. 4‑7/8”, pansy, l. 4‑3/4”, dahlia, dia. 3‑1/4”, daisy, dia. 3‑1/8”, and camellia, dia. 3‑1/4”, 9.52 total t. oz. [700/1000] Illustrated

80 Four Dutch William III Second Standard (.833) Silver Tablespoons, marked Amsterdam, 1870, by Johannes Hendrikus Tarner (active 1840‑1879), with pointed bowls and upturned mid-rib spatulate handles, monogrammed on the underside “EHL”, l. 8‑3/8”, 8.81 total t. oz. [100/200] 81 Continental Silverplate Jardiniere, third quarter 19th century, in the Rococo Revival taste, of oval form, decorated with elaborate rococo scrolls, the long sides with opposing floral cartouches, the short sides with opposing bifurcated scrolling handles, the whole raised on acanthus-scroll feet, complete with the original tin liner (now deteriorated), h. 6‑1/2”, w. 7”, l. 17‑1/4”. [900/1200] Illustrated

86 Italian Sterling Silver Gilt Picture Frame, third quarter 20th century, retailed by Tiffany & Co., New York, of molded rectangular form, with a well-fitted and finished blonde oak backing and easel, monogrammed, on the lower edge, “RB/A”, h. 10‑1/4”, w. 9”. [400/700]

81 82 German .800 Silver Ladle, first quarter 20th century, by Koch & Bergfeld, Bremen, retailed by D. H. Dieken, Rostock, in the neoclassical taste, the lancet-form handle decorated with applied beribboned oak garlands, oval cartouche and gadroons, the deep bowl with opposing everted spouts, acanthus heel and gilt interior, l. 15‑1/2”, 7.84 t. oz. [150/250] Illustrated

89 Louis XVI-Style Mahogany and Marble-Top Secretaire a Abattant, early 19th century, the rectangular Sainte Anne des Pyrenees marble top with a molded edge and turreted corners above a conforming case fitted with a single drawer over a paneled drop front opening to an inset leather writing surface and a variety of drawers and cubbyholes, over two paneled cupboard doors, all flanked to either side by fluted circular uprights, the whole raised on tapering circular feet, h. 56”, w. 32‑1/2”, d. 16”. [1800/2500] Illustrated

87 Group of Four Japanese Jade and Silverplate Cordial Vessels, 20th century, each composed of carved spinach jade bases in the form of double chrysanthemums with green jade stems topped by inverted bell-shaped silverplate bowls, h. 4‑3/4”. [800/1200] Illustrated

87 88 Unusual Southeast Asian Ivory and Silver Tobacco Storage Jar, 19th century, the body made from two joined sections of Asian elephant ivory, lined in wood and bound and based in repousse silver with Buddhistic decoration, the repousse silver top conforming in shape to the ivory sections and decorated en suite, with a floral-bud terminal, h. 6”. [700/1000]

94 Striking Wrought-Iron and Rock Crystal EighteenLight Chandelier, in the Louis XV taste, of monumental size and cage form, the double-foliate scroll arms each dressed with three magnum rock crystal drops, the canopy arms each with a matching magnum rock crystal drop as is the crown, electrified and fitted with faux candles, h. 70”, dia. 59‑1/2”. [3000/5000] 95 Large Carl Knoll, Fischern, Porcelain Charger, fourth quarter 19th century, in the “Vienna” style, decorated with allegorical figures of Faith, Love and Hope [“Glaube, Liebe und Hoffnung”], the reverse entitled in gilt script, the broad border in richly gilt claret, dia. 16‑1/2”. [500/800]

90 Elegant Three-Piece French Dressing Table Service, fourth quarter 19th century, composed of parcel-gilt and -argente bronze and Rouge Royal marble in the Louis XVI taste, the set comprised of a canted and footed oval toilette mirror with a beveled edge supported by a pair of putti, h. 16‑3/4”, and a pair of small candlesticks en suite, h. 9‑1/2”. [2500/4000] Illustrated 91 Pair of Wrought-Iron and Steel Two-Light Appliques, of large size in the Beaux Arts taste, the boldly scrolling candlearms fitted with stylized floriform bobeches, blown glass hurricane shades and faux candles, h. 24”, w. 23”, d. 10”. [1800/2500] 92 Striking Wrought-Iron and Rock Crystal EighteenLight Chandelier, in the Louis XV taste, of monumental size and cage form, the double-foliate scroll arms each dressed with three magnum rock crystal drops, the canopy arms each with a matching magnum rock crystal drop as is the crown, electrified and fitted with faux candles, h. 70”, dia. 59‑1/2”. [3000/5000] Illustrated 93 Pair of Continental Bronze Argente Two-Light Sconces, second quarter 20th century, in the Ottocento taste, the backplates in the form of a pair of addorsed scrolls joined by shells, urns and foliage, with a pair of scrolling arms emanating from the lowermost urn, each arm terminating in a melon-form cup, fitted with faux candles and electrified, h. 18‑1/2”, w. 12”, d. 5‑1/4”. [1500/2500]

96 Pair of Franco-Bohemian Porcelain Garniture Vases, third quarter 19th century, having cobalt grounds and richly gilded and polychromed in the rococo taste, each facade with a different oval reserve of a young woman gathering flowers, the reverses with large, well-painted reserves of bouquets of summer blossoms, h. 17”, w. 8‑1/2”. [1400/1800] Illustrated 97 Louis XVI-Style Mahogany Dining Table, early 20th century, the rounded top with two drop leaves, opening in the center to accommodate four leaves, raised on tapering circular legs headed by ormolu capitals and ending in caps and casters, with four 13” leaves, h. 29”, l. 40”, d. 50‑1/2”, extended l. 102‑1/2”. [4000/7000] Illustrated 98 Pair of Napoleon III Mahogany, Parquetry and Marble-Top Bedside Cupboards, third quarter 19th century, each with an inset square Rouge Verona marble top above a conforming case fitted with a single parquetry drawer over a cupboard door centered by a raised parquetry panel, joined to a lower square shelf by fluted tapering circular legs ending in toupie feet, h. 31‑1/4”, w. 15”, d. 15”. [1500/2500] Illustrated

99 French Carved Giltwood Wall Barometer, first quarter 20th century, of “banjo” form in the Louis XVI style, the circular dial signed “J. Boiteux, Opticien, rue St. Denis/ a Paris” and dated 1738, the dial surmounted by a French jasper medallion in the Wedgwood style, h. 46”, w. 15”. [1000/1500] Illustrated

100 Louis XVI-Style Mahogany and Marble-Top Rafraichissoir, mid‑19th century, the rounded rectangular top with an inset Carrara marble top and fitted with openings for two bottle chillers, above a conforming frieze fitted with one small side drawer, raised on tapering circular legs ending in ringed toes, h. 29”, w. 19‑1/4”, d. 17”. [1200/1800] 97

102 Louis XVI-Style Burlwood and Mahogany Desk, the brass-bound rectangular top with an inset gilt-tooled leather surface above a conforming frieze fitted to one side with a central drawer flanked to either side by a shaped short drawer, the other side fitted with three like faux drawers, all with ormolu millwork banding, raised on tapering square legs ending in brass caps, h. 29”, w. 60”, d. 31”. [1400/1800]

101

103 Louis XVI-Style Kingwood, Rosewood and MarbleTop Cabinet, late 19th century, the demi-lune Carrara marble top with a three-quarter pierced brass gallery and above a conforming case fitted with a single glazed cupboard door opening to a mirrored interior, flanked to either side by two open marble shelves with full galleries and mirrored backs, above a cupboard door inset with a quarter-veneered panel and flanked to either side by a grilled cupboard door, raised on tapering square legs ending in brass caps, the whole with decorative ormolu mounts, h. 58‑1/2”, w. 34‑3/4”, d. 13”. [2500/4000] Illustrated

104

103

101 Louis Doret (Swiss, 18th/19th Century) “The Drawing Room Wit”, oil on canvas, fourth quarter 19th century, signed lower right “L. Doret”, 12‑3/8” x 18‑3/4”. Presented in a good, period, carved giltwood and plaster frame boldly modeled in the rococo taste. [1500/2500] Illustrated

104 Louis XVI-Style Mahogany Occasional Table, ca. 1900, the rectangular top with a three-quarter pierced brass gallery above a banded top with a parquetry latticepaneled center panel, above a conforming case fitted with a single frieze drawer, raised on tapering circular legs with ormolu ring accents, joined by a concave stretcher shelf with a like-inlaid panel and full pierced gallery, and ending in ormolu pegs, h. 27”, w. 23‑12”, d. 17”. [1500/2500] Illustrated 105 French Giltwood Looking Glass, early 20th century, the beveled rectangular plate surrounded by a molded floraland foliate-carved frieze with elaborate corner moldings, h. 61”, w. 49”. [1200/1800] Illustrated

106 Collection of Five German Porcelain “Monkey Band” Figures, 19th‑20th centuries, after the Meissen models by Peter Reineke (active at Meissen 1747‑1766), comprised of a Meissen “Conductor”, fourth quarter 19th century; a Meissen “Triangle Player”, third quarter 19th century; a Meissen “Drummer”, fourth quarter 19th century; a Scheibe-Alsbach “Cornet Player”, first quarter 20th century; and a Dresden “Bass Viol Player”, fourth quarter 19th century; the Meissen examples all signed with the blue underglaze crossed swords of the factory, the Scheibe-Alsbach example signed with crossed batons centered by the letter “S”, and the Dresden example with crossed batons and a drape, h. 4‑1/4” to 7”. [800/1200] Illustrated

106

107 Louis XVI-Style Giltwood and Marble-Top Side Table, early 20th century, the bowed Carrara marble top with a projecting center section and molded edge, above a conforming frieze with bands of undulating patterns, raised on fluted tapering circular legs headed by a foliate capital, joined by a shaped stretcher, and ending in block and reeded toupie feet, h. 35‑1/2”, w. 67‑1/2”, d. 25‑1/2”. [2500/4000] Illustrated

105

107

108 Louis XVI-Style Lit du Jour, late 19th century, each end padded and with a rope and foliate crest surmounted by pineapple finials, above a long cushioned seat, the back fitted with a fabric strap and pillows to form a settee, raised above a carved apron on fluted tapering circular legs ending in toupie feet, h. 35”, w. 79”, w. 25‑1/2”. [1200/1800] Illustrated 108

111 Isidore Jules Bonheur (French, 1827‑1902), a diminutive gilt-bronze sculpture of a standing bull, signed “I. Bonheur”, h. 3‑1/2”, w. 5”. [450/700] Illustrated

110 pair

109

112 Louis XVI-Style Giltwood and Marble-Top Side Table, mid‑19th century, the bowed verde antico marble top above a conforming foliate-dentillated frieze with pendant demi-sunflower and floral swags, raised on paneled tapering square legs headed by bellflower carving, joined by an annulated urn-centered stretcher and terminating in molded toupie feet, h. 33‑1/2”, w. 66‑1/2”, d. 24‑1/4”. [4500/7000] Illustrated

109 Pair of Edwardian Two-Light “Eagle” Sconces, first quarter 20th century, composed of carved giltwood and plaster in the style of Robert Adam (1728‑1792), draped with brass chains, not electrified, h. 36”, w. 16‑1/4”, d. 8‑3/4”. [1200/1800] Illustrated 110 Follower of Jean-Honore Fragonard (French, 1732‑1806) “Look at the Bird’s Nest” and “A Love Offering of Flowers”, pair of galants oil sketches, first quarter 19th century, the frame reverses with printed gold foil labels of “The Antiquarium Antique Print and Map Gallery, Houston”, 14” x 18”. Presented in matching giltwood-edged white linen mats within good carved giltwood and plaster frames in the Louis XVI style. [2500/4000] Illustrated

111

113 Louis XVI-Style Mahogany and Marble-Top Server, early 20th century, the demi-lune variegated gray and white marble top within a three-quarter pierced brass gallery, above a conforming frieze fitted with a central drawer flanked to either side by a panel, all with ormolu millwork banding, joined to a lower like-shaped and galleried shelf by fluted tapering circular uprights terminating in brass caps, h. 37”, w. 61‑1/2”, d. 18”. [2000/4000] 114 Fine French Gilt-Bronze and Cut Glass Tiered Six-Light Chandelier, fourth quarter 19th century, in the Louis XVI taste, richly dressed with jewel-cut and bead glass chains, diminutive cabochon and cut amethyst glass drops, cut glass sunbursts and prism-cut drops, and broadly faceted rose glass pendants, electrified and fitted with wax faux candles, h. 31”, dia. 20”. [1000/1500] Illustrated 115 Elegant Thirty-Six-Piece Set of Baccarat “Normandie” Stemware, including twelve red wine goblets, h. 6‑5/8”, twelve white wine goblets, h. 5‑7/8”, and twelve saucer champagnes, h. 4‑3/4”, all with the acid-stamped Baccarat “decanter” mark on the base. [1000/1500]

112

114

116 Pair of Swedish-Style Brass and Cut Glass TwoLight Appliques, in the Gustavian style, dressed with parallel chains of faceted and irregular- cut glass beads and diminutive panel-cut drops, not presently electrified but fitted for electrical wires, h. 14”, w. 15”, d. 4‑1/2”. [500/800]

118 117 Pair of Louis XVI-Style Beechwood Fauteuils, the padded rectangular back within a molded frame, joined by padded closed arms to the cushioned seat, with tapering circular legs ending in toupie feet, h. 35”. [400/700] 118 Pair of Louis XVI-Style Beechwood Fauteuils, the padded rectangular back within a molded frame, joined by padded closed arms to the cushioned seat, with tapering circular legs ending in toupie feet, h. 35”. [400/700] Illustrated

119 Louis XVI-Style Beechwood Settee, the padded rectangular back within a molded frame, joined by padded closed arms to the cushioned seat, raised on fluted, tapering circular legs ending in toupie feet, h. 35”, w. 67”, d. 26”. [500/800] Illustrated

123 French Gilt-Brass and Tole-Peinte Three-Light Bouillotte Lamp, first quarter 20th century, in the Louis XVI style, the base mounted with palely polychromed wrought brass flowerheads, the adjustable shade of natural tole, electrified and fitted with faux candles, h. 26”, dia. 13‑1/4”. [1000/1500] Illustrated

120 Sumptuous Pair of Contemporary Aubusson TapestryFaced Sofa Pillows, of large size and square form in the Louis XVI taste, the Aubusson landscape panels bordered in celadon silk with metallic silver gimp and teal tassellated fringes, the back panels in matching celadon silk, 20‑1/4” x 20‑1/4”. [200/400]

121 Attributed to Nicolas de Largilliere (French 1656‑1746) “Portrait of an Elegantly Dressed Lady in a Light Blue Dress and a Red Velvet Wrap, Wearing a Feathered Scarlet Bonnet, a Landscape Beyond”, oil on canvas, unsigned, remnants of an old inventory label inscribed “64‑2051 Largilliere”, 33‑3/4” x 25‑3/4”. Presented in a period carved giltwood frame in the Regence style. [18000/25000] Illustrated 122 Pair of Louis XVIStyle Faux-Bois and Polychromed Side Tables, 20th century, each with a rectangular faux-bois top over a guillochepierced frieze, centered by a panel with a grisaille landscape, raised on fluted tapering circular legs ending in toupie feet, h. 34‑1/4”, w. 55‑1/2”, d. 23”. [5000/8000] Illustrated

124 Set of Fourteen Laval’s Receuil des Actes Administratifs, with antique vellum spines, paper title labels and teal marbled end boards, 1814‑1822, 1831‑1834 and 1836‑1848. [600/900] Illustrated

121 125 German Oval Portrait Miniature of the Princess Alexandra Belosselsky, fourth quarter 19th century, presented in a rectangular black horn-inlaid bone frame in the neoclassical taste, the upper edge centered with a suspension ring, overall 3‑3/4” x 3‑1/8”. [200/400]

119

126 Pair of Louis XVIStyle Beechwood Bergeres, third quarter 19th century, each with a padded arched back within a guilloche frame, joined to the cushioned seat by closed and padded arms, raised on fluted tapering circular legs ending in toupie feet, h. 39‑1/2”. [2500/4000] Illustrated

123

124

127

126

122 127 Opulent French Gilt-Brass and Cut Glass Nine-Light Chandelier, first quarter 20th century, of stepped cage form in the Louis XVI style, elaborately dressed with smoky topaz and colorless glass pendalogues in four sizes, cut drops of attenuated cartouche form, cut fleurettes and paneled bishops, electrified and fitted with faux candles, h. 41”, dia. 23‑1/4”. [1800/2500] Illustrated

128 Opulent Pair of French Gilt-Brass and Cut Glass Three-Light Appliques, first quarter 20th century, in the Louis XVI style, richly dressed with cut glass pendalogues in three sizes, glass fleurettes and panel-pressed glass finials of “bishop” form, the gilt-brass bobeches of stylized flowerhead form, h. 24”, w. 13”, d. 8‑1/4”. [1200/1800] Illustrated

128 pair

129 Louis XV-Style Giltwood and Marble-Top Console Table, the shaped variegated white and gray marble top with a molded edge above a conforming frieze fitted with a central pierced shell and foliate design, raised on shaped legs headed by a mythical animal head, joined by a shieldform stretcher and ending in scrolled toes, h. 33”, w. 52”, d. 22‑1/2”. [1800/2500] Illustrated

133 Napoleon III Painted Looking Glass, third quarter 19th century, the large rounded rectangular plate surmounted by a lattice-pierced crest centered by a foliate spray within a pierced shield, surrounded by a molded frame with applied pendants, h. 72”, w. 43”. [1800/2500] Illustrated 134 Group of Four Beige, Brown and Blue Silk Pillows, two with cut silk velvet stripes and two with fringed edges, the smallest 18” x 8”, the largest 20” x 11”. [400/700] 135 Group of Seven Sky Blue Silk Accent Pillows, with leaf and branch designs, each 18” x 18”. [700/1000] Illustrated 136 Pair of French Gilt-Brass and Porcelain Three-Light Candelabra, second quarter 20th century, in the Louis XVI style, the porcelain mounts modeled as polychromed flowerheads in the Mennecy-Vincennes style, electrified and fitted with faux candles, overall h. 16”, w. 9‑1/4”. [400/700]

130

130 Pair of French Gilt-Bronze Five-Light Candelabra, fourth quarter 19th century, in the Regence style of JusteAurele Meissonnier (1695‑1750), h. 19”, w. 12‑1/2”. [1000/1500] Illustrated

131 Good Le Tallec, Paris, Porcelain Covered Bowl and Underplate, third quarter 19th century, of trembleuse form, richly gilded and grisailledecorated in the Louis XVI taste, the bases of each piece fully marked in overglaze blue and rouge de fer, h. 6‑1/2”, dia. 8‑1/4”. [300/500] 132 Good Pair of Miles Mason, England, Graduated Porcelain Bowls, first quarter 19th century, in the neoclassical taste, the decoration of alternating gilded stylized “Vintage” sprays and gilt-framed polychromed figural reserves, dia. 7‑1/2” and 8”. [100/200]

129

138 Circle of Pierre Mignard I (French, 1612‑1695) “The Dish of Pearls”, oil on canvas mounted on panel, oval portrait of a coy 17th-century lady of fashion showing off a dish of pearls, possibly an anniversary or engagement portrait as the pearl is a symbol of love and marriage, unsigned, 34” x 27‑1/2”. Presented in a good, later, carved giltwood and plaster frame in the Louis XVI taste, third quarter 19th century. [5000/8000] Illustrated

138

133

137 Louis XVI-Style Giltwood Easel, of hinged construction, surmounted by a wreath and torchere crest, the picture rail with a pendant floral swag, raised on paneled square legs terminating in double-scroll feet, h. 68”, w. 16‑1/2”. [400/700]

135 group of seven

141 Continental Giltwood and Marble-Top Center Table, late 18th century and later, the rectangular Verde Antico marble top inset into a scrolling foliate-patterned border and above a conforming shaped frieze with incised lattice patterns and a central shell, fitted with a single end drawer, raised on cabriole legs ending in acanthine hoof feet, h. 28‑1/2”, w. 37”, d. 22”. [7000/10000] Illustrated

139

142 White and Gold Paris Porcelain Corbeille, third quarter 19th century, exuberantly modeled and reticulated in the rococo taste, h. 13‑1/4”, w. 8‑1/2”, l. 16”. [300/500] 143 Pair of French Gilt-Bronze Rococo-Style Candlesticks, fourth quarter 19th century, in the manner of Juste-Aurele Meissonnier (1675‑1750), each fitted with a period detachable gilt-bronze bobeche, h. 8‑3/4”, w. 4‑1/2”. [400/700] 144 Aubusson-Style Tapestry, 4’ x 6’. [1400/1800] Illustrated 140

145 Louis XVI-Style Carrara Marble Pedestal, late 19th century, the square top raised on a columnar standard headed by a foliate ormolu capital, ending in an ormolu mount to a raised socle base, h. 43‑1/2”, w. 10‑1/4”, d. 10‑1/4”. [400/700] 146 French Kingwood, Burlwood and Marble-Top Commode, third quarter 19th century, in the transitional Louis XV into Louis XVI style, the rounded rectangular African Brescia marble top within a pierced three-quarter brass gallery, above a conforming case fitted with three drawers, all within an inlaid rope-twist banding, joined to a brass-bound and quarter-veneered shelf by tapering legs ending in sabots, h. 31”, w. 22”, d. 15”. [900/1200]

139 Pair of Louis XVI-Style Cream-Painted Beechwood Fauteuils, second quarter 19th century, each with a padded medallion back within a molded frame, joined by padded scrolling arms to the like seat, raised on fluted tapering circular legs ending in peg feet, now upholstered in woven stripe silk taffeta, h. 34”. [800/1200] Illustrated 140 French Gilt-Brass and Rock Crystal Six-Light “Mars” Chandelier, of cage form in the Louis XVI style, the canopy modeled as a plumed baldacchino, the foliate candlearms with inner terminals of eagle heads, the whole dressed with large cabochon rock crystal drops, electrified and fitted with gloss-white faux candles, h. 37”, dia. 23”. [3500/5000] Illustrated

141

147 After Pierre-Auguste Renoir (French, 1841‑1919) “Sirens”, facsimile lithograph in colors, printed signature lower left, sight 9” x 8”. Glazed, handsomely matted and presented in a giltwood frame. [350/500] 148 Louis XV-Style Polychromed Bed, early 20th century, the headboard padded and with a floralcarved backswept crest, joined to a like lower footboard by padded and shaped like-carved rails, raised on cabriole feet ending in scrolled toes, h. 39”, inside w. 55”, l. 74”, outside w. 58”, l. 79”. [1200/1800] 149 Pair of Contemporary Polychromed Display Cases, in the rococo taste, each with a molded cornice above a case fitted with an electrified circular opening with an engaged bracket for display, above a rectangular opening fitted to accommodate four glass shelves, the whole raised on a molded base, h. 94”, w. 35”, d. 12‑1/2”. [900/1200]

144

150 Pair of Diminutive Louis XV-Style Carved Beechwood Musician’s Armchairs, fourth quarter 19th century, the cabriolet backs and the seat rails centered with carved floral sprays, the whole supported on slender cabriole legs with leaf carving at the knees, upholstered in sage green leather with brass nailhead edging, h. 30”. [1000/1500] 151 French Aubusson-Style Carpet, 10’ x 14’. [3500/5000] Illustrated

151

152 French Aubusson-Style Carpet, 9’ 10” x 14’ 2”. [800/1200] 153 Persian Serapi Carpet, 13’ x 16’ 2”. [9000/12000] Illustrated

153

154 Persian Serapi Carpet, 6’ 8” x 8’. [2000/4000] Illustrated 155 Indian Hall Carpet, 6’ x 19’. [700/1000] 156 Turkish Oushak Runner, 3’ 4” x 13’. [300/500] 157 Heriz Carpet, 11’ 3” x 8’. [1200/1800] 158 Antique Persian Senna Kilim Carpet, 4’ 1” x 6’ 10”. [1000/1500]

161

154

159 Isfahan Carpet, 11’ 3” x 8’ 4”. [900/1200] 160 Malayer Carpet, 3’ 6’’ x 6’. [500/800] 161 Semi-Antique Persian Heriz Carpet, 8’ 2” x 11’. [2500/4000] Illustrated 162 Semi-Antique Heriz Carpet, 9’ 4” x 8’ 5”. [500/800] 163 Semi-Antique Sarouk Carpet, 10’ 8” x 16’. [1200/1800]

164

164 Persian Kashan Carpet, 9’ 7” x 13’ 4”. [4000/7000] Illustrated 165 Isfahan Carpet, 12’ 7” x 9’ 2”. [1200/1800]

168 pair

166 Pair of Chinese Carpets, each 3’ x 4’. [100/200] 167 Chinese Dragon-Motif Carpet, 5’ x 7’ 8”. [600/900] Illustrated 168 Pair of George III-Style Argente Looking Glasses, each with a domed rectangular plate surmounted by a “Prince of Wales” feathers crest above an arched mirrored frieze, the plate surrounded by a band of mirrored panels and a gadroon-carved frame, with side pendant scrolls, h. 61‑1/2”, w. 37‑1/2”. [2500/4000] Illustrated

169

167 169 Georgian Oval Portrait Miniature of a Man in a Blue Greatcoat and White Stock, fourth quarter 18th century, the reverse of checquer-woven brown hair centered with a gold cutwork monogram “GD”, presented in a conforming period rose gold pendant frame and double glazed, 2‑5/8” x 2‑1/52”. [200/400] Illustrated

170 English Oval Portrait Miniature of a Georgian Gentleman in a Blue Greatcoat, dated 1793 and signed “I.B.”, the reverse with checquer-woven brown hair centered with a gold cutwork monogram “PB”, presented in a gold frame and double glazed, 2‑1/2” x 2”. [200/400]

172 Queen Anne-Style Mahogany Linen Press, composed of antique elements, the molded cornice above a case fitted with two paneled cupboard doors, the lower section fitted with a single long drawer over three short drawers over an arched apron, the whole raised on cabriole legs ending in pad feet, h. 69”, w. 40‑1/4”, d. 20‑1/4”. [1200/1800] Illustrated 173 George III Mahogany Drop-Leaf Dining Table, third quarter 18th century and later, of generous proportions, the demi-lune drop leaves supported by fly legs, the legs of cabriole form ending in ball-and-claw feet, h. 29”, w. 54‑1/2”, l. 25”, extended l. 66”. [900/1200] Illustrated

174

172

171 Collection of Three Oval Portrait Miniatures, first quarter 19th century, comprised of a good French portrait of a young man in a blue greatcoat, presented in a black and gold eglomise pendant frame, 3‑1/4” x 2‑1/4”; a smaller Continental portrait of a young man in a russet greatcoat and white stock, presented in a rose-gilded brass pendant frame, 2‑1/4” x 1‑3/4”; and a yet smaller portrait of a matron in a lace cap and fichu, presented in a gilded brass brooch frame, 1‑3/4” x 1‑1/4”. [200/400]

174 George III-Style Mahogany and Upholstered Wing Chair, the domed and padded back joined by shaped sides and outscrolled arms to the cushioned seat, raised on tapering square legs joined by an Hform stretcher, h. 45”. [500/800] Illustrated 175 George III-Style Mahogany Wing Chair, the domed and padded back joined by shaped sides and outscrolled arms to the cushioned seat, raised on chamfered square legs, h. 40‑1/2”. [500/800]

173

176 George III Mahogany Cabinet-on-Chest, composed of antique elements, the molded cornice with projecting ends above a conforming case fitted with a patera-inlaid frieze over a single astragal-glazed door, the lower section fitted with two short drawers over three graduated long drawers, raised on ogee-molded bracket feet, h. 78”, w. 39”, d. 20”. [400/700]

177 177 Suite of Six George III-Style Mahogany Dining Chairs, consisting of an armchair and five sidechairs, each with a shaped and earred crest above a foliate-carved and floral-pierced splat, the padded seat raised on paneled square legs with foliate relief carving and joined by an H-form stretcher, h. 38‑1/2”. [2500/4000] Illustrated

180 pair 178 George III Mahogany Cheston-Chest, fourth quarter 18th century, the molded and dentillated cornice above a case fitted with two short drawers over three graduated long drawers, over a lower section fitted with three graduated long drawers, all drawers with string-inlaid banding, raised on bracket feet, h. 77”, w. 42”, d. 21”. [2500/4000] Illustrated

179

178

179 Pair of Edwardian Mahogany and Marquetry SlantFront Knife Boxes, first quarter 20th century, in the Georgian taste, the slant-front lids centered with yew and holly paterae and having inlaid garland borders, supported on later composition feet, h. 15‑1/4”, w. 8‑3/4”, d. 10”. [800/1200] Illustrated

180 Stylish Pair of George V Oval Looking Glasses, first quarter 20th century, composed of carved giltwood and plaster in the style of Robert Adam (English, 1728‑1792), the tall attenuated gilded crestings modeled as baldaquins surmounting stylized floral sprays, the upper edges mantled in giltwood husk garlands, h. 52”, w. 24”. [1200/1800] Illustrated previous page 181 Circle of Sir Henry Raeburn (British, 1756‑1823) “Portrait of a Gentleman Merchant, a River Landscape Beyond”, oil on canvas, unsigned, 30‑1/4” x 25”. Presented in a period giltwood frame. [2000/4000] Illustrated 182 George III-Style Mahogany Tilt-Top Table, mid‑19th century, the tilting circular top raised on a turned balusterform standard to three splayed legs ending in pad feet, h. 28‑1/2”, dia. 33”. [400/700]

185 181 183 George III Mahogany Demi-lune Side Table, fourth quarter 18th century, the demi-lune top above a plain frieze, raised on tapering square legs, h. 28‑1/4”, w. 42”, d. 20”. [500/800] 184 Pair of Japanese Imari Porcelain Storage Jars, late 19th century, each of tapered baluster form and decorated in underglaze blue and iron red with reserve panels of dragons against a floral ground, now wired as lamps and fitted with hardwood bases and custom shades, h. 25”. [800/1200] Illustrated 185 Pair of Japanese Imari Porcelain Garden Seats, 20th century, each of barrel shape with molded rib and boss decoration, decorated in traditional Japanese colors of underglaze blue and polychrome enamels with ribbed decoration of mons and brocade designs, with reserve panels of garden scenes, h. 20‑1/4”. [2500/4000] Illustrated 186 Good Pair of Japanese Lacquered and AppliqueFramed Panels, Meiji Period (1868‑1912), originally in a two-panel floor screen, each with a black lacquer ground embellished with dimensional figures of long-tailed roosters (onagadori) perched on flowering branches with flower petals and sparrows, the applique in mother-ofpearl, wood and bone, the black background surrounded by a red lacquer border with gilt decoration of peonies and vines, presented in a giltwood frame, h. 37‑1/2”, w. 26‑1/2”. [400/700] 184

187 Japanese Lacquered Dragon-Motif Tray, Taisho Period (1912‑1926), of rectangular outline and decorated in raised gold lacquer with a central scaled dragon on a black ground surrounded by a red lacquer border with gold fretwork decoration, signed lower left, w. 7‑3/4”, l. 9‑1/4”. [1000/1500] Illustrated

191 Good Framed Japanese Woodblock Print, 19th century, depicting two geishas holding umbrellas and two fish vendors on a bridge, with a town and a bay in the distance, overall 20” x 14‑3/4”. [150/300]

188

187 188 Elaborate Japanese Embellished and Lacquered Wooden Box, Meiji Period (1868‑1912), of rectangular form with rounded corners, with a low-relief-carved striated mon of a boat with an oar and a variety of seashells embellished in mother-of-pearl, abalone and wood carvings, and further decorated with gold lacquer clouds and strands of seaweed, w. 10‑1/4”, l. 13‑1/8”. [1800/2500] Illustrated

189 189 “Iaponia Regnum”, Johannes Blaeu (Dutch, 1596‑1673), hand-colored map of Japan and Korea, the first map to correctly show Korea as a peninsula rather than an island, presented in a molded wood frame, neatline h. 16”, w. 22‑1/4”, overall h. 24‑1/4”, w. 30‑1/4”. Illustrated in Roger Baynton-Williams’ Investing in Maps (New York: Clarkson N. Potter, 1969), p. 141. [1200/1800] Illustrated 190 Good Framed Japanese Woodblock Print, 19th century, depicting a geisha in an elaborate kimono standing alongside a thatched rock hut, overall 20” x 14‑3/4”. [150/300]

192 192 Good Framed Japanese Woodblock Print, 19th century, depicting a lady in a brocade robe standing next to a palanquin in a garden setting, overall 20” x 14‑3/4”. [150/300] Illustrated

193 Pair of Japanese Carved Wooden Shi-Shi, 19th century, each carved in the round as a fierce shi-shi guardian lion seated on its haunches with elaborate mane and tail details and inset painted glass eyes, h. 11‑1/4”, l. 14”. [2000/4000] Illustrated

193

194 Japanese Sheathed Bamboo and Metal Pipe and Tobacco Pouch, 19th century, composed of a bamboo pipe with white metal fittings enclosed in a textured leather holder and attached with a silk cord and ivory bead to a patterned leather tobacco pouch with a metal clasp cast as six seated sages, l. 8”. [200/400] 195 Pair of Framed Chinese Watercolors on Paper, 19th century, each depicting scenes of the hongs at the Canton waterfront with western trading ships and Chinese boats engaged in commerce, each framed in red and gilt wooden frames, glazed, h. 31‑3/4”, w. 56‑3/4”. [5000/8000] Illustrated 196 Japanese Polychromed Porcelain Vase, 20th century, of tall baluster form, decorated in underglaze blue and polychrome enamels with reserve floral panels on a floral ground, now wired as a lamp with a wooden base and neck, h. 30‑1/2”. [250/400]

195 pair

197 Pair of Chinoiserie Polychromed Looking Glasses, 19th century, each with a parcel-gilt pagoda-form crest above a frieze featuring a gilt and gesso oriental landscape, the rectangular plate within a molded frame and with a fret-carved surround, h. 62”, w. 29”. [3500/5000] Illustrated 198 Georgian Japanned Swing Shaving Mirror, second quarter 19th century, the gold, red detailed, japanning on a black ground, presented on a serpentine facade base on bun feet, h. 16”, w. 14‑1/2”, d. 6‑1/2”. [150/300] 199 Two Limited Edition Volumes of Goupil’s English Historical Series, including Osmund Airy, Charles II (Paris: Goupil et Cie., 1901, #542 of 1250) and T. F. Henderson, James I and VI (Paris: Goupil et Cie., 1904, #377 of 800), both quarto volumes in brown half morocco with tan buckram boards, the spine with raised bands and gilt tooling, with gilt top edge and marbled endpapers, each illustrated with numerous engravings, h. 13”, w. 10‑1/4”. These two volumes of Goupil’s prestigious English Historical Series feature lives of the monarchs by noted editors of the Dictionary of National Biography Thomas Finlayson Henderson (1844‑1923) and Osmund Airy (1845‑1928). A notice in the November 26, 1904 issue of “Publisher’s Weekly” notes of the Henderson volume that it was limited to “eight hundred copies, numbered 1 to 800, on ‘Rives’ hand-made Vellum paper, specially manufactured for this work”. [75/125]

200 Twelve Victorian Decorative Red Morocco Quarter-Bindings, 1888‑1893, with red buckram boards and gilt edge-titles, featuring novels of Walter Besant (1836‑1901), James Rice (1843‑1882) and Captain Frederick Marryat (1792‑1848), published variously by Chatto & Windus, Geo. Bell & Sons and Geo. Routledge, all London, h. 7‑1/4”. [75/125]

201 George III-Style Mahogany Partner’s Desk, the canted rectangular top with an inset leather writing surface above a case fitted with a long central drawer flanked to one side by three graduated short drawers and to the other by a short drawer over a deep drawer, raised on cabriole legs headed by scroll carving and ending in ball-and-claw feet, h. 30”, w. 58”, d. 37‑1/2”. [600/900]

197

202 George III-Style Mahogany Bowfront Sideboard, mid‑19th century, the bowed top with a string-inlaid edge over a conforming case fitted with a single cutlery drawer flanked to either side by a short drawer over a deeper drawer, raised on tapering square legs ending in ebonized feet, h. 38”, w. 67”, d. 29”. [1000/1500] Illustrated 203 Victorian Ebonized Papier-Mache Serving Table, third quarter 19th century, the cushion-form top with an elaborate gilt and mother-of-pearl-inlaid fanciful landscape, hinged and opening to the now void interior, raised on a barley-twist standard to an undulating circular base to splayed feet on casters, the whole with gilt and mother-of-pearl-inlaid accents, h. 31”, w. 16‑1/2”, d. 13‑1/2”. [250/400] Illustrated

203

202

205

204 George III Irish Chippendale Mahogany Sidechair, late 18th century, the foliate-carved backswept crest above a like-carved interlacing diamond-patterned splat, the padded seat raised on cabriole legs headed by shield carving and ending in ball-and-claw feet, h. 38”. [600/900]

209 Chinese Cloisonne Model of an Oxcart, 20th century, modeled as a curved-roof “Peking” cart being pulled by a horned ox, enameled in traditional 18th-century colored enamels with gilt details, presented on a custom wooden stand, l. 21”. [800/1200] Illustrated 210 Three Framed Chinese “Forbidden Stitch” Textile Pieces, 19th century, one depicting two butterflies among foliage, one a group of antiques with a corner floral border, and one a single butterfly with lotus blossoms, two matted in silk brocade pieces and one in green silk, two in cinnabar and gilt frames, one in a black and gilt frame, 17‑3/4” x 11‑1/2”, 16‑1/2” x 13”, and 14‑3/4” x 14‑1/4”. [300/500]

207 205 Near Pair of George III-Style Rosewood Silver Tables, 19th century, in the Chinese Chippendale taste, each with a dished shaped rectangular top, one centered by a circular storage well with removable top, above a conforming frieze, raised on tiered cluster-column legs headed by blind-fret carving and ending in block feet, h. 28‑3/4”, w. 28‑1/2”, d. 20‑1/4”. [3500/5000] Illustrated previous page 206 Chinoiserie-Style Polychromed and Ebonized Cocktail Table, mid‑20th century, the scalloped rectangular tray-form top with a raised edge surrounding a floral gilt and gesso design, raised on cabriole legs headed by gilt accents and ending in foliate toes, h. 17”, w. 34”, d. 19”. [700/1000] 207 George III Mahogany Chest-on-Chest, fourth quarter 18th century, the molded cornice above a case fitted with two short drawers over three graduated long drawers, the lower one with a drop front, opening to a fitted secretary drawer, the lower section fitted with three graduated long drawers, all drawers with a diamond-patterned banding, the whole raised on bracket feet, h. 67‑1/2”, w. 46”, d. 23”. [2000/4000] Illustrated 208 Elaborate Franco-Italian Design Drawing of a Japanese Cloisonne Vase, fourth quarter 19th century, sight 10‑1/2” x 7‑1/2”, presented in a crimson-banded ivory French mat within a gilt-edged, black-lacquered wooden frame in the neoclassical taste and glazed, 19‑1/4” x 17‑1/2”. [150/300] Illustrated

208

209

213 Indian Carved Ivory Figure of the God Ganesh, 19th century, depicting the god as a four-armed elephant seated on a throne with a lotus base, the figure crowned and holding attributes in three hands, the fourth raised in blessing, h. 6‑1/2”. [900/1200] Illustrated

218

216

214 Pair of Japanese Carved Ivory Figures, first half 20th century, one depicting a shellfish seller with a basket of clams and a spear, h. 7‑1/4”, and the other a turtle hunter holding a single turtle and a long tool for digging out his prey, h. 8‑3/4”. [700/1000] Illustrated

216

215 Indian Carved Ivory Figure of a Buddhistic Demon Deity, 19th century, the figure clad in a tiger skin, jewelry and wearing a crown of skulls, depicted holding a varja and bell, and seated on a lotus base, h. 4”. [1800/2500] Illustrated

217 219

211

214

212

213

215 216 Pair of Chinese Carved Ivory Figures of an Official and His Consort, 20th century, the official clad in court robes, wearing a mandarin’s cap and holding a sword, his consort clad in formal robes and wearing a phoenix hat, presented on wooden stands, h. 15”. [2500/4000] Illustrated

211 Good Chinese Carved Wood and Embellished Box, first half 20th century, of rectangular outline, the cover delicately embellished with jade, hardstone and dyed ivory depicting a white deer in a landscape below a stork in flight, all surrounded by a key-fret border, h. 3”, w. 4‑1/2”, l. 7‑3/4”. [2000/4000] Illustrated 212 Chinese Elaborately Carved Ivory Tusk Section, first quarter 20th century, the hollow tusk section elaborately carved and reticulated with a continuous scene of figures among pavilions in wooded settings, h. 8”. [2500/4000] Illustrated

217 Chinese Carved Wooden Figure of Guandi, 19th century, carved as the deity in military dress, seated with one upraised hand and a tiger under his foot, with traces of painted decoration, h. 9‑1/2”. [75/125] Illustrated 218 Japanese Carved Ivory Model of a Five-Storied Pagoda, late 19th/early 20th century, modeled as a five-storied building rising from a galleried platform, the lowest story carved with a Buddhist shrine with a Buddha attended by two acolytes, the other stories carved with closed shrines, the sides carved with panels of Buddhist saints and symbols, the roof panels carved with scrolling foliate symbols and butterflies, the roof topped with a pierced double gourd, h. 26‑1/4”. [3500/5000] Illustrated

219 Chinese Carved Wooden Votive Figure of Guanyin, 19th century, the goddess depicted seated, wearing loose robes and a veil, and holding a child in her lap, with traces of painted and gilt decoration, h. 8”. [100/200] Illustrated previous page

220

220 Chinese Export Porcelain Mandarin-Pattern Punchbowl, 19th century, of circular outline, decorated in underglaze blue and famille rose enamels, the exterior with figural reserve panels on a Y-fret figural medallion with a hexagonal underglaze blue rim and polychrome floral border, h. 5”, dia. 11‑3/8”. [2500/4000] Illustrated 221 Rare Chinese Bamboo Veneer Snuff Bottle, 18th century, of flattened spade shape with conforming domeshaped stopper with ball-shaped finial, the bamboo veneer body (zhu huang) carved in low relief on each side with a conforming cartouche with ruyi heads at the top and base, the center carved with kui dragon carved in an archaic style in low relief, the assembly of the bamboo veneer over the bamboo core executed with precision resulting in an excellent example of this time-consuming technique, the bottle exhibits a rich, lovely and even patination resulting in a golden-yellow color, h. 2‑1/2”. [4000/7000] Illustrated 222 Chinese Carved Boxwood Figure of a Scholar, 20th century, the well-carved figure depicted standing, wearing informal robes and holding a staff, attached to a fitted rectangular base, h. 7‑1/4”. [50/80] 223 Chinese Carved Celadon Jade Pendant Plaque, reticulated and carved in low relief as a phoenix bird among peonies and foliage, the pale celadon-colored stone with russet inclusions, h. 2‑5/8”, w. 2”. [200/400]

225 Large Chinese Famille Rose Porcelain Serving Dish, 20th century, of circular form, the body molded in low relief and glazed in pale celadon-colored glaze, enameled over the glaze in famille rose enamels with birds, insects, flowers and Buddhistic symbols, presented on a wooden display stand, dia. 14‑1/4”. [100/200]

227

226 Good Chinese Qingbai Glazed Lotus Bowl, of circular form with notched lip rim and incised lotus decoration on the interior, thinly potted and glazed all over in a pale green-blue transparent glaze, the recessed base partially unglazed, dia. 8‑1/2”. [300/500] Illustrated

226

228

221 224 Chinese Carved and Reticulated Jade Belt Applique, of oval outline, carved dimensionally as a phoenix bird among flowering peonies and foliage with incised details to the flowers, leaves and plumage, h. 2‑1/8”, l. 4‑1/8”. [300/500]

227 Chinese Partial Sansai-Glazed Tomb Figure of a Court Official, Tang Dynasty (618‑907), the standing pottery figure clad in informal robes with hands clasped, wearing an official headdress, the robes in ochre, green and straw-colored glazes, the head, headdress and chest unglazed, h. 16‑1/4”. [600/900] Illustrated

231 Chinese Two-Color Bamboo Brush Pot, 20th century, the cylindrical body with dark background and carved in low relief with a mountainous landscape, a lake and calligraphic inscription in a lighter color, h. 5‑1/8”. [500/800] 232 Two Good Chinese White Jade Archer’s Rings, 18th/19th century, the first of white jade with a flattened top exhibiting the russet skin of the original pebble, the second of white jade with an included area of yellow jade. [250/400]

234 228 Interesting Chinese Carved Celadon Jade Group, composed of a circular base in the shape of a Chinese coin topped by two finely carved figures of a mother rat with bulging cheeks accompanied by one of her offspring and holding a jade carving of a silver boat-shaped ingot, the stone of even celadon color, presented on a fitted stand, h. 2‑1/2”, dia. 3‑7/8”, with a brocade box. [700/1000] Illustrated

233 233 Chinese Carved Jade Double Fish Pendant, the milky stone with russet inclusions and carved as two confronting fish with fanned tails, each consuming a leafy branch, h. 2‑5/8”, w. 1‑3/4”. The double fish represent marriage, unity and abundance. [200/400] Illustrated 234 Chinese Reticulated Jade Plaque of the He He Erxian, of rectangular outline and carved as the He He twins among scrolling foliage, lotus and a bat, the pierced carving surrounded by a solid border, the stone of creamy white color with russet shading, h. 2‑1/2”, w. 3‑1/2”. [300/500] Illustrated

229 Group of Three Asian Lacquered and Gilt Boxes, 19th century, comprised of an elongated glove box decorated with geishas on a balcony, h. 1‑1/2”, w. 3‑3/4”, d. 12”; a rectangular storage box decorated with figures in a garden practicing shooting a Western gun, h. 1‑3/4”, w. 6”, d. 7‑3/4”; and a cylindrical box decorated with figures in garden scenes, h. 2‑3/4”, dia. 3‑1/4”. [250/400] 230 Southern Chinese Provincial Side Table, first half 20th century, composed of a solid wooden top with split bamboo banding, above bamboo legs, stretchers and a bamboo fretwork apron, the front with a single wooden drawer with metal pull, h. 33”, w. 37‑3/4”, d. 23‑1/2”. [500/800] Illustrated

230

235 Pair of Chinese Ching Pai-Glazed Funerary Jars, Song Dynasty (960‑1279), each of baluster form with a central encircling band of applied figures and clouds on a coiled ribbed ground, the pair glazed in a pale greenish-blue transparent glaze (Ching Pai) over buffcolored stoneware, h. 12‑1/2”. [300/500] Illustrated 236 Group of Four Chinese Porcelain Tea Cups, each of inverted bell form, decorated in underglaze blue with calligraphic decoration archaic characters, all against a crackled celadon ground, dia. 3”. [150/250] 237 Two Fragments of Chinese Carved Wood Ventilator Panels, 19th century, each carved in deep relief and depicting military figures competing in battle among buildings and forests, the wood with painted and gilded decoration, h. 10‑1/2”, l. 20”. [400/700] 238

238 Provincial Chinese Hardwood Storage Chest, 19th century, the hardwood frame with two central doors and three drawers in the bottom, the front decorated with painted panels of figures and flowers bordered with a dentil border and two foliate-carved feet, h. 63‑1/4”, w. 65‑1/2”, d. 25”. [800/1200] Illustrated 239 Monumental Carved Gesso and Gilded Solid Wood Head of a Serene Buddha, the hair of concentric rings, downward cast eyes and gentle smile with large ears, signifying wisdom, on a circular neck base, h. 34”. [900/1200] Illustrated 240 Chinese Carved Wooden Miniature Altar Coffer, 19th century, of rectangular outline with upturned ends, the front fitted with three drawers, with carved and pierced apron and ends with floral decoration, h. 10‑3/4”, w. 30‑3/4”, d. 8‑1/2”. [100/200]

239

235

241 Chinese Bronze Bell with Carved Wooden Stand, first half 20th century, the bell cast in low relief with a continuous design of a dragon pursuing the Flaming Pearl, suspended on a carved wooden stand with two dragons supporting a temple among clouds, h. 16”. [300/500]

245

245 Group of Two Provincial Chinese Earthenware Storage Vessels, 19th century, each of pyriform and with olive glazing, the lip and shoulder with incised accents, h. 18” and 19”. [400/700] Illustrated 246 Group of Seven Ancient Mid-Eastern Pottery Oil Lamps, 100 B.C.‑200 A.D., composed of Egyptian, Roman and Judaic examples, most with low-reliefmodeled decoration, the bodies in varicolored clays and of traditional shapes, l. 3” to 3‑1/2”. [300/500] 247 Group of Three Provincial Buff Terra Cotta Vases, all of globular form with antique ivory glazing, h. 10‑1/4”. [250/400] 248 Group of Four Provincial Buff Terra Cotta Vases, fourth quarter 19th century, all of globular form with antique ivory glazing, h. 10‑1/4”. [250/400] Illustrated

243

249 Group of Four Provincial Buff Terra Cotta Storage Vessels, all pyriform and with antique ivory glazing, the bases with incised ribbing, h. 13” and 16‑1/4”. [400/700]

248

242 Thai Carved Wooden Figure of an Absornsi as a Guardian, the carved half-angel, half-lion figure in a crouching position wearing armor and helmet with traces of painted decoration, now mounted on a black wooden base, h. 28‑1/2”. [300/500] 244 243 Fine and Rare Chinese Han Dynasty Vessel, ca. 200 B.C.‑200 A.D., with etched design and three rings, green drip glaze and etched and molded applied handles, h. 12”. [1400/1800] Illustrated 244 Mid-Century Modern-Style Ebonized and Marble Low Table, of oriental inspiration, with an inset marble top, set in a distressed ebonized frame, raised on shaped square legs, h. 16‑1/2”, w. 42”, d. 42”. [400/700] Illustrated

250 Striking Set of Four Graduated Vellum Drumheads, now mounted on matching custom wrought-steel display stands, overall h. 16” to 24‑1/8”, dia. 11‑1/2” to 18”. [250/400] 251 Large Chinese Provincial Musical Instrument, of the Huquin family, fourth quarter 19th century, comprised of a rectangular sound box with a long carved stick with two tuning pegs, presented on a custom metal display stand, h. 65”. [200/400] 252 Circle of Philips Wouwerman (Dutch, 1619‑1668) “Travelers Resting on a Hilltop”, oil on panel, unsigned, with artist’s biography affixed to panel verso, 11” x 11‑3/4”. Presented in a later giltwood frame with “J. J. Patrickson & Son Ltd., London” label on the reverse. [3000/5000] Illustrated

252 254 English Oak Drop-Leaf Gate-Leg Table, 19th century, the rounded rectangular top with two drop ovoid leaves, raised on a gate-leg support of turned baluster-form legs joined by stretchers and ending in block feet, h. 30”, w. 63‑1/2”, d. 19”, extended l. 71”. [1200/1800] Illustrated 255 English Oak Pub Bench, 19th century, the rectangular planked top above a paneled frieze, raised on bulbous and turned legs joined by a box stretcher and ending in bun feet, h. 20”, w. 36”, d. 12”. [400/700] Illustrated

254

256 Attributed to Alexander van Gaelen (Dutch, 1670‑1728) “Battle Scenes”, pair of oils on canvas, both examples indistinctly signed lower left, 11” x 14‑1/2”. Presented in matching contemporary ebonized frames. [3500/5000] Illustrated

253

255

253 Provincial Georgian Carved Oak “Saddlebag” Misericord, third quarter 18th century, probably Scottish or Welsh, h. 10”, w. 20‑1/4”, d. 5”. [300/500] Illustrated

257 George III Polychromed Oak Bureau, early 19th century and later, the slant front opening to an interior fitted with a variety of drawers and cubbyholes flanking a central cupboard, over a single frieze drawer with two short and two graduated long drawers below, raised on bracket feet, h. 41”, w. 43‑1/2”, d. 21‑1/2”. [1200/1800] 258 Carolean-Style Oak Child’s Chair, late 19th century, the shaped scrolling foliate crest above an arched padded back, flanked to either side by a turned and baluster-form upright, joined to the padded seat by downswept padded arms terminating in lion’s-head hand rests, raised on block and turned legs, joined by a scrolling front rail and a block and turned X-form stretcher and ending in ball feet, h. 32‑1/4”. [300/500] Illustrated

256 pair

258

261

259 Queen Anne-Style Mahogany Drop-Leaf Table, late 19th century, the rectangular top with two ovoid drop leaves, raised on tapering circular legs ending in pad feet, h. 27”, w. 42”, d. 18”, extended l. 54‑1/2”. Provenance: Countryside Antiques, Waveland, Mississippi. [400/700] 260 Large Dutch Bed Warmer, second quarter 19th century, the circular pan of pierced copper, the handle of turned and stained ash, l. 27‑1/2”. [75/125] 261 Two Large Salt-Glazed Stoneware Bellarmine Jugs, first quarter 18th century, one a Continental brown jug, h. 17‑1/4”, the other an English buff jug, h. 15‑1/4”, both examples with incised stylized bearded masques at the neck. [700/1000] Illustrated

262 Provincial George III Elmwood Corner Chair, ca. 1800, the rounded crest above two pierced vasiform splats, above a cushioned wooden seat, raised on square legs joined by a box stretcher, h. 30‑1/4”. [500/800] Illustrated

266 English Pine Display Case, 19th century, the upper section fitted with two long glazed doors, opening to an interior fitted with two banks of adjustable shelves, the lower section fitted with two glazed doors opening to a like interior, raised on a plinth base, h. 93‑1/2”, w. 49”, d. 16‑1/2”. [500/800] Illustrated

263 George III Mahogany Tripod Table, early 19th century, the tilting rectangular top raised on a columnar standard to a reeded and turned urn-form base, to three splayed cabriole legs ending in pad feet, h. 28‑1/2”, w. 26‑1/4”, d. 23”. [400/700]

265

266 264 English Mahogany Pub Table, 19th century, the planked oval top above a plain frieze, raised on bobbinturned circular legs ending in toupie feet, h. 28”, w. 40”, d. 33‑1/2”. [400/700] 265 Dutch Mahogany and Marquetry Tripod Table, early 19th century, the tilting circular top with a scrolling acanthine border surrounding an inlaid floral and avian urn, raised on a turned columnar standard to three splayed cabriole legs ending in pad feet, h. 29”, dia. 32”. [900/1200] Illustrated

262

267 Dutch Mahogany and Marquetry Sidechair, early 19th century, the domed crest above a vasiform-shaped splat above the shaped slip-in seat, raised on cabriole legs headed by foliate carving and ending in ball-and-claw feet, the whole with elaborate floral and avian inlays, h. 44”. [300/500] Illustrated

267 269

268 English Oak Library Steps, late 19th century, fitted with four steps and a side banister, the upper rung with a full guard rail, raised on block supports, h. 65‑1/2”, w. 20”, d. 42”. [1400/1800] Illustrated 269 English Provincial Pine Cupboard, mid‑19th century, in the Regency taste, the scalloped crest above four open graduated shelves, with six small drawers below, over two cupboards, each inset with a lattice-form grille, the whole raised on bracket feet, h. 76”, w. 35‑1/4”, d. 12”. [1800/2500] Illustrated

268

270

270 Rare Swedish Ashwood Armchair, late 18th century, in the Queen Anne taste, the domed crest centered by a large carved shell above a baluster-form splat, joined by shaped foliate-carved arms to the padded seat, raised above a shell-carved apron on cabriole legs ending in pad feet, h. 45”. [700/1000] Illustrated

273 Dutch Colonial Japanned Cabinet, 18th century and later, the molded rectangular cornice above a conforming case fitted with two cabinet doors, each with a gilt and gesso design of an exotic Indian landscape, opening to an interior fitted with two shelves, each with a pendant drawer below, raised on a stand fitted with a single long drawer on barleytwist legs joined by a like X-form stretcher and ending in block-andball feet, the whole with gilt floral accents, h. 65‑1/2”, w. 45‑1/2”, d. 19‑1/4”. [2500/4000] Illustrated 271 274 274 George III Mahogany Wing Chair, third quarter 18th century, the tall rectangular back joined by shaped sides and outscrolled arms to the padded seat, raised on acanthine-carved cabriole legs ending in ball-and-claw feet, h. 46”. [2000/4000] Illustrated

271 George Harlow White (British, 1817‑1888) “Window from the Clever Meadows”, oil on canvas, signed and dated lower right “G. Harlow White 1865”, 28‑1/4” x 60”, exhibition entry label on the reverse from “The Art Union of Great Britain, June Drawing, 1866, prize no. 69”, titled and signed in ink on an old paper label verso, 28‑1/4” x 60”. Presented in a period giltwood frame. [2000/4000] Illustrated 272 Henrietta Anne Fortescue (British, ca. 1765‑1841) “The Castle of Golling”, ink and graphite on paper, signed and dated lower right “H. A. Fortescue Aug. 26th, 1820”, titled lower center, with an extensive artist’s biographical label affixed to mat verso, sight 12‑3/4” x 19”. Matted and unframed. [500/800]

273

275 Good Swiss Oak and Polychrome Occasional Table, mid‑19th century, by Clement Sesti, Interlaken, Canton Bern, the tilting circular top with a carved foliate edge and centered by a scene of an Alpine waterfall, surrounded by carved grapevine banding and further surrounded by a band of cartouches, each featuring a polychrome maiden dressed in various folk garb, raised on an acanthine-carved standard to three splayed and foliate-carved C-scroll legs ending in in-scrolled toes, the underside bearing the label “At the Temple of Minerva/ Clement Sesti at Interlaken”, h. 30”, dia. 31”. Italian-born Clement Sesti (1807‑1888) was a noted purveyor of carved wooden figures and furniture in Interlaken. The Third Swiss Industrial Exhibition of 1857 records his showing of several carved suites and boxes, and he is listed as a must-see Interlaken attraction in an 1866 guide book. An active member of the Catholic Church, he was awarded the Cross of the Order of St. Gregory in 1879. [1800/2500] Illustrated 275 top

279 Continental School (Third Quarter 20th Century) “Village Scene”, watercolor and graphite on paper, signed lower right “R. Casteeli”, sight 14‑1/2” x 19‑3/4”. Glazed and framed. [75/125]

275

280 Pair of Continental Hide-Upholstered Occasional Stools, late 19th century, each with a padded circular top above a concave frieze, raised on three legs ending in actual hoof feet, h. 15‑3/4”, dia. 12‑1/2”. [300/500]

276 Black Forest Carved Walnut Sidechair, third quarter 19th century, the shaped back with pierced oak leaf and acorn carving surrounding a central plaque featuring a scene of a hunter carrying his catch, the shaped wooden seat centered by a scene of two mountain goats, raised on shaped legs headed by foliate carving and ending in scrolled toes, h. 37”. [250/400] Illustrated

276

277

277 Large German Carved and PolychromeDetailed Lindenwood Head of a Stag, fourth quarter 19th century, fitted with an impressive rack of natural antlers, the whole mounted on a backplate of modified cartouche form having a basal inscription in German, h. 43”, w. 24”, d. 23”. [900/1200] Illustrated 278 Continental Pewter-Mounted Lignum Vitae Humidor, fourth quarter 18th century, of columnar form, the lignum vitae body flute-carved, the pewter screw-top with a handle of addorsed scroll form, h. 8”, dia. 4‑1/2”. [400/700]

288 285

290 283

284

286

281 Bronze-Patinated Cast-Metal Figure of a Setter, mid‑20th century, by Jennings Brothers, of large size, the underbelly stamped “J.B., 2591”, h. 9‑1/4”, w. 17‑1/4”. [125/250] 282 Bronze-Patinated Cast-Metal Figure of a Newfoundland Dog, h. 6”, w. 9”. [75/125]

287

289

291

288 Argente Cast-Metal Figure of a Standing Pekinese, mid‑20th century, the dog’s neck tied with a ruff, h. 4‑1/2”, w. 6‑3/4”. [50/80] 289 Cold-Painted Cast-Spelter Figure of Two Terriers, first quarter 20th century, in the “Vienna Bronze” style, the canines, one black and the other white, depicted begging beneath an umbrella, h. 3”, w. 1‑3/4”. [50/80]

283 Cold-Painted Cast-Iron Figure of a Terrier, ca. 1900, probably by Hubley Manufacturing Company, Lancaster, Pennsylvania, modeled as an alert, seated, wire-haired fox terrier, h. 4‑3/4”, w. 5‑3/4”. [100/200] Illustrated

290 Cold-Painted Cast-Iron Figure of a Black Scottie, fourth quarter 19th century, probably by Hubley Manufacturing Company, Lancaster, Pennsylvania, the terrier modeled wearing a red collar and with one rear leg naughtily lifted, h. 3‑1/8”, w. 4‑1/2”. [50/80] Illustrated

284 Two Patinated Cast-Metal Figures of “Souvenir” Dogs, second quarter 20th century, in the “Vienna Bronze” style, comprising a husky bearing a plaque depicting the Capitol building in Washington, D.C., h. 2‑1/8”, w. 2‑3/4”; and a diminutive bulldog bearing a shield depicting the Robert E. Lee Monument in New Orleans, Louisiana, h. 1‑1/4”, w. 1‑5/8”. [50/80]

291 Two Cold-Painted Cast-Spelter Figures of Bulldogs, first quarter 20th century, in the “Vienna Bronze” style, both dogs modeled standing, the smaller example stamped “Germany” on the underbelly, the smaller h. 2”, w. 3‑1/4”, the larger h. 2‑3/4”, w. 4‑3/4”. [100/200] Illustrated

285 Pair of Patinated and Parcel-Gilt Cast-Bronze “Scottie” Bookends, second quarter 20th century, each modeled as a standing Scottish terrier mother with her puppy seated beside her, h. 3‑3/4”, w. 3”, d. 3‑3/4”. [100/200] 286 Verdigris-Patinated Figure of a Standing Bulldog, first quarter 20th century, of small size in the “Vienna Bronze” style, h. 2”, w. 3‑1/4”. [50/80] 287 Two German Cold-Painted Cast-Spelter Figures of Bird Dogs, first quarter 20th century, in the “Vienna Bronze” style, the smaller h. 3”, w. 3‑1/4”, the larger h. 3‑3/4”, w. 4‑3/4”. [100/200]

292 Italian Oak Chest, the banded rectangular top above a case fitted with four long drawers, all with inlaid banding, raised on ogee-molded bracket feet, h. 34”, w. 49‑1/4”, d. 24‑1/4”. [1800/2500] 293 Continental School (Late 19th/Early 20th Century) “Mountainous Landscape with Rushing Stream”, oil on canvas, indistinctly signed lower right, 17‑3/4” x 14”. Framed. [250/400] 294 Good Italian Gilt-Brass, Carved Calcatta Marble and Alabaster Six-Light Chandelier, first quarter 20th century, of basin form, the short brass candlearms supporting bowl-form alabaster shades, the outer base of the central marble basin carved with a stylized flowerhead, h. 27”, dia. 31”. [2500/4000] Illustrated

295 Good Gold- and Gilt-Bronze-Mounted Agate Etui, fourth quarter 18th century, retaining its original implements, including a pair of scissors, a straight-edge ruler, a pair of calipers, an awl, a pair of steel tweezers, a stylus, an ear pick, a steel blade and a diminutive spoon, l. 3‑1/2”. [3500/5000] Illustrated

299

294

296 Continental School (Fourth Quarter 19th Century) “Still Life of Flowers”, oil on canvas, signed lower left “Drake”, 30‑1/4” x 25”. Presented in a period carved giltwood and plaster frame. [500/800] 297 Continental Cut and Polished Carnelian Cabinet Bowl, fourth quarter 19th century, of oval form, w. 2‑3/4”, l. 4‑1/4”. [125/250]

299 German Historismus .800 Silver Gilt Enamel and Rock Crystal Cabinet Figure of an Ostrich, ca. 1900, by Ludwig Neresheimer, Hanau, Germany, the enameled figure bearing a rock crystal egg on its back and presented on an oval nacre base in a conforming silver-gilt jeweled base, h. 4‑3/4”. [1200/1800] Illustrated 300 Italian Carved and White-Painted Wooden Pricket Candlestick, fourth quarter 18th century, in the neoclassical style, now mounted with quartz crystal fragments and surmounted by a large specimen quartz crystal, the white-painted surface attractively worn and weathered throughout, h. 24”, dia. 6”. [200/400]

301

295 295 open

298 Large Fedorskino, Russia, Lacquered Table Box, second quarter 20th century, the lid featuring “The Village Dance of the Maidens”, signed lower left, the interior lacquered in monochrome red, accompanied by a Russian printed certificate of authenticity, h. 6‑1/4”, w. 4‑1/4”. [75/125]

301 Unusual Pair of Italian Garnitures, composed of antique turned and matte white-painted wooden vasiform balusters, each surmounted by a large fossil clam shell bearing chalcedony rosettes, h. 15‑1/4”, w. 5‑1/2”, d. 5‑1/2”. [300/500] Illustrated previous page 302 Pair of Italian Carved and Antiqued Giltwood Sunburst Looking Glasses, second quarter 20th century, in the Directoire style, modeled as alternating triple sunrays set with conforming mirrored glass strips and single rays set with three graduated mirrored glass jewels, dia. 26‑1/2”. [800/1200] Illustrated 303 British School (Late 19th Century) “Moroccan Evening”, oil on canvas, signed lower right “J. D. Clark”, 20” x 28”. Handsomely framed. [1500/2500] Illustrated 303 302 pair

307 German Ebonized Terra Cotta Figural Calling Card Tray, third quarter 19th century, in the form of a Blackamoor carrying a circular platter, the base fitted with an additional smaller card well, h. 15”. [250/400] 308 Large Italian Provincial Eight-Light Chandelier, composed of carved and white-painted wood and wroughtiron in the neoclassical taste, dressed with antiqued whitepainted turned wood pendants, the candlearms faced with upright antiqued wrought-iron acanthus leaves, the crown with four matching acanthus leaves, electrified and fitted with faux candles, h. 49”, dia. 47”. [1800/2500] Illustrated 309 Pair of Spanish Colonial Carved Giltwood Looking Glasses, second quarter 19th century, of rectangular form in the 18th-century style, one with the official Peruvian Cultural Institute Expert label on the reverse, h. 21‑1/4”, w. 14‑1/4”. [300/500]

304 Continental Walnut-Stained and Marble-Top Center Table, fourth quarter 19th century, the circular rim with line-carved details and supported by four standing putti, h. 32‑1/2”, dia. 54”. [1200/1800] Illustrated 305 Large Pair of Italian Parcel-Gilt and BlackPatinated Bronze Blackamoor Torcheres, in the 18th-century Venetian style, each exotically clad figure holding a flambeau fitted with electrical wiring, h. 54”, w. 26”. [3000/5000] Illustrated 306 Pair of Black Faux-Marbre Pedestals, each of square section, with stepped plinth and capital and fluted sides, h. 34”, w. 7”. [800/1200] Illustrated 304

305

311 Dramatic Continental Blackened Wrought-Iron “Eagle” Lectern, first quarter 20th century, of large scale in the High Medieval style, the rectangular book support resting on the outspread wings of the eagle, h. 62‑1/4”, w. 23‑1/4”, d. 22”. [1400/1800] Illustrated

311

306

310 After Tiziano Vecellio “Titian”, (Italian, 1488/1490‑1576) “Grand Duke of Alba”, oil on panel, 19th century, unsigned, 18‑1/2” x 14‑1/4”, accompanied by the hardcover book The Duke of Alba by Henry Kamen, Yale University Press. Handsomely framed. [700/1000] Illustrated

308 310

315 French Carved Giltwood Tripodal Pricket Candlestick, fourth quarter 19th century, in the Louis XVI style, now mounted as a table lamp, the whole supported on three ball-andclaw feet, h. 28” (39” to finial), w. 7‑3/4”. [200/400]

316 312 Continental Oak and Fruitwood Coffer, late 18th century, the hinged rectangular top opening to a void interior, the front with a decorative iron escutcheon and side relief-carved foliate designs, raised on line-carved block feet, h. 29‑1/2”, w. 67‑1/2”, d. 23”. [1000/1500] Illustrated 313 Hispano-Portuguese Brass and Copper Floor Brazier, first quarter 19th century, of oval and footed form in the 18th-century style, the interior fitted with a conforming fourringed brass-edged copper brazier pan, the whole supported on four short cabriole legs with paw feet, h. 7‑1/4”, w. 17‑1/2”, l. 21‑1/4”. [400/700]

319 316 Follower of Giovanni Paolo Panini (Italian, 1691‑1765) “An Architectural Capriccio with Figures Walking Among Ruins, a Merchant Selling Paintings and a Sculpted Classical Fountain in the Foreground”, oil on canvas, unsigned, 44” x 67‑1/2”. Handsomely framed. [3500/5000] Illustrated

318

314 Good German Brass Rosewater Basin, third quarter 17th century, the center with a raised foliate boss forming a ewer stand, the reverse fitted with a later triangular suspension loop, dia. 16‑1/2”. [400/700] 312

317 Italian Inlaid Walnut Collector’s Box-onStand, early 20th century, the rectangular case with inlaid geometric banding, fitted with a central deep drawer flanked to either side by two small drawers and with two drawers below, all with pyrography and inlaid scenes of a cityscape, raised on a stand of turned legs joined by a spindled gallery stretcher, raised on molded feet, h. 43‑1/2”, w. 20‑1/2”, d. 10‑1/4”. [400/700] 318 Continental Carved Oak Door, 16th century, in the Gothic manner, having twelve carved panels, all with X-form designs amidst foliate patterns, h. 70‑1/4”, w. 27”. [1800/2500] Illustrated

321

323 322 319 Good Northern European Carved and Stained Lindenwood Group of The Holy Family, fourth quarter 17th century, presented on a later slab base of macassar ebony, h. 12”, w. 7‑3/4”, d. 6‑1/2”. [1200/1800] Illustrated 320 Continental Carved and Stained Oak Panel, depicting a seated female figure allegorical of “Abundance” in the 16th-century style, h. 8‑3/4”, w. 8‑1/2”. [50/80] 321 Continental Carved Oak Coffer, 18th century, the hinged rectangular top opening to a void interior, the front with acanthine carving surrounding four diamond-carved panels, raised on block feet with decorative brackets, h. 27”, w. 57‑1/4”, d. 20‑1/2”. [1000/1500] Illustrated

322 Continental School (First Quarter 20th Century) “Portrait of a Gypsy Girl”, oil on canvas, signed upper right “E. Pilz 1920”, 32” x 23”. Handsomely framed. [1200/1800] Illustrated 323 Circle of Bartholomaus Breenbergh (Dutch 1599‑1656) “Italianate River Landscape”, oil on panel, third quarter 17th century, unsigned, 9‑1/2” x 12”. Presented in a ripple-carved giltwood fillet within a carved and ebonized wood frame in the 17th-century Dutch style. [1200/1800] Illustrated

328 324 Alexis Matthew Podchernikoff (American/Russian, 1886‑1933) “Wooded Landscape with Women Doing Laundry by a Stream”, oil on canvas, signed lower left “A. M. Podchernikoff, 20” x 24”. Handsomely framed. [3000/5000] Illustrated 325 Large Spanish Colonial DiptychFramed Looking Glass, second quarter 20th century, probably Peruvian, composed of polychromed wood and eglomise in the traditional style, h. 30‑1/2”, w. 33‑3/4” (18‑1/4” closed). [1200/1800]

326 326 Iberian Walnut Hall Chair, late 18th century, the padded rectangular back with corner foliate finials, joined by flat arms on turned uprights to the padded seat, raised on bulbous legs joined by a foliate- and avian-carved front stretcher and ending in foliate block feet, h. 43”. [900/1200] Illustrated 327 Suite of Two Spanish Mahogany Armchairs, 18th century, in the Baronial taste, one with a leather back joined by shaped arms to the slung leather seat, raised on square legs joined by a pierced front stretcher and a lower box stretcher, and the other with an embossed leather back joined by flat arms to the slung leather seat, raised on square legs joined by a plank front stretcher, h. 42‑1/2” and 44‑1/4”, respectively. [500/800]

328 Spanish Polychromed and Parcel-Gilt Walnut Vargueno, 16th century, the case with iron banding, fitted with a central deep drawer, flanked to either side by two small drawers and with two drawers below, all with freestanding spiral-reeded bone columns and inlaid bone plaques, h. 18”, w. 33”, d. 13‑1/2”. [5000/8000] Illustrated

324

329 Pair of Italian Carved and Bronzed Wood Pricket Candlesticks, third quarter 19th century, in the Baroque style, each supported on three boldly modeled paw feet, now fitted with faux candles and mounted as table lamps, h. 23‑1/4” (35” to finial), w. 8”. [600/900]

331 Northern European School (Early 18th Century) “The Patrician Reader”, oil on canvas portrait of a stern bearded scholar in a ruff and tippet, holding a book and a pair of spectacles, the book with a furlong bookmark inscribed in Latin “Centuria Costl: El Leoni”, unsigned, 36” x 28”. Presented in a later bird’s-eye maple neoclassical frame on a faded scarlet baize backplate. [2500/4000] Illustrated 332 Pair of Italian Brass Candlesticks, first quarter 20th century, of tall size in the late 18th-century neoclassical taste, h. 32”, w. 9”. [400/700] Illustrated

333 Italian Walnut Bench, 17th century and later, the planked back and sides each upholstered in quilted velvet, raised on shaped end supports headed by masks and ending in paw feet, each support joined to the seat by iron stretchers with bird’s-head terminals, h. 38”, w. 66”, d. 17”. [1500/2500] Illustrated

332

331

335

330 Italian Carved Giltwood Tripodal Pricket Candlestick, fourth quarter 18th century, in the neoclassical taste, now mounted as a table lamp and fitted with a custom flute-pleated silk shade of “old ivory” hue, h. 22” (40” to top of shade). [400/700]

333

334 Rare Russian Polychromed Majolica Figure of the Cossack Revolutionary Stepan Razin, fourth quarter 19th century, probably Moscow, h. 14”, w. 8”. [150/300] 335 Monumental Italian Majolica Baluster-Form Vase, second half 20th century, by Ceramiche Ricceri, Florence, in the Renaissance style, the obverse with a scene of mounted and armed knights saluting one another, the reverse with a castellated river landscape, the interior of the neck signed “Italy/Ricceri”, h. 26”, w. 19‑1/4”, dia. 15”. [800/1200] Illustrated previous page 336 Spanish Oak Coffer, late 17th/early 18th century, from Navara Spain, the hinged and planked rectangular top opening to a void interior, the front heavily carved in patera and geometric panels, each side bi-paneled, raised on plank supports, h. 35”, w. 60”, d. 22”. [4500/7000] Illustrated 340 338 337 Italian Walnut Savonarola Chair, third quarter 19th century, the leather back joined to the like seat by downswept acanthine-carved arms, raised on a crossover base ending in shaped planks to paw feet, h. 29”. [300/500] 338 Pair of English Carved Oak Figural QuarterPilasters, third quarter 19th century, in the form of Jacobean choristers holding long scrolls, h. 21”, w. 8‑1/2”. [800/1200] Illustrated 339 Italian School (Late 18th/Early 19th Century) “The Penitent Magdalene”, oil on canvas, unsigned, 35‑1/2” x 27‑1/2”. Presented in a contemporary giltwood frame. [600/900]

340 After Michelangelo Buonarroti (Italian, 1475‑1564) “Tombeau de Julien de Medicis”, 1830, oil on canvas, en grisaille, titled upper center, inscribed below title “Par Michel Ance Buonarroti” and lower right “Vien, fils, delineavit, 1830”, 29” x 36”. Presented in a contemporary giltwood frame. [4000/7000] Illustrated 341 French Late Gothic Wrought-Iron Folding Lectern, 17th century and later, the reading surface of black calfskin flanked by a pair of swing-candlearms now fitted with giltwood finials, h. 67”, w. 38”, d. 24”. [1400/1800] Illustrated 336

344 Italian Argente Wood and Wrought-Iron FiveLight “Cattail and Leaf” Sconce, in the neoclassical taste, the candle sockets of inverted bell form and of carved and silvered wood, caught at the base with an argente cut-iron bowknot, electrified, h. 34”. [200/400] 345 English Gothic Oak Cupboard, 16th century, the molded cornice above a case fitted with two cupboard doors, each inset with a scrolling foliage-carved panel and flanking a like-carved panel, the lower section fitted with two cupboard doors, each inset with four linen fold-carved panels, the sides paneled en suite, raised on block feet, the whole with decorative iron hardware and strapwork, h. 64”, w. 56”, d. 22”. [6000/9000] Illustrated 346 Gothic-Style Polychromed Cabinet, the molded cornice with projecting corners above a conforming case fitted with a paneled frieze over two cabinet doors, each paneled and with a carved rondel surrounded by Gothic tracery patterns, flanked to either side by arch paneled uprights featuring polychromed medieval figures, the whole raised on paneled legs featuring avian accents and ending in block feet, h. 55‑1/2”, w. 59‑1/2”, d. 25‑1/2”. [900/1200] 345

342 Jean Dormat, Le Droit Publique, Suite des Lois Civiles dans leur Ordre Naturel, Paris, 1706, published by Jean-Baptise Coignard, volumes I, II, IV and V, each frontispiece with a wood-engraved illustration. [200/400] 343 Four-Volume Vellum-Bound Set of Sacramente Decisiones, Venice, 1726, Latin text, the vellum bindings in generally good condition. [400/700] Illustrated

343

341

347 Louis XVI-Style Fruitwood Settee, late 19th century, the padded rectangular back with canted corners and within a foliate- and rope-carved frame, joined by padded acanthinecarved arms to the padded seat, raised above a laurel leaf-carved apron on fluted tapering circular legs ending in toupie feet, h. 40”, w. 70‑1/2”, d. 24”. [2000/4000] Illustrated

347

348 Provincial Restauration Fruitwood Armchair, third quarter 19th century, the domed crest flanked to either side by ebonized ball finials above a likeshaped splat, joined by flat arms to the rush seat, raised on tapering square legs joined by stretchers, h. 34”. [200/400]

351

349

349 Continental School (First Quarter 20th Century) “Chickens on a Sunlit Path”, oil on canvas, signed and dated lower right, “(?) Hofman 1917”, 25‑1/2” x 32”. Presented in a contemporary giltwood and plaster frame. [1500/2500] Illustrated 350 French Provincial Fruitwood Shelf, late 19th century and later, the molded cornice above a shaped frieze with stylized wheat sheaf carving, above four open adjustable shelves, flanked to either side by fluted uprights, raised on shaped feet, h. 77”, w. 82‑1/2”, d. 12”. [1800/2500] Illustrated 351 Near Pair of Buff Terra Cotta Lidded Storage Vessels, each of broad pyriform and with cream glazing, the lids domed and with a central knop, h. 18”. [300/500] Illustrated 350

352 Pair of French Mounted Dried Botanical Specimens, fourth quarter 19th century, presented nine-to-aframe on taupe backplates within white-painted wooden frames, each specimen accompanied by a handwritten Latin botanical name and a description of the particular plant in French, h. 34‑1/2”, w. 27‑3/4”. [300/500] 353 Louis XVI-Style Polychromed Sidechair, mid‑19th century, the molded and domed crest above a pierced lyreform splat, the padded seat raised on turned and fluted tapering circular legs ending in toupie feet, h. 36‑1/2”. [800/1200] Illustrated 354 French Provincial Grained and Floral-Polychromed Wooden Tallcase Clock, second quarter 19th century and later, the circular white enamel dial with black Roman chapters and an embossed gilt-brass cresting featuring a masked sunburst surmounting a pair of billing doves, retaining the period brass “moon” pendulum and original lead weights, h. 93”, w. 17‑3/4”. [1000/1500] Illustrated

353

355 Continental Provincial Pine Armoire, third quarter 19th century, the molded cornice above a case fitted with two long doors, each inset with three shaped panels, both within a molded frame, raised on large squat bun feet, h. 84”, w. 66”, d. 22‑1/2”. [800/1200] Illustrated

354

356 Pair of Provincial Louis XVStyle Fruitwood Fauteuils, late 18th century, each with a shaped and padded back surmounted by a floral crest, joined to the padded seat by scrolling arms, raised above a shaped floral-carved apron on molded cabriole legs headed by floral carving and ending in scrolled toes, upholstered in period figural upholstery, h. 34”. [2500/4000] Illustrated

356

355

357

360 Chinese White-Glazed Terra Cotta Funerary Jar, 19th century, the globular jar tapering to a narrow foot with incised ring decoration at the base and a central band of paddle impressions, glazed all over in white glaze for funerary offerings, h. 16‑1/2”, dia. 18”. [100/200] 361 Jules Rene Herve (French, 1887‑1981) “View of a Busy Street Corner in Paris”, oil on canvas, signed lower left “Jules R. Herve”, signed on canvas verso, partial label on the reverse “(?) Art Galleries, 1434 Sherbrooke Street West, Montreal”, 15‑1/8” x 18‑1/4”. Framed. [2500/4000] Illustrated

359

362 Rustic Cast-Stone Planter, late 19th century, of graduated circular form, the body nicely weathered, h. 21”, dia. 26‑1/2”. [100/200] 363 Provincial Louis XV-Style Walnut Commode, late 18th century, the slightly bowed top with molded edge and above a conforming case fitted with three long drawers, all bi paneled, raised on scrolled toes, h. 37‑1/2”, w. 47”, d. 24”. [3000/5000] Illustrated 364 Pair of French Cast- and Wrought-Brass Two-Light Appliques, second quarter 20th century, in the manner of Gilbert Poillerat, fitted with unusual tapering painted wood faux candles and electrified, h. 11‑1/2”, w. 8”, d. 6‑1/2”. [300/500]

357 Suite of Ten Louis XV-Style Polychromed Sidechairs, six examples third quarter 19th century and four examples late 20th century, all with a shaped and caned back surmounted by a floral crest, the caned seat above a shaped floral- and foliate-carved apron, raised on molded cabriole legs headed by floral carving and ending in scrolled toes, h. 37‑1/2”. [2500/4000] Illustrated 358 Napoleon III-Style Fruitwood Bergere, in the Louis XV taste, the shaped and domed padded back surmounted by a floral crest, joined by padded arms to the cushioned seat, raised on cabriole legs headed by floral carving and ending in scrolled toes, now upholstered in Brunschwig et Fils tapestry damask, h. 38”. [600/900] 359 Group of Three Provincial Buff Terra Cotta Storage Vessels, all of broad pyriform and glazed in antique ivory, all with lower incised fluting, one with indistinct incised undulating patterns on the shoulder, h. 13‑1/2” to 16‑1/2”. [250/400] Illustrated

361

365 Continental Provincial Polychromed Cabinet, early 19th century, the domed and molded cornice with canted corners above a conforming case fitted with two arched and paneled doors, the sides also paneled, the whole with decorative painted geometric accents, h. 38”, w. 36”, d. 15”. [400/700] Illustrated 366 Pair of Louis XV-Style Beechwood Fauteuils, third quarter 19th century, each with a padded and shaped back surmounted by a floral crest and within a molded frame, joined by outscrolled padded arms to the like seat, raised on molded cabriole legs headed by floral carving and ending in molded toes, h. 37‑1/4”. [1500/2500] Illustrated

365

363

367

366

367 French School (Fourth Quarter 19th Century) “Pastoral Summer Landscape with Lovers and a Musician by a Mountain Lake”, oil on canvas, unsigned, 9‑1/2” x 13‑3/4”. Handsomely framed. [900/1200] Illustrated 368 Provincial Louis XV-Style Fruitwood Duchesse Brisee, mid‑19th century, the caned back surmounted by a floral crest and joined to the long caned seat by scrolling arms, raised on cabriole legs headed by floral carving and ending in scrolled toes, the conforming stool with a caned seat, raised on similar legs, h. 35”, w. 23‑1/2”, l. 49‑1/2”. Provenance: Henry Stern Antiques, New Orleans, Louisiana. [1000/1500] Illustrated following page

369 Large French Colored Glass Scale- and BeadEncrusted Chandelier, first quarter 20th century, of corbeille form in “Vintage” decor, the eight shades modeled as colored glass grape clusters, the lower basket-form element covered in colored glass scales, the interior fitted with eight light sockets, h. 30”, dia. 33”. [2000/4000] Illustrated

369

370 Pair of Louis XV-Style Walnut Sidechairs, third quarter 19th century, each with a shaped and padded back surmounted by a foliate, shell and floral crest, the padded seat raised on molded cabriole legs ending in brass caps and casters, h. 38”. [300/500]

371

368

371 Provincial Fruitwood Cupboard, mid‑19th century and later, the rectangular top above a conforming case fitted with two cupboard doors, each inset with a shaped panel, above an open storage space with a slatted galleried front, the whole raised on shaped feet, h. 43”, w. 34”, d. 19‑3/4”. [700/1000] Illustrated 372 French Provincial PoitouCharentes Tallcase Clock, second quarter 19th century, in stained and floralpolychromed honey pine, signed “Gantner/ a l’Absie” on the circular enameled dial, retaining the brass dial frame and long bipartite fruit basket-embossed brass pendulum, h. 92”, w. 18‑3/4”. [1000/1500] Illustrated

372

376 Louis XIII-Style Oak Fauteuil a la Reine, third quarter 19th century, the tall padded rectangular back joined by downswept arms to the padded seat, raised on paneled tapering circular legs joined by a shaped X-form stretcher and ending in bun feet, h. 46”. [800/1200] Illustrated

375

377

376

378

373 Continental Stained Pine Hutch, ca. 1900, having an overhanging cornice molding and two glass doors above a pair of framed and paneled blind doors, raised on bun feet, h. 84”, w. 41”, d. 22”. [600/900] 374 French Provincial Glazed Pottery Bundt Bowl, first quarter 20th century, of circular spiral-ribbed form and having a medium brown glaze, h. 5”, dia. 11‑1/2”. [50/80] 375 French School (Late 19th Century) “Seascape”, oil on panel, signed and dated lower right “A. Laval-Bibard 1899”, 7‑1/4” x 14‑1/4”. Presented in an elaborately carved giltwood and plaster frame. [1000/1500] Illustrated

377 Provincial Louis XV-Style Fruitwood Bergere Encoignure, mid‑19th century, the domed and caned back surmounted by a foliate crest and joined by downswept caned arms to the cushioned caned seat, raised on shaped legs headed by floral carving and ending in carved toes, h. 37”. [400/700] Illustrated 378 Moravian Provincial Polychromed Pottery Vase, first quarter 19th century, of globular form in pale blue and umber floral decor, now mounted as a table lamp on a later bronzed brass base and having a matching cap, h. 10‑1/2” (23‑3/4” to finial), dia. 8”. [600/900] Illustrated

381 Empire-Style Walnut Semainier, early 20th century, the rectangular top above a case fitted with a frieze drawer over six recessed drawers, flanked to either side by a pilaster headed by an ormolu maiden’s head and ending in feet, the whole raised on ormolu paw feet, h. 61”, w. 34”, d. 19‑3/4”. [1200/1800] Illustrated 382 Large Northern European Gilt-Brass, Wrought-Iron and Cut Glass Tiered Eighteen-Light Chandelier, first quarter 20th century, in the neoclassical taste, richly dressed with facet-cut drops in three sizes, cut glass fleurettes and cut glass saucer bobeches, electrified and fitted with faux candles, h. 40‑1/2”, dia. 30‑1/2”. [1500/2500] Illustrated 383 Pair of French Gilt-Brass-Mounted Cut Glass Obelisks, in the Louis XVI taste, the obelisk points channel-cut, the square-section bases diamond-cut, h. 21”. [800/1200] 384 Louis-Philippe Gilt-Brass-Mounted Carrara Marble Pendant Lamp, second quarter 19th century, in the neoclassical taste, the pendant candle cup of cobalt blue glass, h. 14”, w. 4‑1/2”. [400/700] Illustrated

379

382

385 Good Pair of Napoleon III Gilt-Brass-Mounted Cobalt Glass Garniture Vases, third quarter 19th century, in the Louis XVI style, of baluster form, the gilt-brass collars with draped and tassellated gilt-brass chains and flammiform covers, h. 9‑1/2”, dia. 2‑3/4”. [1000/1500] Illustrated

379 French School (First Quarter 20th Century) “View of a Country Lane with Figures and a Horse-Drawn Carriage”, oil on canvas, signed lower right “Pereau”, 20” x 24”. Handsomely framed. [3000/5000] Illustrated 380 Provincial Northern European Polychromed Tallcase Clock, mid‑19th century, of kettle form, the enameled face indistinctly signed, the shaped body with one door inset with a glass viewing hole, h. 76”, w. 22‑1/2”, d. 8‑1/2”. [700/1000] 381

388 Continental Neoclassical-Style Mahogany Fauteuil, the fluted crest rail above a concave padded back, joined by downswept arms and lion-mask hand rests to the padded seat, raised on tapering square legs ending in gilt paw feet, bearing the white fabric label “Schumacher”, h. 38‑1/2”. [300/500] 389 Monumental Pair of Italian Cast Gray Pottery Tree Tubs, in the neoclassical style, each supported on a trio of detachable leonine-masque feet, h. 26”, dia. 28”. [2500/4000] 387

390 384 385

390 Plaster Bust of Apollo, After the Antique, truncated at the shoulder on a circular socle, h. 33”, w. 21‑1/2”, d. 14”. [1400/1800] Illustrated

386 French Gilt-Brass-Mounted Onyx Table Lamp, in the Louis-Philippe neoclassical taste, the standard of candlestick form on a tall gilt-brass pedestal of square section, each facade set with a hipped onyx boss, h. 29”. [500/800] 387 Suite of Six Russian Neoclassical Mahogany and Parcel-Gilt Armchairs, first quarter 19th century, each with a scrolling gilt crest above horizontal splats with gilt lotus and patera designs, joined by downswept arms and turned hand rests to the padded and tufted seat, raised on gilt-ring-turned circular legs, h. 44‑1/2”. [6000/9000] Illustrated 389 pair

391 Hippolyte Alexandre Julien Moulin (French, 1832‑1884) “Secret d’en Haut” (“A Secret from on High”), fourth quarter 19th century, a black-painted bronze figure after the 1873 model, depicting the adolescent nude Hermes whispering a secret to a herm of his later self, signed, on the reverse of the pillar, “Moulin, Je.un”, h. 20”, w. 10‑7/8”, d. 6‑1/8”. Provenance: Private collection, Sarasota, Florida. The original 1875 marble of this 1873 model is housed at the Musee d’Orsay, Paris. [1500/2500] Illustrated

392

393 French Gilt-BrassMounted Black TolePeinte Eight-Light Chandelier, first quarter 20th century, in the Restauration style, the candlearms surmounted by winged kneeling vestals before the flammiform candlesockets, the primary tole-peinte plate centered with a gilt-brass Nike figure, retaining the period ornamental gilt-brass suspension chains, not electrified, h. 32”, dia. 27”. [3500/5000] Illustrated 394 Pair of American GiltBrass and Tole-Peinte Four-Light Appliques, in the Restauration style, ca. 1900, each backplate marked “Crescent B.M. Co., Pat’d. No. 015”, h. 10‑3/4”, w. 12”, d. 13‑1/2”. [500/800]

391

392 Empire-Style Marble Pedestal, the square Noir Francais marble top raised on a square ribbed Carrara marble standard to a stepped base on projecting feet, the whole with ormolu mounts in the Empire taste, h. 45‑1/4”, w. 14”, d. 14”. [400/700] Illustrated

393

395

395 Large French Bronze and Malachite Figural Centerpiece Basket, composed of parcel-gilt and patinated bronze in the manner of Pierre-Philippe Thomire (French, 1751‑1843), the reticulated gilded basket supported on the heads of three bronze classical maidens surmounting a gilt-bronze-mounted malachite pedestal base of drum form, h. 35”, dia. 15‑3/4”. [3500/5000] Illustrated

401 pair

399 Pair of Giltand Patinated Bronze Recumbent Sphinx Chenets, first quarter 20th century, by Bouhon Freres, Paris, in the late Baroque style, each Sphinx signed “Bouhon”, h. 11”, w. 11‑3/4”, d. 6‑1/2”. [250/400]

396 Elegant Pair of Weighty French Gilt-Lacquered Bronze Quatrepodal Griffon Stands, in the Louis XVI style, h. 8‑3/4”, w. 8‑3/4”. [1800/2500] Illustrated 397 Pair of Empire-Style Patinated Metal Pedestals, each of square section and with elaborate ormolu mounts in the Empire taste, including frontal mounts of classical maidens, raised on a socle base with applied patera banding to block feet, h. 81”, w. 14‑1/2”, d. 14‑1/2”. [1800/2500] Illustrated 398 Good French Gilt-Bronze Figure of Orpheus, third quarter 19th century, in the Antique style, the figure modeled in a goatskin and depicted playing a flute, presented on a satin-polished black marble pedestal base of square section, h. 22‑1/2”, w. 6”, d. 6”. [800/1200] Illustrated

397

400 Pair of Gilt-BrassMounted Mirror-Black Porcelain Two-Handled Vases, of “Medici” form in the Restauration style, the collars, handles and bases of antique-gilded brass, h. 16‑1/4”, w. 11‑1/2”. [300/500] 396

398

401 Pair of Northern Italian Carved Giltwood Looking Glasses, in the late 18th-century neoclassical style, the tall giltwood crestings modeled as floral sprays on reeded pedestals mantled by foliate scrolls with flowerhead terminals, h. 65‑1/2”, w. 27”. [4500/7000] Illustrated

402 Edwardian Gilt- and Patinated Bronze Desk Clock, first quarter 20th century, in the French First Empire taste, the clock with white enamel dial with black chapters, set in a gilt-bronze laurel frame and rectangular case, surmounted by a helmet and wreath finial and presented beside a patinated and parcel-gilt bust of Minerva, both on a plinth base faced with armor, artillery, flags and cannon, raised on four toupie feet, the finial and plinth facing set with twenty-four diamonds totaling approximately 1.58 carats, h. 6‑1/2”, w. 5‑3/4”, d. 2‑1/4”. The diamonds here appear to be later additions, with one lacking and one a simulant replacement. Although unsigned, the case door is fitted with the watch-paper of Marcus Beaver, Manchester, dated 1918. [1200/1800] Illustrated

402

403 Pair of Napoleon III Brass-Mounted Black TolePeinte Garniture Ewers, third quarter 19th century, in the neoclassical style, the curvate gilt-brass handles with basal terminals in the form of bacchante masques, h. 12”, w. 6”, d. 4”. [1800/2500] Illustrated 403

407 Empire-Style Patinated Bronze and Onyx Occasional Table, the circular pieced onyx top within a full pierced gallery, raised on shaped supports headed by lion masques, joined by X-form stretchers and ending in paw feet, h. 26‑1/2”, dia. 25”. [1000/1500] Illustrated 408 Pair of Continental Silverplate Bouillotte Lamps, first quarter 20th century, each with a tapering reeded standard above a circular base, with three S-scroll arms ending in vasiform nozzles above circular drip-pans, surrounding an adjustable green tole-peinte shade with a vasiform finial, electrified and fitted with faux candles, h. 27”, dia. 15‑1/2”. [800/1200]

404 Empire-Style Giltwood Looking Glass, the frame with projecting floral block-carved corners surrounding a carved frieze panel depicting griffins flanking an urn issuing a putti figure, with the beveled rectangular plate below, h. 74”, w. 43”. [700/1000] 405 Stately Pair of Belle Epoque Bronze-Patinated Brass Andirons, first quarter 20th century, in the First Empire taste, each column of square section surmounted by a sphere resting on a dished circle of leaves, the facades with mounts of attenuated anthemion form, h. 30”, w. 10”, d. 23”. [1400/1800] Illustrated 406 Pair of English Bleached Oak Tall Fluted Columns, 19th century, each shaft mounted to a molded circular base on a socle plinth, h. 97”. [1000/1500]

405

409 Continental Wrought-Iron, Gilt-Brass and Cut Glass Six-Light Chandelier, second quarter 20th century, of “sac” form, dressed with multiple parallel chains of jewelcut beads and fitted with faux candles, the gilt-brass canopy of crown form, the gilt-brass bobeches of stylized flowerhead form, h. 33”, dia. 33”. [900/1200] Illustrated

409

407 410

411

410 French Painted and Parcel-Gilt Beechwood Looking Glass, third quarter 19th century and later, the tall cresting modeled as a carved, gris-de-Trianonpainted and parcelgilt portrait-head medallion mantled by laurel-leaf garlands and gilded oak leaf sprays joined by a furled gilded bowknot in the Louis XVI manner, h. 59‑1/2”, w. 23‑1/2”. [1000/1500] Illustrated

411 Empire-Style Ormolu-Mounted Verde Antico Marble Pedestal, the rectangular top raised on two columnar supports, each with an ormolu Corinthian capital and molded base, raised on a stepped rectangular pedestal with applied scrolling ormolu mounts, h. 41‑1/2”, w. 17‑1/2”, d. 10‑1/4”. [1200/1800] Illustrated

415 Neoclassical Mahogany Sidechair, mid‑19th century, the backswept crest above a palmetto-carved frieze over a pierced X-form and medallion-carved back, the padded seat raised on horse leg-form legs ending in hairy paw feet, h. 37”. [200/400] 416 Pair of Napoleon III Bronze and Marble Garniture Coupes, third quarter 19th century, in the Neo-Grec Style, composed of gilt- and patinated bronze and polished verde antico marble, the bronze handles with anthemion terminals, h. 7‑1/2”, w. 8‑1/4”. [500/800] 412

412 Attractive Pair of Paris Porcelain Garniture Vases, first quarter 19th century, of two-handled and paw-footed form, the handles modeled as matte-gilded leonine masques with stylized feather crestings, each facade painted with birds hovering over sprays of summer flowers, h. 13‑1/4”, w. 7‑3/4”, d. 4‑1/4”. [1800/2500] Illustrated 413 Attractive J. Staub, Vienna, Mantel Clock, second quarter 19th century, composed of gilt-brass- and giltwood-mounted fruitwood in the Biedermeier style, of glazed pavilion form, the canopy surmounted by a carved giltwood displayed eagle on a sphere, h. 20‑1/2”, w. 10”, d. 6‑1/4”. [1200/1800] Illustrated 414 Pair of Empire-Style Mahogany and Marble-Top Occasional Tables, late 19th century, each with a circular Sainte-Anne Francais marble top above a plain frieze, raised on three ormolu-mounted columnar supports to the concave tripartite shelf, raised on bun feet, h. 25‑1/4”, dia. 19‑1/2”. [1800/2500] Illustrated

414

417

417 Louis-Philippe Mahogany and Marble-Top Center Table, mid‑19th century, the inset circular specimen marble top above a plain frieze, raised on a reeded and turned urn-form standard to a reeded circular base issuing scrolling foliatecarved legs ending in paw feet on casters, h. 28‑3/8”, dia. 37‑1/4”. [1500/2500] Illustrated

413

418 Large Italian Marble Bust of Septimius Severus, in the Imperial Roman style, the portrait head in Carrara marble; the toga of Rouge Royal marble, h. 25”, w. 22”, d. 17”. [1800/2500] Illustrated

418

419

421 Pair of Monumental French Cast Terra Cotta TwoHandled Garden Urns, in the Restauration style, each footed urn accompanied by a paneled terra cotta pedestal of square section, h. 66”, dia. 27”. [1400/1800] Illustrated

420

419 Pair of French Gilt-Brass-Mounted Rouge Royal Marble Garniture Vases, first quarter 20th century, of covered, two-handled form in the Louis XVI style, now mounted as accent lamps on stepped matte black-painted square wooden “collector” bases and fitted with custom pleated taupe silk shades, h. 13‑1/2” (21‑1/2” to top of shade), base w. 5‑1/2”, shade dia. 9‑3/8”. [1200/1800] Illustrated

421 pair

420 Neoclassical-Style Rouge Royal and FauxMarbre Pedestal, early 20th century, the circular Rouge Royal marble top raised on a ribbed fauxBreche d’Aleps marble pedestal topped by a floral guilloche banding, raised on a molded square base, h. 37”, w. 18‑1/2”, d. 18‑1/2”. [1200/1800] Illustrated

422 Pair of Large Colored Offset Lithographs, of, respectively, an ancient Greek white-ground lekythos, and a red-ground black-figure twohandled amphora, overall h. 35”, w. 29”. Presented in matching neutral wood molding frames in the neoclassical style and glazed. [800/1200] Illustrated

423

425

424

423 Large Italian “Grand Tour” Pottery Vase, first quarter 20th century, of two-handled and footed form in the ancient Etruscan style, the facade with two black-figure warriors in combat, the reverse with a large anthemion in black, the base signed with the monogram “NT” and “Salvatore”, h. 16‑3/4”, w. 11”. [500/800] Illustrated 424 Good French “Grand Tour” Male Portrait Head, fourth quarter 19th century, composed of carved and patinated stone in the 12th-century Romanesque style, presented on a custom wrought-steel and black-painted wooden block base, h. 16”, w. 7‑1/2”, d. 3‑1/4”. [1200/1800] Illustrated

425 “Grand Tour” Pottery Arched Rope-Twist-Handled Vase, fourth quarter 19th century, of footed baluster form in the ancient Greek “Black Figure” style, one facade with an elaborate reserve of a reclining couple with their quaffing cups and attended by their pet cats, the opposing facade with a pair of horses and riders with circular shields, the whole artfully encrusted throughout, h. 19‑1/2”, w. 7‑1/4”. [300/500] Illustrated

426 Large Japanese Cast Bronze Figure of a Lion, by Genryusai Seiya Sei, Meiji Period (1868‑1911), the figure standing foursquare with head slightly thrown back with mouth open in a roar, the details realistically rendered and the patina dark brown, presented on a freeform wooden stand, h. 15‑1/2”, l. 26”. [5000/8000] Illustrated

427

427 Large French Bronze-Patinated Brass Figure of a Nude Victorious Gladiator, depicted wearing a starred cap and saluting with his raised left arm, h. 48”. [1200/1800] Illustrated 422 pair

428 Unusual Restauration Fruitwood Settee, first quarter 19th century, the back formed by three padded arches, joined by downswept sides to the cushioned seat, raised on tapering square saber legs, h. 33‑1/2”, w. 65”, d. 16‑1/2”. [1800/2500]

426

429 Continental Neoclassical Fruitwood Commode, second quarter 19th century, the rectangular top above a conforming case fitted with a single frieze drawer over three recessed long drawers, raised on ebonized paw feet, the whole with ormolu accents, h. 34”, w. 44‑1/2”, d. 19‑3/4”. [1000/1500] 430 Elegant French Carved and Parcel-Gilt Mahogany Double Bedstead, first quarter 20th century, of sleigh form in the First Empire style, the headboard centered with a gilded, carved bas-relief wreathed lyre, h. 53”, w. 60‑3/4”, l. 73”. [3500/5000] Illustrated

431 Empire-Style Fruitwood and Marble-Top Vitrine, early 20th century, the charcoal marble top with projecting corners above a conforming case fitted with an ormolumounted frieze over a single long door, the upper section glazed, the lower section paneled, flanked to either side by uprights, inlaid to simulate fluting, the whole raised on ormolu feet, h. 65”, w. 31”, d. 15‑1/4”. [1000/1500] Illustrated

432

431

430

434 Pair of Continental Neoclassical Mahogany Sidechairs, mid‑19th century, each with a curved crest centered by an inlaid oval griffin medallion over a pierced wreath back, the padded seat raised on saber legs, h. 33”. [250/400] 435 Charles X Elmwood Writing Table, mid‑19th century, the rounded rectangular top with a painted decorative banding surrounding an elaborate scrolling foliate design, above a conforming frieze fitted with a pull-out slide to either end and three small drawers to one side, raised on ebonized curule-form end supports headed by ormolu capitals and joined by a turned stretcher, h. 32‑1/4”, w. 37‑1/4”, d. 23‑1/2”. [900/1200] Illustrated 436 Unusual Pair of Biedermeier-Style Tole Cupboards, 19th century, each with a rectangular top centered by a decoupage cityscape and soldiers, above a conforming case fitted with a single drawer over a cupboard, the front and sides all with decoupage accents, raised on shaped feet, h. 29”, w. 15”, d. 12”. [3500/5000] Illustrated

436

440

437 Empire-Style Walnut and Marble-Top Side Table, third quarter 19th century, the rectangular Ceris marble top above a conforming frieze fitted with a single long drawer, joined by ormolu-mounted columnar supports to a lower shelf, the whole raised on painted paw feet, h. 35”, w. 54”, d. 23‑1/2”. [1200/1800] 438 Manner of Angelica Kauffmann (Swiss, 1740‑1807) “Love of a Blue Ribbon”, fourth quarter 18th century, a circular miniature painting of two classical maidens and a disarmed Eros playing with a blue silk ribbon, signed in ink script on the reverse “L’Amour au Ruban Bleu/ Kauffmann”, presented in a gilt-brass fillet within a square dished blonde tortoiseshell frame and glazed, 4‑7/8” x 4‑7/8”. [300/500]

432 Continental Walnut and Burlwood Center Table, in the Louis-Philippe taste, the circular top quarter veneered and with a series of floral- and foliate-inlaid bands, raised on a fluted and palmetto-carved giltwood standard to a concave tripartite base with applied palmettos, raised on ebonized block feet, the base with gilt accents, h. 31”, dia. 58‑1/2”. [2000/4000] Illustrated previous page 433 Louis-Philippe Mahogany Tub Chair, third quarter 19th century, the back-scrolled and rounded crest above a padded back and terminating in rounded patera-carved armrests, the revolving padded seat raised on four splayed legs ending in brass caps and casters, h. 30‑1/2”. [1000/1500]

435

439 Collection of Three Portrait Miniatures of Ladies of Fashion, including a diminutive Georgian example of a patrician lady, fourth quarter 18th century, presented in a clasp for a multiple strand bead bracelet, 1‑3/8” x 1‑3/4”; a larger oval example of “The Black Veil”, in the manner of Jean-Marc Nattier (French, 1685‑1766), fourth quarter 19th century, presented in a pieced, engraved and dished bone frame, 5‑1/2” x 4‑1/4”; and a rectangular example of a red-haired young woman in a white lace shawl, fourth quarter 19th century, indistinctly signed lower right and presented in a rose gold pendant frame and glazed, 2‑3/4” x 2‑1/4”. [200/400]

445

440 Collection of Three Portrait Miniatures, comprised of a French oval portrait of Emperor Napoleon I in court military dress, fourth quarter 19th century, presented in a rectangular rayonnant bone frame with abaloneset corners, 5” x 4‑1/2”; a German oval portrait of the youthful Frederick the Great of Prussia in court military dress, fourth quarter 19th century, 5‑1/8” x 4”; and a Dutch oval portrait, attributed to Elisabeth van der Veer (Dutch, 1887-ca. 1951), of an 18th-century lady of fashion, signed “Veer” lower right, first quarter 20th century, 5‑1/8” x 4”; the latter two presented in matching bronzed fillets within pieced bone frames set with black horn corners and old red foil and gold foil exhibition labels on the reverse. [250/400] Illustrated

441 441 Antoine-Louis Aubierre (French, 1821‑1862), After Victor-Jean Adam (French, 1801‑1866) “Emperor Napoleon I at Austerlitz”, 1852, a rare artist’s proof steel engraving, with artist’s credits and date in pencil on the basal margin, and Aubierre’s signature, sight 20‑1/4” x 37”. Handsomely presented in a giltwood-edged pale khaki linen mat within a brass-mounted reeded steel frame in the First Empire style and glazed. [450/700] Illustrated 442 Continental Polychromed Porcelain Jewel Casket, fourth quarter 19th century, of large size in the First Empire style, the lid with a polychromed reserve of the Emperor Napoleon I crowning the Empress Josephine, after the celebrated painting by Jacques-Louis David (1748‑1825), the base with a pseudo-Sevres First Empire mark in overglaze rouge de fer, the interior of the casket painted with sprays of summer flowers enframed by fleurs jetees sprays, h. 5”, w. 12‑1/2”, d. 8”. [2500/4000] Illustrated 443 Set of Five Scheibe-Alsbach Porcelain Figures of French Military Notables, first quarter 20th century, the polychromed and parcel-gilt figures representing Dumouret, Exelmans, Kellerman, Lepic and Lafayette, each titled on the facade and having a thumbnail biographical sketch on the base, each figure marked on the base with the Scheibe-Alsbach crossed batons centering an “S” in underglaze blue, h. 9‑1/2”. [100/200] 442

444 Pair of Neoclassical-Style Marble Pedestals, early 20th century, each with a square Carrara marble top raised on a columnar Bleu Turquin marble standard to a raised socle base, h. 38‑1/4”, w. 9‑3/4”, d. 9‑3/4”. [250/400] 445 French “Grand Tour” Bronze Desk Thermometer, fourth quarter 19th century, in the form of Paris’ Vendome Column on a fenced Rouge Royal marble base, h. 16”, w. 5‑1/2”. [900/1200] Illustrated

446 Good Pair of Charles X Gilt-Brass Spiral-Ribbed Candlesticks, second quarter 19th century, in the neoclassical style, each fitted with a detachable gilt-brass bobeche, h. 10‑3/4”, dia. 5‑1/4”. [700/1000] 447 Large Shadowboxed Embossed Gilt-Brass Medallion of “La Republique Francaise”, fourth quarter 19th century, in the allegorical Beaux Arts style, h. 17‑1/2”, w. 14”, handsomely presented on a black card backplate within a stepped gloss black-lacquer mat in a deep halfround giltwood molding frame and glazed, 27‑1/4” x 24”. [300/500]

448

457 448 Turkish Angora Oushak Carpet, 8’ x 9’ 10”. [1400/1800] Illustrated 449 Turkish Angora Oushak Carpet, 8’ 2” x 16’ 5”. [2500/4000] Illustrated 450 Pair of Uzbek Bordjalou Kazak Runners, 2’ 9” x 10’ 7” and 2’ 8” x 10’ 6”. [800/1200] 451 Agra Serapi Carpet, 6’ x 9’. [700/1000] 452 Sarouk Carpet, 14’ 1” x 9’ 5”. [1200/1800] 449

453 Heriz Carpet, 11’ 9” x 8’ 1”. [1200/1800] 454 Turkish Oushak Carpet, 10’ 6” x 12’ 8”. [3500/5000] 455 European Carpet, 9’ 6” x 13’. [600/900] 469

456 Shiraz Carpet, 8’ x 5’ 3”. [300/500] 457 Turkish Oushak Carpet, 8’ 10” x 11’ 10”. [1400/1800] Illustrated 458 Mashad Carpet, 12’ 5” x 9’ 2”. [1200/1800] 459 Turkish Angora Oushak Carpet, 10’ 1” x 14’ 2”. [2500/4000] Illustrated 460 Persian Qum Carpet, 4’ 4” x 7’. [1400/1800] 461 Persian Northeastern Carpet, 9’ 8” x 12’ 3”. [2500/4000] 462 Heriz Carpet, 12’ 1” x 9’ 2”. [2000/4000]

463 Isfahan Carpet, 6’ 6” x 4’ 8”. [400/700] 464 Heriz Carpet, 2’ x 3’. [100/200] 465 Semi-Antique Mahal Carpet, 10’ 8” x 17’ 5”. [1800/2500] 466 Kerman Carpet, 15’ 3” x 9’ 7”. [2500/4000] 467 Persian Heriz Carpet, 9’ 6” x 13’ 2”. [1200/1800] 468 Agra Sultanabad Carpet, 9’ 10” x 14’. [1800/2500] 469 French Art Nouveau Gilt-Brass and Alabaster SixLight Chandelier, first quarter 20th century, having three suspension rods with “whiplash” finials and chestnut spray centers, the lower element fitted with a shallow alabaster basin having a trio of concealed interior lights, the shade ring fitted with faux candles, h. 34‑1/2”, dia. 25‑1/2”. [1000/1500] Illustrated

459

470 Pair of Contemporary Argente and Gilt-Metal Side Tables, in the Directoire taste, each with an inset rectangular glass surface, raised on reeded tubular legs joined by an X-form stretcher and ending in gilt ring feet, h. 31‑1/2”, w. 54”, d. 15”. [1500/2500] Illustrated 471 Suite of Eight Louis XVI-Style Silver-Gilt Beechwood Dining Armchairs, each with a padded rectangular back joined by padded scrolling arms to the like seat, raised on fluted, tapering circular legs ending in toupie feet, upholstered in Zimmer and Rohde silk taffeta, the backs in pleated tan raw silk, h. 40”. [1800/2500] Illustrated 472 French Black and White Drum-Shaded Chandelier, dressed with parallel chains of onyx hoops centered with rhinestone spheres, the matte white drum shade banded in black ribbon and fitted with an interior downlight, h. 19”, dia. 13‑1/2”. [400/700] 473 Contemporary Ivory Laminate and Polished Steel Credenza, of Art Deco inspiration, the rectilinear top with canted corners, the face with four cupboard doors opening to reveal an ebonized interior with adjustable shelves, h. 32”, w. 92”, d. 19‑1/4”. [1500/2500] Illustrated

471

474 Hunt Slonem (American/New York, b. 1951) “Abraham Lincoln”, 2008, oil on panel, dated, titled, signed and inscribed on the reverse “Van Cordt’s Mansion”, 22‑3/8” x 16‑1/2”. Presented in an elaborately molded and carved giltwood and plaster frame. [1800/2500] Illustrated

470 475 Pair of Maison Jansen Brass and Black Tole-Peinte Bouillotte Lamps, of Directoire inspiration, the bases dished and fitted with a trio of cylindrical brass candleholders containing tall matte antique-white faux candles, the adjustable tole-peinte shades with arrow-feather adjusters, h. 33”. [1000/1500] Illustrated

473 476 French Overmantel Looking Glass, ca. 1940, the long rectangular plate bordered by mirrored segments with polychromed rinceau accents, the whole within a molded giltwood frame, h. 40‑1/4”, w. 91‑1/2”. [900/1200]

477 Parish-Hadley White-Enameled Plaster and Giltwood Table Lamp, third quarter 20th century, designed and retailed by Mrs. Henry “Sister” Parish (1910‑1994) and Albert Hadley (b. 1921), in the form of a Chinese paneled doublegourd vase, presented on a turned giltwood base, h. 14‑1/2” (29‑1/2” to finial), dia. 6‑3/8”. [900/1200] Illustrated

479 Group of Three Brown and Charcoal Gray Silk Pillows, two with leaf and floral designs and one with stripes, the smallest 17” x 17”, the largest 19” x 20”. [300/500] Illustrated

475 pair

478 Pair of Mid-Century Modern-Style Ebonized and Upholstered Benches, of neoclassical inspiration, each with a low bolster-form backrest, with a rectilinear seat, raised on tapering square legs on brass caps, h. 25”, w. 27”, d. 20. [500/800] Illustrated

479 474

477

478

480 Group of Five Beige, Brown and Black Striped Cut-Velvet and Silk Pillows, the smallest 17” x 17”, the largest 18” x 12”. [400/700] Illustrated

489

481 Art Deco-Style Rosewood and FauxVellum Chest, the rectangular top with rosewood banding around a vellum panel, above a conforming case fitted with three long drawers, all with silvered square pulls, raised on tapering square legs, h. 35‑1/2”, w. 39”, d. 19”. [1800/2500] 482 Group of Four Oblong Striped Silk Pillows, the smallest 23” x 9”, the largest 27” x 9”. [400/700] Illustrated

490

483 French Brass-Framed Looking Glass, in the neoclassical taste, the inner molding of polished chrome, h. 27”, w. 34‑3/4”. [400/700] 484 Pair of American Art Deco “Hematite”-Detailed Brass Two-Light Sconces, second quarter 20th century, of Directoire inspiration, the “hematite”finished backplates of scalloped octagonal form, each faux-wax candle base fitted with a cut plate glass bobeche of disc form, electrified, h. 7”, w. 8‑3/4”, d. 6”. [300/500] 485 Elegant French Satin-Finished Brass Wall Lamp, of circular form and large scale, composed of pierced brass and mirrored glass in the 1950’s style, electrified, dia. 26”. [500/800]

486 After Henri Toulouse-Lautrec (French, 1864‑1901) “Elsa, La Viennoise”, facsimile lithograph in colors, numbered lower left “121/275”, printed signature lower right, sight 26‑1/2” x 18‑1/2”. Glazed, handsomely matted and framed. [300/500] 480

487 After Henri Toulouse-Lautrec (French, 1864‑1901) “Seated Female Clown, Mademoiselle Cha-U-Kao”, facsimile lithograph in colors, numbered lower left 34/275, printed signature lower right, sight 26‑1/4” x 19‑3/4”. Glazed, handsomely matted and framed. [300/500] 488 Continental School (Mid‑20th Century) “The Andrew Dillon”, oil on canvas, signed and dated lower right “A. Yamataka 1953”, 19‑3/4” x 28‑1/2”. Unframed. [600/900]

482

489 Group of Five Brown, Olive and Blue Silk Pillows, two with floral designs and pleating, one with olive and blue floral designs and braided cord edge, one in olive with ribbing, and one with tassel edges on two sides, each 18” x 18”. [500/800] Illustrated

490 Group of Four Black and Dark Brown Pillows, three with stripes, one with a floral design, the smallest 17” x 11”, the largest 18” x 18”. [400/700] Illustrated 491 Restauration Painted Mahogany and Marble-Top Cabinet, mid‑19th century, the rounded rectangular charcoal marble top above a conforming case fitted with a cushion frieze drawer over two cupboard doors, raised on turned bulbous feet, h. 39‑3/4”, w. 48‑1/2”, d. 20‑1/2”. [600/900] Illustrated 492 Robert Mapplethorpe (American, 1946‑1989) “Calla Lily” Platter, 1984, transfer on porcelain, manufactured by Swid Powell Design, New York, the reverse with Swid Powell mark and facsimile Mapplethorpe autograph, dia. 12”, in the original fitted box and slipcase, 2‑1/2” x 13‑1/2” x 13‑1/2”. [300/500]

491

494 495

493 Calima Region Culture Large Gold Breast Plate, 200‑400 A.D., Colombia, the heart-shaped, flat, unadorned hammered sheet with small puncture at the top center, most likely for a suspension attachment, w. 9‑3/4”, 152 grams. [8000/12000] Illustrated 494 Popayan Region Culture Gold Pendant, 1200‑1500 A.D., Colombia, in the form of an eagle, with open mouth, spirals on either side of the head, flat, E-shaped wings displayed, two small projecting tubular feet, and five large “feathers” constituting the tail, with loop on the reverse, h. 1‑3/4”, w. 1‑3/4”, 12 grams. [2000/4000] Illustrated

493

495 Four Quimbaya Region Culture Gold Nose Rings, 1000‑1500 A.D., Colombia, three with twisted spirals and flattened cap terminals, w. 3/8” to 1‑1/4”, one Vshaped and hollow, l. 1‑1/2”, 56 total grams. [2000/4000] Illustrated

496 Pair of Sinu Region Culture Tumbaga Ear Ornaments, 500‑1000 A.D., Colombia, in the gold and copper alloy called “tumbaga”, the circular open rings bisected with two rows of openwork triangular and bird decoration on the bottom halves, with opening at the juncture for attachment, dia. 3”. [1200/1800] Illustrated

496

498 Near Pair of Sawfish Bills, mounted vertically on custom circular wrought-steel bases, h. 20‑1/4” and 22”. [150/300] Illustrated 499 Tall and Dramatic Gray and Russet Sawfish Bill, mounted vertically on a custom blackened wrought-steel circular base, h. 42”. [400/700] Illustrated 500 Two Sawfish Bills, one a tall pale gray swordfish bill mounted vertically on a custom oblong block base, and the other with a similar white swordfish bill on a custom slab lucite base with beveled edges, h. 29‑1/2” and 20‑1/2”. [300/500] Illustrated 501 Striking Shadowboxed White Reptile Skeleton, in an undulating position, presented on a blond mahogany backplate within a plexiglass shadowbox, h. 23‑3/4”, w. 7‑1/4”. [300/500] Illustrated

499

498

497

497 Sinu Region Culture Anthropomorphic Tumbaga Pendant, 500‑1000 A.D., Colombia, in the gold and copper alloy called “tumbaga”, the oval human head wearing a large wavy headdress with spiral ornaments, raised on a tubular body of three tapering tubular segments, each with a pair of L-shaped arms and spiral ornaments, the base with triangular “feet”, the concave reverse with two loops, h. 4”, w. 3”, presented in a custom fitted black velvet-lined case. [1200/1800] Illustrated

500

506 Large Ovoid Sculpture of Interlaced Sea Vines, presented on an oblong stepped matte black-painted wood display stand, h. 23”, w. 23‑1/4”, d. 8‑1/4”. [250/400] Illustrated

502

507 Near Pair of Chinese Provincial Weathered Wood Fence Posts, second quarter 19th century, each slotted for three rails, now mounted on custom black-painted stepped wood slab bases, h. 53” and 48”. [200/400]

503

505

501 502 Elegant French Shadowboxed White Piscine Skeleton, by Charles Cornette, dated December ‘02, presented on a pebbled dark stone-finished backplate within a teak shadowbox glazed at the facade, h. 11‑1/2”, w. 19‑1/2”. [200/400] Illustrated 503 Unusual Intact Upper Turtle Shell with Complete Vertebra, the fully inflated shell exhibiting the back plates on one side and the spinal column and vertebrae on the reverse, possibly Stylemys nebrascensis, l. 11‑5/8”. [100/200] Illustrated

506

504 Taxidermy Horseshoe Crab Carapace, on a custom-made ebonized stand, h. 28”. [125/250] 505 Large and Dramatic White Sawfish Bill, mounted vertically on a custom circular wrought-steel base, h. 45”. [400/700] Illustrated

508 African Carved Wooden Ashanti-Style Staff Finial, depicting a standing male figure and a stylized leopard on an oval platform with segmented standard, now mounted on a contemporary black wooden base, h. 21”. [500/900] 509 African Carved Wooden Senufo-Style Standing Male Figure, with platform feet beneath short bent legs and a protruding navel framed by abstract angular arms emanating from square shoulders, the diminutive angular facial features surmounted by a single crested backswept coiffure, h. 27”. [600/900] 510 Contemporary Marble and Iron Side Table, the square taupe marble top raised on tapering square to circular legs joined by an X-form stretcher and ending in molded feet, h. 23‑3/4”, w. 23‑3/4”, d. 23‑3/4”. [400/700]

516

511 Follower of Henry Moore (English, 1898‑1986) “Crouched Nude Figure”, cast stone, fourth quarter 20th century, presented on an integral oblong base, the upper surfaces gently and attractively weathered, h. 71”, w. 31‑1/2”, d. 12”. [400/700] Illustrated 512 Art Deco Mahogany Dining Table, first quarter 20th century, the rectangular plinth top hinged and opening to a larger surface, raised on a curved base, the solid sides joined by a brass stretcher, h. 30”, w. 36‑1/4”, d. 23‑3/4”. [800/1200] Illustrated 513 American Art Deco Mahogany and Maple Tripartite Looking Glass, first quarter 20th century, the reverseengraved plates with red and black eglomise detailing in the Art Deco mode, reputed to have been made for an ice cream parlor, h. 63”, w. 54”. [800/1200] 512

511

514 Alexander Calder (American/New York, 1898‑1976) “Spiral Sun”, color lithograph, numbered in pencil lower left “28/75”, signed in pencil lower right “Calder”, sheet 29‑1/2” x 43”. Glazed and framed. [1400/1800] Illustrated 515 Alexander Calder (American/New York, 1898‑1976) “Pyramids in a Landscape”, color lithograph, numbered in pencil lower left “15/75”, pencil signed lower right “Calder”, sheet 29‑1/2” x 43‑1/2”. Glazed and framed. [1500/2500] Illustrated

516 Suite of Four Mid-Century Modern-Style Ebonized and Natural-Finished Dining Chairs, each with a striated plank seat and back on an ebonized frame, raised on tapering square legs, h. 41‑1/2”. [600/900] Illustrated 517 Unusual French Wrought-Steel and Lucite FourLight Chandelier, of multiple “tree-branch” form in the manner of Gilbert Poillerat (French, 1902‑1988), the tree branches entwined with matte-gilded faux-mistletoe vines with scattered lucite drops, electrified with small halogen bulbs, h. 36”, dia. 38”. [600/900]

514

519

515 518 Dutch School (Contemporary) “Crown of Thorns”, patinated bronze, signed “Douwe”, numbered “3/25”, h. 16‑1/2”. [900/1200] 519 Fernand Leger (French, 1881‑1955) “Composition avec la roue”, pen, brush and India ink on buff paper, 11‑1/2” x 8‑7/8”. Glazed and presented in a rounded gold leaf frame with ivory linen mat. Provenance: Acquired from the artist; Valentine Gallery, New York; Sotheby Parke Bernet Inc., New York, January 19, 1979, lot 56; Private collection, Austin, Texas. [5000/8000] Illustrated 520 Fernand Leger (French, 1881‑1955) “Composition avec l’echelle et les fleurs”, pen, brush and India ink on paper, 11” x 8‑1/2”. Glazed and presented in a rounded gold leaf frame with ivory linen mat. Provenance: Acquired from the artist; Valentine Gallery, New York; Sotheby Parke Bernet Inc., New York, January 19, 1979, lot 57; Private collection, Austin, Texas. [5000/8000] Illustrated

520

526

521 After Marc Chagall (French, 1887‑1985) “Moses and the Burning Bush”, from the Story of Exodus, limited edition color reproduction, numbered lower left 90/500, with printed signature lower right, sight 24‑1/2” x 17”. Glazed, handsomely matted and framed. [300/500]

527

522 Danish Modern Ash and Upholstered Armchair, the graduated padded rectangular back joined to the padded seat by flat arms, raised on tapering square legs, h. 33‑1/2”. [300/500] Illustrated 523 Danish Modern Blonde Wood Sidechair, the padded and tapering rectangular back above the like seat, raised on tapering square legs, h. 33”. [250/400] 524 Danish Modern Ash and Upholstered Armchair, the curved wooden back joined by sloping arms to the padded seat, raised on tapering square legs, h. 31‑1/2”. [300/500]

522

525 Mid-Century Modern-Style Ebony-Stained and Patinated Metal Cabinet, of rectilinear form, the face with a pair of sliding doors, each with metalfaced panels, h. 35‑1/2”, w. 60”, d. 15‑3/4”. [250/400]

528 526 The Villa Sibi Modernist Dollhouse, 2004, designed by Wolfgang Sirch and Christoph Bitzer, manufactured by Sich, Bohem im Allgau, Germany, the large house with adjoining deck, indoor lap pool and minimalist furnishings, h. 10‑1/2”, w. 45”, d. 10‑1/2”. [300/500] Illustrated 527 Collection of Five French Wooden Hat-Maker’s Forms, first quarter 20th century, in the shape of male heads, the faces carved by different hands and varied, h. 8‑1/2” to 9‑1/2”. [300/500] Illustrated

528 Andy Warhol (American, 1928‑1987) “Campbell’s Tomato Soup Label”, signed in black marker “Andy Warhol”, 3‑5/8” x 8‑3/8”. Glazed, matted and presented in a blonde wood frame. [800/1200] Illustrated 529 Larry Rivers (American, 1923‑2002) “Living at the Movies”, 1974, lithograph in colors, pencil signed and numbered lower right “Rivers 31/175”, dated in pencil lower left “1974”, published by Marlborough Graphics, New York, sight 23‑1/2” x 28”. Glazed, matted and framed. [1000/1500] Illustrated 530 Stylish Contemporary Mahogany Armchair, of Chinese Chippendale inspiration, the padded rectangular back joined by shallow padded sides and pierced arms to the padded seat, raised on rounded square legs with decorative knees, h. 43”. [300/500] 531 Large and Unusual Gilt-Metal Sunburst Mirror, mid‑20th century, the beveled circular mirrored plate surrounded by organically rendered interlacing rays, dia. 52”. [900/1200]

534

532 Suite of Four Mid-Century Modern Fiberglass, Wood and Wire PAW Chairs, ca. 1975, each embossed underneath with the Herman Miller logo, designed by Charles and Ray Eames for the Herman Miller Company, Zeeland, Michigan, h. 30‑3/4”. [900/1200]

529 533 Danish Modern Rosewood Desk, mid‑20th century, the banded rectangular top above two suspended side banks, each fitted with three short drawers, the whole raised on square legs, h. 28‑1/4”, w. 68‑3/4”, d. 30‑1/2”. [600/900] 534 Large and Weighty Polished Quartzite Sphere, displaying rose, caramel, brown and gray banding in striated formations with intersecting formations forming “fortification” shapes, now custom mounted on a square, stepped wrought-steel stand, h. 18”, dia. 10”. [400/700] Illustrated 535 Contemporary Silvered Looking Glass, the rectangular plate within a deeply canted frame encased in metal sheeting, h. 43‑1/4”, w. 31‑1/2”. [250/400] 536 Contemporary Patinated Metal and Glass Cocktail Table, the rectangular top with an inset rectangular glass surface, with an under-banding of circular designs, raised on square legs joined by an X-form stretcher, h. 18”, w. 55”, d. 35‑1/2”. [600/900] Illustrated

536 537 Pair of Danish Modern Birch Armchairs, mid‑20th century, the padded rectangular back joined by curved arms to the padded seat, the arms with chrome accents, raised on square legs, h. 31”. [400/700]

542 Carlos Cruz-Diez (Venezuela, b. 1923) “Untitled”, color silkscreen, pencil signed lower right, numbered in pencil lower left “28/35”, published by Denise Rene Editeur, sight 26‑1/2” x 26‑5/8”. Glazed and framed. [400/700]

538

540

543 Peter Max (American, b. 1937) “Mona Lisa”, color lithograph, numbered in pencil “478/500”, signed in pencil lower right “Max”, sight 15” x 10‑1/2”. Glazed, matted and presented in a contemporary ebonized frame. [350/500]

544 Peter Max (American, b. 1937) “French Zero’s Girlfriend”, 1990, color lithograph, numbered in pencil “MP 6/10”, signed lower right, sight 26‑1/4” x 35‑1/4”. Glazed and framed. [600/900] Illustrated

541 538 Large Contemporary Brushed Steel, Ash and Glass Dining Table, by Stoneline Designs, Inc., Chapel Hill, N.C., the “quadrant” base comprised of horizontally brushed steel panels on ash, the circular glass top textured on one side, h. 30”, overall dia. 72”. [1500/2500] Illustrated 539 Large Satin Black and Mirrored Looking Glass, step-framed in the Neo-Art Deco taste, of near-square form, the frame modeled as graduated stepped registers of mirrored glass separated by satin black wood bands, h. 37‑3/4”, w. 37‑1/2”. [400/700] 540 Large and Attractive Multi-Branch Red Coral Specimen, now mounted on a decorative wooden display stand, h. 21”, w. 19”. [300/500] Illustrated 541 Fine Steuben Jade-Over-Alabaster Cameo-Cut Glass Centerpiece Bowl, first quarter 20th century, designed by Frederick Carder (1863‑1963), in the Chinese taste, the polished pontil with the Steuben fleur-de-lys mark, h. 4‑3/4”, dia. 12‑7/8”. [600/900] Illustrated

544

Session II

Sunday, January 30, 2011

11:00 a.m. (Lots 545-996)

545 Lovely Strand of Slightly Graduated South Seas Pearls, of near round shape, cream/white color, ranging from 12.0 mm to 13.0 mm in diameter, with a fourteenkarat white gold filigree and diamond clasp. [3500/5000] Illustrated

552

546 Fine and Impressive Verdura Eighteen-Karat Yellow Gold, Tourmaline and Diamond Brooch, composed of a star of crossed gold bands over a Baltic cross set with oval-cut red tourmalines and round brilliant-cut white diamonds. This iconic design resulted from a collaboration between Coco Chanel and Fulco di Verdura. [12000/18000] Illustrated 547 Fine Tiffany and Company Eighteen-Karat Yellow Gold and Ruby Brooch, cast in the form of a five-armed starfish, the surface with stippled decoration, centered with a round cabochon ruby. [700/1000] Illustrated 547

549

546

548

548 Stunning Eighteen-Karat Two-Color Gold and Diamond Bee Brooch, the well-defined body in yellow gold with spread wings, the thorax and abdomen in white gold set with an estimated 2.0 carats of white, brilliant-cut diamonds, the eyes bezel set with two round-cut rubies. [1500/2500] Illustrated

555

545

549 Boucheron Paris Eighteen-Karat Yellow Gold, Ruby and Diamond Foliate Brooch, the eighteen-karat gold body designed as four fern fronds centered by a circular diamond and ruby cluster, accented by diamond-set ribs to the fronds, signed. [7000/10000] Illustrated 550 Antique Gentlemanâ&#x20AC;&#x2122;s Fourteen-Karat Rose Gold and Onyx Watch Fob, dated December 14, 1882, of rectangular form, the cover with a rectangular onyx intaglio of Hermes on the cover, opening to reveal a flip-up magnifier and a compartment for a photograph. [100/200]

551 Whimsical Gentleman’s Fourteen-Karat Yellow Gold and Enamel Tie Tac, cast in the form of a spider with black, green and transparent gold enamel body, bar and push pin back. [100/200] 552 Bold Vermeil and Ruby Indian-Style Bracelet, composed of bezel-set faceted Indian rubies arranged as a central floral plaque joined on either side by three ropes of bezel-set rubies joined by link chains. [400/700] Illustrated 553 Charming Fourteen-Karat Yellow Gold and Tourmaline Necklace and Earring Suite, the delicate necklace composed of hinge-joined bowed links suspending a faceted pear-cut red tourmaline at the center and a pair of earrings en suite, boxed. [900/1200] 554 Gentleman’s Fourteen-Karat Yellow Gold Monogram Belt Buckle, of rectangular outline with engraved decoration and pierced work with three-initial monogram. [100/200] 555 Vintage Fourteen-Karat Yellow Gold and Cultured Pearl Necklace, composed of a single strand of 9.0-mm cultured pearls of cream/white color with a fourteen-karat yellow gold and pearl circular clasp. [300/500] Illustrated

556

560

558

561

557

559

558 Boucheron Paris Eighteen-Karat Yellow Gold and Diamond Foliate Brooch, the eighteen-karat gold body designed as four fern fronds centered by a circular diamond cluster, accented by diamond-set ribs to the fronds, signed. [7000/10000] Illustrated 559 William Ruser Eighteen-Karat Yellow Gold and Diamond Brooch and Earring Suite, each piece cast as a wreath of yellow gold leaves with textured surfaces and centered by a dome of round brilliant-cut white diamonds. William Ruser (American, d. 1994) was known as “Jeweler to the Stars”, furnishing jewelry to such notables as Joan Crawford, Claudette Colbert and Loretta Young. He retired in 1969. [6000/9000] Illustrated 560 English Victorian Fifteen-Karat Yellow Gold and Pietra Dura Brooch, ca. 1875, the oval brooch with an Italian pietra dura plaque of white flowers against a black ground, the plaque bordered by a gold Etruscan Revivalstyle border. [700/1000] Illustrated

556 Fine Platinum, Eighteen-Karat White Gold and Natural Fancy-Colored Diamond Lady’s Ring, composed of a central prong-set 3.31-carat modified rectangular brilliant-cut natural fancy yellow diamond, VS‑1 Clarity Grade, even color distribution, flanked on either side by keystone-cut white diamonds with a total weight of .55 carats, accompanied by G.I.A. certificate number 15220516 certifying the yellow diamond. [18000/25000] Illustrated 557 Whimsical Eighteen-Karat White Gold, Sapphire and Diamond Leaf Brooch, in the shape of a five-lobed leaf set with periwinkle blue sapphires, with a diamond-set stem and a bezel-set rose-cut diamond placed as a drop of dew. [2500/4000] Illustrated

561 Charming Fourteen-Karat Yellow Gold and Diamond Leaf Brooch, cast in the form of a maple leaf with a matte textured surface imitating the natural leaf, set with a single round brilliant-cut white diamond. [300/500] Illustrated 562 Lady’s Tiffany and Company Eighteen-Karat Yellow Gold and Ruby Ring, the plain polished gold body centrally set with three calibre-cut rubies in an arch bordered by two gold bands. [500/800] 563 Lady’s Fourteen-Karat Yellow Gold and Lapis Lazuli Ring, the yellow gold body cast in a ribbed design with two plaques of lapis lazuli inlaid on the top in a diagonal design. [125/250]

564

568 Lovely Platinum and Diamond Lady’s EngagementStyle Ring, composed of a central 3.02-carat emeraldcut natural light fancy yellow diamond, flanked on either side by a keystone-cut white diamond. [14000/18000] Illustrated 569 Stunning Platinum, Emerald and Diamond Lady’s Ring, composed of a central oval emerald cabochon of even, deep green color, weighing 13.60 carats, surrounded by a single row of round brilliant- and pear-cut white diamonds, total weight 1.37 carats. [5000/8000] Illustrated

564 Pair of Italian Eighteen-Karat White Gold, Sapphire and Diamond Earrings, each of leaf shape, the centers with a pear-shaped group of baguette-cut white diamonds with a total weight of .62 carats, surrounded by a single row of oval- and pear-cut blue sapphires with a total weight of 7.96 carats. [5000/8000] Illustrated

570 Lady’s Fourteen-Karat Yellow Gold and Diamond “Rolling” Ring, composed of three interlocked yellow gold bands, each channel set all around with round brilliant-cut white diamonds with an estimated total weight of 3.10 carats. [1000/1500]

566 565

565 Fine Eighteen-Karat Yellow Gold, Diamond and Sapphire Lady’s Dress Ring, of low, double dome shape, pave set with eighty round brilliant-cut white diamonds, estimated total weight 2.20 carats, bisected by two lines of channel-set blue sapphires, estimated total weight 2.07 carats. [5000/8000] Illustrated 566 Unusual Platinum, Eighteen-Karat White Gold, Diamond and Sapphire Lady’s Ring, composed of a central Old European cushion-cut natural light fancy yellow diamond, weighing 1.67 carats, in a bezel setting surrounded by French-cut blue sapphires and white brilliant-cut diamonds, estimated weight of sapphires 1.39 carats, of diamonds 1.57 carats. [5000/8000] Illustrated 567 Dramatic Eighteen-Karat Yellow Gold, Turquoise and Diamond Necklace and Earring Suite, composed of round and oval cabochons of Persian turquoise in bezel settings mounted on twisted gold wire frames and accented with round brilliant-cut white diamonds, with earrings en suite. [5000/8000] Illustrated

567

571 Rare and Spectacular David Webb Platinum, Eighteen-Karat Yellow Gold, Emerald, Sapphire and Diamond Lady’s Ring, composed of a central pear-cut emerald cabochon, weighing an estimated 11.0 carats, mounted above a dome set with an estimated total weight of 5.50 carats of round brilliant-cut white diamonds, the dome enhanced with eight pear-cut blue sapphires with an estimated total weight of 7.20 carats, four of the sapphires enhanced with yellow gold wire surrounds, the shank formed of overlapping gold wires and having a mechanism to open, signed “Webb”, presented in the original David Webb box. [9000/12000] Illustrated

571

568

572

569

572 Spectacular Platinum, Aquamarine, Sapphire and Diamond Pin/Pendant Necklace, composed of two aquamarines, a rectangular cushion-cut stone weighing 73.0 carats, with a double pin back for use as a pendant brooch, and a pear-cut stone weighing 24.0 carats, each bezel set in a conforming mount encircled by French-cut blue sapphires and round brilliant-cut white diamonds, estimated total weight of sapphires 11.48 carats, of diamonds 2.14 carats, with an eighteen-karat white gold chain. [14000/18000] Illustrated

573 Good Fourteen-Karat Yellow Gold and Diamond Lady’s Necklace, of graduated form with disappearing clasp, set with prong-set round brilliant-cut white diamonds with an estimated total weight of 6.0 carats. [2500/4000] Illustrated following page 574 Fourteen-Karat Yellow Gold, Sapphire and Diamond Straight-Line Lady’s Bracelet, composed of twentyfive links, each set with an oval-cut blue sapphire, flanked at the ends by two prong-set single-cut white diamonds. [600/900]

576

579 Chinese Spinach Jade and Coral Necklace, composed of spherical spinach jade beads interspersed by carved coral knot-form beads of pinkish/orange color, l. 15‑1/2”. [800/1200] 580 Chinese Two-Color Jadeite Bead Necklace, composed of alternating green and white jadeite beads, the green beads solid and of mottled green color, the white jade beads with pierced carving, joined by a green bi disk clasp, l. 22‑1/2”. [3000/5000]

581 573

575 Unusual Portuguese Silver-Top Gold-Back Diamond and Snakeskin Bangle, composed of a green snakeskin cuff bracelet mounted with an antique Portuguese medallion set with an estimated 5.0 carats of rose-cut diamonds. [5000/8000] 576 Good Strand of Chinese Green Jadeite Beads, composed of one hundred 8.5-mm spherical beads of slightly mottled apple green jadeite joined with a silver spring ring clasp, l. 22”. [3500/5000] Illustrated 577 Chinese Strand of Multi-Colored Agate Beads, the spherical beads in varied solid and lineated agates joined by a fourteen-karat yellow gold pierced clasp, l. 17‑1/2”, presented in an embroidered silk circular box. [600/900] Illustrated 578 Chinese Double-Strand of Angelskin Coral Beads, composed of two unequal strands of 11.5-mm angelskin coral beads joined by a gold clasp set with an oval cabochon coral bead, l. 18”. [700/1000]

577

590

587 Dramatic Double Opera-Length Strand of Cultured Pearls, of near round shape averaging 6.3 mm in diameter, of strong pink color with high luster, l. 82”. [800/1200] Illustrated 588 Unusual Opera-Length Continuous Strand of Pastel Cultured Pearls, of spherical shape, ranging from 10.2 mm to 11.5 mm in diameter, in a rainbow of hues in gold, rose, orange, blue and gray colors, strung as one continuous strand, l. 34”. [1200/1800] Illustrated

589 Spectacular Long Pearl Rope Necklace, of extraordinary length, composed of 12.5 mm to 13.0 mm baroque cultured pearls of ridged round shape, cream rose color and medium/high luster, may be used as a triplestrand necklace, l. 102”. [2500/4000] 590 Dramatic Double Opera-Length Strand of Cultured Pearls, ranging from 9.7 mm to 10.5 mm in diameter, of near round shape, white color and mixed luster, l. 84”. Strands of pearls this length were popularized by Lady Peel, the actress/comedienne Beatrice Lilly. [1800/2500] Illustrated

582

581 Two Fine Chinese Carved Jadeite Pendants, one in the form of a pea with gold pendant bail and the other of tubular shape carved as a dragon pillar, both of white color with brilliant emerald green splashes, l. 1‑1/2” to 2”. [500/800] Illustrated

588

582 Chinese Pearl and Jadeite Bracelet, composed of six strands of Chinese freshwater baroque pearls of varying sizes joined by a carved green jadeite clasp in the form of a Buddhistic lion, l. 8‑3/4”. [2000/4000] Illustrated 583 Strand of Indian Faceted Ruby Beads, graduated in size from 9.0 mm to 16.5 mm in diameter, of rich, strong color, on the original fringed hank strand. [1400/1800] 584 Unusual Quartz and Turquoise Specimen, the base of clear and included quartz displaying overgrowth on one side of turquoise triclinic crystals forming crust-like aggregates over the quartz matrix, h. 4‑1/2”, w. 5‑1/2”. [50/80]

587

585 Chinese Mother-of-Pearl Double-Strand Necklace, composed of two strands of irregular-shaped mother-of-pearl beads with small spherical spacers and joined by a silvermounted mother-of-pearl plaque, l. 16”. [125/250] 586 Chinese Faux-Tortoiseshell Link Chain Necklace, composed of interlocking links of brown and black faux tortoiseshell, l. 22”. [600/900]

602

600

594 European Fourteen-Karat Yellow Gold Link Bracelet, composed of ten rectangular links, each with three horizontal bars, connected by vertical oval links. [300/500] 595 Opera-Length Strand of Cultured Pearls, of spherical shape ranging from 11.7 mm to 12.5 mm in diameter, of cream/white color, each pearl separated by a small gold bead spacer joined by a fourteen-karat yellow gold circular filigree clasp, l. 34”. [1400/1800] Illustrated 596 Pair of Eighteen-Karat Yellow Gold Drop Earrings, by Henry Dunay, cast as an openwork quatrefoil top suspending an openwork locked heart drop. Henry Dunay introduced Henry Dunay Designs in 1965, noted for his symmetrical designs and textured gold surfaces, later copied by other designers. [1200/1800] 597 Pair of Fourteen-Karat Yellow Gold Leaf Earrings, each cast in the shape of a stylized leaf of oval outline and central raised rib, with omega clip backs. [200/400]

591 Fine Eighteen-Karat White Gold and Diamond Straight-Line Bracelet, composed of forty slightly rectangular links, each channel set with baguette-cut white diamonds with an estimated total weight of 6.0 carats, the flexible bracelet of excellent construction. [4000/7000] Illustrated

598 Delicate Tiffany and Company Eighteen-Karat Yellow Gold Cross Pendant Necklace, composed of a four-armed cross with equidistant arms suspended on a delicate gold chain. [100/200]

592 Pair of Fourteen-Karat Yellow Gold and Mabe Pearl Earrings, each of square outline with rounded edges with a central bezel-set mabe pearl measuring approximately 14.0 mm in diameter. [250/400] 593 Lady’s Italian Fourteen-Karat Three-Color Gold “Rolling” Pin, composed of three interlocked polished gold bands in yellow, rose and white gold. [200/400]

595

591 599 Fine Lady’s Eighteen-Karat Yellow Gold Baume and Mercier Wristwatch, the octagonal-shaped yellow gold body with white enamel face and black Roman numerals, black strap and quartz movement. [1800/2500]

8 98

605

605 Fine Cartier Limited Edition Roman Numeral Collection Desk Clock, of square form with black dial, palladium-finish case with pyramidal black onyx finial and palladium-finish hands, quartz movement with alarm, presented in the original Cartier box and slip case, article number W0100091, serial number 676/888, new, in working condition, h. 3‑3/4”, w. 3‑3/4”. [2500/4000] Illustrated 606 Unusual Strand of Cocoa-Colored Cultured Pearls, of spherical shape, ranging in size from 8.00 mm to 14.5 mm in diameter, of rich brown color with lavender orient and a fourteen-karat yellow gold and diamond clasp. [1400/1800]

600 Fine Gentleman’s Eighteen-Karat Yellow Gold Rolex Sub Mariner Date Wristwatch, the eighteen-karat yellow gold case and bracelet with blue dial and bezel, 31-jewel chronograph movement and synthetic sapphire crystal, model 16618, with double locking clasp, oyster bracelet. [9000/12000] Illustrated

603

601 Gentleman’s Antique Fourteen-Karat Yellow Gold, Diamond and Emerald Stick Pin, ca. 1900, in the shape of a wishbone set with an oval-cut emerald and a round brilliant-cut diamond weighing an estimated .45 carats. [125/250] 602 Fine Gentleman’s Eighteen-Karat Yellow Gold Rolex Oyster Perpetual Day/Date Wristwatch, the eighteenkarat yellow gold case with ribbed face and gold linear marked dial, and eighteen-karat yellow gold President’s bracelet. [9000/12000] Illustrated 603 Fine Gentleman’s Eighteen-Karat Yellow Gold Patek Philippe Pocket Watch, of thin design, the gold open face case with white enamel face, gold hour markers, seconds dial at 6:00 position, 18-jewel Patek movement, serial #930883. [2500/4000] Illustrated

604

604 Dramatic Eighteen-Karat White Gold and Diamond Gentleman’s Ring, of angled square outline in the Retro style, centrally set with a square medallion containing sixteen princess-cut white diamonds, estimated weight 1.20 carats, in a grid pattern. [3500/5000] Illustrated

607

608 Regency Rosewood Center Table, first quarter 19th century, the tilting circular top highly figured and raised on a paneled columnar standard to a concave tripartite base to bun feet, h. 42‑1/2”, dia. 27‑1/2”. [2000/4000] Illustrated 609 British School (Third Quarter 19th Century) “Landscape with Horseback Riders on a Country Path”, oil on canvas, unsigned, 19‑1/4” x 26”. Handsomely framed. [1200/1800] Illustrated

610

607 Sumptuous Edwardian Tiered Twenty-Four-Light Chandelier, first quarter 20th century, composed of gilded brass and pressed and cut glass, the scrolling giltbrass candlearms fitted with diamond- and rib-pressed vasiform candlesockets in two registers, the canopy and basal edge additionally lit with thirty-six pendant light sockets within pendant “Morning Glory” glass shades dressed with glass “raindrop” pendants, the candlearms draped with multiple jewel-cut glass chains, each section with a large facet-cut teardrop at the center, h. 87”, dia. 42”. [7000/10000] Illustrated 608

100

610 Regency-Style Mahogany Tiered Server, late 19th century, the brass plate rail above the rectangular top, with three like-shaped shelves below, joined by a paneled backpiece and front brass upright, raised on ormolu paw feet, h. 54”, w. 40”, d. 13‑1/2”. [1400/1800] Illustrated 611 Regency Rosewood Tripod Table, second quarter 19th century, the tilting octagonal top banded and with a molded edge, raised on a fluted columnar standard to a circular base raised on three scrolling legs, the whole with inlaid brass stringing and ormolu mounts in the Empire taste, h. 29”, dia. 33”. [1200/1800] Illustrated

609

611

614 612

612 Regency Oak and Mahogany Settee, early 19th century, the long padded rectangular back surmounted by a banded frieze with an applied spiral reeded crest, joined by flat arms on reeded uprights to the padded seat, raised on reeded and tapering circular legs ending in toupie feet on casters, h. 34”, w. 79”, d. 26”. [800/1200] Illustrated

101

613 George III Mahogany Pembroke Table, first quarter 19th century, the rectangular top with satinwood banding and two rounded like-banded drop leaves, above a frieze fitted with one end drawer and one faux drawer, raised on ring-turned tapering circular legs ending in casters, h. 28‑3/4”, w. 32‑1/2”, d. 21”, extended l. 41”. [800/1200]

620 619 622 618

614 Manner of John Hoppner (British, 1758‑1810) “Half-Portrait of a Lady in a White Dress”, oil on panel, unsigned, partial label on the reverse “Hammond & Son, Removers and Warehousemen, Lewes, Estab. 1840”, 24‑1/4” x 17‑3/4”. Handsomely framed. [1800/2500] Illustrated previous page

621

615 Continental Neoclassical Mahogany and Satinwood Center Table, early 19th century, the ovoid top triple banded and centered by a shell-inlaid panel, above a conforming banded frieze, raised on banded tapering square legs, h. 28”, w. 37‑1/2”, d. 25‑1/2”. [1400/1800] Illustrated 616 Late Regency Mahogany Linen Press, first quarter 19th century, the molded overhanging cornice above a case fitted with two doors, each inset with finely figured panels, the lower section fitted with two short drawers over two long drawers, raised on bracket feet, h. 86”, w. 50‑1/2”, d. 22‑1/2”. [2000/4000] Illustrated 617 William IV Carved Rosewood Triple-Compartment Tea Box, second quarter 19th century, of large size and sarcophagus form, with inlaid mother-of-pearl cartouche and brass escutcheon, with ringed lion-masque handles, the interior with a mixing glass compartment flanked by a pair of sliding covered tea boxes, the whole supported on four bun feet, h. 7‑3/4”, w. 13‑1/2”, d. 7‑3/4”. [300/500]

616

615

102

618 English Tortoiseshell Double-Compartment Tea Box, second quarter 19th century, inlaid with nickel silver wire and bone, the interior covers of tortoiseshell with turned bone grips, the whole supported on four bun feet of polished bone, h. 4‑1/4”, w. 5‑1/2”, d. 4”. [2000/4000] Illustrated

622 English “Quilted” Mother-of-PearlBanded Tortoiseshell DoubleCompartment Tea Box, third quarter 19th century, the interior edged in polished ivory and fitted with a pair of tortoiseshell covers with ivory grips of button form, the whole supported on four mother-of-pearl bun feet, h. 5‑1/2”, w. 7‑3/4”, d. 4‑1/4”. [1400/1800] Illustrated 626

628

623 Regency Mahogany and Burlwood Breakfast Table, early 19th century and later, the tilting oval top banded and with burled veneers, raised on a turned vasiform standard to four splayed molded legs ending in brass caps on casters, h. 29‑1/2”, w. 53”, d. 43‑1/2”. [1800/2500] Illustrated

624 Regency Mahogany Pembroke Table, first quarter 19th century, the rectangular top with two rounded drop leaves, above a frieze fitted with one end drawer, raised on turned, tapering circular legs ending in peg feet, h. 29”, w. 40”, d. 20”, extended l. 42‑1/2”. [500/800] 625 Regency-Style Mahogany Etagere, the rectangular top with a three-quarter shaped gallery, above four like-shaped slatted shelves, supported by turned and bulbous uprights, raised on like legs ending in toupie feet, h. 77”, w. 15‑1/2”, d. 15‑1/2”. [400/700] 626 Pair of Regency-Style Polychromed Side Tables, each with a canted rectangular faux-marbre top supported by a figural winged eagle perched on a rocky crag, raised on a molded rectangular base, h. 33‑1/2”, w. 45”, d. 15‑1/2”. [1800/2500] Illustrated

619 English Tortoiseshell and Engraved Ivory Wall Thermometer, second quarter 19th century, by C. F. Eve, London, the central ivory plaque with the engraved Eve signature at its apex, h. 9‑1/2”, w. 2‑1/4”. [300/500] Illustrated 620 William IV Tortoiseshell Double-Compartment Tea Box, second quarter 19th century, of modified sarcophagus form with mother-of-pearl inlay, the interior covers of tortoiseshell with turned bone grips, the whole supported on four bun feet of polished bone, the engraved mother-of-pearl inlay in avian and floral motifs, h. 6‑1/4”, w. 7‑1/2”, d. 4‑3/4”. [3000/5000] Illustrated

623

621 George V Mother-of-Pearl-Banded Tortoiseshell Cigarette Box, first quarter 20th century, the double-compartment box with a divided interior lined throughout in sandalwood, h. 1‑7/8”, w. 7‑1/4”, d. 3‑5/8”. [900/1200] Illustrated

103

628 Regency Rosewood and Parcel-Gilt Window Seat, first quarter 19th century, one side outscrolled and with a padded armrest, supported by gilt foliate-carved uprights, the long padded rectangular seat raised on saber legs headed by gilt foliate carving and ending in likecarved toes, h. 27‑1/2”, w. 17‑1/2”, l. 44”. [1200/1800] Illustrated previous page 629 Late Regency Ebonized and Polychromed Parlor Cabinet, second quarter 19th century and later, the shelved superstructure joined by giltwood uprights to the rectangular top, above a conforming case fitted with a single drawer over two recessed paneled cupboard doors, flanked to either side by freestanding giltwood columns, raised on bulbous feet, the whole with gilt and polychromed figural landscape scenes in the orientalist taste, h. 42” w. 34” d. 15 1/2”. [1800/2500] Illustrated

629

630 Circle of John Hoppner (British, 1758‑1810) “Portrait of a Gentleman in a Black Coat and White Cravat”, oil on canvas, unsigned, 31” x 25”. Presented in a contemporary giltwood frame. [2500/4000] Illustrated

631

630

627 After Luigi Rossini (Italian, 1790‑1857) “Veduta dell Interno del Tempeo della Concordia nel Foro Romano” and “Altra Veduta del Tempio della Sibilla in Tivoli”, pair of etchings, published by Sidney Z. Lucas in 1957, both sight 19‑1/2” x 24”. Glazed, matted and presented in matching frames. [700/1000]

104

632

634

638 Regency-Style Mahogany Breakfast Table, the oval top with a reeded edge and three bands of inlaid stringing, raised on a turned columnar standard to four splayed legs with inlaid stringing and ending in brass caps and casters, h. 28”, w. 50‑1/2”, l. 72”. [400/700] 639 Campaign-Style Satinwood Partner’s Desk, by Baker, the rectangular top trisected and with inset leather surfaces above a frieze fitted with three drawers to either side, raised on two pedestals, each fitted to one side with a cupboard door and to the other with a deep file drawer over a shallow drawer, all faced with three short drawers, the sides fitted with brass carrying handles, raised on bulbous toupie feet, h. 30”, w. 71‑1/2”, d. 42”. [3500/5000] Illustrated

631 William IV Mahogany Center Table, second quarter 19th century, the tilting circular top raised on a paneled, tapering cylindrical standard to a concave tripartite base to carved scroll feet, h. 29‑1/2”, dia. 48”. [1500/2500] Illustrated 632 Collection of Fifteen Diminutive French Decorative Bindings, composed of leather and part-leather, h. 4‑3/4” to 6”. [200/400] Illustrated 633 Collection of Twenty-Four French Decorative Bindings, composed of leather and part-leather, h. 6‑1/2” to 8”. [200/400] 634 Pair of Regency Ebonized and Parcel-Gilt Armchairs, first quarter 19th century, each with a molded and backscrolled crest above a caned back, joined to the caned seat by reeded scrolling arms, raised on reeded saber legs, the whole with gilt accents, h. 30‑1/2”. [1400/1800] Illustrated 635 Pair of Circular Continental Portrait Miniatures, first quarter 19th century, perhaps Swiss, with portraits of a young man and his wife, presented in period ivory frames with convex glazing and marbled Florentine paper backs, dia. 3”. [500/800]

641

636 Rare Oval Portrait Miniature of a Clipper Ship, first quarter 19th century, perhaps Scottish, presented in an oval gilt-brass tabletop frame, 2‑5/8” x 2‑1/4”. [250/400] 637 Regency-Style Mahogany Cabinet, late 19th century, the domed cornice with patera accents above a case fitted with two long paneled doors opening to an interior fitted for handling clothes, with one long drawer below, flanked to either side by fluted uprights, raised on palmetto-carved feet, h. 83‑1/2”, w. 51”, d. 19‑1/2”. [300/500]

639

105

649

650

642 William IV Mahogany Drop-Leaf Table, second quarter 19th century, the rectangular top with a molded edge and two rounded drop leaves, raised on turned and tapering circular legs ending in toupie feet on casters, h. 29‑1/2”, w. 39”, d. 18”, extended l. 60”. [500/800] 643 Attractive William IV Mahogany Desk Box, second quarter 19th century, of low sarcophagus form, the silver monogram plate centering an oblong tablet of Tunbridge marquetry at the apex of the hipped lid, the interior fitted with a conforming lift-out tray, h. 7”, w. 16”, d. 11‑1/2”. [700/1000] 644 Large English Mahogany Shaving Mirror, second quarter 19th century, in the neoclassical taste, the glass supported between two turned columns surmounting an elliptical base on four bun feet, h. 31”, w. 27”, d. 12‑1/4”. [250/400]

646

645 Good Graduated Trio of Polychromed Mason’s Patent Ironstone Dragon-Handled Jugs, first quarter 20th century, in the early 19th century Chinese taste, each jug fully marked in black underglaze transfer-=print on the base, h. 6‑3/4” to 7‑1/2”. [150/300] 646 Rare George I Irish Sterling Silver Beer Jug, hallmarked Dublin, 1717‑1718, by Matthew Walker (free 1716; died 1760) the pear-shaped body on an ogee footring, with molded rim and beak-form spout, with a crested scroll handle, h. 8‑3/4”, dia. 5‑1/2”, l. 8‑1/2”, 31.70 t. oz. [20000/40000] Illustrated

648

640 Graduated Pair of Staffordshire Pottery Pitchers, third quarter 19th century, the lustre-banded, transferprinted and polychrome-overglazed pitchers in floral decor, h. 6‑1/2” and 9”. [100/200] 641 William IV Mahogany Linen Press, second quarter 19th century, the overhanging cornice above two doors, each with an applied arched panel, the lower section fitted with two short drawers over two graduated long drawers, raised on bun feet, h. 88”, w. 54‑1/2”, d. 24”. [600/900] Illustrated previous page

106

647

647 Set of Four George I Paul de Lamerie Britannia Standard (.958) Silver Salts, hallmarked London, 1723‑1724, by Paul de Lamerie (1688‑1751; free 1712), each of bulbous circular form with beaded rim and raised on three trefid-crested and -toed scroll pad feet, the interior gilt, engraved on the body with a rubbed crest (a lion’s head erased, issuant from a basket?) and on the underside with the monogram “MC” and scratch-weight “24‑5”, h. 2”, dia. 2‑7/8”, 22.12 total t. oz. [6000/9000] Illustrated 648 Pair of George III Hester Bateman Sterling Silver Salt Cellars, hallmarked London, 1785‑1786, by Hester Bateman, each of bulbous circular form with beaded rim and raised on three stepped pad feet, fitted with a cobalt glass liner, h. 1‑3/8”, dia. 2‑1/2”, 3.47 total t. oz. (excluding liners). [800/1200] Illustrated

653

651

649 Pair of Georgian Old Sheffield Plate Candlesticks, fourth quarter 18th century, in the manner of Ebenezer Coker (fl. London, 1738‑1783), the baluster standard with a spiral-fluted knop above and a gadrooned one below, surmounted by a gadrooned cannon-form nozzle, fitted with a detachable spiral-fluted square bobeche, raised on a steep spiral-fluted dome above a stepped square base with gadrooned edge, h. 11”, w. 4‑3/4”. [500/800] Illustrated 650 Victorian Sterling Silver Pitcher, hallmarked London, 1888‑1889, by Holland, Aldwinckle & Slater, retailed by Henry Lewis & Co., London, the squat ovoid body decorated with a repousse calyx banding of alternating acanthus fronds and pistils, with a cylindrical collar, “duck’s beak” spout and crested “S-scroll” handle, engraved on the shoulder with the crest and motto of Clifton, opposing a later presentation inscription dated 1931, h. 8‑1/2”, l. 8‑3/4”, dia. 6‑3/4”, 34.40 t. oz. [1800/2500] Illustrated 651 Matthew Boulton Regency Old Sheffield Plate Tureen, first quarter 19th century, Birmingham, of bulbous circular form with applied addorsed acanthus handles and gadroon-and-scroll rim, raised on a circular foot with leaf-and-dart banding, the fitted domed lid with gadrooned banding and acanthus-quartered square finial, engraved, on the body, with opposing laurel-enframed cartouches with the crest of Stoughton: a robin redbreast, h. 12”, dia. 11‑3/4”, w. 14‑1/2”. [2000/4000] Illustrated 652 Pair of William IV/Victorian Sterling Silver Wine Coasters, hallmarked Sheffield, 1832‑33 and 1839‑40, by Battie, Howard & Hawksworth, each of squat cylindrical form, decorated with well-detailed pierced and embossed “vintage” banding, the base of turned wood and centered with a silver button engraved with the crest of a dove with an olive branch in its beak, that of Hod(g)son, et al., h. 2‑1/4”, dia. 5‑1/2”. With their date letters seven years apart and their successive maker’s marks, this pair records the transition of the firm of Battie, Howard & Hawksworth into Howard & Hawksworth after William Battie’s bankruptcy in 1834. [900/1200]

653 Pair of Victorian Silverplate Entree Dishes, third quarter 19th century, by Barker Brothers, Birmingham, each of oval form with beaded rim, the domed lid decorated with flat-chased ivy and ferns and annulated ring handle, lifting to reveal the conforming base fitted with a pierced grille above the hot water reservoir, the whole with robust acanthus feet and opposing handles en suite, h. 7‑1/2”, w. 8‑7/8”, l. 14‑1/2”. [500/800] Illustrated 654 Cased Victorian Twenty-Four-Piece Silverplate Fish Service, 1851, by Elkington & Co., Sheffield, including twelve forks, l. 8”, and twelve scimitar-shaped knives, l. 8‑3/4”, each of flat single construction with a concave spatulate handle decorated with beading and palmettes in the Neo-Grec taste, monogrammed, on the handle, “AS”, presented in the original indigo baize-lined fitted oak and mahogany case with lift-out tray, w. 14‑5/8”, d. 11‑1/4”. [700/1000] 655 Cased Victorian Twenty-Four-Piece Close Plate and Ivory Dessert Set, third quarter 19th century, including twelve four-pronged forks, l. 7”, and twelve blunt-shaped knives, l. 8‑1/2”, each with rounded rectangular ivory handle, etched with a crest of a Paschal Lamb (one knife a mismatched replacement with no crest), presented in a fitted, indigo baize-lined mahogany case with lift-out tray, w. 11‑1/2”, d. 10”. [250/400]

107

656 659 Victorian Silverplate Tray, fourth quarter 19th century, by Silber & Fleming, London, of canted rectangular form, with pierced gallery and opposing scroll-mounted handles on the narrow ends, the plateau engraved with floral bouquets framed by concentric bands of engraved scrolls and cornered by oval cartouches, the whole raise on four flattened spherical feet, w. 15‑1/2”, l. 25‑1/4”. [500/800]

661

660 Irish Victorian Sterling Silver Sugar Bowl, hallmarked Dublin, 1885, by Edmund Johnson, Ltd., of inverted bell shape, decorated with spiral gadroons with rim and foot ring en suite, engraved, on the side, with a crest of a bull passant (Ridley et al.) and a presentation inscription “Lily From Jim May 1886”, h. 3‑1/4”, dia. 4‑1/8”, 3.79 t. oz. [125/250]

658

656 Victorian Sterling Silver Center Bowl, hallmarked London, 1896‑1897, by Holland, Aldwinckle & Slater, in the Renaissance Revival style, of oval form, the bulbous body decorated with repousse floral and foliate scrolls on a matte ground flanking opposing cartouches, with shaped rim and cast and applied gryphon-crested scroll handles, raised on a conforming domed foot, monogrammed, on one cartouche, “GNR”, h. 8”, w. 5‑3/4”, l. 16”, 38.00 t. oz. [2500/4000] Illustrated 657 Set of Six Victorian Silverplate Salt Cellars, 1851, by Elkington & Co., Birmingham, each of bulbous circular form with shaped gadrooned edge and raised on three lion masque-crested paw feet joined by applied floral garlands, h. 1‑3/4”, dia. 3‑3/4”. [600/900] Illustrated 658 Victorian Silverplate Cake Basket, fourth quarter 19th century, by Lee & Wigfull, Sheffield, retailed by Michael Hunter & Sons, Sheffield, of oval form, with lobed and everted rim, decorated with bands of embossed fern garlands and cartouches, with spiral-twist swing handle, the whole raised on a trumpeted oval foot, h. 3‑3/4” (10‑1/2” with handle), w. 9‑1/2”, l. 12‑1/2”. [150/300] Illustrated

108

657

661 Elizabeth II Sterling Silver Jubilee “Sovereigns Salver”, hallmarked Sheffield, 1977, by E. H. Parkin & Co., number 64 of 250, in the early Georgian taste, of stepped, cavetto-canted square form, with molded rim and raised on four scroll feet, engraved with the arms of Elizabeth II with her cypher above and a Silver Jubilee inscription below, surrounded by facsimile signatures of all the English Monarchs from Elizabeth I through George VI, w. 13‑1/2”, 37.94 t. oz., presented with its original certificate of authenticity in a fitted, cream satin- and red velvet-lined wooden case, w. 16‑1/4”, d. 16‑1/4”. [1400/1800] Illustrated

667

662 Pair of George V Elizabethan-Style Sterling Silver Pyr-Top Spoons, hallmarked Sheffield, 1920‑1921, by Thomas Bradbury and Sons, each with an ovoid bowl, handle of square section and pyriform finial, l. 6‑1/4”, 1.8 total t. oz., presented in the original fitted indigo velvet- and cream satin-lined case, w. 7‑3/4”, d. 3‑3/4”. [100/200] 663 Pair of Edwardian Silverplate Candlesticks, first quarter 20th century, in the Adam taste, of tapering concave square section, with an inverted bell-shaped nozzle and cavetto-domed square base, the whole decorated with ribbon and bellflower swags and garlands, h. 9‑1/2”, w. 3‑7/8”. [200/400] 664 Pair of Edwardian Silverplate Candlesticks, first quarter 20th century, each in the form of a Corinthian column, with a canted, concave square nozzle and stepped and annulated base, h. 9”, w. 3‑1/2”. [200/400] 665 Two Edwardian Sterling Silver and Ivory Paper Knives, hallmarked Birmingham, one 1892‑1893, by William Williams, the other 1901‑1902, no maker’s mark, each with flat, blunt ivory blade and embossed silver handle decorated with rococo scrolls, l. 16‑1/8” and 14‑3/4”. [600/900] Illustrated

666 Cased Pair of English Silverplate and Faux-Ivory Desk Utensils, mid‑20th century, including a magnifying glass, l. 9‑1/4”, and a letter opener, l. 11‑1/4”, each with a bobbin-turned faux-ivory handle in silverplate fittings, including an annular ferrule and a crown finial, presented in the original fitted, cream satin-lined, dark green velvet case, w. 12‑1/2”, d. 6‑3/4”. [200/400]

665

667 Fine, Large Chinese Jade and Wood Table Screen, 19th/20th century, composed of a central large oval plaque of carved green jade depicting mounted figures in a wooded mountainous landscape with a dog hunting rabbits, the landscape with a bridge over a mountain stream, the reverse with a calligraphic inscription, presented in an elaborate wooden frame and stand, h. 33‑1/2”, w. 22‑1/2”. Ex-collection: A private Texas estate. [5000/8000] Illustrated

109

668 Pair of Chinese Carved Spinach Jade Bowls, first half 20th century, each of circular outline on slightly flared indented feet, the stone of mottled spinach green with white inclusions, presented on tall (6‑1/2”) stands, each with five turned legs and circular stretchers, h. 3”, dia. 7‑3/8”. [500/800] Illustrated

670 669

671

669 Pair of Chinese Carved Spinach Jade Footed Bowls, 19th century, each of circular outline on four ruyi feet, the exterior carved as sections of bamboo with handles in the form of sprays of bamboo foliage suspending loose rings, the stone of rich spinach green color with black flecking, l. 8‑1/4”. [6000/9000] Illustrated 670 Elegant Chinese Carved Spinach Jade Brush Pot, 19th century, of plain cylindrical form and circular outline, the stone of slightly striated medium spinach green, presented on a custom carved antique stand, h. 5‑1/2”. [1000/1500] Illustrated 671 Chinese Carved Spinach Jade Figure of the Buddha, the figure with clasped hands and draped in a flowing scarf, and seated on a double lotus base, presented on a silver wire-inlaid wooden stand, h. 7‑1/4” including stand. [3000/5000] Illustrated

672 Pair of Chinese Spinach Jade Covered Cups with Saucers, each cup of slightly flared shape with conforming footed and fitting cover and saucer, the dark mottled stone with good translucency, dia. 4”. [3500/5000] Illustrated

673 Pair of Framed Chinese Reverse Paintings on Glass, early 20th century, each depicting a figure of a Chinese beauty in a garden setting, one seated at a tea table with fruit and holding a “lion dog”, and the other holding a fan and trying a flower in her hair, h. 18‑1/4”, w. 14”. [1200/1800]

668

672

110

674 Rare Chicken-Blood Colored Stone Carved Seal, the nearly square stone seal in cinnabar red with beige veining, the top with a four-character seal, the base with a six-character seal and one side with an engraved three-character artist’s signature, presented in a custom rosewood box, w. 1‑7/8”, l. 2”. [600/900] Illustrated

675 Unusual Chinese Carved White Jade Libation Cup, the grayish-white stone carved in the form of a large rhinoceros horn libation cup with a continuous scene of scholars and attendants in a mountainous landscape with pavilions and bridges scattered among trees and rocky outcrops, h. 7”. A similar example is illustrated in Chinese Jades from the Collection of Alan and Simone Hartman, number 71. [12000/18000] Illustrated

676 Fine Chinese Carved White Jade Covered Vase, 18th/19th century, of flattened form with lion-head handles and loose rings suspended above dragon-form handles, the body carved in low relief on each side with an archaic tao tieh mask, the fitted, conforming cover with a central knob, h. 7‑1/4”. [9000/12000] Illustrated

675

677 676

677 Chinese White Jade Square-Section Brush Pot, 18th century, of squared form on splayed feet, each side carved in low relief with landscape scenes of figures in workday pursuits in mountainous landscapes with pavilions, h. 6‑1/2”, w. 5‑1/8”, d. 5‑1/8”. A similar example is illustrated in Chinese Jades from the Collection of Alan and Simone Hartman, number 115. [40000/70000] Illustrated

674

679 Fine Chinese Carved White Jade Pendant Plaque, 19th century, of rectangular outline, the face carved in low relief with a central panel of a horned dragon amongst clouds topped by two confronting phoenix birds with long pendant tails extending down the sides, the reverse with a plain panel, h. 3‑3/8”, w. 2‑1/4”. [400/700] Illustrated 680 Good Chinese Carved White Jade Pendant Plaque of Shou Xing, 19th century, carved in relief with a central panel depicting the deity holding the Peach of Immortality and his staff with a gourd holding the water of life, with a recumbent deer at his feet, the top with two confronting phoenix birds with their tails cascading down the sides, the reverse with a plain panel, h. 3”, w. 2‑1/8”. [300/500]

679

678

678 Fine Chinese Carved and Reticulated White Jade Pendant, 18th/19th century, of rectangular outline topped with two phoenix confronting a “double happiness” character, the body carved on one side with a man pulling a rickshaw below clouds, the reverse with a four-character calligraphic inscription within a border and topped by the figure of a Foo dog, all executed in low-relief carving, h. 3”, w. 1‑7/8”. [800/1200] Illustrated

111

682

681

685 Good Chinese Celadon and Brown Jade Brush Pot, well carved in the form of a hollowed tree trunk, the even celadon stone with brown inclusions, carved in relief with an area of bark in brown on the front and the standing figure of a cockerel on the reverse, presented on a fitted carved rosewood stand, with a brocade box, h. 5‑1/4”. [2500/4000] Illustrated 686 Chinese Carved Jadeite Mountain Scene, the mottled green stone carved as a reclining figure (probably Li Po) in a mountainous landscape with peach and pine trees, with a wine pot on a low table in front of the figure, presented on a custom carved wooden stand, h. 9‑1/2” including stand, l. 9”. [800/1200] Illustrated

683

681 Two Chinese Spinach Jade Bowls, with golddecorated engraving, each of circular form and resting on circular feet, the stone of each bowl of even dark green color, the larger decorated with the figure of a boy, a crane and peaches resting on a leaf, a calligraphic inscription on the exterior and a Chinese character and lotus on the interior, the smaller bowl decorated with a female figure resting on a rocky outcrop with bamboo and a calligraphic inscription on the exterior and lotus sprays on the interior, dia. 6‑1/2” and 7‑1/2”. [1400/1800] Illustrated

688 689

682 Chinese Famille Jaune Porcelain Bottle Vase, Republic Period (1912‑1949), of bulbous shape with tubular neck, decorated with scrolling foliate decoration on a yellow ground with two circular reserve panels of a dragon and a phoenix centered by a Flaming Pearl, the base with a six-character Guangxu reign mark in iron red, h. 15‑1/8”. [300/500] Illustrated 683 Chinese Cast Bronze Figure of a Horse and Monkey, cast as a recumbent horse with backturned head and a monkey climbing on its back, the casting with silver wire inlay decoration of scrollwork, l. 5”. [1000/1500] Illustrated 684 Chinese Carved Jadeite Mountain Scene, the lavender and mint green stone carved as a craggy mountain beneath the sun and clouds with figures of two sages and an attendant meeting at a bridge crossing a stream, presented on a fitted carved wooden stand, h. 13” including stand. [900/1200] Illustrated

112

684

686 685

692 Small Chinese Carved Jade Figure of a Goat, 18th century, carved as the figure of a recumbent goat with legs tucked under its body, the stone of grayish/green color with scattered russet and black inclusions, l. 3‑1/2”. [6000/9000] Illustrated

691 690

692

693

687 Fine Chinese Carved Jade Group of Immortals, carved from Burmese jadeite, the front with the Three Sages of Good Fortune (Fu Xing, Lu Xing and Shou Xing) and an attendant in a rocky grotto beneath a pine tree, the reverse with a bodhisattva Budai carrying his sack of wealth and attended by an acolyte, the stone of dark green color with areas of light green and russet colors, presented on a wooden stand, h. 11”. [1200/1800] 688 Unusual Chinese Nan Yang Carved Jade Mountain, the mottled three-color green mountain with relief carving of a scholar, attendant and three mules crossing a bridge with bamboo, trees and a flowing stream, the reverse carved as rough-ridged rockwork, presented on a wooden stand, with a brocade box, h. 4‑1/2”, l. 8‑1/2”. [900/1200] Illustrated

693 Chinese Carved White Jade Figure of a Recumbent Goat, 18th century, the seated goat holding two sprays of ling-chih fungus in its mouth and resting on a rectangular base, the stone of very pale greenish white, presented on a wooden stand, l. 4”. [6000/9000] Illustrated 694 Chinese Carved White Jade Wrist Rest, the fine white stone carved as a sectioned stalk of bamboo with a smaller attached stalk, each carved as several joints of bamboo, the larger carved with a spider and its web, the smaller with aerial roots at the base and a sprig of foliage at the top, the larger stalk sectioned to lay flat on the back, displaying the interior dimensions, presented on a custom carved rosewood stand to display vertically, h. 5‑3/4”. [700/1000] Illustrated

695

694

696

689 Intricate Chinese Carved Jadeite Mountain, the mottled green and white stone carved as a panoramic mountainous scene with pine trees and a pavilion among rounded peaks, the lower section carved in relief with a bearded scholar and attendant seated at a low table and enjoying a pot of tea, presented on a carved rosewood scroll stand with dragon fretwork, with a brocade box, h. 6‑1/4”, l. 9‑3/4”. [1500/2500] Illustrated 690 Chinese Finely Carved Celadon Jade Group, depicting the figure of a recumbent goat resting on a group of eight Chinese coins, the stone of even celadon color, the carving very well done depicting intricate details, presented on a wooden stand, with a brocade box, h. 4”, l. 5”. [2500/4000] Illustrated

695 Fine Chinese White Jade Carving of a Buddha’s Hand Citron (Foshou), 18th century, the grayish-white stone finely carved as a single fruit with in-curved “fingers” and a smaller fruit and a spray of peaches at the base, presented on a custom carved wooden stand, h. 8”. [14000/18000] Illustrated

691 Fine Pair of Chinese Carved White Jade Figures of Goats, 18th/19th century, each carved as a recumbent figure, the legs tucked beneath the bodies, with erect heads, curved horns and bearded chins, each carved with intricate details, each figure in even-colored creamy white stone, h. 3‑1/2”, l. 5‑1/2”. [5000/8000] Illustrated

696 Chinese Carved White Jade Reticulated Perfumer, with spinach jade cover and base, reticulated and deeply carved as a sinuous dragon among peonies and dense foliate above a foot border of cresting waves, fitted with a spinach jade base with engraved key-fret border and a carved and reticulated spinach jade cover with a peony and foliage design, presented in a custom wooden box with silk interior and silver-inlaid cover, h. 5‑7/8”, dia. 2‑1/4”. [3500/5000] Illustrated

113

699 American Colonial Cherrywood Chest-on-Stand, mid‑18th century, in the Queen Anne taste, the upper section with a band of three drawers, the center shell carved, over a graduated bank of four drawers, on a later base with scalloped apron, cabriole legs and pad feet, h. 56, w. 38‑1/2”, d. 18”. [1800/2500] Illustrated

699

701 697 Chinese Carved White Jade Dragon Group, carved in relief as a plaque with a four-clawed dragon on the front pursuing the Pearl of Wisdom amongst clouds, the back carved as lotus leaves, h. 5‑1/2”, l. 9‑1/2”. [250/400]

701 detail

698 Fine Chinese Carved White Jade Miniature Group, the translucent white stone carved as a figure of a rabbit climbing up the side of a giant carrot, presented on a wooden stand, h. 2” including stand. [400/700]

700 American Colonial Revival Figured Maple Lowboy, ca. 1900, in the Queen Anne style, the molded top over a shallow central door flanked by a pair of deeper drawers, with a scalloped apron, cabriole legs and pad feet, h. 28‑1/4”, w. 29‑3/4”, d. 17‑1/4”. [400/700]

703

114

704 American Federal Figured Maple Chest, ca. 1800, constructed of figured veneers throughout, the top with a banded perimeter and pieced panels, the case with a deep drawer over three graduated drawers, each side segmented with four panels, raised on flaring legs, h. 44”, w. 47”, d. 21‑1/2”. [2000/4000] Illustrated 705 Rare American Inlaid Cherry Corner Cabinet, ca. 1800, probably Pennsylvania, in two parts, the projecting cornice with inlaid rope stringing, the pair of mullioned doors on H-form brass hinges, the base a pair of paneled doors over a bowed apron with inlaid rope stringing, centered by shaded fan inlay, raised on bracket feet, the back original, Provenance: Robert Burkhardt Antiques, Kutztown, PA and retaining two of his firm’s paper labels h. 93‑1/4”, w. 48‑1/4”, d. 24”. [2500/4000] Illustrated 704

701 Fine Louis-Philippe Memento Mori, in tribute to American Revolutionary War Hero Gilbert du Motier, the Marquis de Lafayette, 1857‑1834, second quarter 19th century, composed of cut paper, dried foliage from his grave and hairwork on white opal glass, presented in an antique-gilded brass fillet under convex glass, all within a marquetry-inlaid rosewood frame, and labeled “Souvenir de Lafayette” overall 9‑1/2” x 7‑3/4”. [2500/4000] Illustrated 702 Good, Large “Alphabet and Motto” Embroidered Sampler, by Mary Barr, dated March 7, 1868, presented in a good “lemon-gilt” wood fillet within a period rosewood frame in the neoclassical taste and glazed, 29‑1/4” x 21‑1/2”. [250/400] 703 Rare Louisiana Painted Cypress and Mixed Woods Punkah, early 19th century, of mortised construction, the ceiling fittings now lacking, h. 23‑1/2”, w. 37‑1/4”. Sometimes called a “shoo-fly”, the punkah was affixed to the ceiling with a framework that allowed it to pivot and operated with a string to create air movement over a kitchen or dining table. This example was found in the attic of the Dutreuil house, St. Martinville, Louisiana. [500/800] Illustrated

705

115

706 706 After John James Audubon (American, 1785‑1851) “Snowy Heron or White Egret”, Plate CCXLII, hand-colored engraving with etching and aquatint, from Birds of America, elephant folio paper with watermark “J. Whatman/ Turkey Mill 1835”, sheet 38‑1/4” x 25‑5/8”. Handsomely matted and framed. [20000/40000] Illustrated

116

707 Suite of Four American Classical Mahogany Dining Chairs, first quarter 19th century, Philadelphia, each with molded saber-form legs, fluidly extending to like stiles, the top rail with a figured raised panel in a reeded frame, the paired horizontal splats mounted with three spheres, the leather slip seats worn, h. 32”. An apparently identical chair is illustrated in Door, Philadelphia Empire Furniture, figure 172. A similar suite, is illustrated in Clement Conger, Treasures of State, page 241, plate 150. [1000/1500] Illustrated

709

708 pair

710

708 Elegant Pair of American Tripartite Looking Glasses, in the Federal style, composed of carved giltwood and black and gold eglomise, the central eglomise panels centered with displayed American eagles within garlanded ovals, h. 31”, w. 62”. [2500/4000] Illustrated

707

709 Large English Pressed and Cut Glass Five-Light Candelabrum, fourth quarter 19th century, possibly by the Richardson Glassworks, Wordsley, in the neoclassical taste, the scrolling candlearms with stylized floriform bobeches dressed with magnum cut glass prisms, h. 25”, w. 13‑1/2”. [500/800] Illustrated 710 American Late Classical Mahogany Server/ Cabinet, second quarter 19th century, with a finely carved crest depicting a shell flanked by leaves and grapes, the case with a projecting drawer over a pair of raised-panel doors flanked by fluted columns with foliate-carved capitals, on carved paw feet, h. 54”, w. 36‑1/2”, d. 25”. [700/1000] Illustrated

117

717 Reed & Barton Anniversary Edition “Francis I” Sterling Silver Macaroni Server, the pattern designed in 1907 by Ernest Meyer, Taunton, Massachusetts, no monograms, l. 10‑5/8”, 6.04 t. oz. To celebrate their 175th anniversary in 1999, Reed & Barton issued a special edition of their most popular pattern, Francis I, which included some specialized serving pieces which had not been available since the pattern’s inception ninety years earlier, such as this macaroni server and the following lot. [300/500] Illustrated 718 Reed & Barton Anniversary Edition “Francis I” Sterling Silver Ice Cream Server, the pattern designed in 1907 by Ernest Meyer, Taunton, Massachusetts, no monograms, l. 11‑1/8”, 5.59 t. oz. [300/500] Illustrated

716 711 American School (Contemporary) “Chestnut Horse in a Stable”, oil on canvas, signed lower left “Shipley”, 20” x 24”. Handsomely framed. [500/800] Illustrated 712 American School (Second Quarter 19th Century), a fragmentary portrait of a gentleman wearing spectacles, the fragment inserted into a later oval canvas, unsigned, 20” x 16”. Presented in a contemporary molded gilt frame. [150/300] 713 American Late Classical Mahogany Pembroke Table, second quarter 19th century, the rectangular top with two rounded drop leaves, above a frieze fitted with one end drawer, raised on turned and spiral-reeded circular legs ending in toupie feet on casters, h. 30‑1/2”, w. 41‑1/4”, d. 22‑1/2”, extended l. 52‑1/2”. [250/400]

719 Two Reed & Barton “Francis I” Sterling Silver Serving Pieces, the pattern designed in 1907 by Ernest Meyer, Taunton, Massachusetts, including a vegetable spoon, l. 9‑1/4”, and a tomato server, l. 8‑1/4”, no monograms, 8.42 total t. oz. [400/700] Illustrated 720 Reed & Barton “Francis I” Sterling Silver Asparagus Server, the pattern designed in 1907 by Ernest Meyer, Taunton, Massachusetts, no monograms, l. 10‑1/8”, 5.98 t. oz. [300/500] 721 American Sterling Silver Compote, first quarter 20th century, by the Loring Andrews Co., Cincinnati, Ohio, the elaborate quarter-lobed rim decorated with architectural scenes separated by vintage floral-scroll cartouches and surrounding a recessed diaper-ground bowl with laurel cartouche, raised on a waisted stem and domed foot decorated with repousse rococo scrolls, flowers and fruit, h. 6”, dia. 9‑3/4”, 19.23 t. oz. [1200/1800] Illustrated

714 Rare American “Girl and Pets” Three-Light Girandole, third quarter 19th century, composed of silvered brass, cut glass and white marble, and properly dressed with period floral back-cut “Albert” glass prisms, the whole supported on an oblong slab of white Danby marble, h. 16‑1/4”, w. 17”, d. 4‑1/4”. [125/250] 715 American Late Classical Cherrywood Tall-Post Bedstead, late 19th century, each post with a turned and spiral-reeded finial, on segmented spiral-reeded posts, the headposts supporting a headboard with a brokenarch crest over a spindle gallery, the footposts joined by a turned and reeded blanket rail, h. 91”, inside w. 54”, l. 76”, outside w. 58”, l. 83‑1/4”. [2500/4000] 716 Southern School (Second Quarter 20th Century) “Interior Scene with Two Women Peeling Potatoes”, pastel on artist’s board, unsigned, 20” x 24”. Presented in a period polychromed wood frame. [2500/4000] Illustrated 711

118

722 Good Pair of Gorham Sterling Silver Goblets, 1892, Providence, Rhode Island, each with an ovoid bowl decorated with repousse flowers on the upper half and alternating spiraled gadrooning and fluting on the lower half, raised on a waisted repousse floral stem and circular, domed, spiral-gadrooned foot, h. 6”, dia. 3‑1/8”, 8.75 total t. oz. [300/500] Illustrated 723 Rare Pair of Reed & Barton “Francis I” Sterling Silver Candelabra, 1928, the pattern designed in 1907 by Ernest Meyer, Taunton, Massachusetts, each with a detachable three-light superstructure permitting their use as a pair of candlesticks, h. 13‑1/2”, w. 13”, base dia. 5‑1/4”, weighted. [4000/7000] Illustrated 724 Two Reed & Barton “Francis I” Sterling Silver Candle Stands, 1953 and 1955, the pattern designed in 1907 by Ernest Meyer, Taunton, Massachusetts, h. 4”, dia. 5‑1/4”, weighted. [1200/1800]

718

717

723

721

719 722

119

731 730 732

730 Good Alvin Silver Deposit Cranberry Glass Claret Pitcher, dated 1901, by the Alvin Mfg. Co., Sag Harbor, New York, of cylindrical form with flared base, the bottom with starburst pattern cut to clear, with up-pulled handle and integral spout, decorated with silver deposit scrolling foliage and centering a rococo cartouche engraved with monogram and date “AR/1901”, h. 9‑1/2”, dia. 4‑5/8”. [400/700] Illustrated 731 American Silver Deposit Glass Liquor Bottle, first quarter 20th century, of traditional form, decorated with vertical silver bars and a band of scrolling grain, centering a shield-shaped cartouche monogrammed “EJS”, h. 10‑3/4”, dia. 3‑1/4”. [100/200] Illustrated

733 725 Twenty-Four-Piece Set of Kirk “Old Maryland Engraved” Sterling Silver Gilt Flatware, the pattern introduced in 1936, Baltimore, Maryland, complete for six persons, including six each of dinner forks, l. 7‑3/8”, salad forks, l. 6‑3/8”, teaspoons, l. 6”, and dinner knives with stainless steel “Modern”-shaped blades, l. 8‑7/8”, no monograms, 25.08 total t. oz. (excluding knives). [400/700]

732 American Silver Deposit Glass Lidded Jar, first quarter 20th century, the large colorless glass jar of cylindrical form with slightly narrowed neck, the fitted lid with large integral domed finial, the whole decorated in silver deposit scrolling flowers with trellis banding, h. 8”, dia. 5”. [400/700] Illustrated 733 American Silver Deposit Cranberry Glass Cologne Bottle, first quarter 20th century, the pear-shaped body with flared rim and flattened spherical stopper, the whole decorated with silver deposit scrolls centering an oval cartouche, h. 4‑1/2”, dia. 2‑3/4”. [100/200] Illustrated

726 Georg Jensen USA Sterling Silver “Dublin” Dish, second quarter 20th century, New York, of circular form, octagonally fluted with serpentine-shaped edge, dia. 10”, 15.98 t. oz. [200/400] 727 Set of Six Gorham “King Albert” Sterling Silver Nut Dishes, 1929, the pattern introduced in 1919, Providence, Rhode Island, each of elongated decagonal form, with molded and beaded edge, w. 2‑1/8”, l. 3‑5/8”, 4.12 total t. oz. The popular “King Albert” pattern, a pleasant fusion of American Colonial and Art Deco design, was introduced by the Whiting Mfg. Co. of Bridgeport, Connecticut in 1919. Whiting was purchased by The Gorham Corp. in 1926, who continued to produce their best patterns including the present lot, made only three years after the acquisition as evidenced by the presence of Gorham’s timely “dirigible” date mark of 1929. [75/125] 728 Durgin “Fleur-de-Lys” Sterling Silver Serving Spoon, the pattern introduced in 1886, Concord, New Hampshire, retailed by A. Stowell & Co., Baltimore, Maryland, the bowl of wavy coquille form, no monograms, l. 9‑1/4”, 5.21 t. oz. [125/250] 729 Pair of Whiting “Lily” Sterling Silver Salad Servers, the pattern designed in 1902 by Charles Osborne, Providence, Rhode Island, including a salad serving fork and spoon, l. 11‑5/8”, no monograms, 9.13 total t. oz. [500/800] Illustrated

120

729

734 One Hundred Eighteen-Piece Set of Wallace “Grand Baroque” Sterling Silver Flatware, designed by William S. Warren in 1941, Wallingford, Connecticut, complete for twelve persons, including twelve each of dinner forks, l. 8”, luncheon forks, l. 7‑1/2”, salad forks, l. 6‑1/2”, teaspoons, l. 6‑1/4”, cream soup spoons, l. 6‑1/8”, dinner knives with stainless steel “Modern”-shaped blades, l. 9‑3/4”, luncheon knives with stainless steel “Modern”-shaped blades, l. 9”, and flat-handled butter spreaders, l. 6‑1/4”, with serving pieces: three serving spoons, l. 8‑3/4”, three slotted serving spoons, l. 8‑3/4”, a serving fork, l. 8‑1/8”, a master butter knife with stainless steel scimitarshaped blade, l. 6‑5/8”, a salad serving fork and spoon, each with plastic fittings, l. 12‑1/2”, four pickle/olive forks, l. 5‑1/2”, a lemon fork, l. 5‑5/8”, a cake/pie server with stainless steel blade, l. 10‑7/8”, two bonbon spoons, l. 5‑1/4”, two sugar spoons, l. 6‑1/2”, and two sauce ladles, l. 6”, no monograms, 154.78 total t. oz. (excluding pieces with stainless steel or plastic fittings). [3500/5000] Illustrated 735 Three-Piece American Sterling Silver Demitasse Set, first quarter 20th century, by the Barbour Silver Company, Hartford, Connecticut, in the “Cellini” pattern, including a coffeepot, h. 10‑1/2”, cream jug, h. 5‑3/4”, and open sugar bowl, h. 4‑1/2”, each with an ovoid body decorated with embossed shell-and-scroll and floral-swag banding, each piece monogrammed “JSB”, 31.64 total t. oz. [1200/1800]

734

736 Two American Sterling Silver Sandwich Plates, first quarter 20th century, both of circular form raised on a simple foot-ring, one by the Roger Williams Silver Co., Providence, Rhode Island, with reticulated egg-anddart edging outside floral and foliate swags, the center engraved with a ribboned foliate cartouche monogrammed “RGL”, dia. 10‑3/4”, and the other by Frank M. Whiting, North Attleboro, Massachusetts, with wide reticulated lattice border, the center monogrammed “RGL”, dia. 11‑1/8”, 35.82 total t. oz. [150/300] 737 Two American Sterling Silver Fruit Bowls, first quarter 20th century, both of circular form, one by Gorham, Providence, Rhode Island, 1912, with lattice-and-baluster pierced bowl and molded circular foot, monogrammed “K”, h. 4‑1/4”, dia. 10‑1/2”, and the other by Towle, Newburyport, Massachusetts, design patent 1921, with embossed laurel and pierced baluster banding and lobed bowl, h. 2‑1/4”, dia. 10”, 25.34 total t. oz. [300/500] 738 Set of American Sterling Silver and Porcelain Demitasse Cups and Saucers, third quarter 20th century, including twelve sterling silver saucers, dia. 3‑3/8”, and reticulated cup holders, l. 3”, 10.55 total t. oz., ten holders fitted with a bell-shaped, cream-colored porcelain liner with gilt-threaded edge, two liners lacking (34 total pieces). [100/200]

739

739 American Silverplate Pitcher, first quarter 20th century, by the Dowd-Rodgers Co., Wallingford, Connecticut, in the Aesthetic taste, the cylindrical-form body with rounded bottom, waisted integral collar and circular foot, with squared handle, the whole with a “hammered” finish, and decorated with a milled band of bucolic cartouches at the neck and foot, h. 9‑1/4”, dia. 5”, l. 7‑1/2”. [100/200] Illustrated 740 St. Louis-Retailed Sterling Silver “Rosette”-Pattern Ladle, fourth quarter 19th century, by Whiting Mfg. Co., Providence, Rhode Island, retailed by Hyppolite Prouhet (1823-ca. 1879) of St. Louis, Missouri, engraved “Rickey”, l. 13”, 6.43 t. oz. [150/300]

121

746

741 American Sterling Silver Tea Caddy, first quarter 20th century, by the Frank W. Smith Silver Co., Gardner, Massachusetts, retailed by Black, Starr & Frost, New York, in the Georgian taste, of oval form with straight fluted sides and reeded rim, the domed lid with acanthus-form hinge and gadrooned toupie finial, with later monogram and date “E.S.B.J./ Nov. 8, 1963”, h. 4‑1/2”, w. 4‑3/4”, d. 3‑1/8”, 8.68 t. oz. [300/500] 742 American School (19th Century) “Portrait of a Lady in a Black Dress and Lace Shawl”, oil on canvas, unsigned, 30” x 25”. Presented in a period giltwood frame. [400/700] Illustrated

744

742

122

743 Andrew B. Booth, Records of Louisiana Confederate Soldiers and Louisiana Confederate Commands, (New Orleans: the author, 1920, printed 1928) three volumes in four, royal quarto, cloth boards with gilt lettering on front and black lettering on spine, 10‑1/4”, 7‑1/4”. Andrew Bradford Booth (1844‑1923) was born in Scott Co. Kentucky on May 8, 1844, but moved with his parents to Baton Rouge in 1848. He graduated from The Academy there in Aprin 1861 and joined Company K, Third Louisiana Infantry four months later. He served the nearly the duration of the war, eventually captured on Christmas Eve 1864 in Livingston parish and finally paroled at Camp Townsend, May 6, 1865 with the rank of 2nd Sergeant. After the war, was a merchant in Ascension parrish town Hope Villa (which he named) before moving to New Orleans in 1886, where he was commercial, real estate and insurance agent. He organized the Public Belt Railroad Association in 1888. He was an active member of the Confederate Veterans of America, and served as the Louisiana Commisioner of Military Records from 1915 to 1922. It was during this latter tenure that he complied the present volumes, which remain the primary resource for Louisiana Confederate soldiers. He died in New Orleans on June 2, 1923. [400/700] 744 Rare and Important American Rococo Revival Rosewood Dressing Bureau, third quarter 19th century, bearing the stenciled label of “Springmeyer Bros/ J. H. Belter & Co.”, the pierced and carved foliate- and armorialcentered crest over a tripartite looking glass, the central arched panel flanked by two smaller ones, each fitted with three open shelves over a short drawer, the lower case with a rectangular top and protruding rounded ends, above a conforming case with four graduated long drawers, fitted with carved pulls, flanked by columnar supports and ending in plinth feet, h. 84”, w. 55‑1/2”, d. 27”. [2000/4000] Illustrated 745 American Rococo Revival Rosewood Night Stand, third quarter 19th century, the period inset marble top set in a gadrooned frame, the case with a drawer over a cupboard door, the interiors of each lined with maple veneers, flanked by spiral pilaster, the back finished and veneered, h. 29‑1/2”, w. 18‑1/2”, d. 18‑1/2”. [700/1000] 746 American Rococo Revival Mahogany Half-Tester Bed, third quarter 19th century, of the type crafted for the antebellum New Orleans furniture trade, the serpentine tester with a pierced cabochon-carved crest, supported by bead-turned posts with a paneled headboard with a shell- and fruit-carved crest, the footposts adorned with Gothic-arched panels beneath a reeded and lobed finial, h. 115”, inside w. 60‑1/2”, l. 80”, outside w. 70”, l. 86”. [8000/12000] Illustrated

747

747 Important American Rococo Revival Mahogany “Duchesse” or Dressing Table, third quarter 19th century, the mirror back with the stenciled label “P Mallard Manufacturer 67 Royal St NO”, the oval looking glass in a conforming molded frame with a carved crest centered by a carved cabochon over a floral swag, flanked by pierced foliate and scroll fields, the frame supported by foliate- and shell-carved brackets, joined to a wooden top with serpentine sides and front, the apron with a full-width drawer with cabochon and foliate carvings, raised on cabriole legs joined by serpentine stretchers with a beaded finial, h. 73”, w. 41”, d. 23‑3/4”. The faint stenciled label on the present piece may be unique among Mallard case pieces, which generally are unsigned. A few Mallard paper labels have surfaced. In addition, there are a trio of surviving receipts for bedroom suites. All three of those suites include similar dressing tables, referred to as a “duchesse” (two of those suites with bills of sale are available for public viewing at the Gallier House Museum, and the Pontalba Apartment, Louisiana State Museum. Rococo Revival dressing tables rarely surface across the country, but they appear to have been a favored form to accompany the towering half-tester beds and massive armoires that were crafted for the New Orleans market. Intact Mallard suites often appear with a duchesse in lieu of a dressing bureau. In May, 2006, a painting (Lot 86) by Paul Poincy was sold in this gallery depicting a woman primping in front of a similar Mallard duchesse. [6000/9000] Illustrated

123

750 748 Good Napoleon III Rosewood Center Table, third quarter 19th century, the tortoise-form top having a molded edge and mounted to a frame concealing a drawer along each of the long sides, raised on floral-carved cabriole legs joined by curved stretchers and centered with a carved urn-form finial, h. 29”, w. 56”, d. 32‑1/2”. [1500/2500] Illustrated 749 Fine Pair of George IV Three-Light Candelabra, second quarter 19th century, composed of bronzepatinated and parcel-gilt brass and cut glass in the neoclassical taste, each brass bobeche domed and dressed with cut glass spears pendant from cut jewels, the standards centered by gilt displayed eagles, each example on a stepped square base, h. 17”, w. 19”. [3500/5000] Illustrated

749

750 Fine American Rococo Revival Rosewood Cabinet with Etagere top, third quarter 19th century, attributed to Alexander Roux, New York, the upper section with a pair of graduated serpentine shelves on scroll and foliatecarved brackets, each back with a mirror plate, the crest depicting a floral basket flanked by a pair of avian heads amidst intertwining scrolls, the top of the base with ovolo corners, with a pair of doors over a pair of drawers, each interior section finished in maple, the doors with glazed panels surmounted by floral carving and tracery, each canted corner with fluted, beaded and carved pilasters, h. 72‑1/2”, w. 45”, d. 21”. [6000/9000] Illustrated

751 Rare American Rococo Revival Laminated Rosewood Sidechair, mid‑19th century, the medallion-form chairback constructed with six laminations, the deeply carved crest in floral and scrolling foliage decor, joined to the seat rail with brass at the hips, serpentine seat and cabriole legs, h. 41”. [1200/1800] Illustrated

748

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752 American School (Mid‑19th Century) “Portrait of a Young Lady Standing in an Interior, Wearing a Lace Dress, a Country Estate Visible Beyond”, oil on canvas, unsigned, 47” x 35‑3/4”. Unframed. [1400/1800] Illustrated

754 Victorian Mahogany Slipper Chair, third quarter 19th century, the shaped and padded back within a molded frame, the padded seat raised on molded cabriole legs ending in casters, h. 38”. [250/400]

753

752 753 Unusual American Rococo Revival Serpentine Rosewood Cabinet/Corner Cabinet, mid‑19th century, New York, in two parts,the upper section with a cabinet with serpentine frieze and bowed sides, with a conforming pressed fretwork crest, each door of serpentine form and fitted with a looking glass, opening to reveal a lightfinished interior, each of five shelves with a rosewood face, on a conforming base with a pair of paneled doors, adorned with ribbon and wave moldings throughout, h. 85‑3/4”, w. 42‑1/4”, d. 19”. [1800/2500] Illustrated

751

755

755 American Rococo Revival Laminated Rosewood Slipper Chair, third quarter 19th century, attributed to J. H. Belter, New York, the back with a fruit- and floral-carved crest over a narrow ovoid backrest set in a pierced ground with serpentine front seat rail centered by floral and fruit carving and cabriole legs, h. 42”. A similar Belter slipper chair is illustrated on the back slip cover of John Henry Belter and the Furniture of the Rococo Revival by Schwartz, Stanek and True. [3000/5000] Illustrated

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759 three-piece suite

756 American Rococo Revival Rosewood CabinetBase Etagere, third quarter 19th century, New York, in two parts, the upper section with a hooded top mounted with a pierced foliate-carved crest over a pierced scroll-cut field and a central rectilinear mirror flanked by shaped mirrors and serpentine shelves on turned supports, the base with a shaped marble top over a pair of doors, each with an arched glazed panel and flanked by open shelves, the finials not illustrated, h. 106”, w. 52‑1/2”, d. 22‑1/2”. [5000/8000] Illustrated 757 Rococo Revival Rosewood and Kingwood Stool, third quarter 19th century, the padded rectangular seat above a shaped frieze with raised matchbookveneered kingwood panels, raised on like-paneled cabriole legs ending in brass caps on ball feet, h. 19”, w. 17‑1/2”, d. 15”. [900/1200] 758 Victorian Rosewood Slipper Chair, third quarter 19th century, in the Rococo Revival taste, the back with a floral- and leaf-carved crest, the bowed front seat rail centered by floral carving, raised on cabriole legs ending in French toes, h. 37”. [250/400]

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759 three-piece suite

756

759 Monumental American Rococo Revival Three-Piece Bedroom Suite, third quarter 19th century, probably Philadelphia, consisting of a high-back bedstead, h. 101”, inside w. 60”, l. 79‑1/2”, outside w. 70”, l. 88”, a dressing bureau, h. 112”, w. 56”, d. 22‑3/4”, and a washstand, h. 53‑1/2”, w. 51”, d. 21‑1/2”, each with an open foliatecarved crest, the bed with a paneled headboard joined to paneled rails with foliate-carved brackets, the footboard with generous octagonal post supports on an arched panel with palmette-carved crest, the dresser with a tall arched looking glass set in a carved frame on tall demilune hat boxes, the base retaining its period marble top, with a bank of three drawers flanked by curvate corners, the washstand with a tall arched backsplash with a period crest, retaining its period white marble top, the case with a drawer over a pair of paneled doors. [10000/15000] Illustrated

761

760 Pair of American Rococo Revival Rosewood Sidechairs, third quarter 19th century, probably from the shop of French emigre cabinetmaker Alexander Roux, New York, the corset-form back with a deeply carved crest with a cartouche centered and flanked by richly modeled floral carving, serpentine seat and cabriole legs, h. 38”. [700/1000] 761 Victorian Mahogany Dressing Bureau, third quarter 19th century, of double pedestal form, the top with a recessed band of three drawers supporting a tripartite looking glass retaining its period mirror plates, each base pedestal with ovolo corners over carved pilasters, each with a bank of four drawers, with a concave central door, h. 77”, w. 62‑1/2”, d. 25‑1/2”. [800/1200] Illustrated

127

764 “Mexico, California and Texas” Hand-Colored Map, 1851, drawn and engraved by J. Rapkin, depicting the “Great Caravan Route” or Santa Fe Trail, “New or Upper California” with the “Gold” districts colored in yellow and vignettes of gold washers, Mexican peasantry and ruins at Uxmal, Yucatan, the border with elaborately scrolling vines, gourds, palmetto fronds, yucca and cactus, presented in an early 20th-century frame with parcel-gilt undulating corners, sight h. 10”, w. 13”, overall h. 17‑1/4”, w. 20‑3/4”. [1200/1800] Illustrated 765 American School (Second Quarter 20th Century) “Vineyard at Harvest Time”, signed and dated lower right “Carter Johnson 1934”, 24” x 28”. Framed. [250/400]

762

766 Orlando Vincent Schubert (American, 1844‑1928) “River Landscape with Bridge”, watercolor on paper, signed in pencil lower left “Schubert” and twice in black ink lower right, verso retains gallery label “Tilden-Foley Gallery, 4119 Magazine Street, New Orleans”, sight 5‑1/2” x 8‑1/2”. Glazed, matted and framed. [350/500] 767 Thomas Jefferson Folawn (American/California, 1876‑1934) “Summer Rain Cloud, Boulder Colorado”, 1930, oil on canvas, signed lower left “Thos J. Folawn”, titled, dated and signed on stretcher verso, 22” x 27”. Framed. [400/700] Illustrated 768 James Crawford Thom (American/New York, 1835‑1898) “The Old Canoe”, oil on canvas, signed lower right “J. C. Thom”, signed in black ink on an old paper label on the reverse, 22‑1/4” x 36‑1/4”. Presented in a period annulated giltwood frame. [3500/5000] Illustrated 769 James Topping (American/Illinois, 1879‑1949) “Autumnal Winding River Landscape”, 1926, oil on canvas, signed and dated lower right “James Topping ‘26”, 20” x 20”. Glazed and presented in a gilded period carved wood frame. [4500/7000] Illustrated

763 762 “America”, Henricus Hondius (Dutch, 1597‑1651), hand-colored map of North and South America, one of the first maps to correctly show California joined to the mainland, the Mar del Zur and Mar del Nort depicted with sailing ships and creatures of the deep, presented in a molded wood frame, neatline h. 14‑1/2”, w. 21‑1/4”, overall h. 26‑1/2”, w. 31‑1/2”. Illustrated in Roger Baynton-Williams’ Investing in Maps (New York: Clarkson N. Potter, 1969), p. 130. [1200/1800] Illustrated 763 “L’America”, Giovanni Maria Cassini (Italian, 1745‑1824), a hand-colored map of North and South America depicting the routes of Captain James Cook’s 18th-century voyages of discovery in the Pacific, the cartouche containing an allegorical figure of America, presented in a molded wood frame, neatline h. 13”, w. 18‑1/4”, overall h. 24‑1/4”, w. 29‑1/2”. [1200/1800] Illustrated

764

128

767

770 American Sterling Silver Neo-Grec Soup Ladle, third quarter 19th century, the flat, lozenge-shaped finial decorated with anthemion and palmettes, the oval bowl engraved en suite, with matte-finish gilt interior and bright-cut lip, monogrammed “LWC”, conjoined, l. 11‑1/4”, 3.73 t. oz. [400/700] Illustrated

769

771 Twenty-Three Pieces of New Orleans-Retailed Sterling Silver “Angelo”-Pattern Flatware, the pattern introduced in 1878 by Wood and Hughes, New York, retailed by Frantz & Opitz, New Orleans, Louisiana, including six dinner forks, l. 7‑1/8”, twelve teaspoons, l. 5‑3/4”, three tablespoons, l. 8‑1/2”, one demitasse spoon, l. 4‑1/4”, and bow-style sugar tongs, l. 5‑1/4”, variously monogrammed, 25.59 total t. oz. [500/800] Illustrated following page

770

768

129

772 Rare “Jack and Jill” Silverplate Figural Napkin Ring, fourth quarter 19th century, by James W. Tufts, Boston, Massachusetts, model number 1667, Jack with a detachable pail, the pair preparing to ascend the napkin ring which forms the hill, h. 2‑1/4”, l. 4‑1/2”. Reference: Lillian Gottschalk and Sandra Whitson, Figural Napkin Rings (Paducah, KY: Collector Books, 1996), p. 232, plate 569. [500/800] Illustrated

771

773 American Silverplate Figure of a Neoclassical Water Bearer, fourth quarter 19th century, by Reed & Barton, Taunton, Massachusetts, the figure realistically modeled and presented on a circular base, h. 10‑1/8”, dia. 5‑1/8”. [100/200] 774 Good Pair of American Sterling Silver Gilt and Ivory Fish Servers, fourth quarter 19th century, by Whiting Mfg. Co., Providence, Rhode Island, including a fish serving knife, l. 14‑1/2”, and fork, l. 10‑1/2, the silver gilt scimitar-shaped blade and five-tined fork each decorated with elaborate reticulated rococo scrolls, joined by ferrules en suite to tinted and carved spiral-fluted and shaped ivory handles. [800/1200] Illustrated

772

774

130

775 Good American Sterling Silver Presentation Center Bowl and Undertray, dated 1905, by J. E. Caldwell & Co., Philadelphia, Pennsylvania, the bowl of circular form with deeply everted reticulated rim decorated with rococo scrolls and flowers separated by lattice cartouches, the sides engraved en suite, h. 3‑3/4”, dia. 13”, monogrammed, on the side, “SvTE” and with presentation inscription on the underside “Stella van Tuyl Elkins/ from/ Mrs. Charles H. Howell/ April 27th 1905” and, added later, “Max Safron”, with a matching undertray decorated and monogrammed en suite, dia. 15‑3/4”, 99.54 total t. oz. Stella van Tuyl Elkins (1882‑1963) was the daughter of George W. Elkins and his wife, Stella E. McIntire Elkins. She is better known by her married name Stella Elkins Tyler, under which she became one of the foremost midAtlantic bronze artists of the 20th century; the Tyler School of Art at Temple University is named in her honor. The present lot was undoubtedly a gift on the occasion of her marriage to Philadelphia banker George Frederick Tyler (1883‑1947) on April 27, 1905. The presenter was Mrs. Charles Harkness Howell, nee Annie Margaret Fitler, the wife of a prominent Philadelphia paint manufacturer. The later owner’s inscription is probably that of Max Safron (1880‑1963), a noted New York autograph and book collector. For a biography of Tyler and a survey of her works, see Roberta A. Mayer, Stella Elkins Tyler: A Legacy Born of Bronze (Newton, PA: Bucks County Community College, 2004), the catalogue for a 2004 retrospective. [4500/7000] Illustrated 776 Good American Sterling Silver Center Bowl, first quarter 20th century, by the Frank W. Smith Silver Co., Gardner, Massachusetts, in the rococo taste, of elaborately shaped and lobed oval form, the sides engraved with latticework cartouches and acanthus scrolls, the edges with applied rococo C-scrolls and reticulated with acanthus fronds, monogrammed, on the bowl, “MK”, h. 3‑1/2”, w. 12”, l. 14‑3/4”, 30.29 t. oz. [400/700] Illustrated

777 Good, Large Gorham Sterling Silver Fruit Basket, 1904, Providence, Rhode Island, of waisted oval form, the elaborate rim everting to form a shaped navette, the body decorated with opposing applied rococo cartouches joined by applied fruit swags, all on a reticulated fleurde-lis-trellised ground, with applied rococo-scroll rim and feet, the shaped swing handle embossed with fruit, scrolls and bellflowers, h. 9‑3/4” (16‑1/2” with handle), w. 10”, l. 16”, 56.91 t. oz. [1800/2500] Illustrated

775

776 778

777

778 Good Tiffany & Co. Sterling Silver-Mounted Cut Glass Flower Basket, 1902‑1907, New York, the glass probably by J. Hoare, Corning, New York, the body of traditional waisted form with upturned sides, with stepped base, notched vertical miters, cane banding and fluted edge, the upturned sides with silver mounts elaborately embossed with flowers and rococo scrolls which continue to form the fixed stirrup-shaped handle, the stepped base clad in a conforming silver plinth, h. 19”, w. 6‑3/4”, l. 10‑1/2”. [1000/1500] Illustrated

131

779 Pair of Tiffany & Co. Sterling Silver Compotes, 1902‑1907, New York, each of circular form with a convex-bottomed dish with everted rim raised on a waisted and domed foot, the dish and foot edge decorated with elaborate reticulated floral rococo scrolls, each monogrammed, on the center of the bowl, “EBS”, h 3‑1/2”, dia. 7‑1/2”, 24.63 total t. oz. [1800/2500] 780 Tiffany & Co. Sterling Silver Presentation Tyg, dated 1901, the pattern introduced in 1891, New York, the bucket-shaped body with molded rim, three acanthus-mounted S-shaped handles and raised on a squat, waisted stem above a domed circular foot, the interior gilt, the body engraved on its three sections with presentation inscription “Presented to/ C. W. Bingham/ by/ Cleveland C.S.P. Men/ as a token of their/ appreciation and esteem/ July 15th, 1909”, the insignia of the Scroll & Key Society and a list of twentyone presenters, h. 10”, dia. 7”, w. 9‑3/4”, 50.61 t. oz. Noted Cleveland industrialist Charles William Bingham (1849‑1929) was the son of William and Elizabeth Beardsley Bingham. He received a B.A. from Yale in 1868 and an M.A. from the same institution in 1871. He worked for his father’s firm, the Cleveland Iron Co., and also the William Bingham Co. before finally serving, for nearly fifty years, as president of the Standard Tool Co. He served, at one time or another, as director of the Mercantile National Bank, the Citizen’s Savings & Loan Co., the Cleveland Iron Co., the Western Reserve National Bank, the Bank of Commerce, the National Commerce Bank, the Citizens’ Savings & Loan Association, the Union Trust Company, the Cleveland Cliffs Iron Company and the Bourne-Fuller Co. He was a great supporter of arts and education in Cleveland, being instrumental in the construction of the Cleveland Museum of Art, as well as serving as treasurer of the Case Library and a trustee of the Huntington Art & Polytechnic Trust and the Horace Kelley Art Foundation. The Bingham Mechanical Engineering Building at Case Western Reserve University is named for him. The “C.S.P. Men” who presented Bingham with this handsome cup were fellow members of the “Collegium Sanctum Pontificum” (“College of the Holy Pontiffs”), better known as the Scroll and Key Society, one of Yale’s “big three” senior societies and the second oldest (after the Skull and Bones, from which it split in 1841). [3000/5000] Illustrated

782

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780

781

783 Three Tiffany & Co. Federalist-Style Sterling Silver Sugar Urns, second quarter 20th century, New York, part of Tiffany’s line of important reproduction silverware, including one of the 1917 pattern after a late 18thcentury original by Joseph Richardson (1752‑1831) of Philadelphia, engraved on the plinth edge with a presentation inscription dated 1925, h. 10‑1/2”, dia. 4‑3/8”, and two of the 1919 pattern after a 1790 original by Garret Schanck (1755‑1795) and Daniel Van Voorhis (1751‑1824) of New York City, each engraved with the Bates crest and motto,h. 9‑3/4”, dia. 3‑7/8”, each of ovoid form with steeply waisted, domed lid with vasiform finial, beaded edges and raised on a waisted stem above a square plinth base, 52.99 total t. oz. [3500/5000] Illustrated

783

784 Tiffany & Co. Sterling Silver Drinks Pitcher, the pattern introduced in 1936, New York, this example 1947‑1956, of slightly bulbous tapering cylindrical form, with short spout and shaped handle, with threaded rim, h. 6‑1/2”, l. 7”, dia. 5”, 20.13 t. oz. [500/800] Illustrated 785 Tiffany & Co. Sterling Silver Well-and-Tree Platter, the pattern introduced in 1893, New York, this example after 1907, of oval form with molded rim and recessed plateau, raised on four molded bracket feet, monogrammed, on the rim, “EBW”, w. 14‑1/4”, l. 20”, 58.51 t. oz. [2500/4000] Illustrated

784

786 Tiffany & Co. Sterling Silver Sandwich Plate, the pattern introduced in 1914, New York, of circular form with wide reticulated palmette lattice border, with a recessed circular base and molded rim, dia. 10‑5/8”, 12.67 t. oz. [400/700] 787 Tiffany & Co. Sterling Silver Cake Stand, first quarter 20th century, the pattern introduced in 1914, New York, of circular form with reticulated palmette border, raised on a trumpeted foot, monogrammed, on a raised boss at the center of the plate, “A.M.duB.”, h. 3‑1/2”, dia. 9‑1/2”, 17.23 t. oz. [400/700]

785 781 Pair of Tiffany & Co. Sterling Silver Salad Servers, the pattern introduced in 1940, this example 1943‑1945, New York, in the pattern commonly called “Deco Tomato” or “Pumpkin”, including a salad serving fork and spoon with gilt tines/bowl, l. 9‑3/4”, 8.42 total t. oz. [400/700] Illustrated 782 Set of Four Tiffany & Co. Sterling Silver Candlesticks, the pattern introduced in 1901, New York, each with a fluted baluster stem raised above a bat-wing fluted and cavetto-domed circular foot and surmounted by a short, waisted candle nozzle fitted with a detachable hexagonal bobeche, the whole with narrow beadand-bobbin banding, h. 10”, dia. 5”, 43.73 total t. oz. [6000/9000] Illustrated

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796

788 Tiffany & Co. Sterling Silver Tazza, the pattern introduced in 1936, New York, this example 1947‑1956, of slightly concave circular form, with threaded rim and applied shell-and-scroll mounts, raised above a trumpeted circular foot, monogrammed, at the center, “LMS”, h. 2‑7/8”, dia. 8‑1/4”, 12.80 t. oz. [400/700] 789 Pair of Whiting “Colonial” Sterling Silver Salad Servers, the pattern introduced in 1907, Providence, Rhode Island, including a salad serving fork and spoon, l. 11‑1/2”, each monogrammed “INA”, 7.72 total t. oz. [125/250] 790 Gorham Silverplate Revere Bowl, third quarter 20th century, Providence, Rhode Island, of traditional form, with everted rim and molded foot-ring, h. 4‑1/2”, dia. 9”. [75/125]

797

798

791 Eight American Assorted Sterling Silver Serving Pieces, first quarter 20th century, including a SSMC/Saart Bros. “Rosemary” salad serving set, l. 7‑1/2”; a Wallace & Sons “Princess Mary” sauce ladle, l. 6”; a Gorham “Old Colony, Old” pierced serving spoon, l. 8‑3/4”; a Frank W. Smith “Adrienne” cream ladle, l. 5‑1/2”; and a CampbellMetcalf “Jeweled Colonial” almond scoop, l. 5‑3/4”; variously monogrammed, 11.64 total t. oz. [200/400]

134

792 Two American Sterling Silver Serving Pieces, first quarter 20th century, including a J.B. & S.M. Knowles “Argo”-pattern fish slice, introduced in 1892, retailed by A. Stowell & Co., Baltimore, Maryland, with gilt blade, monogrammed “WS”, l. 8‑3/4”; and a George W. Shiebler “Gothic”-pattern asparagus server, introduced in 1890 and manufactured by the Mauser Mfg. Co., New York, altered from a place piece, no monograms, l. 9‑1/2”; 6.75 total t. oz. [100/200] 793 Gorham Silverplate Chafing Dish, fourth quarter 20th century, Providence, Rhode Island, of circular form, with shaped rococo-scroll border, with fitted domed lid and turned wooden handle, all above a conforming hot water reservoir in a fitted frame, raised on thee acanthus-crested cabriole legs joined by a stretcher to a central burner, h. 11‑1/2”, w. 21”, l. 21”. [150/300] 794 Twelve Pieces of Small American Sterling Table Silver, second and third quarters 20th century, including a pair of International Sterling nut dishes with hammered finish and Art Deco engraving, dia. 3”; a pair of Gorham nut dishes with molded edge, dia. 2‑4/8”; a four-piece Rogers, Lunt & Bowlen “Treasure” salt and pepper set, including a pair of baluster-form pepperettes, h. 4‑1/2”, and a pair of “Revere”-form salt cellars, dia. 2‑1/2”; a pair of Baldwin & Miller salt cellars of flattened spherical form with cobalt glass liners, dia. 2‑1/2”; and a pair of unmarked baluster-form pressed glass salt and pepper casters with silver caps, h. 3‑1/4”; 12.73 total t. oz. (excluding glass). [100/200] 795 Mexican Sterling Silver Covered Sugar Bowl, third quarter 20th century, from Tane Orfebres, Mexico City, in the Spanish Colonial taste, of octagonal form, with gadrooned banding and rim and opposing scroll handles, raised on a conforming foot, the fitted, shallow-domed lid with melon finial, h. 6‑1/2”, w. 8‑1/2”, d. 6‑3/8”, 35.37 t. oz. Although unidentified, the maker of this sugar bowl - known by his “A” in a triangle cypher and eagle registration mark “71” - was one of Tane’s finest, his works characterized by their stylish interpretation of traditional forms, good finish and significant heft. [1400/1800]

796 American Renaissance Revival Walnut and MarbleTop Sideboard, third quarter 19th century, the top with a peaked crest and a central carved plaque above a beveled mirror and large shelf brackets, the base with a marble deck above a curved base having a row of three drawers above three doors, h. 90‑1/2”, w. 57”, d. 25”. [2000/4000] Illustrated 797 American Renaissance Revival Brass Six-Arm Gasolier, ca. 1875, the embossed stem set in a cage of four geometrically-modeled square section brackets, the lower bowl joined to the six “c”-form arms of like decor, each retaining its period gas key, now fitted with etched crown shades in the period taste, h. 40”, dia. 32”. [1200/1800] Illustrated 798 American Renaissance Revival Walnut Fire Screen, third quarter 19th century, the period arched beadwork panel in floral decor, set in an arched frame with a carved cartouche flanked by leaf and berry swags, raised on similarly molded carved legs, h. 46‑1/4”, w. 3‑1/4”, d. 20”. [400/700] Illustrated 799 Rare American Aesthetic Movement Walnut Rocking Chair, branded on the rear leg “Hunzinger, N.Y. Pat. March 3, 1869”, upholstered in maroon crushed velvet, h. 22”. [500/800] 800 Rare American Aesthetic Movement Walnut Rocking Chair, branded on the rear leg “Hunzinger, N.Y. Pat. March 3, 1869”, upholstered in royal blue crushed velvet, h. 22”. [500/800] 801 French Stone-Polished Carrara Marble Mantel Clock, third quarter 19th century, retailed by Henderson & Gaines, New Orleans, Louisiana, and so marked on the face,in the Renaissance Revival style, the glass dial cover with a beveled edge, the white enamel dial with black chapters and retailer’s name, h. 8‑1/4”, w. 12‑1/2”, d. 6‑3/4”. [300/500]

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802 three-piece suite

805

802 three-piece suite

802 Impressive Three-Piece American Renaissance Revival Walnut and Burl Walnut Bedroom Suite, third quarter 19th century, Philadelphia, comprised of a high-back bedstead with large arched and foliate-carved crest, h. 95”, inside w. 65”, l. 80”, outside w. 72”, l. 86”, and a matching pair of marbletop dresser bureaus with large mirrors, each with a three-drawer base, h. 90”, w. 49‑1/4”, d. 22”. [6000/9000] Illustrated 803 Victorian-Style Patinated Metal Wall-Mount Dog Leash Holder, fashioned as a setter within a cartouche, h. 7”, w. 3‑1/4”, d. 5‑3/4”. [100/200] 804 Victorian Carved Mahogany and Giltwood Sideboard, third quarter 19th century, in the Neo-Grec taste, the backsplash with a beveled mirror plate flanked by a pair of broken-arch crests centered by a carved floral basket, with floral swags below, the base with a central door over an arched opening, flanked by pedestal ends, each door with a gilt winged putti masque over a shaped panel, h. 69‑1/2”, w. 84‑1/4”, d. 27”. [3500/5000] Illustrated

136

805 After Thomas Waterman Wood (American, 1823‑1903) “The Contraband”, from A Bit of War History, oil on canvas, signed and dated lower right “Carrea Sanders Parmalee 1896”, 21” x 13‑1/2”. Presented in a period giltwood frame. This lot is a copy of one of the panels of Wood’s triptych “A Bit of War History: The Contraband, The Recruit, The Veteran”, inspired by the imagined narrative of an African-American soldier injured in the Civil War. The original is in the collection of the Metropolitan Museum of Art. [1200/1800] Illustrated

804

809 Wayman Elbridge Adams (American, 1883‑1959; Active New Orleans 1920’s - 1950’s) “Portrait of Judge Dan Powell”, oil on canvas, signed lower left “Wayman Adams”, with artist’s estate sale inventory label en verso “118 BH 336 - Judge Dan Powell”, 47” x 36”. Handsomely framed. Provenance: Acquired from the estate of the artist in 1993 by a private collector, Austin, Texas. [2000/4000]

807

810 Victorian Carrara Marble Pedestal, late 19th century, the canted square top raised on a spiral-reeded standard to a ribbed base on a molded octagonal plinth, h. 34”, w. 11‑1/2”, d. 11‑1/2”. [300/500]

806 Pair of English Cut-Glass Two-Light Sideboard Candelabra, first quarter 20th century, in the early 19th century Anglo-Irish taste, richly dressed with draped jewel-cut bead chains, faceted teardrops and panel-cut prisms, h. 20”, w. 13”. [500/800] 807 American Modern Gothic Gilt-Incised Burled Walnut and Walnut Folio Stand, fourth quarter 19th century, the paneled and hinged end boards adjusted by a turned knob on a central brace, the whole on a trestle base, h. 46”, w. 26‑1/4”, d. 18”. [2500/4000] Illustrated 808 American Innovative Rocking Chair, late 19th century, comprised of tubular steel, brass, wood, spring steel and leather, the armrests and sling seat in tufted leather upholstery, with wooden rockers, h. 57‑3/4”. For a discussion of a similar chair by R. W. Winfield and Company and its American versions including the Berg and Hoffman 1867 patent, see David A. Hanks, Innovative Furniture in America from 1800 to the Present, pp. 130‑131. [300/500]

811

137

811 Continental Mahogany Cylinder Desk, third quarter 19th century, the ogee-molded superstructure fitted with three drawers above the paneled roll top, opening to a pull-out leatherlined writing surface and a variety of drawers and cubbyholes, raised on two pedestals, both paneled, one opening to four drawers, the other opening to a shelved interior, both raised on low bracket feet, h. 51”, w. 61”, d. 31‑1/2”. [1200/1800] Illustrated previous page

812 American Turned and Mahogany-Stained Wood Three-Panel Folding Screen, fourth quarter 19th century, each panel set with a different oil-on-canvas scene, from left to right, the Natural Bridge of Virginia, a pair of white herons in a swamp, and a pair of deer on a river bank, the upper edge of each panel with a spindled gallery, h. 55”, l. 24”, extended l. 72”. [800/1200] Illustrated

813 two-piece suite

812

138

813 two-piece suite

813 American Aesthetic Movement Silver MetalMounted Two-Piece Bedroom Suite, fourth quarter 19th century, comprised of a high-back bedstead and a nightstand with the impressed brand “Herts Brothers New - York”, the paneled head and foot boards adorned with ribbon, laurel wreaths, swags and beading, with fluted posts and foliate-carved capitals, on squat ball-andclaw feet, h. 64”, inside w. 58”, l. 84”, outside w. 66‑1/2”, l. 89‑1/2”, the nightstand with like decor, with a frieze drawer, raised on fluted columns, an open shelf and ball-and-claw feet, h. 33”, w. 18”, d. 18”. Herts Brothers, at 806 Broadway at 20th Street, New York City, was a prominent New York cabinetmaking and decorating firm from 1872 to 1908. For further information on the Herts firm, see Art and Enterprise American Decorative Art, 1825‑1817, the Virginia Carroll Crawford Collection, 1999. Pieces by Herts Brothers are in the collections of the Newark Museum, and the High Museum of Art. [3000/5000] Illustrated

816

817 815

814

814 American Aesthetic Movement MarquetryInlaid Bird’s-Eye Maple and Maple Dressing Bureau, ca. 1875‑1880, the back of the case with the incised stamp “Herter Bros.”, the furniture design, manufacturing and decorating firm led by Christian Herter, New York City, the case with a pair of pedestal ends joined by a shelf fitted with a pair drawers supporting a tall beveled mirror in a fluted frame, the dentillated cornice with ribbon, bellflower and beaded swag inlays, the upper pedestal drawer with like inlay, h. 83”, w. 76‑3/4”, d. 20‑3/4”. [7000/10000] Illustrated 815 Classic Early Newcomb College Pottery VellumGlazed Vase, 1914, in “Live Oaks and Moss” decor, decorated by Anna Frances Simpson (ca. 1888‑1930), the base fully signed and numbered, h. 5”, dia. 5‑1/2”. [3500/5000] Illustrated 816 Classic Newcomb College Pottery Vellum-Glazed Vase, 1925, of baluster form in “Moon and Moss” decor, decorated by Anna Frances Simpson (ca. 1888‑1930), the base fully signed and numbered and having a period Newcomb Pottery printed paper label, h. 6‑1/4”, dia. 3‑1/2”. [3500/5000] Illustrated

139

819 Arnold Turtle (British/Chicago, 1892‑1954, active New Orleans ca. 1940’s) “Street Corner, French Quarter, New Orleans”, oil on canvas board, signed lower right “Turtle”, 16” x 20‑1/2”. Handsomely framed. [2500/4000] Illustrated 820 John Lang (American/New Orleans, 20th Century) “French Quarter Scenes”, group of three charcoal and graphite drawings, all signed, one example dated “9‑15‑40”, sight 8” x 10‑1/2”. Glazed, handsomely matted and presented in matching ebonized frames. [1400/1800] Illustrated 821 Dalhart Windberg (American/Texas, b. 1933) “The Last Stand”, limited edition print, signed lower left, retains artist’s certificate of authenticity on the reverse, edition number 57/1,000, sight 19‑3/4” x 29‑1/2”. Glazed, matted and framed. [600/900] 819

818

822 Garland Roark (American/Contemporary) “Cowboy Overlooking a Canyon”, watercolor, signed lower left “Garland Roark”, sight 13” x 16‑3/4”. Glazed, matted and framed. [125/250] 823 Ida Kohlmeyer (American/New Orleans, 1912‑1997) “Nested”, acrylic on masonite, signed lower left “Kohlmeyer”, bears gallery label en verso “Ruth White Gallery, 42 East 57th Street, New York”, 16” x 12”. Framed. [2500/4000] Illustrated 824 Ida Kohlmeyer (American/New Orleans, 1912‑1997) “Annular”, 1963, oil on canvas, signed lower right “Kohlmeyer”, 46” x 58”. Framed. [5000/8000] Illustrated

817 Classic Newcomb College Pottery Vellum-Glazed Vase, 1921, in “Live Oaks and Moss” decor, decorated by Anna Frances Simpson (ca. 1888‑1930), fully signed and numbered on the base, h. 5‑1/4”, dia. 4‑1/2”. [3500/5000] Illustrated previous page 818 Good Shearwater Pottery Vase, 1946, thrown by Peter Anderson (1901‑1984), with carved and pierced floral design by James McConnell “Mac” Anderson (1907‑1998), in a double glaze - antique green under alkaline blue - by Peter Anderson, signed and dated on the underside “Shearwater/ MA/ ‘46”, h. 5-1/2”, dia. 8”. This lot is accompanied by a copy of Shearwater Pottery (Slidell, LA: Bristol Publishing, 2005), by Dod Stewart, Marjorie Anderson Ashley, et al., on page 108 of which this vase is illustrated. [4500/7000] Illustrated

820 suite of three

140

825 Ray Donley (American/Texas, b. 1950) “Portrait of a Lady”, 2009, oil on board, signed and dated lower left “Donley ‘09”, signed and dated on board verso, 20” x 16”. Presented in an ebonized frame. Provenance: Gallery Bienvenu, New Orleans, Louisiana. [2000/4000] Illustrated

824

825

826

826 Ray Donley (American/Texas, b. 1950) “Figure with a Black Beret”, 2005-2007, oil on canvas, signed and dated lower right “Donley 05/07”, signed and dated on canvas verso, retains Bienvenu Gallery, New Orleans, label on the reverse, 24” x 18”. Presented in an ebonized frame. Provenance: Gallery Bienvenu, New Orleans, Louisiana. [2500/4000] Illustrated 823

141

827 Ray Donley (American/Texas, b. 1950) “Skeleton”, 2009, oil on board, signed and dated lower left “Donley ‘09”, signed and dated on board verso, 20” x 16”. Presented in an ebonized frame. Provenance: Gallery Bienvenu, New Orleans, Louisiana. [2000/4000] Illustrated

828

830

831

827

142

828 George Bauer Dunbar (American/Louisiana, b. 1927) “Coin du Lestin”, 1997, palladium leaf over white clay, signed lower right “Dunbar”, 16” x 12”. Handsomely custom framed. [3000/5000] Illustrated

829 George Bauer Dunbar (American/ Louisiana, b. 1927) “Coin du Lestin”, 2007, palladium and gold leaf over red and gray clay, signed lower center “Dunbar”, 60” x 48”. Framed. This lot was included in the solo exhibition of George Dunbar’s work held at the Ogden Museum of Southern Art, New Orleans, Louisiana, held on April 26 through July 16, 2007. [18000/25000] Illustrated

831 George Bauer Dunbar (American/ Louisiana, b. 1927) “Coin du Lestin”, 2007, gold leaf over red clay, signed lower right “Dunbar”, 12” x 12”. Framed. [2000/4000] Illustrated 832 George Bauer Dunbar (American/ Louisiana, b. 1927) “Coin du Lestin”, 2007, yellow gold over red clay, signed lower right “Dunbar”, 12” x 12”. Framed. [2000/4000] Illustrated

830 George Bauer Dunbar (American/ Louisiana, b. 1927) “Coin du Lestin”, 2007, yellow gold over red clay, signed lower right “Dunbar”, 12” x 12”. Framed. [2000/4000] Illustrated 829

832

833

143

835 Noel Rockmore (American/ New Orleans, 1928‑1995) “Alien, Female Nude and the King of Clubs”, 1991, mixed media on paper, signed and dated lower left “Rockmore 91 Mar”, verso with “Cassell Gallery, New Orleans” label, sight 11‑1/2” x 9”. Glazed, matted and framed. Provenance: Collection of Mrs. Shirley Marvin, Baton Rouge, Louisiana. [300/500] 836 Ronald King (American, b. 1932) “Commander”, color serigraph, pencil numbered and titled lower left “5/25”, pencil signed lower right “Ronald King”, sight 27‑1/4” x 20”. Glazed and framed. [100/200] 834

840 833 George Bauer Dunbar (American/Louisiana, b. 1927) “Coin du Lestin”, 2007, rose gold over red clay, signed lower right “Dunbar”, 12” x 12”. Framed. [2000/4000] Illustrated previous page 834 George Bauer Dunbar (American/Louisiana, b. 1927) “Coin du Lestin”, 1970, gold leaf over clay, 15” x 22‑3/4”, signed and dated twice, lower left and right corners. Framed. [4500/7000] Illustrated

144

838

844 Semi-Antique Caucasian Carpet, 3’ x 5’. [125/250] 845 Antique Persian Carpet, 4’ 2” x 5’ 10”. [500/800] 846 Persian Kashan Carpet, 9’ 6” x 12’ 6”. [3000/5000] 847 Isfahan Carpet, 13’ 5” x 9’ 4”. [900/1200] 848 Yazad Carpet, 15’ 3” x 9’ 5”. [900/1200] 849 Turkish Angora Oushak Carpet, 8’ 3” x 9’ 10”. [1200/1800] Illustrated 850 Turkish Angora Oushak Carpet, 8’ 9” x 12’. [1500/2500] Illustrated 851 Agra Sultanabad Carpet, 13’ 9” x 14’ 3”. [2500/4000]

849 837 American School (20th Century) “Reclining Nude”, oil on burlap, monogrammed lower right, 14” x 18‑3/4”. Framed. [250/400] 838 Ronna S. Harris (American/New Orleans, Contemporary) “Nude Seated by a Sunlit Brook”, oil on canvas, signed lower left “Ronna S. Harris”. Framed. Provenance: Still-Zinsel Gallery, New Orleans, Louisiana. [4500/7000] Illustrated 839 Noel Rockmore (American/New Orleans, 1928‑1995) “Nude in Red Stockings”, 1981, oil on masonite, signed and dated lower left “Rockmore 81”, 8” x 10”. Handsomely framed. Provenance: Collection of Mrs. Shirley Marvin, Baton Rouge, Louisiana. [500/800] 840 James Michalopoulos (American/Louisiana, b. 1951) “Callow’s Luma” 1994, oil on canvas, signed lower left “Michalopoulos”, signed and dated on the reverse of canvas “Mitchell Michalopoulos 1994”, titled and numbered “2401” on the stretcher verso, 28” x 22”. Framed. [2500/4000] Illustrated 841 Semi-Antique Hamadan Carpet, 3’ 8” x 9’ 10”. [200/400] 842 Persian Carpet, 5’ 3” x 6’ 4”. [500/800] 843 Semi-Antique Heriz Carpet, 7’ x 10’. [400/700]

850

145

852 Peshawar Serapi Carpet, 9’ 1” x 12’ 3”. [1400/1800] Illustrated 853 Agra Serapi Carpet, 10’ x 13’ 10”. [1800/2500] 854 Shiraz Carpet, 4’ 9” x 6’. [500/800] 855 Turkish Prayer Rug, 3’ 9” x 5’ 8”. [200/400] Illustrated 856 Iranian Kilim Carpet, 4’ 5” x 9’ 5”. [200/400] 857 Agra Serapi Carpet, 9’ x 11’ 9”. [1200/1800] 858 Uzbek Kazak Carpet, 6’ 3” x 9’ 7”. [700/1000] 859 Uzbek Kazak Carpet, 8’ 9” x 11’ 7”. [1500/2500]

852 861 Regency-Style Figured Birch Bowfront Chest, 19th century and later, the bowed top with rosewood banding above a case fitted with two short drawers over three graduated long drawers, all with inlaid stringing, raised on splayed bracket feet, h. 45”, w. 42”, d. 20‑1/4”. [1400/1800] Illustrated

855 860 George III-Style Mahogany Server, late 19th century, the banded rectangular top with a bowed center section above a conforming fluted frieze centered by a banded panel, raised on fluted tapering square legs ending in spade feet, h. 34”, w. 96‑1/2”, d. 24‑1/4”. [1800/2500] Illustrated 861

146

860

862 Lewis John Wood (British, 1813‑1901) “Busy Day by the Cathedral”, oil on canvas, faint signature lower left, 12” x 16”. Handsomely framed. [1200/1800] Illustrated

863 George III-Style Walnut Cabinet, late 19th century, the rectangular top with molded edge above a conforming case fitted with a central paneled cupboard door flanked to either side by a bank of three graduated drawers, further flanked by fluted uprights, the whole raised on block feet, h. 34”, w. 82”, d. 21”. [1400/1800] Illustrated

864

862 864 George III Mahogany Drop-Leaf Table, late 18th century, the rectangular top with two like shaped leaves, raised on tapering circular legs ending in pad feet, h. 27‑1/2”, w. 48”, d. 19”, extended l. 57”. [800/1200] Illustrated

865 Pair of Queen Anne Walnut Sidechairs, 18th century, each with a back-scrolled crest above a pierced and baluster-form splat, the padded and shaped seat raised on cabriole legs joined by a crinoline stretcher and ending in pad feet, h. 36‑1/2”. [1000/1500] Illustrated following page

863

147

866 George III Mahogany Tripod Table, fourth quarter 18th century, the tilting rounded rectangular top raised on a ring-turned baluster-form standard to three splayed cabriole legs ending in pad feet, h. 28‑1/2”, w. 30‑1/4”, d. 33”. [500/800]

869

867 George III-Style Walnut and Parcel-Gilt Looking Glass, early 19th century, the rectangular plate surmounted by a broken swan’s-neck pediment centered by a carved foliate shield, within a shaped carved wooden frame with side applied gilt drapery accents, h. 58‑1/4”, w. 25‑1/2”. [1500/2500] Illustrated 868 George III-Style Mahogany Tripod Table, the shaped circular top with a sunburst inlay and raised foliate-carved edge, raised on a fluted urn-form standard to three splayed legs headed by foliate carving and ending in pad feet, h. 31”, dia. 36”. [250/400] 869 Pair of George III-Style Mahogany Sidechairs, late 19th century, each with a scalloped and earred crest above a pierced baluster-form splat, the padded seat raised on chamfered square legs joined by an H-form stretcher, h. 37‑1/2”. [500/800] Illustrated

867

870 George III-Style Oak Games Table, third quarter 19th century, the rectangular top hinged and opening to a gaming surface, raised on chamfered square legs, h. 28‑7/8”, w. 35”, d. 17”, open 34”. [500/800] 871 Japanese Carved Ivory Okimono, Meiji Period (1868‑1912), depicting a flower seller holding a basket of flowers with his right hand and supporting a partridge with his left, with intricate incised carving on the robes, basket and face, and incisely stained, unsigned, h. 9”. [600/900] Illustrated

865

872 Japanese Ivory Mystery Ball Carving and Stand, the ball consisting of nine concentric and independently carved balls, with reticulated star and circle designs atop the stand depicting a woman holding a lotus flower, on a rounded base, h. 9‑3/4”. [300/500]

148

874

873 Japanese Carved Ivory Okimono, Taisho Period (1912‑1926), depicting a standing man holding a ceremonial object above his head, atop a celestial cloud, all resting on a highly detailed and carved circular base, h. 10”, dia. 4‑3/4”. [300/500]

877 Group of Four Japanese Prints on Paper, second half 19th century, each depicting a long-haired female deity in loose robes holding a bronze mirror, in three of the prints she is attended by other deities, each with calligraphic impressions, the female deity appears to be Amatersu, the sun goddess, supposedly linked to the Japanese Imperial lineage, h. 29”, w. 9‑3/8”. Provenance: Antique Maps and Works on Paper, Ltd., Santa Fe, New Mexico. [400/700] Illustrated

871

874 Japanese Carved Wooden Traveling Shrine, Meiji Period (1868‑1912), in the form of a circular seal paste box, opening to reveal figures of deities carved in relief and decorated with polychrome decoration, dia. 2‑1/2”. [700/1000] Illustrated

877 suite of four 875 Good Japanese Carved Ivory Figure of a Rhinoceros, first quarter 20th century, the ivory figure well and realistically carved as a rhinoceros standing foursquare with stained detail in areas of its skin, the belly with a lacquer artist’s signature, w. 2”, l. 4”. [200/400]

876

876 Fine Japanese Silk, Silver and Bone Gentleman’s Purse/Tissue Holder, late Meiji Period, ca. 1910, the rectangular body in the form of a wallet, embroidered all over with designs of flowering wisteria and foliage, the interior with three compartments, the exterior with a silver landscape clasp and a carved bone ojimi attached to the purse with eighteen silver chains, l. 5‑3/8”. [200/400] Illustrated

149

879 George III Mahogany Bookcase, early 19th century, the molded cornice above two astragal-glazed doors, the lower section fitted with a deep drawer over three graduated long drawers, raised on splayed bracket feet, h. 92‑1/4”, w. 50”, d. 21‑1/2”. [1500/2500] Illustrated

878

880 George III Giltwood Looking Glass, ca. 1800 and later, the shaped and mirrored crest surmounted by a Prince of Wales feather carving and with applied floral and foliate designs, the rectangular plate with a mirrored banding with corner shell and rinceau accents, within a molded frame, h. 60”, w. 31”. [1800/2500] Illustrated

880

878 Edwardian Mahogany Sideboard, ca. 1900, in the George III style, the bowed and earred top with inlaid string banding above a conforming case fitted with a central baize-lined cutlery drawer over a deep recessed drawer, flanked on either side by a cupboard door, all with ivory escutcheons, raised on tapering square legs ending in spade feet, h. 35”, w. 71”, d. 24‑1/4”. [1400/1800] Illustrated

150

879

881 George III Mahogany Triple-Top Games Table, fourth quarter 19th century, the rectangular top opening to a gaming surface and further opening to a baize-lined gaming surface with recessed pockets for pieces, raised on chamfered square legs ending in outscrolled feet, h. 30”, w. 35”, d. 16‑1/2”. [1400/1800] Illustrated

882 Trio of Hand-Colored Engravings, by Carrington Bowles and Bowles and Carver, London, consisting of “The Drawbridge Canal and Great Orphan House of the Hague”, “A General View of Constantinople”, and “A General View of the City of London”, all fourth quarter 18th century, sight 10‑3/4” x 16”, titled in English and French, the frame backs with the printed gold foil labels of “The Antiquarium Antique Print and Map Gallery, Houston”. Presented in beaded giltwood fillets within carved and ebonized wood frames in the neoclassical taste and glazed. [400/700]

885

883 George III Mahogany Side Table, third quarter 18th century, the rectangular top with a shaped and bowed front with projecting corners, above a plain conforming frieze, raised on fluted, tapering circular legs ending in tall turned peg feet, h. 34”, w. 63‑1/2”, d. 27”. [2500/4000]

881

884 Pair of George III-Style Mahogany Sidechairs, 19th century, each with a string-inlaid ladderback above the padded seat, raised on tapering square legs joined by an H-form stretcher, h. 35”. [400/700] Illustrated 885 Large Chinese Rosewood Altar Table, mid‑20th century, the rectangular top with downturned ends and a central floating panel, over a carved and pierced apron with cloud terminals, archaic fretwork and bi disks, and low-relief floral carving, all under a rich, dark rosewood finish, h. 42‑1/2”, w. 86”, d. 18‑1/2”. [700/1000] Illustrated

884

886 Two Good Chinese Monochrome Bowls, 19th century, the first of circular form with everted rim, glazed all over in a rich oxblood glaze, the base with a six-character underglaze blue Kangxi reign mark within a double circle; the second of circular form with low sides glazed all over in a caramel-colored glaze, the base with a six-character Wanli reign mark in underglaze blue within a double circle, dia. 3‑1/4” and 3‑7/8”. [300/500]

151

887 Set of Two Early 18th-Century Chinese Temple Tiles, composed of gray pottery with remnants of color, one depicting a herdsman whistling, the other wearing an official’s headpiece and carrying a ruyi scepter, presented in custom gilded frames, h. 17‑1/2”, w. 9”, d. 3”. [700/1000] Illustrated

887

892

888 888 Set of Two Early 18th-Century Chinese Temple Tiles, composed of gray pottery with remnants of color, one depicting a musician with a rattle, the other a dancer carrying a fan, both with elaborate coiffures of the period, presented in custom gilded frames, h. 17‑1/2”, w. 9”, d. 3”. [700/1000] Illustrated

889 Chinese Rootwood Brush Pot, 18/19th century, of large size following the shape of the trunk, the surface covered all over with burled knots, the interior hollowed leaving a thick wall, h. 8‑1/2”, w. 9‑3/4”. [1500/2500] Illustrated

889

890 Good Chinese Gold Splash Bronze Vase, 17th century or later, of bottle form with slightly splayed foot and elongated neck with banded rim, the dark brown-patinated body with scattered gold speckling, the base with a cast four-character Kangxi mark, h. 14”. [2500/4000] Illustrated

890

891

152

891 Chinese Scholar’s Rock (Lingbi), in the form of a horizontal mountain with craggy folds and outcrops, the stone in dark brown and ochre, presented on a fitted wooden base, h. 5”, l. 11”. [300/500] Illustrated

895

892 Chinese Carved Tortoiseshell Covered Box, late 19th century, of circular form with a solid base, the cover and sides carved and reticulated with overall designs of flowering plants and vines, dia. 4‑3/4”. [900/1200] Illustrated 893 Unusual Group of Six Chinese Carved Jade Articles, 19th century, comprised of white, brown and green jade pieces, including a bi disk with archaic scrolls; two carvings of cats; a fruit group with bats; a peach with foliage; and a hair ornament in the form of a clenched fist; l. 1‑1/2” to 2‑1/2”. [500/800] Illustrated

896

895 Unusual Chinese Lacquered and Gilded Decorative Door Lintel, 20th century, composed of black- and giltlacquered panels with naturalistic decoration on the top and sides, the center decorated with pierced and gilded naturalistic decoration of flowers and birds in two strips centered by a red and gilt strip, h. 21”, w. 77”. [400/700] Illustrated

894 Chinese Shaped and Polished Jasper Specimen, of flattened ovate form with truncated base, the variegated stone exhibiting black, brown, ochre and rose colors, presented on a fitted wooden stand, h. 10‑1/4”, w. 8”. [125/250]

893

896 Good Chinese Painting on Silk, 18th century, executed in ink and colors on silk and depicting an archer on horseback galloping down a slope from a rocky outcrop, a calligraphic inscription across the top with a seal, another seal in lower right, mounted on silk brocade in a custom giltwood frame and glazed, h. 26‑1/2”, w. 42‑3/4”. [2500/4000] Illustrated

153

900

897 Chinese Carved Amber Miniature Teapot, the body formed of compressed amber pieces and carved as a rustic teapot of tree trunk form with flowering branches in high relief, with branch handle and spout, l. 4”. [500/800] Illustrated 898 Chinese Monochrome Porcelain Bowl, 19th century, of circular outline with everted lip rim and ring foot, glazed on the exterior and the interior with a caramel-colored monochrome glaze, the white recessed foot with a six-character Wanli reign mark, dia. 4‑5/8”. [250/400] Illustrated

898

897

899

899 Chinese Enameled Glass Snuff Bottle, of flattened pear form, enameled on both sides in polychrome enamels with mountainous autumnal landscapes and figures admiring nature, the base with a four-character Qianlong mark in raised blue enamel, h. 3‑1/4”, presented in a silk box. [400/700] Illustrated

901

902

903

900 Unusual Pair of Chinese Porcelain Double-Gourd Vases, bearing Hongxian marks, 1916, and probably of the period, each decorated with overglaze blue, puce and red enamels with scrolling foliate designs, each with a circular reserve panel decorated in famille rose enamels with landscape scenes, the bases with four-character Hongxian marks in raised blue enamels, h. 7‑1/2”. [400/700] Illustrated 901 Japanese Wood and Crystal Meditation Sphere and Stand, Meiji Period (1868‑1912), the wooden stand carved as three monkeys supporting a sphere of flawless crystal, h. 3”. [1200/1800] Illustrated

154

902 Large Chinese Blue and White Porcelain Moon Flask, of flattened form, slightly flared neck and archaicstyle handles, decorated all over with flowering lotus and foliage and a wave-pattern border at the lip, with a six-character Yongzheng seal mark on the base, h. 17‑1/2”. [1400/1800] Illustrated

909

910

908

907

903 Framed Chinese Famille Rose Porcelain Wall Plaque, depicting a sage and attendant with a red-crowned crane beneath a tree, the reverse stating that the painting is by Ren Yi (1840‑1896), referring to the colophon and seal in the upper right of the plaque, presented in a wooden frame with brass hanger, h. 20‑1/2”, w. 15‑1/2”. [600/900] Illustrated

904 Fine Chinese Enameled Porcelain Meibing, 20th century, of tapered ovate shape with small everted mouth, thinly potted with recessed base, and delicately enameled with a scene of a peacock and peahen on rockwork beneath flowering trees and a calligraphic inscription with three seals, the base with a four-character Yongzheng seal mark within a double border in raised blue enamel, h. 8”. [300/500] Illustrated

906 Pair of Chinese Famille Rose Porcelain Handled Bottle Vases, 20th century, each of bulbous form with garlic-head top and tubular handles with ruyi heads, the bodies decorated with floral mons and a floral border at the base of the neck, the bases with six-character Yongzheng seal marks in underglaze blue, h. 9‑3/4”. [1500/2500] Illustrated

905 Good Pair of Chinese Famille Rose Porcelain Tea Bowls, Republic Period (1917‑1949), each thinly potted with everted lip rim and countersunk base, decorated with continuous scenes of exotic fowl among rockwork and flowering plants, the bases with four-character Qianlong marks in raised blue enamels, presented on wooden stands, dia. 4‑1/4”. [800/1200] Illustrated

907 Large Chinese Blue and White Porcelain Brush Pot, 19th century, of cylindrical form with straight sides, decorated in vivid underglaze blue with a continuous scene of the Seven Sages of the Bamboo Grove, with additional decoration of attendants and banana trees in a grove, the brown-glazed base with a circular central reserve medallion with a six-character Kangxi reign mark, h. 6”, dia. 7‑1/2”. [200/400] Illustrated

906 904

905

908 Chinese Blue and White Porcelain Melon Jar, 19th century, of lobed bulbous form, decorated with a continuous scene of fruiting melons and foliage among tendrils, the shoulders with a foliate band and a fretwork band at the neck, h. 6‑1/2”, dia. 8”. [300/500] Illustrated 909 Large Chinese Blue and White Porcelain Brush Pot, 19th century, of cylindrical form with straight sides, decorated in vivid underglaze blue with a continuous landscape of mountains and lakes with two figures on a rocky outcrop above a boatman on the lake, the brown-glazed base with a circular central reserve medallion with a four-character inscription, h. 5‑3/4”, dia. 7‑1/2”. [200/400] Illustrated

155

911 913

914 Group of Four Chinese Porcelain Storage Jars, first quarter 20th century, each of ovoid form with underglaze blue decoration, two depicting Buddhistic lions on a pale celadon ground, with wooden lids; one depicting birds among flowering plants on a pale celadon ground, with original lid; and one depicting a cock on rockwork with flowering peonies on a white ground, also with original lid; h. 11‑1/2” to 13‑1/2”. [250/400] 915 Chinese Carved Amber Covered Vase, 19th century, of flattened form with lion-head handles suspending loose rings and a conforming cover with Foo-dog finial, the body with low-relief floral decoration, h. 7‑3/4”. [1000/1500] Illustrated

915

910 Chinese Blue and White Porcelain Garlic-Head Vase, the bulbous body with molded lion-head ring handles and elongated neck, with a lotus-petaled garlic-head lip, decorated all over with a continuous design of peony flowers and foliage, the base with a six-character Qianlong seal mark in underglaze blue, h. 14”. [400/700] Illustrated previous page 911 Large and Impressive Chinese Blue and White Porcelain Mounted Vase, 19th century, the cylindrical body with flared neck, enameled in an underglaze blue ground with darker Buddhistic emblems and mons, the shoulders and neck with applied white dragons, with Foodog handles, mounted on an elaborate footed bronze stand and bronze liner and lip rim, h. 30‑1/4”. [5000/8000] Illustrated 912 Chinese Famille Rose Porcelain Miniature Vase, Republican Period, ca. 1920, of baluster form with elongated neck enameled with a figure of a sage in informal robes with a basket of flowers, indistinct iron-red seal mark on the base, h. 5‑1/8”. [250/400] 913 Good Chinese Blue and White Porcelain Small Vase, 19th century, the bulbous body with tubular neck, decorated in underglaze cobalt blue, the body divided into six reserve panels, each depicting birds perched in flowering branches, the neck decorated with a dragon amongst flowers above a border of three dragons amongst flowers on the shoulder, the base with a six-character Yongzheng mark within a double circle, h. 6”. [700/1000] Illustrated

156

916

916 Pair of Chinese Imari Porcelain Urns with French Ormolu Mounts and Lids, 18th century, each of urn form with floral decoration and four pierced holes, mounted with ormolu bases, rims and domed covers with vegetable finials, h. 9”. [2500/4000] Illustrated

918

919

917 Rare, Large Chinese Chicken Blood Stone Seal, the tall squared base topped with a knob of three cavorting figures of horned sheep, the stone of deep red color with light gray mottling, the base carved in archaic characters, presented in a brocade box, h. 5”, w. 2‑1/2”, l. 2‑1/2”. [800/1200] Illustrated 918 Chinese Iron Red-Decorated Porcelain Bowl, Guangxu Period (1875‑1908), decorated on the exterior in iron red with two confronting dragons pursuing the Flaming Pearl among flames and clouds above a wave border, the base with a six-character Guangxu mark in iron red, presented in a brocade box, dia. 8‑1/4”. [900/1200] Illustrated 919 Good Chinese Peking Glass Gu-Form Vase, 19th century, the even-colored amber glass body of elegant form with tapered lower section, bulbous knop and dramatically flared lip rim, h. 13‑3/4”. [900/1200] Illustrated

920

917

920 Chinese Carved and Painted Wood Covered Storage Container, 20th century, in the shape of an incense burner of hexagonal shape on three legs, with a conforming domed cover with shaped finial and dragon handles, decorated with panels of dragons and phoenix, lotus and auspicious characters in polychrome colors on a red ground, h. 30‑1/2”, w. 27”. [500/800] Illustrated

157

926 921 Group of Three Chinese Jade Snuff Bottles, 19th century, comprised of a spade-shaped green jadeite bottle with low-relief floral carving; a brown and white jade bottle with low-relief carving of archaic designs; and a plain greenish/white pebble-shaped bottle; h. 2‑1/2” to 3‑1/8”. [500/800] Illustrated 922 Chinese Carved Jade Water Bowl on Jade Stand, 18th/19th century, the well-hollowed bulbous water bowl with raised lip and indented foot, along with a fitted jade stand raised on three cabriole-style feet, h. 3‑1/4” including stand, dia. 3”. [600/900] Illustrated 923 Framed Chinese Wooden Ventilator Panel Fragment, 20th century, carved as a flower basket and decorated all over with gilding, mounted on red silk and presented on a black fabric mat within a carved frame with a gilded and faux-tortoiseshell finish, h. 19‑3/4”, w. 19‑3/4”. [250/400]

924

922

921

924 Large Chinese Export “Rose Medallion” Porcelain Punchbowl, 20th century, of circular outline and decorated in famille rose enamels with a central floral medallion and floral rim border, with alternating reserve panels of figures in domestic settings and panels of flowers and butterflies against a ground of fruit and butterflies, dia. 14‑5/8”. [700/1000] Illustrated 925 Chinese Export Porcelain Vase, 19th century, of baluster form with flared lip rim, applied dragon figures and Foo-dog handles, decorated in famille rose enamels in the “Rose Medallion” pattern with alternating reserve panels of figural and naturalistic designs against a floral ground, h. 10”. [125/250]

158

926 Pair of Chinese Export “Rose Medallion” Porcelain Vases, 19th century, each of squat baluster form with scalloped, flared lip rim, applied dragon decoration and Foo-dog handles, decorated with alternating reserve panels of domestic scenes and naturalistic decoration against a ground of floral and fruit decoration, h. 14‑1/2”. [800/1200] Illustrated 927 Diminutive Chinese Export Porcelain Covered Vase, 19th century, of baluster form with molded dragons on the shoulder, decorated in the “Rose Medallion” pattern with figural and naturalistic designs, now wired as a lamp and fitted with a hardwood base, h. 19”. [125/250] 928 Pair of Chinese Export Porcelain Vases, 19th century, each of rouleau shape, decorated in famille rose enamels in the “Rose Medallion” pattern with reserve panels of figures alternating with flowers, all against a ground of flowers and butterflies, h. 9‑1/8”. [200/400]

929

930 Large Modern Chinese Export Blue and White Crackle Porcelain Punchbowl, in the “Canton” style, fitted with elaborate antiqued brass mounts in the Louis XV style to form a two-handled centerpiece, presented on an earlier turned and stained Chinese hardwood display stand of the traditional design, h. 15”, w. 25”, d. 17‑1/2”. [2500/4000] 931 Pair of French Porcelain and Gilt-Brass Chinoiserie Candlesticks, first quarter 20th century, of diminutive size in the Louis XV taste, each base modeled as a porcelain seated Chinese scholar within a stylized arbor of painted flowerheads, now mounted as accent lamps, the floriform candlesockets electrified and fitted with faux candles, h. 9‑1/4”. [500/800]

933

929 Louis XV-Style Kingwood and Mahogany Bureau de Dame, ca. 1900, the superstructure with a banded quarter-veneered top with a three-quarter pierced brass gallery, above two open shelves, flanked to either side by a cupboard faced as a row of leather-bound books, the lower section with a pull-out leather writing surface above a frieze fitted with a single long drawer, raised on tapering square legs ending in sabots, h. 38”, w. 33”, d. 18‑1/2”. [1800/2500] Illustrated

932 Diminutive Pair of Tung Chih Blue Porcelain Vases, third quarter 19th century, of baluster form, third quarter 19th century, mounted in gilt-brass in the Louis XVI style to form a pair of two-handled garniture vases, the porcelain of sky-blue ground with cobalt floral decoration and butterflies on the reverse, h. 9”, w. 5”. [400/700] 933 Louis XV-Style Ebonized and Marble-Top Bombe Commode, late 19th century, in the chinoiserie taste, the shaped Violet Jura Brocatelle marble top above a conforming bombe case fitted with two drawers, each drawer and side featuring gilt and gesso orientalist landscape scenes, raised on splayed legs ending in sabots, the top stamped “Chardonnay”, h. 32‑1/2”, w. 31‑1/2”, d. 16‑1/2”. [1800/2500] Illustrated

159

935

939 Follower of Jean-Francois de Troy (French, 1679‑1752) “Bacchus and Ariadne Attended by Putti”, oil on oval panel, fourth quarter 18th century, unsigned, 6‑3/4” x 8‑1/4”. Presented in a good period carved giltwood and plaster frame in the Louis XVI style. [1000/1500] Illustrated 940 Italian Walnut and Marble-Top Bombe Commode, mid‑20th century, the shaped verde antico marble top above an exaggerated bombe case fitted with four long drawers, the bottom one with a centrally applied ormolu mask, raised on splayed legs ending in scrolled sabots, h. 37‑1/2”, w. 61”, d. 23”. [3500/5000] Illustrated 941 Pair of Gilt- and Bronze-Patinated Brass “Putto” Chenets, in the Louis XVI style, modeled as patinated putti holding floral garlands within a gilded arbor of foliate scrolls, the billets of wrought iron, h. 13”, w. 13‑1/4”. [1500/2500] Illustrated

934 French Cast and Reticulated Brass Firescreen, of fan form in the chinoiserie taste, second quarter 20th century, the facades embellished with the figure of a Chinese maiden holding aloft a flaming sphere, h. 33”, open w. 46”. [400/700]

937

935 Large Napoleon III Giltwood Oval Looking Glass, third quarter 19th century, of ovolo-carved and parcel-ebonized giltwood with a boldly modeled cresting in the form of a furled bowknot in the Louis XVI taste, retaining the tastefully aged and clouded period plate, h. 41‑1/2”, w. 32”. [1000/1500] Illustrated 936 French Ebonized and Mirrored Armoire, late 20th century, in the Louis-Philippe taste, the molded cornice above a case fitted with two doors, each inset with two beveled mirror panels, raised on block feet, h. 84”, w. 44‑1/4”, d. 21‑1/4”. [500/800] 937 Group of Seven Brown and Olive Silk Pillows, three with floral designs, four with stripes, the smallest 18” x 11”, the largest 19” x 19”. [600/900] Illustrated 938 Pair of Louis XV Beechwood Bergeres, mid‑18th century, the tri-paneled back and sides surmounted by a foliate- and floral-carved crest, joined to the cushioned seat by downswept padded arms, the like-carved shaped apron raised on cabriole legs ending in scrolled toes, h. 36”. [2500/4000] Illustrated

160

938

945 Attractive Pair of French Gilt-Brass and Wrought-Iron Chenets, second quarter 20th century, in the Louis XVI style, composed of gilt-brass vases surmounting arched addorsed scroll feet of blackened wrought iron, h. 16‑1/4”, w. 8‑1/4”, d. 22‑1/4”. [800/1200] 946 Louis XV-Style Giltwood and Marble-Top Console Table, early 19th century, the shaped Rouge Royal marble top above a pierced and shaped foliate- and shell-carved frieze, raised on molded cabriole legs with an applied floral garland, joined by a pierced stretcher and ending in scrolled toes, h. 34‑1/2”, w. 33”, d. 15”. [1500/2500] Illustrated 940

946

939 942 Napoleon III Ebonized and Marble-Top Occasional Table, third quarter 19th century, the inset variegated black marble top within a beaded banding, above a conforming frieze with an applied ormolu garland, raised on a bulbous standard to a concave square base on foliate toes, the base with ormolu accents and mill work, h. 25‑1/2”, dia. 19”. [500/800] 943 Napoleon III Giltwood Looking Glass, third quarter 19th century, in the rococo taste, the rectangular plate within an ebonized slip and molded frame with elaborate corner floral accents, h. 31”, w. 26‑1/2”. [500/800]

941

944 Good Napoleon III “Catherine de Medici” Mantel Clock, third quarter 19th century, composed of gilt-lacquered bronze and black slate, the oblong case surmounted with a patinated bronze figure of the redoubtable Catherine holding a book, the white enamel dial with a beveled glass cover, manufactured by Vincenti et Cie, Paris, h. 18‑1/4”, w. 13‑1/2”, d. 5”. [1000/1500]

161

947

952 pair

947 Large French Tiered ThirtySix Light Gilt-Brass Chandelier, second quarter 20th century, of cage form, in the Louis XVI taste, elaborately dressed with cut pendalogues, faceted drops, cut kite-form drops, cut bobeches of saucer form and tall panelcut spikes, electrified and fitted with faux candles, h. 54”, dia. 47”. [4000/7000] Illustrated

949 French Gilt-Brass and Cut Glass Four-Light Chandelier, first quarter 20th century, of corbeille form in the Louis XV taste, the basket-form lower element covered with frosted and clear glass fleurettes and fitted with an additional three lights on the interior, the three foliatescroll arms each fitted with an etched glass shade of tulip form, with an additional downlight, similarly shaded, at the center, h. 36”, dia. 29”. [700/1000]

948

948 L. Durand (French, Late 19th Century) “Portrait of Adele Frick Holding a Viola”, oil on canvas, signed lower right, 60‑1/2” x 33”. Handsomely framed. [2500/4000] Illustrated

951

162

950 Opulent Belle Epoque Gilt-Bronze Nine-Light Chandelier, ca. 1900, of stylized lantern form in the Louis XVI taste, the primary candlearms modeled as termes embracing pairs of stalks containing the calyxiform light sockets, the basal edge with a trio of matching calyxiform light sockets, h. 41”, dia. 24”. [1800/2500] 951 Continental School (19th Century) “Portrait of a Young Lady in a Black Dress Wearing a Garland of Flowers in Her Hair”, oil on canvas, unsigned, 31‑1/4” x 25”. Presented in a period giltwood frame en tondo. [500/800] Illustrated

955

954 952 Large Pair of French Gilt-Bronze Tiered Six-Light Appliques, in the Louis XV style, the curvate foliate candlearms fitted with floriform bobeches and spiraled candlesockets, electrified and fitted with faux candles, h. 9”, w. 9”, d. 8‑3/4”. [1800/2500] Illustrated 953 Louis XV-Style Mahogany and Fruitwood MarbleTop Commode, mid‑20th century,t he shaped variegated white marble top with a molded edge and above a conforming case fitted with three long drawers, all with matchbook veneers, the sides quarter veneered, the whole raised on splayed legs ending in sabots, h. 33”, w. 43”, d. 20‑1/4”. [2500/4000] Illustrated 954 Large Aubusson Floral Tapestry Panel, first quarter 20th century in the Louis XVI taste, designed as floral arbors centered with pendant trophees musicales above large clusters of flowering plants, the ground color cinnamon, properly backed in green linen and fitted with multiple brass hanging rings, 7’ 10” x 10’ 2”. [1800/2500] Illustrated 955 Stylish Pair of Gilt-Brass-Mounted French Ecru Tavertino Marble Two-Handled Covered Garniture Vases, first quarter 20th century, in the Louis XVI taste, of baluster form, the handles with griffon masque terminals, the domed covers with gilded upright pomegranate finials, h. 16‑1/2”, w. 6”. [1000/1500] Illustrated 953

163

956 Pair of Belle Epoque Low Gilt-Brass Two-Light Candelabra, first quarter 20th century, in the Louis XV style, the central finials of stylized foliage and foliate scrolls, the bobeches of stylized floral form below calyxiform candlesockets, h. 7”, w. 9‑1/2”. [800/1200] Illustrated

958

957 Good French Gilt-Bronze Wall Clock, third quarter 19th century, in the Louis XVI taste, of stylized cartouche form, the white enamel dial signed in black “Julien Leroy/ a Paris”, with a convex glass dial cover and retaining the gilded “Apollo Masque” pendulum, h. 27”, w. 15”. [3000/5000] Illustrated 958 Regence-Style Giltwood Looking Glass, early 19th century, the arched crest surmounted by a foliate shieldform crest and within a paneled mirrored frame with corner foliate floral accents and incised patterns, h. 31”, w. 18”. [1200/1800] Illustrated

961

957

956

164

962 Viennese Silver-Gilt-Mounted Miniature Covered Pot-Pourri Vase, fourth quarter 19th century, elaborately enameled in the neoclassical taste, the body with four figural reserves of, respectively, “Mars and Venus attended by Eros”, “Hebe”, “Venus at her Bath”, and an allegorical figure of “Peace”, the domed cover petal pierced, h. 4‑3/4”, dia. 2‑1/4”. [4000/7000] Illustrated

963

963 Group of Four Beige Silk Pillows, each with floral and leaf design, the smallest 17” x 11”, the largest 17” x 17”. [400/700] Illustrated

964 962 959 Good White and Gold Paris Porcelain Soup Tureen, second quarter 19th century, possibly the Schoelcher Manufactory, of circular and footed form in the neoclassical taste, the domed lid with pyriform finial, the body with opposing scroll handles and old metal rivet repairs on one wall, h. 12‑1/4”, w. 13‑1/4”, dia. 10”. [200/400]

964 Belle Epoque Gilt-BrassMounted Breche Violette Marble Garniture Vase, fourth quarter 19th century, of covered, two-handled form in the Louis XVI style, h. 13‑1/4”, w. 5‑1/2”, d. 3‑3/4”. [500/800] Illustrated 965 Regence-Style Kingwood and MarbleTop Commode, late 19th century, the shaped Rouge Royale marble top with molded edge and above a conforming bombe case fitted with two long drawers, the whole with diamondpatterned parquetry veneers and with decorative ormolu mounts, raised on splayed legs ending in sabots, h. 34”, w. 46”, d. 23”. [3000/5000] Illustrated

960 Belle Epoque Gilt-Brass Rococo-Style Candlestick, first quarter 20th century, in the manner of Juste-Aurele Meissonier (1675‑1750), now electrified and fitted with faux candles and a custom Shou-embroidered white silk pagoda-form shade, h. 10” (15‑1/2” to socket top), base dia. 5‑1/2”, shade w. 10”. [200/400] 961 Two Pieces of Meissen Porcelain, ca. 1900, both richly gilt and floral polychromed in the early 19thcentury neoclassical taste, comprising a paneled coffeepot, h. 10‑1/4”, and a matching octagonal sweetmeats serving plate, w. 8”, each piece marked on the base with the crossed Meissen swords in underglaze blue. [600/900] Illustrated 965

165

967 Large Pair of French Flower-Bedecked Porcelain Cachepots, in the neoclassical taste, the parcel-gilded white porcelain pails with arrangements comprised of a rust-finished wrought-iron stalks help by white pebbles and supporting white pottery tulip blooms in the Mennecy-Vincennes manner, h. 22”. [400/700] 970

968 Large French Gold-Banded White Porcelain Cachepot, in the Restauration style, of pail form, with gold bands and opposing handles, h.9‑1/2”, dia. 10‑1/4”. [200/400] Illustrated 969 Twenty-Six-Piece Chased Gold-Rim Partial Stemware Service, for eight persons, first quarter 20th century, in the St. Louis style, including seven iced water goblets, h. 6‑3/4”, five red wine goblets, h. 5‑1/2”, eight white wine goblets, h. 4‑7/8”, and six sherry/port goblets, h. 4”. [400/700] 970 Large French Gilt-Bronze and Cut Glass Ten-Light Chandelier, 20th century, attributed to Bagues, Paris, in the Louis XVI style, richly dressed with panel-cut spikes, faceted and cabochon drops, cut pendalogues, small faceted bead drops and cut fleurettes, fitted with faux candles, h. 39”, dia. 35”. [4500/7000] Illustrated

968 971 Large and Elegant Pair of French Brass Chenets, first quarter 20th century, in the Louis XV style, h. 24”, w. 17‑1/2”, d. 8‑3/4”. [1500/2500] Illustrated

971

966 Pair of Regence-Style Giltwood Stools, each with a padded rectangular top, raised on bulbous and paneled square legs with lotus and foliate carving, joined by a shaped H-form stretcher and ending in foliate-carved block feet, h. 17‑1/2”, w. 19”, d. 17”. [600/900]

166

972 Jean de Saulx (French, 1853‑1931) “The Blue Cravat”, oil on canvas, a portrait of a self-assured mustachioed man wearing a blue cravat set with a pearl stick pin, signed lower left, 28” x 23”. Presented in a period carved oak frame in the Regence style. [250/400] 973 Pair of Napoleon III Brass Five-Light Putto Candelabra, third quarter 19th century, in the Louis XVI taste, the putto standards supported on spiralribbed columnar six-footed pedestal bases, each central candlesocket fitted with a detachable brass bobeche, h. 24‑1/2”, w. 10‑1/2”. [1200/1800]

978

977 Semi-Antique Caucasian Carpet, 4’ 4” x 2’ 7”. [50/100] 978 Persian Pictorial Tabriz Carpet, 10’ x 14’. [6000/9000] Illustrated

979 974 Napoleon III Mahogany Bergere, circa 1900, in the Louis XVI taste, the domed and padded back surmounted by a floral crest and within an annulated and rope-carved frame, joined by padded acanthine-carved arms to the padded seat, raised on turned and tapering fluted circular legs ending in toupie feet, h. 45”. [600/900] 975 Large and Elaborate Pair of Belle Epoque Patinated Bronze Tiered Seven-Light Appliques, second quarter 20th century, each modeled as a flock of playful putti holding torchere forming the candlearms and -sockets, fitted for electrical wiring, h. 34”, w., 22‑1/2”, d. 9”. [2000/4000] 976 Regence-Style Walnut and Parcel-Gilt Looking Glass, 19th century, the rectangular plate surmounted by a shaped crest centered by a shield carving and surmounted by a shaped scrolling foliate carved frame with a pendant mask medallion, h. 48”, w. 35”. [300/500]

979 Semi-Antique Mahal Runner, 3’ 6” x 14’ 6”. [1800/2500] Illustrated 980 Semi-Antique Mahal Carpet, 8’ x 12’ 11”. [600/900] 981 Turkish Runner, 6’ x 12’. [300/500] 982 Malayer Carpet, 4’ 3” x 6’ 4”. [500/800] 983 Tabriz Carpet, 12’ 8” x 9’ 8”. [900/1200] 984 Persian Tribal Carpet, 5’ 3” x 9’ 6”. [700/1000] 985 Antique Persian Yosheghan Carpet, 9’ x 12’. [1200/1800]

167

986 Semi-Antique Kerman Carpet, 10’ x 23’ 5”. [3000/5000] Illustrated 987 Antique Heriz Carpet, 7’ 9” x 10’ 6”. [2500/4000] Illustrated 988 Agra Serapi Carpet, 6’ 9” x 10’. [800/1200] 989 Agra Sultanabad Carpet, 8’ x 10’. [700/1000] 990 Persian Hamadan Carpet, 6’ x 11’ 4”. [2000/4000] Illustrated 991 Turkish Kilim Carpet, 4’ 7” x 6’ 5”. [300/500] 992 Caucasian Carpet, 3’ 3” x 4’ 5”. [700/1000] 993 Caucasian Kilim Carpet, 5’ 8” x 10’ 5”. [600/900] 994 Uzbek Kuba Carpet, 7’ 4” x 8’ 9”. [1000/1500] 995 Antique Caucasian Runner, 3’ 9” x 8’ 10”. [1800/2500]

986

996 Heriz Carpet, 11’ x 8’ 1”. [2000/4000]

990 987

168

Index of Artists and Printmakers

January 29-30, 2011

Adams, Wayman Elbridge 809

Gleye-Eberhardt, Nadel 29

American School 711, 712, 742, 752, 765, 837

Greek School 422

Aubierre, Antoine - Louis 441

Harris, Ronna S. 838

Audubon, John James (after) 706 B Bonheur, Isidore Jules 111 Breenbergh, Bartholomaus (circle) 323 British School 1, 2, 9, 14, 303, 609, 882 Buonarroti, Michelangelo (after) 340 C Calder, Alexander 514, 515 Chagall, Marc (after) 521 Continental School 279, 293, 296, 322, 349, 488, 951 Cruz-Diez, Carlos 542 D De Saulx, Jean 972 Donley, Ray 825, 826, 827

H Herve, Jules Rene 361 Hoppner, John (circle) 630 Hoppner, John (manner) 614 I Italian School 339 K King, Ronald 836 Kohlmeyer, Ida 823, 824 L Lang, John 820 Largilliere, Nicolas de 121 Leger, Fernand 519, 520 M MacDonald, Murray J. 21

Doret, Louis 101

Mapplethorpe, Robert 492

Dunbar, George Bauer 828, 829, 830, 831, 832, 833, 834

Marshall, John Fitz 7 Max, Peter 543, 544

Durand, L. 948

Michalopoulos, James 840

Dutch School 518

Mignard I, Pierre (circle) 138

Moulin, Hippolyte Alexandre Julien 391

Folawn, Thomas Jefferson 767

Fortescue, Henrietta Anne 272

Norther European School 331

Fragonard, Jean-Honore (follower) 110 French School 367, 375, 379

Index of Artists and Printmakers

January 29-30, 2011

P Panini, Giovanni Paolo (follower) 316 Podchernikoff, Alexis Matthew 324 R Raeburn, Sir Henry (circle) 181 Renoir, Pierre-Auguste (after) 147 Rivers, Larry 529 Roark, Garland 822 Rossini, Luigi (after) 627 S Schubert, Orlando Vincent 766 Slonem, Hunt 474 Southern School 716 T Thom, James Crawford 768 Titian (after) 310 Topping, James 769 Toulouse-Lautrec, Henri (after) 486, 487 Troy, Jean-Francois de (follower) 939 Turtle, Arnold 819 V Van Gaelen, Alexander (attributed) 256 W Warhol, Andy 528 White, George Harlow 271 Windberg, Dahlart 821 Wood, Lewis John 862 Wood, Thomas Waterman (after) 805 Wouwerman, Philips (circle) 252

Glossary The Artistâ&#x20AC;&#x2122;s Name: In New Orleans Auction Galleries opinion, a work by the artist. Attributed to: In New Orleans Auction Galleries opinion, a work of the period of the artist that may be in whole or in part the work of the artist. School of: In New Orleans Auction Galleries opinion, a work by a follower of the artist. Circle of: In New Orleans Auction Galleries opinion, a work of the period of the artist and showing his influence. Manner of: In New Orleans Auction Galleries opinion, a work in the style of the artist, p ossibly of a later period. After: In New Orleans Auction Galleries opinion, a copy of the work of the artist. Signed: Has the signature which in New Orleans Auction Galleries opinion is that of the artist. Bears Signature: Has a signature which in New Orleans Auction Galleries opinion might be the signature of the artist. Dated: Is so dated and in New Orleans Auction Galleries opinion was executed at about that date. Bears Date: Is so dated and in New Orleans Auction Galleries opinion may have been executed at about that date.

Conditions Of Sale

he following as amended by any posted notices or oral announcements during the sale, constitutes the entire terms and conditions on which property listed in the catalog shall be offered for sale or sold through New Orleans Auction Galleries, Inc. (the “Company”), for any consignor of such property for whom we act as agent. As used herein, the term “bid price” means the price at which a lot is knocked down to the purchaser and the term “purchase price” means the aggregate of (a) the bid price (b) a premium of 23% of the bid price up to and including $200,000 and 10% of the amount by which the lot exceeds $200,000 payable by the purchaser to the Company and (c) unless the purchaser is exempt by law from the payment thereof, any Louisiana state or local sales taxes. For purchases made by cash, check or wire transfer, the buyer’s premium shall be discounted 3% of this 23%. On the fall of the auctioneer’s hammer, the highest bidder shall be deemed to have purchased the offered lot in accordance with all of the conditions set forth herein and thereupon (a) assumes full risk and responsibility therefor (b) if requested will sign a confirmation of purchase thereof, and (c) will pay the purchase price in full. The Company reserves the right to withdraw any lot at any time before the actual sale. Unless otherwise announced by the auctioneer at the time of sale, all bids are per lot as numbered in the catalog and no lot shall be divided for sale. The Company reserves the right to reject a bid from any bidder. The highest bidder acknowledged by the auctioneer shall be the purchaser. In the event of any dispute between bidders, or in the event the auctioneer doubts the validity of any bid, the auctioneer shall have sole and final discretion either to determine the successful bidder or to re-offer and resell the lot in dispute. If any dispute arises after the sale, the Company’s sales records shall be conclusive in all respects. In the event of a tie bid between an absentee bidder and a live bidder, the lot will be sold to the live bidder. If a lot is offered subject to a reserve (the confidential minimum price below which the lot will not be sold), the Company may implement such reserve by bidding on behalf of the consignor, whether by opening bidding or continuing bidding until the reserve is obtained, by placing consecutive bids or bids in response to other bidders. Consignors shall not be permitted to bid on their own items. While the Company has endeavored to catalog and describe the lots correctly, each lot is sold “as is”, and neither the Company nor the seller warrants or represents, nor shall be responsible for, the description, genuineness, provenance, importance, or condition of a lot. No statement contained in the catalog or made verbally prior to or during the sale shall be deemed to express any warranty, representation, or assumption of responsibility by the Company or the Seller. In the event that the buyer of any lot fails to pay the purchase price thereof when due, the Company shall have the option, at its sole discretion, to (a) enforce payment by civil action or other proceedings against the buyer; (b) to void the sale as if said sale had not occurred; or (c) to exercise any other remedy or remedies available under the law, including but not limited to a second sale of said item in accordance with the provisions of Louisiana Civil Code, Article 2622, including the subsequent enforcement of any deficiency against the initial buyer (d) to charge successful bids to your credit card, including the 23% buyer premium. The Company reserves the right to require that advance bids received either by mail or by means of telecommunications be accompanied by a 25% deposit. The Company further reserves the right to require payment in full of the sales price (“Hammer Price”) at the moment of successful bid. The Purchase Price must be paid by the successful bidder on or prior to the close of the auction. Checks are not acceptable unless a buyer is accredited with the Company; otherwise certified checks are required. Absolutely no items may be removed before the end of the auction. All items must be removed by the purchaser thereof promptly after the auction. The Company is not liable for any damage to goods after they have been sold. A storage charge of $5 per item per day will be assessed against any items remaining in the custody of the Company by the close of business of the fifteenth day following the auction. GOVERNING LAW AND JURISDICTION 11. These Conditions of Sale, as well as the Purchaser’s and the Company’s respective rights and obligations hereunder, shall be governed by and construed and enforced in accordance with the laws of the State of Louisiana. By bidding at an auction, whether present in person or by agent, order bid, telephone, internet, or other means, the Purchaser shall be deemed to have consented to the exclusive jurisdiction of the state courts of, and the federal courts sitting in, the State of Louisiana.

This Form Must Be Submitted by Friday at 5:00 p.m.

absentee / telephone bid form

Paddle #_______________ 801 Magazine Street l New Orleans, LA 70130 800-501-0277 l 504-566-1849 l Fax: 504-566-1851

Name (Please Print): ______________________________________________ Date: ____________ Business Name: _____________________________________________________________________ Dealer Resale # (Dealers must also sign official State of Louisiana document): ________________________ Address: __________________________________________________________________________ City: _____________________________________________ State: ____________ ZIP: ________ Telephones: Work (_____)___________ Home (_____)____________ Fax (_____)___________ E-mail Address: _____________________________________________________________________ Conditions of Sale: Conditions of sale are as set forth in the applicable New Orleans Auction Galleries, Inc. catalog as amended by any posted notices or oral announcements during the sale, such conditions of sale together with the following conditions applicable to telephone and absentee bids, constitute the entire terms and conditions on which property listed in the catalog shall be offered for sale or sold through New Orleans Auction Galleries, Inc. (the “Company”). Additional Absentee and Telephone Bid Conditions: The Company is hereby authorized to bid on the following lots up to the price entered and will treat this figure as a budget and will obtain the item as reasonably as possible within the budget. We assume no responsibility for failure to execute bids for any reason whatsoever. The Company encourages collectors to place absentee and telephone bids as soon as possible and cannot guarantee the implementation of bids left after 5:00 p.m. the evening before the sale. In the event absentee bids of identical amounts are submitted, the earliest bid received takes precedence. Please date this form. In the event of a tie bid, live bidders and telephone bidders, respectively, take precedence over absentee bids. A successful bid results in a purchase price which is the aggregate total of the final bid, a 23% buyer’s premium of the final bid price up to and including $200,000 and 10% of the amount by which the lot exceeds $200,000 added to the hammer price on all lots sold, together with any tax due on the item. For purchases made by cash, check or wire transfer, the buyer’s premium shall be discounted 3% of this 23%. The bidder is responsible for calling the Company for sales results during the week after the sale. Dealers purchasing for resale must enter appropriate Dealer Resale Number on this form and provide the Company with proper documentation. The Company does not pack or ship items purchased at auction. The buyer is responsible for packing and shipping. The Company is not liable for any damage to goods after they have been sold. A storage charge of $5 per item per day will be assessed against any items remaining in the custody of the Company by the close of business of the fifteenth day following the auction. GOVERNING LAW AND JURISDICTION 11. These Conditions of Sale, as well as the Purchaser’s and the Company’s respective rights and obligations hereunder, shall be governed by and construed and enforced in accordance with the laws of the State of Louisiana. By bidding at an auction, whether present in person or by agent, order bid, telephone, internet, or other means, the Purchaser shall be deemed to have consented to the exclusive jurisdiction of the state courts of, and the federal courts sitting in, the State of Louisiana.

Lot #

Bid Amount (not including buyer’s premium) OR Telephone Number to Call:

$ $ $ $ $ $ $ $ $ $ VISA / MasterCard #: ____________________________________________ Expiration Date: ________________ Credit Card V-Code: _______________ (Three-digit code on the back of credit card, following the account number) I have read and agree to the Conditions of Sale. I agree that a buyer’s premium will be charged on each lot purchased at 23% up to and including $200,000 plus 10% of the hammer price greater than $200,000. For purchases made by cash, check or wire transfer, the buyer’s premium shall be discounted 3% of this 23%. Your signature on this form constitutes permission to charge successful bids to your credit card, including the 23% buyer’s premium, if payment is not received within five days of the auction. Signature (Required): ___________________________________

Please fax this completed form to: 504-566-1851

This Form Must Be Submitted by Friday at 5:00 p.m.

ABSENTEE/TELEPHONE BID FORM (CONTINUED)

Name (Please Print): ______________________________________ Lot #

Bid Amount (not including buyerâ&#x20AC;&#x2122;s premium) OR Telephone Number to Call:

$ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $

Please note that the following are estimates only and the actual time each lot is offered may vary.

Saturday January 29, 2011 Lots 1-544 10:00-11:00 11:00-12:00 12:00-1:00 1:00-2:00 2:00-3:00 3:00-3:30

1-99 100-199 200-299 300-399 400-499 500-544

Sunday January 30, 2011 Lots 545-996 11:00-12:00 12:00-1:00 1:00-2:00 2:00-3:00 3:00-3:30

545-644 645-744 745-844 845-944 945-996

Customers, Please Note: Deadline for Absentee/Telephone Bidding 5:00 P.M. Central – Friday, January 28, 2011 Guidelines for Telephone Bidding 1. Each item must have a low estimate of at least $500 2. Telephone bidders must agree to bid the low estimate on each item. Deadline for Condition Report Requests 5:00 P.M. Central – Thursday, January 27, 2011

We Accept VISA, MasterCard and American Express for Invoices Up to $25,000 There will be a buyer’s premium of 23% (3% discount if paying by cash, check or wire) of the final bid price up to and including $200,000 and 10% of the amount by which the lot exceeds $200,000 added to the hammer price on all lots sold. Items in the catalogue are sold as is, where is. On the fall of the auctioneer’s hammer, the highest bidder shall be deemed to have purchased the lot in accordance with the Conditions of Sale. All sales are final. Where possible, significant damage is mentioned but does not include all faults and imperfections. Unless stated in the catalogue description, lampshades and keys are not included.

801 Magazine Street New Orleans, Louisiana 70130 504-566-1849 Fax 504-566-1851

1330 St. Charles Avenue New Orleans, Louisiana 70130 504-586-8733 Fax 504-586-8841

â&#x20AC;&#x201C; Authorized Release Form â&#x20AC;&#x201C; Name: ________________________________________________________________________ Business Name: _________________________________________________________________ Telephone(s): __________________________________________________________________ Email Address: _________________________________________________________________ I authorize: _______________________________________________________to pick up items New Orleans Auction No.:______________________________or Sale Date:_________________ Lot #(s): ______________________________________________________________________ _____________________________________________________________________________ Please sign below:

X________________________________________________

Date____________________

Print name: __________________________________________ Please provide the shipping agent with the appropriate New Orleans Auction location and fax this form to the correct gallery listed above.

Note: Items will not be released without a signed authorization

Jean Vidos President Kelly Eppler Managing Director Tessa Steinkamp Auctioneer Charles C. Cage Office Manager / Silver Specialist Ireys Bowman Consignments John Abajian Consignments Richerson L. Rhodes, G.G., N.J.A. Consignments / Oriental Specialist / Jewelry Specialist Thomas Halverson Director of American Furniture and Decorative Arts Michelle Castro Fine Art Consignments

CATALOG ORDER FORM Annual Subscription (Domestic) r New Orleans Auction Galleries/St. Charles Gallery (12 issues) - $150.00 Annual Subscription (Domestic) r St. Charles Gallery (6 issues) - $75.00 Annual Subscription (International) r New Orleans Auction Galleries (6 issues) - $300.00 Single Catalog for Upcoming Auction (Domestic) r New Orleans Auction Galleries - $25.00 r St. Charles Gallery - $25.00 Single Catalog for Upcoming Auction (International) r New Orleans Auction Galleries - $50.00 r I do not wish to subscribe at this time, but please include me on your mailing list.

Camille Horos Business Manager

Name

Michael Maggio Director of Marketing / Graphic Designer

Kim Lemon Director of Customer Service Ralph A. Cheramie Director of Inventory Control John W. Keefe / Ellen McKenzie Cataloguers Bryce Reveley Cataloguer - Textiles, Couture Robin Ruiz Wilkinson Auctioneer / Cataloguer Peyton Bruns Director of Estate and Appraisal Services Lynn Bowker Exhibition Staff / Interior Designer Clarke “Doc” Hawley Exhibition Staff Randy White Operations Manager Joey Thomas / Stanley Thomas Co-Operations Managers Bennie Amos / Sol Carter Jr. / Thomas Johnson / Rodney Junius Operations Department Gary Michael Gittelson Photographer

Address City Zip Code E-Mail Address Business Phone Home Phone Mobile Phone Fax Phone r VISA

r MasterCard

r American Express

Card # Expiration Date Amount $ Signature (Required) r Check #___________ Amount $ ____________ Office Use: Mail Code: ______ Sub. End Date: ____

Mail check and order form to:

New O rleans Auction G alleries , Inc . 801 Magazine Street New O rleans , L ouisiana 70130 1-800-501-0277 • 504-566-1849 • Fax 504-566-1851